
A deep tambora voice over hand drums, chorus lines and river-region song forms like berroche, chandé and guacherna. The set should lean on strong call-and-response, earthier percussion than polish, and material from Canto, Palo y Cuero alongside older repertory.
Discogs lists Canto, Palo y Cuero as a 2009 release on Chaco World Music, and the track titles place her firmly in the tambora tradition of Colombia's Depresión Momposina. The festival bio identifies her as a bearer of ancestral knowledge tied to Afro-Colombian and Chimila identity, which is the key frame for hearing her live.
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