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This page contains a translation of Rock Doido from pt.wikipedia.

Rock Doido (stylized in sentence case) is the fourth studio album by Brazilian singer Gaby Amarantos, released on August 29, 2025. The project emerged as a natural extension of the artist's career, driven by her desire to explore and celebrate her cultural roots from Pará, particularly drawing inspiration from festas de aparelhagem—traditional street music parties in Northern Brazil. Developed in collaboration with the Altar Sonoro collective, the album was conceived as a continuous set, featuring short, interconnected tracks that capture the vibrant, collective energy of these events while incorporating elements of tecnobrega, funk, carimbó, and Latin music.

The album's production featured an innovative approach, including a short film shot in a single take using a smartphone on the streets of the Condor neighborhood in Belém, Pará, reinforcing the project's experimental nature and its commitment to the peripheral and popular aesthetics of the Amazon.^[1] Musically, Rock Doido delves into the sonic diversity of the North, featuring collaborations with artists such as Lauana Prado, Viviane Batidão, and Gang do Eletro, thereby expanding the dialogue between tradition and modernity.

Rock Doido received widespread critical acclaim, with reviewers highlighting its originality and its role in promoting the culture of Pará. The work also gained prominence for its audiovisual impact and cultural significance, repositioning the Amazon as a major hub for contemporary Brazilian music production. It was nominated for the 2025 Prêmio Multishow, competing in categories such as Album of the Year and Best Cover Art, while the track "Foguinho" received a nomination for Hit of the Year and won Best Brega Song. Additionally, the album was included in several year-end lists of the best Brazilian albums of 2025.

Following the release of her 2022 album TecnoShow, Gaby Amarantos began developing Rock Doido as a way to deepen her cultural roots and explore new musical and audiovisual languages. Inspired by aparelhagem parties—traditional sound system events in the state of Pará—the artist envisioned an album that would function as a continuous set, simulating the experience of Amazonian street parties.^[2]

The production process began in late 2024 with the involvement of the Altar Sonoro collective, formed by Guilherme Takshy and Naré, who served as music producers and directed the short film accompanying the album. The recording featured an innovative approach, with the main footage captured in a single sequence shot using a smartphone on the streets of the Condor neighborhood in Belém, Pará, on August 13, 2025. This method aimed to capture the spontaneity and energy of the local culture, highlighting the aesthetics of urban peripheries and popular festivals.^[3]

The album Rock Doido features a vibrant fusion of styles that reflect the cultural diversity of the Amazon.^[4] The backbone of the album is tecnobrega, a musical genre originating from Pará characterized by danceable electronic beats and lyrics addressing daily life and local culture. Amarantos, known for her powerful vocals and stage presence, uses this style as a launching pad to explore other musical influences.^[5]

Musically, Rock Doido is structured as a continuous set, with tracks transitioning seamlessly without interruption to create an immersive listening experience. The songs generally do not exceed two minutes in duration, maintaining a constant energy that invites the audience to dance. In addition to tecnobrega, the album incorporates elements of brega-funk, carimbó, and Latin rhythms, showcasing the cultural hybridization characteristic of Northern Brazil.

Collaborations with artists such as Lauana Prado, Viviane Batidão, Gang do Eletro, and MC Dourado add diversity to the project, bringing different influences and styles. For instance, the track "Tumbalatum" features a Latin beat and was recorded in partnership with Gang do Eletro, highlighting the blend of styles and the energy of Pará's music scene.^[6] "Foguinho" is a cover version of "Somebody That I Used to Know" by the Belgian-Australian singer Gotye. Gotye's original song, in turn, sampled the composition "Seville" by the Brazilian composer Luiz Bonfá.^[7]

In an interview on the Segue o Som podcast, hosted by Pietro Reis, Amarantos stated that the cover art for Rock Doido was conceived "to bring the world's attention to Amazonian culture." According to her, the eyes present in the artwork symbolize a collective invitation, representing different cultural expressions of the region, such as the Crina Negra, the *quadrilha junina* (June festival folk dance), and the Tumbalatum. The singer also mentioned that the visual aesthetics draw references from Michael Jackson's "Thriller" music video.^[8]

The Rock Doido project was officially launched on August 28, 2025. On the night of the release, Amarantos gathered artists and guests at the Eneida de Moraes Auditorium in the Palacete Faciola, Belém, for the premiere of the short film Rock Doido (O Filme), which was made available on YouTube at 11:45 PM on the same day. The homonymous album, featuring 22 previously unreleased tracks and collaborations with artists such as Lauana Prado, Viviane Batidão, Gang do Eletro, and MC Dourado, was released on major digital streaming platforms in the early hours of August 29.^[9]

The launch received extensive promotion across the artist's social media platforms and in media outlets, which highlighted its innovative premise and its celebration of Pará's culture. The production also garnered attention from music critics, who praised the project's originality and cultural relevance.^[2]

The short film Rock Doido (O Filme) is an audiovisual production that accompanies Gaby Amarantos's album Rock Doido, released on August 28, 2025. With a runtime of 21 minutes and 50 seconds, the film was recorded in a single continuous shot (long take), using only a smartphone without any cuts. This represents a technical and aesthetic innovation within the Brazilian audiovisual landscape.^[7]

The recording took place on August 13, 2025, on the streets of the Condor neighborhood in Belém, Pará, gathering approximately 250 people, including artists, dancers, influencers, and local residents. The production crew was 100% local, reinforcing the project's commitment to celebrating regional culture and independent filmmaking.^[9]

Co-directed by Gaby Amarantos and the Altar Sonoro collective, the film seeks to translate the energy of *aparelhagem* parties into a cinematographic format, placing urban peripheries and popular festivals at the center of its aesthetics. The production also highlights local fashion, featuring styling by Bruno Pimentel and collaborations with local designers and students from the Universidade da Amazônia (Unama), who helped design costumes that dialogue with the cultural identity of the region.^[2]

Rock Doido (O Filme) was conceived by Gaby Amarantos to push the traditional boundaries of music videos, offering an audiovisual experience that integrates music, fashion, film, and performance into a single continuous shot. The project is deeply influenced by Pará's *aparelhagem* sound systems and the cultural expressions of Amazonian peripheries, reflecting the region's richness and diversity.^[9][7]

The production opted to use a smartphone exclusively for the long-take recording, with no cuts, as both a technical and political choice to demonstrate creative potential using accessible resources, while also decentralizing audiovisual production. To achieve a fluid narrative, extensive rehearsals and meticulously coordinated choreography were carried out, blending spontaneity and artistic precision among the participants.^[2]

Under the co-direction of the Altar Sonoro collective, the film adopted an experimental aesthetic, exploring natural light, handcrafted costumes, and a live-feeling soundtrack.^[10] The narrative aims to immerse the viewer in a sensory experience, highlighting tecnobrega and visual elements that evoke the popular culture of Northern Brazil.^[11]

The visual narrative of Rock Doido uses the streets of Belém as its backdrop, presenting an uninterrupted sequence that blends music, performance, religiosity, social commentary, and pop culture elements. The plot centers around the character Xirley—an alter-ego originally created by Gaby Amarantos—and unfolds as a celebration of Amazonian identity, driven by choreography, striking costumes, and interactions with the local community.^[6][12]

Structured as a long take, the film utilizes real-time tracking as a narrative tool, bridging the gap between music videos and cinematographic language. The joint direction between Gaby Amarantos and the Altar Sonoro collective results in a piece that expands the horizons of musical audiovisuals.^[13][3]

The release of the film generated widespread resonance, earning praise from music and film critics alike as well as the public.^{[14][15][11][3]}

CNN Brasil highlighted the innovative nature of the production, praising its immersive aesthetics, vibrant colors, pyrotechnics, and the seamless integration of visual and sonic elements that elevate tecnobrega into an internationally appealing audiovisual experience.^[13] As noted by the newspaper O Liberal, the film blends global and Amazonian references, incorporating the character Xirley, *aparelhagem* parties, and cultural symbols of Pará under the direction of the Altar Sonoro collective.^[12][6] Stela Maris from Escutai described the video as a "unique visual experience," noting its ability to capture the raw energy of Pará culture in an authentic and engaging way.^[10]

Critic Leandro Ferreira described the short film as a "visual and aesthetic astonishment" and labeled it "the greatest pop act in Pará's tecnobrega history," pointing out its originality, atmospheric setting, and emotional impact.^[14] On social media, the release sparked high engagement, with users praising the boldness of the single-sequence shot and its powerful cultural representation, emphasizing a renewed sense of regional pride and the reclamation of Amazonian roots.^[15] Caderno Pop also praised Rock Doido, highlighting its long-take cinematography and its essential role within the album's overarching narrative.^[16]

Professional ratings

Aggregate scores
Source	Rating
Album of the Year	85/100[17]
Review scores
Source	Rating
G1	[11]
The Needle Drop	8/10[4]
Música Instantânea	9/10[18]
Escutai	9/10[10]
PopMatters	9/10[19]
Caderno Pop	100/100[16]
DiscoAvaliadoBR	9.5/10[20]

Rock Doido received widespread critical acclaim and was well-received by the public, who highlighted the project's originality, the aesthetic strength of its audiovisual production, and its celebration of Amazonian culture.^[21][22]

Critic Ana Clara Ribeiro from the publication PopMatters defined Rock Doido as a cultural milestone that "solidifies Rock Doido's status as a musical genre," praising Gaby Amarantos for transforming *aparelhagem* references into a cohesive body of work.^[19] The Brazilian website Música Instantânea described the album as a work that "not only exposes Amarantos's creative power, but also celebrates and incorporates the fluidity of aparelhagem parties." Critic Cleber Facchi positively reviewed the continuous structure of the tracks and the project's experimental approach.^[18]

Journalist Mauro Ferreira from G1 stated that the record "throws a party with a vibrant album that sounds like a DJ set in a Belém aparelhagem," praising the seamless construction of the repertoire and the revival of Pará's popular culture.^[11] Caderno Pop described Rock Doido as a bold, seamless work that transforms tecnobrega into a sophisticated concept album without losing its grassroots energy, highlighting its uninterrupted sonic narrative and manifesto-like nature.^[16] Critic Anthony Fantano from the YouTube channel The Needle Drop described Rock Doido as an energetic and conceptual album, comparing its continuous format inspired by street parties and DJ sets to major live spectacles and records like Beyoncé's Renaissance and Bad Bunny's El Último Tour del Mundo.^[4] Stela Maris from Escutai called Rock Doido an "audiovisual manifesto," praising the unique combination of music and imagery, adding: "This pride is what makes Rock Doido such an authentic and immersive work," emphasizing Amarantos's connection to her roots.^[10]

In a review published by DiscoAvaliadoBR, Gabriel Silva described the project as "a culturally cohesive album that impacts both Brazil and the world," praising its visual and sonic identity, and highlighting the use of tecnobrega, eletromelody, and local culture as central elements of the work.^[20]

Rock Doido had a significant impact on the recognition of the musical culture of Northern Brazil, particularly regarding the visibility of tecnobrega, tecnomelody, and Pará's sound systems (aparelhagens). The work was widely recognized as an initiative that repositions the Amazon as a center for aesthetic and sonic innovation.^[1]

According to G1 Pará, the short film and the album represent a "musical and visual experience from Pará to the world," aiming to reposition Amazonian culture on both national and international stages.^[9] Billboard Brasil highlighted the project's innovation in combining cinema and music into a continuous and immersive format, pointing out that the visual album functions as a cohesive audiovisual piece that breaks away from traditional music release formats.^[1] Lucas Granado noted that Rock Doido values Pará's culture, bringing audiences from other states closer to the reality of sound system parties; for him, the album functions as an expression of cultural belonging, reinforcing regional pride and the visibility of Northern Brazilian music.^[1]

For journalist Mauro Ferreira of G1 Pop & Arte, Rock Doido "sounds like a DJ set in a Belém sound system," utilizing elements of popular Pará parties as the foundation for a vibrant and representative local production.^[11] Elle Brasil magazine highlighted the project as an example of artistic reinvention and cultural affirmation, listing its aesthetic strategies as tools for resistance and the protagonism of the Brazilian North.^[35] Writing for Escutai, Stela Maris described Rock Doido as an immersion into Pará's culture, bringing the energy of Belém's sound system parties to the record. She highlighted the fusion of rhythms and the use of visual elements, which create an authentic and vibrant experience, reinforcing Gaby Amarantos's identity as an artist.^[10]

Additionally, the website Música Instantânea pointed out that the project "explodes in color, sound, and identity," establishing a bridge between ancestry and technology, while bringing the language of Pará's sound systems closer to a contemporary artistic discourse.^[5] The work was also associated with the political-cultural context of the Amazon and COP30, with a strategic launch in Belém, which reinforced the role of art as a tool for mobilization and the appreciation of the forest and the region's indigenous peoples.^[3] Critic Ana Clara Ribeiro of PopMatters highlighted Rock Doido as a cultural milestone that consolidates the homonymous genre and repositions popular electronic music from Pará on the national scene. According to her, Gaby Amarantos transforms elements of the sound system culture into a formalized and accessible musical legacy.^[19] Gabriel Silva of DiscoAvaliadoBR emphasized the cultural impact of Rock Doido, stating that the album helped expand the appreciation of Northern music and tecnobrega across the country.^[20]