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How Venezeula’s most popular band overcame the odds and became the soundtrack of a generation in exile

BBG News

Mexico City – Rawayana, a group made up of Venezuelan immigrants, known for their psychedelic, Caribbean-infused pop music that has garnered international recognition, was thriving.

Towards the end of last year, the group had recently been nominated for a Grammy, added to this month’s Coachella roster, and were on the brink of releasing a new album together with the well-known Colombian band Bomba Estéreo. After two years of almost continuous global touring, Rawayana was planning an extraordinary homecoming: a series of triumphant concerts throughout Venezuela, which quickly sold out after being announced.

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However, just prior to the scheduled commencement of their tour in December, the band – who have historically found solace in their music amidst Venezuela’s tumultuous political climate – found themselves entangled within the realm of politics themselves.

Last year, Venezuela’s authoritarian leader, Nicolás Maduro, who Rawayana criticized following his questionable election win, recently gave a passionate speech on TV, where he harshly criticized the band and their new song, labeling it as “awful” and offensive to Venezuelan women.

Venues began disavowing Rawayana, which was forced to cancel its tour.

“Until further notice, this is how we say goodbye to our country,” it wrote on social media.

36-year-old singer Alberto “Beto” Montenegro, who leads a band, expressed sadness but not surprise over Maduro’s criticisms. As part of the world’s largest diaspora – numbering almost 8 million Venezuelans who have left due to political and economic turmoil in the last decade – he and his bandmates have grown accustomed to their leaders letting them down in new ways.

However, the band members understood that Venezuelans were known for their resilience. Consequently, they gathered their musical instruments and continued to do what they’ve consistently done – look ahead and perform songs that would resonate with fellow countrymen scattered afar, yearning for familiar melodies from home.

In a recent conversation during their visit to Mexico City with Li Saumet of Bomba Estéreo, Montenegro expressed concern about the numerous distressing events occurring globally. However, he emphasized that they strive to maintain optimism and act from a place of love. They hope their music can bring healing to others.

In 1998, when Rawayana’s members – Montenegro, Antonio Casas, Andrés Story, and Alejandro Abeijón – were just children, Hugo Chávez, a leftist leader, was elected as the president of Venezuela. He subsequently took control of Venezuela’s industries and strengthened his power through nationalization.

Initially, they began sharing tracks online during their college years, swiftly amassing a fanbase. Amidst a nation’s political climate that grew heavy, their music style, blending elements of reggae and funk, stood out as refreshingly light-hearted. It was characterized by danceable tunes revolving around carefree beach weekends and playful renditions of popular reggaeton songs.

According to Montenegro, music served as a means of escape for them. They creatively named their band Rawayana, envisioning it as a secluded island detached from the world and its issues. Their debut album in 2011 was titled “Licencia Para Ser Libre,” which translates to “Permission to Be Free.

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As their fame increased and they began working with some of Venezuela’s top musical talents, the country was experiencing turmoil. In 2013, Chávez passed away and Maduro assumed leadership. The economy declined sharply, crime rates skyrocketed, and Caracas became notoriously hazardous.

The vibrant nightlife scene in the city, filled with bustling salsa and merengue clubs, fell silent. Following a brief kidnapping incident involving some of the musicians, they chose to depart.

Montenegro stated that there were no prospects available,” he explained. “Our options were limited to performing secretly at exclusive events for the affluent, or taking on government-sponsored work. Neither of these choices appealed to us.

The bandmates resided in both Miami and Mexico City. Compared to many Venezuelan immigrants who’ve spread globally in pursuit of better prospects and security, their exits from the country, facilitated by record companies providing visa assistance, were relatively straightforward.

When away from home, Rawayana continued composing music intended for his fans back in Venezuela. Whenever he could, he returned to his homeland to perform free concerts. Over time, his music came to be seen as a defining sound for Venezuelan expatriates, as described by Montenegro.

As a dedicated fan, I’ve been on a relentless journey with my band, performing energetic shows wherever there’s a community of Venezuelans, from the vibrant streets of Barcelona to the heartland of Omaha, Nebraska. At each performance, our national flags wave proudly in the air.

Speaking about his experiences, Orestes Gomez, a Venezuelan percussionist touring with Rawayana, expressed that the life of migrants is tough. He remarked, “Many aspire to visit and enjoy as if they were back home in Caracas.

According to César Andrés Rodriguez, a music producer from Venezuela currently residing in Miami, the performances they deliver are always flawless and the atmosphere is simply amazing. People can’t seem to get enough, as they dance the night away. He has yet to witness an unsatisfying show.

This band consistently produces upbeat, funk-infused pop music that provides a means of escape. On their song titled “High,” Montenegro and the rapper Apache sing, “Happiness doesn’t require a visa.

In recent times, Rawayana’s music has delved deeper into political topics. A track from their 2021 album, titled “Cuando Los Acéfalos Predominan” (When the Headless Predominate), presents a subtle critique of Venezuela’s corrupt ruling class. It depicts extravagant private events where waiters serve champagne bottles that are five times more expensive than what a grandmother would receive in pension.

Previously, as dissatisfaction against Maduro peaked at its maximum level, Venezuela’s opposition was optimistic that they could outperform him during the closely monitored presidential election.

The findings from impartial onlookers indicate that Edmundo González secured a significant victory, yet the election authorities announced Nicolás Maduro as the winner instead. This has sparked accusations of fraud among Venezuelans, both at home and abroad.

In simpler terms, Montenegro stated to Billboard that Venezuela has been perpetrating a long-standing deception, not just politically but also ideologically, morally, and ethically. It’s no surprise to us that an election in Venezuela might be fraudulent, as we’ve witnessed such manipulations before.

A couple of months after his initial remarks, Maduro launched criticism towards a popular song titled “Veneka,” which was a collaboration between Rawayana and Akapellah. This song was the focus of his recent attacks.

Last year, a popular song aimed to redefine the derogatory term “veneco,” often used against Venezuelan migrants in nearby nations like Colombia, by giving it a fresh significance.

The song queries, “Where can we find the Venetian ladies leading?” It declares, “No matter where she is, everyone recognizes her as the one in charge.

As a film critic, I found myself captivated by Montenegro’s statement regarding a symbol they intended to employ as a testament to resilience. Essentially, it was a declaration of superiority cloaked in defiance, echoing, “Label me as you will. We are the pinnacle, full stop.

However, Maduro strongly objected, stating, “Venezuelan women are addressed with respect and dignity, not as ‘venecas.’ This tune is considered disrespectful, and the band seems intent on distorting our national identity.

In the days after Rawayana was forced to cancel the tour, the band members sunk into depression.

Venezuela’s leaders, who have previously caused immense damage to their own nation, are now attempting to capitalize on our achievements to stir up fresh controversy, as stated by Montenegro.

Moreover, exciting events lay ahead, such as Ranewana’s significant moment in February, where they made history by being the first Venezuelan act to receive a Grammy for the Best Latin Rock or Alternative Album.

Music

As I stood there, beaming with pride, I took the stage to accept the award, my heart pounding with excitement. In a rhythmic, passionate speech, I hailed a dozen talented Venezuelan musicians, their names rolling off my tongue like a symphony. My fellow Montenegrins, I implored you, let’s keep our chins high and continue to celebrate our shared love for music and the arts.

Then, there was the surprise announcement to fans of an album with Bomba Estéreo.

In the previous year, Saumet initiated a collaboration with Rawayana for a single track. The studio sessions between them went exceptionally smoothly, leading them to produce an entire album instead.

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Astropical kicked off a tour in Mexico City last month, and will play the Hollywood Bowl Sept. 7.

As they collaborated, the musicians found common ground in their nations’ struggles – the hardships currently experienced by Venezuela echo the violent era Colombia endured during the 1990s.

And after Rawayana found itself attacked by Maduro, Saumet gave Montenegro some advice.

Success, she said, always comes with difficulties. “The bigger the tree, the bigger the shadow.”

But adversity, she said, often paves the way for art.

“The most impactful music comes from difficult situations,” she said.

What’s important for Montenegro is the fan base of the band. “We have the backing of the public,” he stated. “Therefore, I’m not overly concerned.

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2025-04-12 18:01

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