Funk carioca

Funk carioca (), also known as baile funk, Brazilian funk, or simply funk, is a Brazilian hip hop-influenced music genre from Rio de Janeiro, taking influences from musical styles such as Miami bass

Subgenres#

There are several subgenres derived from funk carioca.

Brega funk#

Brega funk is a subgenre of Funk Carioca that originated in Recife, influenced by brega and arrocha in the early 2010s in the northeast region of Brazil. Unlike classic funk carioca, brega funk has a polished sound that features syncopated and shimmering MIDI pianos, synthesizers, often filtered guitars and the distinct pitched metallic snare drums called caixas, vocal chops are a common companion to the wobbly kick rhythm and up-down bass inherited from brega and, although the genre commonly ranges from 160 to 180 BPM, the half-time tempo makes it seem slower than other funk subgenres. An example of the Brega funk genre is the song “Parabéns” by Pabllo Vittar.

Funk melody#

Funk melody is based on electro rhythms but with a romantic lyrical approach. It has been noted for being powered by female artists. Among the popular funk melody singers are Anitta, Perlla, Babi, and Copacabana Beat.

Funk ostentação#

Funk ostentação is a sub-genre of Rio de Janeiro funk created in São Paulo in 2008. The lyrical and thematic content of songs in this style focuses mainly on conspicuous consumption, as well as a focus on materialistic activities, glorification of the style of urban life, and ambitions to leave the favela. Since then, funk ostentação has been strongly associated with the emerging nova classe média (new middle class) in Brazil.

Proibidão#

Proibidão is a derivative of funk carioca related to prohibited practices. The content of the genre involves the sale of illegal drugs and the war against police agencies, as well as the glorification and praise of the drug cartels, similar to gangsta rap.

Rasteirinha#

Rasteirinha or Raggafunk is a slower style of Rio de Janeiro funk that rests around 96 BPM and uses atabaques, tambourines and beatboxing. It also incorporates influences from reggaeton and axé. “Fuleragem” by MC WM is the best-known song of the Rasteirinha genre.

Funk de BH#

Funk de BH, or simply Funk BH, refers to the Funk scene from Minas Gerais, more specifically the city of Belo Horizonte. It has more conscious lyrics, although it may also have traditional Funk lyrics.

Funk consciente#

This is a style of Funk Carioca that talks about the problems of the city, patriotism, and inspiring young people to follow their dreams and achieve their goals.

Rave funk#

Rave funk is a mix of funk carioca and electronic music, created in 2016 by DJ GBR. Among rave funk’s most popular songs is “É Rave Que Fala Né” by Kevinho. Another notable example is “São Paulo”, a 2024 collaboration between Brazilian singer Anitta and Canadian artist The Weeknd.

Funk 150 BPM#

In 2018, the Funk carioca of 150 beats per minute or 150 BPM was created by DJs Polyvox and Rennan da Penha. In 2019, the funk carioca 150 BPM was adopted by carnival blocks. “Ela É Do Tipo”, by Kevin O Chris, is one of the most popular songs of the genre.

Funk mandelão#

Funk mandelão, also known as Ritmo dos Fluxos, is a subgenre that emerged in São Paulo in the late 2010s, inspired by the Baile do Mandela, a popular party in Praia Grande. The term “mandelão” comes from “Mandela”, a reference to the South African leader Nelson Mandela. Mandelão is characterized by having simple and repetitive lyrics. The musical production is minimalist and raw, with heavy beats and blown bass, which create a catchy and danceable rhythm. Some of the instruments used in mandelão are the piano, synthesizer, sampler and the computer. Funk mandelão is also marked by having its own choreography, which consists of fast and synchronized movements of the arms and legs. An example of the success of Mandelão was the song “Automotivo Bibi Fogosa”, sung by the Brazilian artist Bibi Babydoll, which reached the top of Spotify music charts in Ukraine in 2023 and reached #3 on both Belarus and Kazakhstan. It spread throughout the rest of Europe, mainly in former Soviet Union states.

Funk automotivo#

Funk automotivo (also known as outside of Brazil) is a subgenre of Funk Carioca that blends elements of funk mandelão, electronic music, bass music creating a distinct and aggressive sound, with lyrics that address topics such as drugs, sex, and ostentation. Since early 2023, Funk automotivo has become misnomered as “Brazilian phonk”, which combines elements of funk automotivo with drift phonk’s signature 808 cowbells, and was created by the Norwegian producer William Rød, known as Slowboy. The genre label “Brazilian phonk” is not widely used in Brazil, and Brazilian produced music that is identified as such in the West is more likely to be referenced in Brazil under the name “funk automotivo”. Despite being known as “Brazilian phonk”, the rhythm is not similar to it and does not belong to either phonk or drift phonk. It is only confused with them due to its similar pronunciation, electronic sound, and powerful bass.

Japanese funk#

Japanese funk is a style of funk carioca that emerged in the early 2020s outside of Japan, merging J-pop, anime music, and city pop with funk automotivo, with an aesthetic of using anime characters as cover art. It relies heavily on AI vocals and has grown in popularity on TikTok with songs such as BellyJay’s “Montagem Hikari” (based in the Philippines) amassing 14 million views on YouTube and 26 million plays on Spotify in April 2026.

Pagofunk#

Like samba-rap, fusion of funk carioca with pagode, the term also refers to parties where both genres are played, the origins of the subgenre can be traced back to the mid 90s, in 1997, the duo Claudinho & Buchecha released the song Fuzuê on the album A Forma, the song uses a cavaquinho, an instrument present in genres such as samba, choro and pagode, in the lyrics, the duo pays tribute to pagode artists. Grupo Raça was successful with “Ela sambou, eu dancei”, written by Arlindo Cruz, A. Marques and Geraldão, which alluded to funk carioca. In 2014, the song was reinterpreted with elements of carioca funk with Arlindo Cruz himself with Mr. Catra. Mc Leozinho made use of the cavaquinho in the song Sente a pegada from 2008. Artists such as MC Delano and Ludmilla also use the cavaquinho in some songs,

Funk bruxaria#

Funk bruxaria is a subgenre that emerged in funk parties in the South Zone of São Paulo in the 2020s. It is characterized by its aggressive sound and horror atmosphere, with heavy use of high-pitched sounds (known as “tuin” or “ear-drum burst”), synthesizers and distortions. The genre also has some influences from electronic music and heavy metal.

Recognition in Europe#

Until the year 2000, funk carioca was only a regional phenomenon. Then, the European media began to report its peculiar combination of music and social issues, with a strong sexual appeal (often pornographic). In 2001, for the first time, funk carioca tracks appeared on a non-Brazilian label. One example is the album Favela Chic, released by BMG. It contained three old-school funk carioca hits, including the song “Popozuda Rock n’ Roll” by De Falla. In 2003, the tune Quem Que Caguetou (Follow Me Follow Me) by Black Alien & Speed, which was not a big hit in Brazil, was then used in a sports car commercial in Europe, and it helped increase the popularity of funk carioca. Brazilian duo Tetine compiled and mixed the compilation Slum Dunk Presents Funk Carioca, released by British label Mr Bongo Records featuring funk artists such as Deize Tigrona, Taty Quebra Barraco, Bonde do Tigrão, amongst others. From 2002, Bruno Verner and Eliete Mejorado also broadcast Funk Carioca and interviewed artists in their radio show Slum Dunk on Resonance Fm. Berlin music journalist and DJ Daniel Haaksman released the seminal CD-compilations Rio Baile Funk Favela Booty Beats in 2004 and More Favela Booty Beats in 2006 through Essay Recordings. He launched the international career of Popozuda Rock n´Roll artist Edu K, whose baile funk anthem was used in a soft drink commercial in Germany. Haaksman continued to produce and distribute many new baile funk records, especially the EP series “Funk Mundial” and “Baile Funk Masters” on his label Man Recordings. In 2004, dance clubs from Eastern Europe, mainly Romania and Bulgaria, increased the popularity of funk carioca due to the strong sexual appeal of the music and dance, also known as Bonde das Popozudas. Many funk carioca artists started to do shows abroad at that time. DJ Marlboro and Favela Chic Paris club were the pioneer travelers and producers. The funk carioca production was, until then, limited to playing in the ghettos and the Brazilian pop market. DJ Marlboro, a major composer of funk carioca’s tunes, declared in 2006 in the Brazilian Isto É magazine how astonished he was with the sudden overseas interest in the genre. He would go on to travel in over 10 European countries. In London, duo Tetine assembled a compilation album called Slum Dunk Presents Funk Carioca, which was released by Mr Bongo Records in 2004. Tetine also ran the weekly radio show Slum Dunk on London’s radio art station Resonance Fm 104.4. Their radio show was entirely dedicated to funk carioca and worked as a platform for the duo to produce and organize a series of film programmes as well as interviews and gigs involving funk carioca artists from Rio. Tetine was also responsible for the first screening of the post-feminist documentary Eu Sou Feia Mas Tô Na Moda by filmmaker Denise Garcia, which was co-produced by Tetine in London, and first shown in the city at the Slum Dunk Film Program at Brady Arts Centre in Brick Lane in March 2005. Apart from this, Tetine also produced two albums with experimental DIY queer funk carioca tracks: Bonde do Tetão, released by Brazilian label Bizarre Records in 2004, and L.I.C.K My Favela, released by Kute Bash Records in 2005. Tetine also recorded with Deize Tigrona the track “I Go to the Doctor”, included in the LP L.I.C.K My Favela in 2005 and later on their album Let Your X’s Be Y’s, released by Soul Jazz Records in 2008. In Italy, Irma Records released the 2005 compilation Colors Music #4: Rio Funk. Many small labels (notably European label Arcade Mode and American labels Flamin´Hotz and Nossa) released several compilations and EPs in bootleg formats. The artist MIA brought mainstream international popularity to funk carioca with her single Bucky Done Gun released in 2005, and brought attention to American DJ Diplo, who had worked on M.I.A.’s 2004 mixtape Piracy Funds Terrorism on the tracks Baile Funk One, Baile Funk Two, and Baile Funk Three. Diplo made a bootleg mixtape, Favela on Blastin, in 2004 Other indie video-documentaries have been made in Europe, especially in Germany and Sweden. These generally focused on the social issues in the favelas. One of the most famous of these series of documentaries is Mr Catra the faithful (2005) by Danish filmmaker Andreas Rosforth Johnsen, broadcast by many European open and cable television channels. London-based artist Sandra D’Angelo was the first Italian singer-producer to bring funk carioca to Italy. She performed in London with MC Gringo at Notting Hill Arts Club in 2008. She performed her baile funk productions for the contest Edison Change the Music in 2008. Sandra D’Angelo performed Baile Funk also in New York and produced tracks with EDU KA (Man Recordings) and DJ Amazing Clay from Rio. In 2008, Berlin label Man Recordings released Gringão, the debut album by German MC Gringo — the only non-Brazilian MC performing in the bailes of Rio de Janeiro. English indie pop band Everything Everything claims the drum patterns used on their Top 40 single Cough Cough were inspired by those used on Major Lazer’s Pon de Floor, a funk carioca song.

Genre family: 2010s in Latin music, Brazilian styles of music