‘Vinte Vinte (Pranto)‘ is the culmination of an extraordinary journey in which public applause goes hand in hand with the recognition of some of the world’s biggest names in music, resulting in resounding success. Ana Moura, however, is averse to formulas and very little interested in remaining static in one area or sound. Alongside Branko and Conan Osiris, she has created a hybrid pop song that already exists in the future, transcends borders and cultures, and affirms a new musical sensibility.
Having been both Prince‘s and Mick Jagger‘s former protégé in the past, Ana Moura’s hypnotic, emotion-laden voice carries the warmth of an Africa that she’s known since she was a child, having been taught by her mother who’s got Angolan roots. In ‘Vinte Vinte (Pranto)‘, the Portuguese singer is the interpreter of a great story, a story that comes from afar that has finally reached us.
With the help of Branko, one of Portugal’s most acclaimed producers, and singer-songwriter/ Eurovision 2019 contestant Conan Osiris, ‘Vinte Vinte (Pranto)‘ turns into a melancholic, yet catchy pop song that aims to help us digest the traumatic year 2020.
So now we have ‘Vinte Vinte (Pranto)‘: a rapturous and rapturous song, which has passed but, above all, looks to the future. It’s a song that crosses seas never sailed before, that goes from here to China and returns in the fold of a melody, that has pain and hope in a great voice. There has never been another song like this. It’s a part of 2020, the strangest of years, but it will remain as the beginning of an inevitable path. It will be heard 100 years from now.
‘Vinte Vinte (Pranto)‘ is released on 26th of March via M.A.R and Embassy of Music.
About Ana Moura
When she took the stage with Prince, Ana already had a career, and a lifetime of immersion in that force – that of music – that always pulled her. Her relationship with music began long before she entered a studio: perhaps when, still in the womb, she heard her mother sing fado, but she also felt the sounds that came from the turntable at home playing records by Fausto and Ruy Mingas, by José Afonso and Bonga.
With her family roots in Africa, there may even be some distant echo, carried by her genetic heritage, that even before that moment had already pushed it back to what it is today. But there was a route, of course. She started by learning with the voice of her parents, who sang whenever they could. As a girl, at the same time she learned to read, she sang fado with the same effort and innocence with which she danced semba and kizomba.
Her successful debut albums Aconteceu and Para Além da Saudade allowed her to add success upon success and expand the map of her presentations, gaining a world for her voice. From the best fado houses in Lisbon, she moved to the Carnegie Hall in New York and from there to the Rolling Stones Project, an adventure led by the saxophonist of the mythical British band, Tim Ries, who mixed the songbook immortalized in the voice of Mick Jagger with performers selected from various parts of the world. Like Ana Moura, who offered her versions of ‘Brown Sugar‘ and ‘No Expectations‘.
“She has a tremendous presence and voice,” said the Guardian in 2016, recognising the strength that translates into talent, courage, and vision, and which has been the most important vector in a career that has never stopped growing toward the future.
And it was that same future that continued to unfold in her collaboration with Conan Osiris and Branko. It is the beginning of something new. The start of a future that wants to be bright. And it is Ana Moura who will illuminate it.