Singer-songwriter Du Neri releases her album “Um Lugar ao Sol” on October 17th, available on all digital platforms via Marã Música. The album marks a new phase in her career, guided by self-discovery and artistic freedom, with a repertoire that spans rock, samba, and Brazilian pop. Born from moments of introspection and genuine emotion, the tracks reflect the artist’s musical diary and address themes such as identity, vulnerability, and personal expression, solidifying Du Neri as one of the most sensitive and authentic voices in the new independent music scene.
“A Place in the Sun” marks a moment of self-discovery and creative freedom in your career. What personal transformations led you to this point?
The songs depict very different moments. It’s possible to detect various feelings that overflow from the lyrics. Some are difficult moments in life, with the loss of loved ones, the doubts of adolescence, anxiety, and disappointments with friends. But also happy moments, of hope and faith.
The album blends rock, samba, and other styles. What was the challenge of balancing so many influences without losing its essence?
It wasn’t difficult because it wasn’t planned; this variety came naturally and also reflects some of the musical influences around me. The production team’s work with Denis Carvalho was also crucial in finding this set of harmonies.
You mentioned that your songs function like a diary. What was the most intimate or challenging moment of transforming such personal feelings into art?
Accepting that my diary would become art for the world, because until then it was just for my own consumption. It was just me, so accepting to take it forward was a challenging process. But so many people asked to publish the songs that my father was convinced, and he convinced me. It wasn’t easy, but here we are.
Songs like “Corpo Estranho” and “Personagem” address dilemmas that are often silenced. What kind of conversation do you hope to spark with these tracks?
I hope people remember that they feel things they usually say they’re not feeling. These are things that sometimes we don’t want to accept are happening and prefer to keep quiet, but we end up suffering alone, and the song serves to show that it doesn’t have to be that way. So I hope it sparks open dialogue not only about the issues raised in both songs, but also about the various individual and unique difficulties.
The way you describe the songwriting process—almost intuitive, as if the songs were drawing themselves—is fascinating. Have you ever had a song surprise you, as if it told you something you didn’t already know about yourself?
Yes! Many times. Lately, it’s been happening all the time, with frightening frequency. Music has helped me get to know myself; it’s a look within. Imagine, I’m desperate, and a song comes along to calm me down, telling me that someone is watching over me, and that the ending will be happy.
“Um Lugar ao Sol” also seems to speak about belonging and visibility. What does it mean to you to find your own “place in the sun” within Brazilian music?
It’s a space that I didn’t think would happen, but now that it’s happening I see it as an opportunity to convey a good message, from my point of view, and I see it as a way to be useful, far beyond entertainment.
The album came about spontaneously, but it carries a profound purpose. When did you realize it had become something bigger than just a collection of songs?
When my father said, “Maria, let’s publish your songs,” I asked, “What is it?” But when Dênis showed me the first arrangement of “Direção ao Sol,” I already felt there was something more. Later, when he showed me the arrangements for “Corpo Estranho,” “Personagem,” and “Estrada,” I was certain.
You said you were anxious but confident about the launch. What kind of public reaction would make you feel the whole process was worth it?
Just seeing people listening and enjoying it, knowing that I did something that made someone else feel good about themselves, about life, or about the world, that already makes it worth it. It was already worth it.
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