João Carreiro, rustic voice of country traditions, ignored the fashions of the genre

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Betrayed by his redneck heart, the artist dies at the age of 41 and leaves a work recorded as a duo with Capataz with moralistic lyrics, attached to the past. ♪ OBITUARY – In the country music universe, there are viola fashions and fashions of an almost century-old genre that has undergone mutations over the decades to dance according to the music of the market. The singer and composer from Mato Grosso, João Sérgio Batista Corrêa Filho (November 11, 1982 – January 3, 2024) ignored fads and stuck with viola fashions – to the point of having adopted the artistic name of João Carreiro to revere and expand the legacy of his predecessor José Dias Nunes (1934 – 1993), the singer from Minas Gerais immortalized as Tião Carreiro. Within a voracious and imposing market, João did what he could over his 20-odd years of professional career to honor his surname. Born in Cuiabá (MT), João Carreiro left the scene prematurely on the night of Wednesday, 3rd, in a hospital in Campo Grande (MS). The artist’s death, at just 41 years old, occurred as a result of heart surgery and managed to unite the country community in mourning for the departure of an artist trapped in the past. João Carreiro appeared out of season. He refused to join the university country music generation, of which he was part when he entered the scene in earnest in 2003 – two years after the explosion of the genre in 2005 following the success of João Bosco & Vinicius – in a duo with Hilton César Serafim da Silva, the singer from Mato Grosso known as Capataz. João Carreiro was from the old fashions, the viola (heart instrument) and the traditions of a music that was once country music, but stopped being so at the end of the 1960s. João Carreiro was a spare voice in a subgenre labeled as raw country music and attached to the moralistic and musical canons of the strongholds of a rural Brazil still immune to the modernities of the pop universe. João’s partnership with Jadson Alves dos Santos, released by João Carreiro & Capataz in 2009, the song Bruto, rustic and systematic became the artist’s biggest hit and synthesized the artist’s vision in lyrics with an intolerable dose of homophobia. “My creation is xucra”, João tried to justify in a verse of the composition. The title of another song in the duo’s repertoire, Caipira de facto, released on the album Lado A / Lado B (2012), sounded harmless as it romanticized life in the countryside and placed João on the country map of Brazil. But the world has been changing and these changes have also been reflected in the country universe. Women broke down the gate of machismo – with Marília Mendonça (1995 – 2021) at the head of the movement labeled as feminejo – and stood up to men, like Gusttavo Lima. Both men and women were adopting the partying and hedonistic discourse of ballads (in lyrics about furtive love over beer) and mixing the genre with rhythms such as bachata, reggaeton, funk and forró. João Carreiro became an increasingly unfashionable artist in this country full of fads and standards. Perhaps not coincidentally, the artist began to suffer from poor mental health, which led to the dissolution of the duo with Capataz in 2014. In a solo career since 2015, João Carreiro remained distant from the mainstream, but found shelter in traditionalist niches in the market. backcountry, as vast as Brazil. And, in his own way, João Sérgio Batista Corrêa Filho inscribed his name in the history of country music until he died yesterday, betrayed by his redneck heart, attached to the traditions of an ancient world.

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