santa salut


Makaisih, and Fectro, with Gea delivering a sharp rap feature. It also introduces the inedit No Me Mires, a track that extends the album’s emotional vocabulary into something bolder and more distant, as if viewed from a new altitude.


If her live sets are storms, Queens of Groove is the moment the clouds open. Not softer, but clearer. Not slower, but deeper.


Her


including Andrés Campo and Caravel,


a openness. They offer


recent collaborations, signal


new sonic spaces


where she can test versions of herself that daily life rarely allows.


“When I collaborate, I like to show a version of me that is not shy, that is raw and explosive. I search for


femininity inside electronic


music when I write, when I choose flows, when I enter a producer’s world. That is what I look for in collaborations.”


These partnerships become


dialogues between energies, a way to mirror parts of her identity that only


reveal themselves


under extreme BPMs and shared authorship.


Her roots remain in the culture of Barcelona’s streets, free parties, mountainside raves, and improvised sound systems. Rap shaped her discipline. Electronic music shaped her nights. The hybrid emerged naturally from the social landscape that formed her.


“Where I come from, electronic music was always with us. We grew up with sound systems, raves in the mountains or the beach, industrial sites, and free party culture. During the day, we listened to rap, and when night fell, we went to electronic parties. A friend DJed or we connected a speaker. It is all connected and that cultural mix inspires my performance. This is me as this is us.”


Her shows are, in essence,


translations of that ecosystem. Not representations, but enactments.


TERRITORIES OF THE FUTURE


Santa Salut’s curiosity aims toward London and its bass- driven ecosystem. Drum and


037


bass, bassline, MC culture, the call-and-response between voice and rhythm. These sounds suggest a future direction grounded in both history and experimentation.


“Lately, I am very interested in bass music. Living in London showed me a little and now I want to return, learn more, and understand how MCs and DJs work together. Drum and Bass and Bassline are so fun and powerful that I already include them in my sets. Schranz is a great bridge for mixing genres and rap will always be the base. That is my sign.”


Her next steps are not linear. They are transversal.


Ambition, for Santa Salut, is measured in movement rather than hierarchy. She wants new scenes, new communities, new nights that rewrite her internal map.


“I want to play outside Spain. I do not care where or with whom. I want to meet DJs, singers, promoters, and people who build culture in each place. Playing a full hardcore or raw set in a festival in the Netherlands would be a dream. And going to a bassline party in the UK, because in Spain it is not so popular, is something I really want.”


Her horizon is wide open.


Santa Salut stands at a rare intersection, carrying rap’s linguistic precision into a club ecosystem built for


speed,


while bringing the extremity of hard electronic music back into rap’s orbit. She embodies both histories without diluting either.


Her work is a hinge. A ritual. A riot that keeps expanding.


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