La Favi
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La Favi

Los Angeles, CA | Established. Jan 01, 2019 | INDIE

Los Angeles, CA | INDIE
Established on Jan, 2019
Solo Latin R&B

Calendar

This band hasn't logged any future gigs

May
31
La Favi @ Alcalá Suena

Madrid, Spain

Madrid, Spain

May
26
La Favi @ The Lash

Los Angeles, California, United States

Los Angeles, California, United States

Apr
27
La Favi @ Vassar College

Poughkeepsie, New York, United States

Poughkeepsie, New York, United States

Music

Press


"La Favi Habla con los Muertos"

Si no conoces a La Favi no pierdas un minuto más. Jugamos con ella al juego que ha propuesto en 'Venganza', una de las canciones más fascinantes del año

La Favi ha propuesto un juego fascinante con Venganza.

La Favi habla con los muertos. Si Camarón cantaba por alegrías quién te ha quitado el color / que estás tan descolorida / te lo quitó un marinero / con palabritas de amor, La Favi le contesta a Camarón que sí. Que fue un error pensar que la quería, pero lo que hace a continuación es mucho más que darle la razón al de La Isla cuando dice que confianza en el hombre nunca la tengas: solo con añadirle un prima a esa frase, y sonando en su voz, Venganza deja de ser una versión y se convierte en un tema absolutamente propio, más cercano a un estado de alerta que a uno de autocompasión.

En pocas palabras: incluso lamiéndose las heridas La Favi es una fiera.



Lo primero que hace cuando le preguntamos por Venganza es citar sin querer, instintivamente, a Lorca: "Mi sangre se quema, los recuerdos se llevan en las venas. La venganza es el sueño y la fantasía. Yo no voy a matar a nadie pero ¿y si lo hiciera?", nos escribe. El poeta granadino definía así en una conferencia de 1933 el duende: "Para buscar al duende no hay mapa ni ejercicio. Solo se sabe que quema la sangre".

"Esta fue una de las primeras canciones que grabé este año y quería pasar un adelanto de mi proyecto a quienes me escuchan, aunque lo escuchen siete", bromea. Sabe que son muchos más, aunque de momento las escuchas de Venganza avancen mucho más despacio que las de sus temas con Ms Nina, Deltatron o Tomasa del Real. Lo que viene puede, debe, ser el despegue. "El disco es amor en tiempos de guerra, es oscuro, tiene algo para bailar y salir a hacer cosas por la noche más mi pena y mi esperanza".

Natalia García —californiana de abuelo almeriense— sabe que su voz, como dice, "tiene su lugar" y agradece la formación en un coro religioso cuando era pequeña.

Favi
"Crecí muy rápido. No era muy normal. Éramos como niñas gorditas góticas de 11 años escuchando cumbias y comiendo Cheetos en el parque y de repente hombres que nos trataban con un nivel de thirst [invasividad sexual] impresionante. Yo no quiero que las niñas tengan que afrontar tanto acoso, que tengan que crecer así, no es justo", afirma. El discurso social, con los años, no hizo sino crecer. Trabajó en una clínica de salud con mujeres expresidiarias. "No duré mucho tiempo porque no estaba de acuerdo con cosas como la forma en que se trataba a las mujeres, por parte de personas que dicen estar allí para ayudar pero se están lucrando con el problema. Los de afuera no pueden venir a un barrio y decir cómo se tiene que cambiar esto o lo otro. Dejen de pensar que son más inteligentes que los demás y que si las personas están en una situación en la cual tú no estás no es por que tú seas mejor persona, hay un sistema económico que dependiendo de tu posición social te respalda o te mantiene allí fucking trapped". - Playground


"Meet La Favi, the Bay Area Singer Dreaming Up Sad Girl Reggaeton"

Natalia Garcia radiates confident serenity. The Bay Area singer, who performs as La Favi, speaks low and firm, with aplomb that might seem radically distinct from the featherless reggaeton gospel she’s known for. Her nameplate necklace rests lightly on her chest, and as she speaks, her crystalline manicure, encrusted with miniature rhinestones and golden flecks, shimmers in the fading light. It’s a dusky November evening right after the 2016 presidential election, and we’re discussing the politicization of music in the Trump era. “I was raised around people that mentored me and were organizers in the movement, so cuando a mi me llaman, I’ll be there. But sometimes, I think there’s a lot of power in coming together just to soltar un poco la pena. Sometimes those simple things are more powerful than people care to understand.”

That philosophy of catharsis floods Reir y Llorar, La Favi’s new EP, unveiled today via Terror Negro Records. The six-song collection evinces reggaeton’s breakneck dash into new directions; it opens the pages of the genre’s textbook and rips convention to shreds. On the soaring opener “Tu y Yo,” La Favi coos over a forlorn trap instrumental that shapeshifts into a dembow riddim. The EP is packed with laments about the ecstasy of short-lived dance floor romances, unrequited love, and maudlin solitude. They’re indulgently morose protection spells that herald the dawn of sad girl reggaeton.


Photo by Itzel Alejandra Martinez for Remezcla

La Favi recalls studio sessions with Terror Negro head honcho Deltatron, who produced the EP. “He was like, ‘Tu eres la llorona,” she laughs. “I feel super blessed and lucky just to be able to do what I do. But it’s definitely been my outlet…I definitely had to do it for the sad girls.”

“I definitely had to do it for the sad girls.”
The airy melancholy of Reir y Llorar is likely the fruit of Natalia’s eclectic musical upbringing. The singer grew up in a Chicanx and Central American community of San Francisco, on balladeers and troubadours like Selena and Ivy Queen. As the grandchild of Spanish Civil War refugees from Andalusia, Natalia found nourishment in classic flamenco records she heard at home and on trips back to Almería, the coastal city her family hails from. On Reir y Llorar, her cante jondo falsettos flutter around sinister hi hats and dembow kick drums, prancing between trap and reggaeton and back again. She admits the vocal style emerges in her music more out of admiration than formal training. “It’s definitely more imitando than really doing it like puro, puro flamenco. I love flamenco; it definitely shapes me, but I think it’s one of those things that, como que se lleva en la sangre, and you grow up doing it.”



But the journey to embrace that tradition wasn’t necessarily seamless. “When I first started recording, some of the people that were recording me were like, ‘You need to calm that down. Don’t do that; don’t do that with your voice.'” But her cante jondo vocalizations ache with beauty on Reir y Llorar, in a way that echoes the subversive creative promise the genre has always borne. It arises in unexpected moments, like the aquatic palate cleanser “Nai No Nai,” or the posse cut “Lluvia,” featuring Tumblr star Ms Nina and tattoo artist Tomasa del Real. It betrays what scholar Petra R. Rivera-Rideau once said: “The history of reggaeton is one of transformation.” From the proto-perreo of El General, to the rabid, maximalist barking of Daddy Yankee, the song form has continuously served as a canvas for experimentation, a promise amplified by its mainstream success and the advent of the internet.

“I can’t claim to represent reggaeton. I feel like I’m a guest.”
La Favi is perhaps most widely known for her verse on Los Rakas’ 2011 hit “Abrazame,” but in the past year, she’s emerged as a scion of the reggaeton reinas who once commanded the genre. Along with Ms Nina and Tomasa del Real, La Favi joins a new cadre of women honoring the genre’s bad girl roots, each bringing their own insurgent vision to a scene built on Facebook chat and SoundCloud. While Tomasa del Real and Ms Nina’s tough-talk machinations savor the playfully debaucherous, La Favi is softer than her peers, more pensive and somber.


Photo by Itzel Alejandra Martinez for Remezcla

Garcia is shrewdly aware of the messy respectability politics thrust on the women of reggaeton since Day 1, when the breathless moans of Glory or Jenny la Sexy Voz were not only controversial, but banned on local radio. It’s a tangled reputation she must contend with even 25 years after the genre’s inception. “It’s [considered] shameful for the family – to be out there and to be showing your body or dancing in public and speaking on certain things,” she says.

For her, it’s a pernicious strain of sexism that dissuades many young reggaetoneras from pursuing creative careers in the genre. “They don’t really have the freedom, because you’re kind of bound by your family; you want to be safe,” she explains. “Even if you just put a picture of yourself on Facebook, anyone from your tía to the niño rata in his house will be like, ‘Puta!’ You learn to deal with it and defend yourself and protect yourself.”


Photo by Itzel Alejandra Martinez for Remezcla

It’s an all-too-familiar reality for any woman in the urbano industry. Decades after the genre coalesced in Santurce’s caseríos, critics continue to bicker over whether reggaeton is an exploitative or empowering space for them. But La Favi notes that its originators always celebrated resistance. “Ever since the beginning – especially the strong Afro-Latina, Afro-Indigenous women – have been putting these messages out. Ivy Queen, that was one of the first inspirations,” she recalls, humming a flamenco take on “Quiero Bailar.”

The influence of stereotype-defying icons like Ivy Queen is inscribed all over Garcia’s music. Her songs harken back to the genre’s halcyon days, when La Caballota snatched women’s pleasure out of reggaetoneros’ hands and served it to herself on a platter. Likewise, La Favi’s compositions function like baboso antidotes. Take “No Eres Bueno,” a song she quietly released on SoundCloud in 2016: “Aunque todos dicen que te debo de dejar/irme con otro que me sepa cuidar/pero no me voy a alejar/aunque yo quisiera no pudiera olvidar.”


On Reir y Llorar‘s “Controla,” a plaintive violin and piano serve as a reminder of why you should stay away from the broke bois you can’t seem to quit. “Nunca ando sola/me llaman a toda hora/disparo de pistola/tu ya no me controla,” she spits with rancorous gloom. It’s a reminder that reggaeton has always been a site of resistance, a street sound whose perennial promise was one of rebellion – a space to be raunchy, to be candid, to be free.

“I can’t claim to represent reggaeton. I feel like I’m a guest,” she reminds me, reflecting on her place in the movement. As reggaeton continues to be reimagined by genre rebels across the Latinx diaspora, escaping the hyperlocal spaces it once operated in, La Favi’s gratitude for its source material is vital. The sound’s future seems predicated on the safeguarding of its defiant origins, where the categories of race, gender, class and the underground were disrupted by Panamanian, Afro-Puerto Rican, and barrio innovators. “I can be a guest, and I can work with people. I feel so lucky to do that, that I’ve been able to be in the Caribe o en Mexico, que la gente me enseña muchos amores,” she adds. It’s only with knowledge of that conflict that we can envision longevity for the genre. “No salió de nada. Music comes out of people’s pain and struggle.”

-Isabelia Herrera - Remezcla


"estreno: la favi se adentra en un triángulo amoroso en 'tu y yo'"

estreno: la favi se adentra en un triángulo amoroso en 'tu y yo'
El drama, los secretos y la dulce voz de La Favi se entremezclan en el videoclip del primer tema de su nuevo EP, 'Reír y Llorar'.


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Natalia García es una de esas artistas que —como no muchas pueden decir— expone sus sentimientos y experiencias vitales de tal forma que resulta difícil no emocionarse cuando uno se adentra en su historia. Con su delicada pero inquebrantable voz, la que algunos ya catalogan como la 'sad girl' más prometedora de la escena musical en español está conquistando los corazones de cada vez más gente (y así lo demuestran las reproducciones en sus redes sociales).

Hoy, en i-D, os presentamos en exclusiva el videoclip de Tu y Yo: el primero de los seis temas de su nuevo EP Reír y Llorar, que ha producido Deltatron y que presentará este viernes 28 de julio en Club Marabú en Barcelona. La canción —cuyos primeros versos pudimos oír hace más dos años en Happy Hours, su colaboración con Yung Beef— guarda un gran trasfondo personal y así lo refleja en el vídeo, que se presenta como un bonito homenaje al amor y la unidad entre mujeres: "Me di a conocer porque aparecí en varios duetos y vídeos de artistas de rap en español. La gente me ha visto al lado de un hombre, pero no de una mujer. Ahora, que estoy haciendo cosas por mi cuenta y tengo más control sobre mi carrera, puedo hacer mis propios proyectos que reflejan mi experiencia. Hasta ahora, en mi vida, siento que las que me han querido más han sido las mujeres. Me han llegado a amar más fuerte y lealmente que cualquier hombre", asegura La Favi.

PUBLICIDAD


En esta historia repleta de deseo protagonizada por su amiga, artista y modelo Arabelle Raphael y su amigo de la infancia Nick Parker, la intérprete trata de luchar contra sus verdaderos impulsos cuando conoce a una mujer que desbaratará los cimientos de su relación sentimental. Rodado en un día por las calles de San Francisco, el videoclip contiene además frases intercaladas de una canción de Camarón escrita por Paco de Lucía que, según la artista, "es una especie de homenaje a ellos [...] y una forma de contar en profundidad el relato acompaña la canción". Un gesto que demuestra así el amplio registro de géneros musicales sobre los que se mueve el cautivador sonido de La Favi. - I-D


Discography

Still working on that hot first release.

Photos

Bio

With her breathless reggaeton hymns, Bay Area singer La Favi has established herself as a singular voice in today's underground club music circuit. Born Natalia Garcia, the chanteuse grew up grew up in San Francisco and also spent several years as a child living in Spain, in a small town near her grandfather's birthplace of Almería. In her youth, Garcia nurtured a deep appreciation for both classic flamenco records and barrio icons like Mala Rodriguez, Ivy Queen, Selena Quintanilla, Kittie and Amanda Perez. A classically trained singer she began recording commercially by singing hooks for local Spanish language reggaeton and rap artists and performed oldies and traditional styles in festivals car shows and carnavales in the largely Central American and Chicana community of her birth.


These musical and cultural influences manifest in Garcia's featherlight, unconventional style today. There's a certain sentimentality to Garcia's voice, one that evokes a sense of diasporic longing – of in-betweenness and yearning. That's perhaps best exemplified by her debut EP Reir y Llorar (To Laugh and Cry), a collection of airy and melancholy protection spells that garnered her acclaim from fans and media outlets across the U.S., Latin America, and Spain. Across dark freestyle and rock influenced  reggaeton, rave anthems and sinister trap beats, Garcia's falsettos and Andalusian vocal stylings tell deeply personal stories of loneliness, independence, and heartbreak that mi fantasy with plantive “realismo tragico”. 


Prior to the release of Reir y Llorar in 2017, Favi made a name for herself working with netlabels and vocalists of the underground urbano scene, like La Vendición, Ms Nina, and Tomasa del Real. She's now recognized as a standout figure and song writer in this musical panorama, as she regularly performs at parties and festivals across the globe, including Austin's SXSW, Mexico City staples like SUDA, and Barcelona's Club Marabú series. 


In 2018, Favi continued standing out in this space, securing an art residency at La Térmica in Málaga, Spain. Before the end of the year, she'd drop a collaborative mixtape with New Jersey's SoIceyTrap and score placements and songwriting credits in campaigns and shows including celebrated Netflix shows like La Casa de Las Flores.


In 2019 she prepares for a series of international tours and releases Better Off Alone with net label Miel y Flores records.  With every artistic evolution, expect La Favi to remain one of the most promising young voices in today's underground urbano landscape. 


Better off Alone is a collaboration EP Between San Francisco born Natalia García ( La Favi ) and Bronx Native Vianey Otero ( Soiceytrap) , a nostalgic EastCoast/ Westcoast Spanglish throwback to 90s reggaeton and r&b anthems of both their childhoods. Recorded over several nights the two found themselves in New York and Los Angeles the collaborative project in the artists contrasting rapping and singing styles tells stories of heartbreak and ultimately unashamed longing for something better in a place love isn’t easy to find. A scene of followers from social media and underground fans in the US, Spain and Latin America anticipates the drop of Better off Alone March 29. Empire / Miel y Flores Records 2019