São Paulo – The arrival of Puerto Rican superstar Bad Bunny in Brazil this weekend for two sold-out concerts at Allianz Parque is resonating far beyond the music charts, sparking a conversation about national identity in a country that has historically positioned itself apart from its Latin American neighbors. Experts and fans alike suggest the artist’s popularity is challenging long-held perspectives, fostering a growing sense of pan-Latin American belonging among Brazilians.
For decades, Brazil has maintained a distinct cultural identity, largely due to its unique linguistic landscape as the sole Portuguese-speaking nation in South America. This linguistic isolation has often contributed to a sense of separation from the predominantly Spanish-speaking countries surrounding it. A survey conducted ten years ago revealed that only 4% of Brazilians primarily identified as “Latin American,” with a vast majority – 79% – identifying first as “Brazilian,” and 13% as “world citizens.”
However, Bad Bunny’s recent surge in popularity, particularly following his performance at Super Bowl LX, appears to be shifting this dynamic. His halftime show, delivered entirely in Spanish, drew both criticism from some in the United States and widespread adulation across Latin America, including Brazil. Brazilians took to social media to express their pride, and the artist’s performance included a recitation of almost every country in Latin America and the Caribbean, pointedly including Brazil.
The impact has even extended into the political sphere. A leftwing congresswoman reportedly proposed a bill to grant Bad Bunny honorary citizenship, stating that such a gesture would “build another cultural bridge between Brazil and its Spanish-speaking sister nations.”
This newfound connection isn’t solely about musical taste. DJ Rafael Takano, who has hosted Latin music parties in São Paulo since 2016, notes a significant increase in demand for Latin music, with his party !SÚBETE! expanding to include a carnival street-bloc edition and post-concert events. “Especially with DeBÍ TiRAR MáS FOToS [which won this year’s album of the year Grammy], Bad Bunny conveyed a message and an aesthetic that are very universal for Latin America … and has made it easier for Brazilians to see themselves as Latin,” Takano said.
The historical disconnect is rooted in a perception, often articulated by Brazilians themselves, that they only recognize their Latin American identity when traveling abroad, particularly to the United States or Europe. This sentiment reflects a long-standing cultural orientation towards Europe and North America, rather than its immediate South American neighbors.
Bad Bunny’s success in Brazil differs from that of previous Latin artists who achieved popularity in the country, such as Ricky Martin and Shakira. While those artists enjoyed commercial success, Bad Bunny appears to be tapping into a deeper cultural resonance, aligning with what some observers describe as an “anti-American agenda of emancipation.”
Thiago Soares, who coordinates a research group on Music and Pop Culture at the Federal University of Pernambuco, suggests that Bad Bunny’s appeal stems from a different approach than previous Latin artists. “Unlike Shakira or Ricky Martin in the past, he doesn’t have songs in soap operas and does not collaborate with Brazilian artists … He is a social media phenomenon which is more closely associated with a certain Brazilian cultural elite.”
Bad Bunny has also become the first non-Brazilian Latin artist to place a solo track in Brazil’s Billboard Hot 100 list, a milestone that underscores his growing influence. The artist himself acknowledged this impact, stating in a recent interview with Vogue and GQ Brasil that he was moved by the fact that Brazilians were listening to his music despite his lack of collaborations with Brazilian artists.
Despite the growing enthusiasm, Brazilian music remains dominant within its own borders, with domestic artists accounting for the ten most-streamed acts on Spotify in 2025. The language barrier – with fewer than 1% of Brazilians estimated to speak Spanish or English fluently – may play a role, although US “soft power” and the historical marketing of American culture have also been cited as contributing factors.
The heightened interest in Bad Bunny may also be linked to his outspoken criticism of former US President Donald Trump’s policies, particularly his anti-immigration stance and attempts to interfere in Brazilian judicial matters. These actions, according to observers, inflamed Brazilian nationalism and contributed to a broader reassessment of cultural allegiances.
While Bad Bunny’s influence may not yet be “mainstream,” as Soares notes, his arrival in Brazil signals a potentially significant shift in cultural perceptions. His music and persona are prompting Brazilians to reconsider their relationship with their Latin American identity, challenging a historical narrative of separation and fostering a sense of shared belonging.
