caribbean


GODFATHER ANTHONY Quiet In The Crowd


ADE is always a thermometer. It’s where trends are measured, new scenes are born, and artists prove whether they have more to offer than just a couple of seasonal bangers. This year, among the noise of thousands of names, one album is standing out: Quiet in the Crowd by Anthony Godfather. And it’s no coincidence.


After more than fifteen years in the trenches, the producer and DJ is at a point where he doesn’t have to prove anything. His legacy is already felt on the dancefloor: pioneer of Latin Tech, founder of CACAO, tireless agitator of a culture that blends roots and club.


But with Quiet in the Crowd he’s done something different. He’s lowered his guard and turned vulnerability into an aesthetic. An album that doesn’t seek to fit in, but to create a space where identity and creative freedom intersect.


“This album was born out of the need to exist without asking for permission. For a long time, I’ve felt like a stranger among applause. I’m an artist who mixes reggaetón with electronic music in a world that often doesn’t want to hear something different, yet they do. Quiet in the Crowd is an affirmation of identity, a way of saying: ‘I’m not here to fit in, I’m here to sound different.’”


Far from the formula of an album designed only to blow up dancefloors, Anthony bet on a long-format work of 25 tracks, where collaborations are not measured by name size but by real connection.


“This is not an album that seeks to belong, it’s an album that says ‘this is who I am,’ if you don’t get it, it’s fine, it just wasn’t meant for you.”


That honesty is what makes Quiet in the Crowd more than just a release. There’s a cinematic pulse that seeps through the club’s impact, a near-editorial visual care that both exposes and satirizes the codes of the artist’s world.


“What you call the most cinematic part actually has to do with all the visual work that comes with it. There’s a very elegant, almost fashion-editorial aesthetic that we used to create a kind of satire of the world surrounding the artist. The booth girls with exaggerated lips, the nails that look like shovels for what we all know… These things are there, they’re obvious, but almost nobody dares to name them. I’ve tried to show them in a finer, subtler way, using that more editorial language that I also love.”


In that balance between the rawness of the dancefloor and the critical eye of the author lies the real strength of the album. Anthony Godfather has shown that even amid the noise, it’s possible to dance with introspection.


98


AUTHOR: SERGIO NIÑO PHOTOGRAPHY: A RTIST COURTESY


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