In a September 2021 interview, Brazilian singer Liniker described Indigo Borboleta Anil as both a return to the musical and family roots that formed her and a refusal to let LGBTQIA+ artists be confined to identity-based categories. Her first solo album after Liniker e os Caramelows, it turns personal memory, musical inheritance, and visibility into part of the same artistic statement.
How Araraquara shaped Indigo Borboleta Anil
Speaking to POPline on September 10, 2021, Liniker said Araraquara, the city where she grew up, runs through the album. She wanted to celebrate her “quintal”—her home ground—and the cultural references she received from her family. She recalled her grandmother’s house and going with her mother to Baile do Carmo, a local celebration that helped shape her musical imagination.
Liniker describes her family as peripheral, while emphasizing that her mother encouraged her curiosity and gave her access to music and culture. The album’s roots are not presented as a narrow stylistic formula: they include samba-rock, the sounds she encountered at home, and the broader musical inheritance she wanted to inhabit. As she put it, “Eu estava com vontade de viver de fato esse som, de fato viver esse groove preto, tudo o que me formou musicalmente” (“I wanted to truly live this sound, to truly live this Black groove, everything that formed me musically”).
What made this a turning point in her career?
Indigo Borboleta Anil was Liniker’s first solo release after her work with Liniker e os Caramelows. The group’s Goela Abaixo, released in 2019, was its last album. POPline described the 2021 solo project as an 11-track album co-produced by Liniker, Júlio Fejuca, and Gustavo Ruiz.
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Its collaborators included Milton Nascimento, Tássia Reis, DJ Nyack, Tulipa Ruiz, Orquestra Jazz Sinfônica, Letieres Leite, and Orkestra Rumpilezz. POPline characterized the arrangements as a broad blend of styles, including samba-rock and rap. The range matters to Liniker’s argument: she wanted the work to be heard as music with its own breadth, not sorted into a single category because of who made it.
Why did Liniker challenge LGBTQIA+ labels and playlists?
Liniker objected to an industry pattern in which LGBTQIA+ artists may be described as diverse yet still be confined to Pride playlists or identity-specific categories. She asked why their music was not also placed in pop, jazz, samba, and funk. In her words: “Por que não entra no Pop, no Jazz, no samba, no funk? Por que a gente é sempre colocada neste lugar?” (“Why doesn’t it go into pop, jazz, samba, funk? Why are we always placed in this one place?”)
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Her point was not that identity should be ignored. Rather, she rejected the idea that it should define the only context in which listeners encounter her work. “Não sou só uma artista LGBTQIA+, mas sou uma artista que faço música,” she said: “I’m not only an LGBTQIA+ artist; I’m an artist who makes music.” She described the album as a way of claiming space her body is told it cannot occupy, and of refusing to keep LGBTQIA+ stories within prescribed boundaries.
How did the pandemic and political climate enter the album’s meaning?
The interview took place during the COVID-19 pandemic. Liniker connected distance from family and nostalgia with the process of making the record. She also spoke about therapy and spirituality as part of revisiting childhood experiences and trauma. Those remarks describe her own process, not a general claim about how therapy or spirituality works for others.
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Asked about Brazil’s political climate and the coming elections, Liniker said LGBTQIA+ elected officials could help secure rights, while expressing concern about regression and violence affecting trans, nonbinary, and LGBTQIA+ people. She emphasized that race shapes those experiences. In that 2021 context, she described artistic work as a way to remind people that they are alive, trying, and not alone.
A related thought appears in a 2021 UOL Ecoa interview, where Liniker said, “Afeto é a minha força motriz de trabalho. E isso também é político para mim” (“Affection is the driving force behind my work. And that is political for me, too”). She connected affection with self-love and her existence as a Black, trans, LGBTQIA+ person. In this framing, intimate expression is not separate from politics: making room for care and for one’s own life can itself challenge exclusion.
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What changed in Liniker’s later comments about her work?
Later interviews about Caju, released in 2024, offer context without replacing what Liniker said about her 2021 album. In a 2024 Folha de S.Paulo interview, she described greater comfort and confidence in this later phase. She also said she had already discussed what it means to be trans in Brazil and the violence she faces as a Black person, and now wanted to talk about her work.
That shift suggests a continuing desire to be recognized for the art itself, alongside the realities of identity and discrimination. Caju was described by Rede Globo as a 14-track album of original songs. The comparison is best understood as a change in how Liniker speaks about her creative focus, not as evidence that the political concerns of the earlier interview have disappeared.
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