Brazilian singer, songwriter, and actor Seu Jorge – born Jorge Mário da Silva – is globally celebrated for revitalising Brazilian pop samba. Growing up in Rio’s favelas, Jorge was drawn to samba circles from a young age, immersing himself in the rhythms and connections that would shape his musical identity. Last week, he brought his unique blend of language, culture, dance, and pure joy to Camden’s Roundhouse. Supported by the enchanting Nina Miranda and Quarteto ‘O’, the night promised, and delivered, a sonic celebration from the outset.
Ahead of his Roundhouse performance, I caught up with Jorge via video call; fresh from a smoke break, he appeared grounded as ever, despite a long day of press. Reflecting on his upcoming visit to the UK, a country grappling with xenophobia and political division, Jorge shared his thoughts: “We have so many conflicts. It’s really sad today. It’s cold right now. But music can help that.”
We have so many conflicts. It’s really sad today. It’s cold right now. But music can help that.
Jorge has long championed music as a force for change. He recalled his 2020 performance at Together Live, which raised funds for Brazilians lacking basic hygiene access. “Music really can be a power of change for the kids,” he remarked.
Last Monday, Jorge took to the iconic Roundhouse stage, once a railway turntable station, now representing a different kind of transformation. On that night, Jorge’s loyal, predominantly Portuguese-speaking audience moved as one; dancing, jumping, and singing in harmony as if they had rehearsed it a thousand times before. It was spontaneous, raw, and beautiful.
During our conversation, I shared my experience as a Welsh person who has largely lost their language since leaving school. We discussed the importance of bands like Kneecap, the Irish trio known for performing primarily in their native tongue. Jorge reflected, “Language is so, so important. We think everybody can understand us – but they can’t.” He continued, “Words can make people doubt performers if songs aren’t in their own language. But people need to be present and just enjoy the vibe that music brings.” Throughout the night, Jorge addressed the London crowd in Portuguese; a quietly powerful and deeply meaningful choice.
Between discussing language identity and sharing admiration for linguistic artists like Grian Chatten, Jorge emphasised, “Music is for sharing – it’s for sharing joy. That’s what I hope to bring to England and Europe.” And he certainly did, bringing the crowd to their feet with hits like Mina do Condomínio and Amiga da Minha Mulher.
In 2003, director Wes Anderson, in search of a unique musical element for his film, The Life Aquatic with Steve Zissou, discovered Jorge’s remarkable talent. Casting him as Pelé dos Santos, Anderson invited Jorge to reinterpret David Bowie’s classics in Portuguese. Jorge quipped, “Wes wanted me to kill the classics!” Despite not speaking much English at the time, Jorge infused Bowie’s lyrics with Brazilian soul, using his signature six-string nylon guitar to create a distinct sound. The result was a fusion of Bowie’s melancholy with Brazilian warmth – an evocative soundtrack that Bowie himself admired. In the liner notes of The Life Aquatic Exclusive Studio Sessions Featuring Seu Jorge – Bowie remarked: “Had Seu Jorge not recorded my songs acoustically in Portuguese, I would never have heard this new level of beauty with which he has imbued them with.”
Bowie remarked: “Had Seu Jorge not recorded my songs acoustically in Portuguese, I would never have heard this new level of beauty with which he has imbued them with.”
Jorge’s Roundhouse performance felt like an extension of this artistic journey; where language became a vessel for connection and healing. Amid cultural and political divides, his music forged a space of empathy and collective expression. Closing the night with his iconic Bowie covers, Jorge held the audience in a spellbound silence – a moment of shared awe and unity.
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