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Scan for outdated or missing drivers - takes under a minuteDriver Scan →Clear out junk files and repair common Windows errorsFree Scan →Katy da Voz e as Abusadas is a São Paulo underground trio whose music joins Brazilian funk with pop, punk, and electronic club sounds. The group’s growing profile rests on more than a forecast about the future: its theatrical live identity, a sequence of releases from 2021 to 2026, and a shift toward techno and house show an act continually reshaping its sound.
Who is in the group, and where did it begin?
The trio comprises vocalist Katy da Voz, Palladino Proibida, and Degoncé, also styled Degoncé Rabetão. Reporting associates them with Grajaú, in São Paulo’s South Zone, and says the three came together in 2019. That is a reported milestone in their development, not necessarily a formal founding date. POPLine’s 2025 profile describes their emergence in São Paulo’s alternative nightlife.
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Katy’s stage name began with a pop-culture joke. In an October 2024 interview with Vetor Magazine, she recalled that friends compared her to Katy Perry at a Lady Gaga show in 2012. The friends gave one another pop-diva names, and the name stuck. Katy said she entered São Paulo nightlife in 2016.
Coverage and the artists’ own accounts place the trio’s work in the context of being travestis and artists from the city’s periphery. That context matters, but it does not reduce the group to a single story about representation: humor, explicit songwriting, performance, and restless genre choices are all central to the work. Agemt, the journalism outlet of PUC-SP, discusses the group’s geography and cultural framing.
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What does Katy da Voz e as Abusadas sound like?
There is no single genre label that covers every release. Funk is a foundation, while pop, punk attitude, and electronic production broaden the palette. Katy told Vetor that she grew up with funk and listened to artists including Beyoncé, Lady Gaga, Katy Perry, Tati Quebra Barraco, Marisa Pecadora, and MC Katia.
The songwriting is intentionally provocative. Katy said she and Palladino wanted songs about sex and profanity, drawing on their experiences as travestis while keeping funk’s explicitness. As she put it in the Vetor interview: “A gente sempre quis, primeiro, cantar muita putaria e muito palavrão” (“We always wanted, first, to sing a lot about sex and use a lot of profanity”; translation).
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Why is the live performance part of the group’s identity?
The trio approaches a show as a theatrical encounter, not simply a reproduction of its recordings. Vetor’s 2024 coverage mentions a saxophone, tripod, half-moon prop, and rubber phallus among elements used onstage. These are examples reported in that interview, not a fixed inventory for every performance.
Katy explained that the group sometimes performs for crowds who do not know them, so the show needs to seize attention. “Estamos fazendo shows em lugares em que ninguém conhece a gente, então temos que chocar e chamar atenção de alguma forma” (“We’re performing in places where nobody knows us, so we have to shock and get attention somehow”; translation), she told Vetor. The theatricality and aggressive lyrics make that strategy part of the trio’s artistic language.
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How have the releases traced the group’s evolution?
The catalogue shows a progression rather than a straight line from one genre to another. Early mixtapes establish the group’s starting point; subsequent albums and the 2026 EP make different concepts and production choices audible.
- CANTIGAS DE AMOR PARA SE CANTAR NA RODA (2021) and ENTRANDO NA GARRAFA (2022): POPLine identifies these as the trio’s early mixtapes.
- A Visita (October 2025): Observatório G reported that the album was released on October 22 and described it as the trio’s second album, combining funk, horror imagery, and artistic freedom. NOIZE reported ten tracks, produced by CyberKills, Carlos do Complexo, and Fuso!, with appearances by Linn da Quebrada and MC Taya. The concept draws on ABBA’s The Visitors and the idea of a demonic “visit,” alongside other horror references. Observatório G’s release coverage and NOIZE’s album feature discuss the record.
- A Visita – Sandra Eletrônica (expanded edition, reported March 2026): Billboard Brasil reported three new tracks, including Clementaum’s remix of “Gordinha Mas Tá Bom.” The outlet also reported a Ticketmaster Awards 2026 nomination for New Artist of the Year; it was a nomination, not a win.
- Sandra Eletrônica (June 2026): The five-track EP moves decisively into techno, house, and club music. NOIZE lists “Drogas, Sexo, Techno, Repete!”, “SANDRA ELEtrônica”, “EJACU”, “Diz Aquendei”, and “MIXTAPE da SANDRA,” with production by Christopher Luz, FKOFF1963, and Virgo Devil. Katy told NOIZE the group focused fully on electronic music for this release: “Quisemos focar 100% na música eletrônica, que foi o som que levou a gente para cima” (“We wanted to focus 100% on electronic music, which was the sound that lifted us up”; translation). NOIZE’s June 2026 feature covers the EP.
The contrast between A Visita and Sandra Eletrônica is especially revealing: one builds around horror and funk, the other centers electronic club styles. The latter’s name also began as a character concept. In a July 2026 interview, Katy told Observatório G: “A ideia era que a Sandra Eletrônica fosse um personagem, um alter ego. Depois percebi que ela é um pouquinho de nós três, de todas nós” (“The idea was for Sandra Eletrônica to be a character, an alter ego. Then I realized she is a little bit of all three of us”; translation). Observatório G’s interview discusses the EP and the character.
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What does the group’s rising profile show—and what does it not prove?
Several dated milestones point to an expanding audience, but they are snapshots, not current totals or proof of a permanent breakthrough. Observatório G reported more than 200,000 Spotify monthly listeners in November 2025. Vetor reported more than 100,000 streams for “VTNC” in its October 2024 interview. In July 2026, Observatório G reported more than 400,000 plays across major platforms for Sandra Eletrônica. These figures come from different outlets, dates, and measurements and should not be read as directly comparable.
“Gordinha, Mas Tá Bom” also received coverage in 2025 as a viral audio, particularly on TikTok. That describes attention around the track; it does not establish that a platform algorithm caused lasting career growth. Portal LeoDias’s report covered the viral-audio moment.
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In March 2026, Billboard Brasil reported the Ticketmaster Awards nomination for New Artist of the Year. Observatório G later reported that the group’s first European tour was announced to begin in Berlin on July 19, 2026. That was a dated announcement, not evidence here of how the tour ultimately took place.
Are they the future of Brazil’s queer music scene?
“The future” is a question, not a settled verdict. What is clear is that Katy da Voz e as Abusadas have developed a distinctive combination of funk roots, explicit humor, theatrical performance, and electronic experimentation, while building visibility from São Paulo’s underground. Their releases document an evolving artistic project; the evidence supports describing them as a compelling act to follow, not claiming that they represent or determine the future of an entire scene.
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