Filipe Catto INTERVIEW

Interview and Text: Jin Nakahara / Interpreter: Akiko Hattori

— What was the starting point of your musical journey? What made you start singing?

Filipe Catto (C): I grew up in an environment surrounded by music. My father was a musician, so I had access to instruments from an early age. I would say that what really got me into music was my struggle with my gender identity. Art — especially music — offered a sense of liberation. At a time when I was suffering within a conservative family, music gave me the freedom to be myself. That was a powerful and transformative experience.

— Has your understanding of gender influenced your music? If so, in what ways?

C: Absolutely. The moment I came to terms with my gender identity, it felt like I was reborn into a new life. The music and art I encountered helped free me from so many internal constraints. Today, I feel like I’ve become an artist who can express myself fully and freely.

— Which musicians, from Brazil or abroad, have influenced your work?

C: There are so many. I’ve always loved pop culture — I grew up listening to the radio, watching novelas (TV dramas that often feature lots of songs), and MTV. From my parents, I heard artists like Elis Regina, Maria Bethânia, Gal Costa, Marina Lima, and Adriana Calcanhotto. And then there were the ‘90s women I discovered through MTV — Alanis Morissette (I fell in love the moment I heard her), PJ Harvey, Fiona Apple, Tori Amos. I’ve always been drawn to women who sing rock. For me, Gal Costa was one of them. Even after I started writing my own songs, she continued to be a major influence.

— Your 2023 album Belezas São Coisas Acesas Por Dentro is a tribute to Gal Costa. What was most important to you in creating that album?

C: It all began in May 2023, after Gal passed away. I was invited by SESC (Brazil’s Social Service of Commerce, which supports arts, culture, and sports) to perform a tribute concert. Singing the songs of Gal — a symbol and icon of Brazilian music — was a huge responsibility. I knew I didn’t just want to sing her repertoire, but also express the world and era that surrounded her — the same era that gave us Andy Warhol, Janis Joplin, and The Doors. When choosing songs, I focused on lyrics that speak about life itself. When I sing those, I try not to perform as myself but to embody the characters in the songs. Around that time, there were also political scandals happening in Brazil, so I wanted to offer something that resonated with people on a deeper level. The concert was a great success, and I felt like not turning it into an album would be a kind of betrayal — so we made the record.

— This is your first trip to Japan. What kind of image or impression do you have of the country?

C: I’m absolutely thrilled and have been looking forward to this so much. For an indie artist like me, traveling all the way from Brazil to the other side of the world feels like world domination — in the best way! [laughs] Ever since I was a kid, I’ve loved Japanese anime and manga and was totally immersed in them. Their refined visuals and nuanced portrayals of gender resonated with me — they felt like a mirror and taught me a lot. In Brazil, especially in São Paulo, there are many Japanese Brazilians, and Japanese culture is very familiar. Brazil is also a pro-Japan country, so yes — I love Japan!

— What were your favorite anime or manga growing up?

C: Saint Seiya and Sailor Moon.

— What are your impressions of KYOTOPHONIE? Artists like Gilberto Gil, Chico César, Lucas Santtana, Luedji Luna, and Xênia França from Brazil have performed in the past, along with Salif Keita from Africa.

C: I think it’s a fantastic event. International art festivals like this are deeply meaningful for cultural exchange. It’s wonderful that so many artists from Brazil have been part of it. And for me, it’s not just about coming to Japan to perform — it’s about forming meaningful connections with Japanese artists. I heard that local musicians will also be performing at the Kick-Off Party at Club Metro on April 12, and I’m really looking forward to that. I hope this visit sparks deeper relationships and future collaborations with artists in Japan.

— This year’s KYOTOPHONIE also features a performance by Patti Smith. Do you have any thoughts on her? Anything you particularly admire or feel a kinship with?

C: I adore Patti Smith. She’s like Brazil’s Ney Matogrosso or Maria Bethânia — part of the same generation, still creating today, and just beyond words. If I had to describe her, I’d say she’s a great wizard, a grand witch [laughs]. Her books have influenced the way I live my life. So to be part of an event where she’s also performing — it’s honestly surreal.

— This year’s KYOTOGRAPHIE theme is HUMANITY. Your work seems to align closely with that. What does humanity mean to you? And what do you hope to express through your music and art?

C: We’re living in a very complex and fragile time. In this context, photography and film serve as powerful visual tools to show different perspectives on the world — they remind us how small the world really is. As musicians, I believe our job goes beyond performing; we’re here to tell human stories. For example, I once collaborated with a photo exhibition by Madalena Schwartz. She took powerful portraits of LGBTQ people in Brazil during the 1970s — a time of intense repression under the military dictatorship. The fact that I was invited to KYOTOGRAPHIE / KYOTOPHONIE is, I think, because I represent something clear and visible — including my identity as an LGBTQ+ person.