Page type: artist reference
Canonical path: /renata-jambeiro
Lyric pages live: 35
Photos available: 5
Artist profile
Renata Jambeiro
Renata Jambeiro is a singer from Salvador, Bahia. She first gained attention as a vocalist with the group Filhos de Gandhy before releasing her solo album...
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Curated by Ethan Walker
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35 lyric pages live
5 photos available
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Songs in focus
Keep moving through Renata Jambeiro
Afrodisia
3 visits
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Amazona Belicosa
3 visits
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Cambaleando
3 visits
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Candaces
3 visits
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Conceição da Praia
3 visits
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Corpo Fechado
3 visits
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Costura
3 visits
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Dança de Oiá
3 visits
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Dona Maria do Babado
3 visits
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Hot Saia
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Indefinições
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Jogo de Angola
3 visits
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Lenda Das Sereias
3 visits
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Louvação a Santo Antonio
3 visits
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Madrinha do Samba
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Mandinga
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Background notes
Archive material and source history
Renata Jambeiro is a singer from Salvador, Bahia. She first gained attention as a vocalist with the group Filhos de Gandhy before releasing her solo album 'Dança de Oiá' in 2004. That album's title track became one of her most recognizable songs.
Her music draws from Afro-Brazilian rhythms and often addresses themes of racial identity and spirituality. Songs like 'Negra' and 'Pra Matar Preconceito' reflect these concerns directly. She has continued to release albums regularly, including 'O Canto dos Orixás' in 2008 and 'Bahia Negra' in 2020.
Her work has sometimes drawn criticism for its political content and approach to traditional music, but she has maintained a consistent artistic direction. Other songs in her catalog include 'Pra Curar Dor de Amor' and 'Cambaleando'.
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Where should I start with Renata Jambeiro on LyroVerse?
The Start here section opens with Afrodisia, Amazona Belicosa, and Cambaleando so you can move through the artist's stronger lyric pages first.
How many lyric pages are live for Renata Jambeiro?
LyroVerse currently has 35 visible lyric pages for Renata Jambeiro.
Does Renata Jambeiro have photos on LyroVerse?
Yes. There are 5 photos available, and the preview gallery on this page links to the full photos section.
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