Glamity is a two-tier agency serving both the artist and the entertainment industry, operating in Montevideo and Buenos Aires. It has a work team 100% constituted by women, providing structure, management and long-range strategies for the development of artistic careers and the construction and expansion of audiences.

The Uruguayan song has long been one of his greatest inspirations in Fernando Cabrera.

He is a unique artist, icon of the culture and identity of the Río de la Plata with a career of over thirty years, awards at international festivals, a production of more than ten own albums and many others as producer and arranger .

He has made soundtracks for four films (Tahiti, 1989, half-length film; El Dirigible, 1993, feature film; I never read Onetti, documentary in partnership with Jorge Drexler – all by Pablo Dotta; For a while, 2013, feature film by Gustavo Garzón; and almost a score of plays with the most notable directors of Uruguay.

With a career he made without moving an inch of his own desires – practically from the margins of the music industry – his artistic rigor, the striking quality floor of his work and the word of mouth of musicians who admire him unconditionally, Cabrera is one of the most unique Montevidean musical phenomena of recent years.

He has won multiple awards: Graffiti Award for “Best Reissue” for the vinyl edition of “The Time Is Later” (2019); Graffiti Award for “Best Album of Popular Music and Urban Song” for his album “432” (2018); Distinguished Visitor by the City Council of Rosario, Santa Fe, Argentina (2017); Illustrious Citizen of the City of Montevideo, Uruguay (2017); Graffiti Award for “Best Art Design” for his album “Intro” (2013); Graffiti Award to the Trajectory (2012); Iris Award for “Best album of the Year” for his album “Songs Own” (2011); Graffiti Award for “Best Album of the Year” / “Best Album of Popular Music and Urban Song” / “Best Design of Art” for his album “Own Songs” (2011).

The critic has said:

  • “432” is further evidence that Cabrera is in an unmissable moment, a situation that has been going on for four decades now ” (El País, Uruguay)
  • “432” easily ranks among the best of the production of who is today the most influential musician in our country ”(Semanario Brecha, Uruguay)
  • “… Cabrera’s songs are like darts that target the sensitive fibers of the spectators. The songs pass and the tears roll down the cheeks, the throats are knotted and the claw of the heart emerges ” (Rolling Stone Magazine, Uruguay)
  • “Listening to Fernando Cabrera for the first time can cause the same sense of surprise, inspiration, strangeness and musical shudder that produced the time Bob Dylan appeared with his electric guitar at the 1965 Newport Folk Festival. Cabrera is one of those artists who they generate a different vibration in the musical environment and cause a before and after listening to their work, one of the most significant of the Río de la Plata “. (La Nación, Argentina)

Old tangos for new ears.

With a special taste for acoustic formations and classical tangos, Francis Andreu brings to the new generations composers of the twenties in his voice of thirty.

Francis owns a voice that seems made for the tango that she plays true to the arrabalero genre, a brave doll to which Raúl Castro (“Falta y Resto”) composed a tango especially. Deprecated, charismatic and with a magnetic phrasing, she has installed herself strongly in the tango scene of the Río de la Plata, but her sensitivity and permanent contact with all the music have led her to “degenerate” quite a lot, sharing scenarios with very different artists.

Recognized in her country with the Iris Prize, as an Artistic Revelation, and with the Grafitti Prize for Music as Best Tango Album twice; three albums released and the DVD ‘Los tangos que Quiero’, recorded live at the Teatro Solís in Montevideo; She was invited to the World Tango Festival of Buenos Aires and won the “First Gold Condor” Prize at the International Fair Tango Festival in San Luis, Argentina as a Revelation Artist.

She shared the stage with Diego El Cigala at the Sodre Auditorium in Montevideo. She stepped on the Colón Theater, in Buenos Aires with Horacio Ferrer and with Raúl Lavié.

She has been in the uninterrupted career for more than 15 years making multiple presentations in Uruguay, Argentina, Brazil and Paraguay.

She has just released his third album FRANCIS CANTA JAIME ROOS running out of all the entries in the presentations made in montevidean venues. She opened the first Arena Stadium in her country with this show and closed the Montevideo Tango Festival in the Plaza Matriz of Montevideo. It was called by Jaime Roos herself to participate in his return to the stage in 2020.

Francis Andreu has been elected Ambassador of “Marca País”.

Uruguayan singer and songwriter with more than twenty years on stage and recording studios.

With two independent albums released (No Son Rosas in 2011 and Buena Fortuna in 2019) she has developed a quality multi-faceted artist career that has earned her the love of the people and the recognition of specialized critics.

Her album No Son Rosas was nominated for the Graffiti Awards in the category “Best Author Song Album” in 2012. The song that gives title to the album was chosen as the soundtrack of the play “Del Amor y Otras Histerias” , directed by the Colombian Paul Caballero in Buenos Aires, Argentina. Her song “Prudencia” integrates the first compilation of authors “Uruguayas Campeonas” edited by Lulú Records in Buenos Aires, Argentina.

She has toured the world as backvocalist of the Uruguayan artist Ruben Rada for more than a decade, with whom she recorded her voice on a dozen of his albums. She also participated in recordings and live shows with Fernando Cabrera, Kevin Johansen, Javier Malosetti, Leo Masliah, Francis Andreu, Hugo Fattoruso, Repique, Jorge Schellemberg, Tabaré Cardozo, Zambayonny, Diego Savoretti and Pitufo Lombardo, among others.

She was a vocalist and co-author on the musical project “Rada Para Niños” with Horacio Buscaglia and Ruben Rada. The songs of this project – which remained more than ten years in the Montevidean billboards to full venues, also performing seasons in Buenos Aires and Córdoba, Argentina – are taught in all the schools of their country and are embodied in five albums and two DVDs ´s live.

She was part of “La Otra, Cuarteto Vocal”, with whom she released two albums and made presentations in Argentina, Brazil and Uruguay for a decade. She was a member of the women’s murga “Cero Bola” in its only participation in the Official Carnival Contest in Montevideo.

Her taste for candombe led her to participate three years of the award-winning troupe “Yambo Kenya”, and share scenarios and recordings with the most representative figures of the genre: Lobo Nuñez, Eduardo Da Luz, Noé and Fernando Nuñez, Darío Píriz, Aníbal Pintos , Elbio Olivera and Cheché Santos.

She has participated in the musical comedy “El Violinista en el Tejado” in Montevideo and was part of the cast of “Matilda, El Musical” as singer and actress. She is the author of the lyrics of the songs included in the adaptation for the Rio de la Plata of the play “Yentl” nominated for the 2019 Florencio Awards.

He was born in Alaska, of an Argentine mother and an American father. He had a brief step in the local Argentine rock with Civic Instruction (“Obedience Due”, 1985, Gold Record in Peru). In 1990, he went to ‘rediscover’ the North America of his childhood and lived there almost 10 years. Soon he met Hilly Krystol, owner of CBGB’s, who invited him to participate in his future label. During the ’90s, he recorded and played there as’ house band’, also in the Knitting Factory and the Mercury Lounge, among others. In 2000, Kevin returns to Buenos Aires, where he settled permanently.

“The Nada” is the group founded by Kevin Johansen in New York, where he recorded his first album also titled “The Nada” and that surprises with its eclecticism, bilingualism and subtlety of the songs. Little by little he was conquering critics and audiences, becoming a reference in the alternative circuit of Buenos Aires and, soon, also in Spain. His second album “Sur or no Sur”, published in Argentina and in the rest of the Spanish-speaking countries has the charm of permanent surprise and confirms it as someone not only ingenious in composition, but also in stylistic and linguistic miscegenation . With this album he toured Argentina, Uruguay, the United States, Mexico, Chile, Spain and the rest of Europe. “Sur or no Sur” was nominated for three Latin Grammy Awards, in fundamental categories such as “Album of the Year”, “Song of the Year” and “Best Video”.

Among all these trips, Kevin was recording “City Zen”. The music works like the Zen of the city, and the album reflects the urban spirit of the many cities where Kevin lived throughout his life. He was nominated for the American Grammy Award (NARAS) in the Best Latin Pop Album category and the Chicago Tribune referred to the album as “one of the 10 best Latin albums.”

His next studio album “Logo” had the collaboration of several guest artists: Andrea Echeverri (from Aterciopelados), Amparo Sánchez (from Amparanoia), the Spaniard Albert Plá and Paulino Moska, from Brazil – among others. The album is named by the Los Angeles Times as one of the five best albums of the year and Kevin and his “Logo” are again nominated for the Latin Grammys: “Album of Alternative Music”, “Alternative Song” (for “Last night I dreamed of you “, also a great success in Brazil in the version of Paula Toller) and” Music Video Short Version “, for the same song).

The prestigious publishing house De la Flor publishes OOPS !, (Argentine Chamber of Publications Award) book in which the lyrics of Kevin’s themes join the illustrations that the artist Liniers makes of his songs and that are taken live. During 2009, UNRWA! LIVE was presented on a tour of great impact in Latin America and Spain, culminating with the record on CD and DVD of “VIVO EN BUENOS AIRES”, record work by Kevin Johansen + The Nada + Liniers, a record on CD and DVD edited at early 2010 (Sony Music).

His next album “BI” (Sony Music), was attended by Lila Downs, Ruben Rada, Daniela Mercury, Natalia Lafourcade, Paulinho Moska, Lisandro Aristimuño, Fernando Cabrera and Orquesta El Arranque, among others.

“Got Something (Interesting Little Thing)” is the first preview of the next studio album, “Mis Américas”, released in 2016, in which Palito Ortega, Pity Álvarez, Miss Bolivia, Lito Vitale and their daughters participate as guests Miranda and Kim, among others.

“AlgoRitmos” -which is available in physical and digital format-, is his latest album and invites us to travel through different sound routes. It is another proof of the versatility that characterizes Kevin Johansen’s music, which allows him to go from a Bossa Nova song like “My Dear Brazil,” accompanied by Jorge Drexler, María Gadú, and Kassin, to the futuristic Teleportation, where he imagines the possibility of moving in an instant, from Japan to Bogotá, to visit their loves. The album was produced by Matías Cella and features La Shica and Daniel Drexler as guest artists. It is being presented with a long world tour entitled MITOURBANO.

Fun, deep, playful, intelligent, thoughtful, are some of the characteristics with which you can define your music and songs. An artist of international character, a solid band forged over the years and a concert of the most complete that can be witnessed today in Argentina are the best arguments that Kevin Johansen + The Nada offers us, this fresh air in music of the continent.

Loli Molina (Buenos Aires, 1986) is a guitarist, singer, songwriter, writer, producer and visual artist.

From his first album (2008) until now, she has toured stages and festivals in Latin America, North America and Europe, and has played with Latin American contemporary music references such as Fito Páez, Fernando Cabrera, Chico Cesar, Juan Quintero, Kevin Johansen , Santiago Vázquez, El David Aguilar, To Brandileone and many more; She has participated as session music for groups like Kinky in his MTV Unplugged, and composes original music for film and television.

Winner of an MTV award and nominated repeatedly for the Gardel Awards, Loli has been part of the symphonic tributes to Gustavo Cerati and Violeta Parra among other major projects.

“I don’t think you can type art into an artist, that’s why I like to say that my music is a guitar music that is sung,” says Loli Molina.

After two albums released by Sony Music of Argentina, Loli began a professional and musical tour of very firm independence and self-management, which was the product of his third studio album “Rubí” released in August 2015, by the indie label Ropeadope Sur ( Mx-Usa). On the day of its launch, Rubí was number one in sales in iTunes Argentina and for this work was again nominated for the Gardel awards.

Her new studio album entitled “Lo Azul Sobre Mi” is the fourth album that she publishes and releases to the world in November 2019 independently. It was recorded in Mexico City and Buenos Aires; produced by the winner of a Latin Grammy, Hernan Hecht; and composed of 10 original compositions and a version of the composer Edgardo Cardozo. The instrumentation is minimalist – Spanish guitarist, string quartet with Ramiro Flores arrangement, electric guitar, voice – and participating, as stellar guests, Juan Quintero and Álvaro Ruiz in voices.

“In these compositions I wanted to return to the root of many things that I have studied and that I am, and to honor and interpret musical ideas that go through and appeal deeply to me: Latin American folklore, blues, ancient music for guitar.”

“‘ The blue thing about me ’is an album that looks at death through different crystals: death as the end of things, death as a transit to other forms and death as the beginning of life. All these songs are dedicated to the beauty of life and the beauty of the questions that have no answer. I sing and play as a way to inhabit this space in the time that touches me. ”Loli Molina has received support from Gibson and Taylor guitar brands, as well as Earthquakes Devices and Reunion Blues. It is based in Mexico three years ago, where in addition to working as a musician she is dedicated to collage as a visual discipline.

MESTISAY, is one of the most unique creative adventures of the popular music of the Canary Islands. Created in 1980 by Manuel González, he has made and produced in his more than three decades of activity one of the most prolific and intense musical careers of his Archipelago. They have fostered collaborations – live or on record – with numerous musicians and performers from the Latin and Portuguese-speaking worlds. In addition, they have performed in numerous countries and stages in Africa, America and Europe and have been present at the schedules of some of the most important music festivals in the world on the international calendar through their tours. His creative commitment has extended to numerous initiatives where they have directed and produced several productions of musical theater and musical shows that have been a milestone of collection and criticism and public acceptance in their native islands and have been a revulsion for Canarian popular music.

OLGA CERPA, her singer, very popular in his native archipelago, is considered the most relevant female voice of island-rooted music in the last two decades. It is helped by exquisite vocal conditions and a unique artistic personality. Olga was nominated for the Latin Grammy Awards, in its 2014 edition, for the album “Mujeres con Cajones” in collaboration with her friends the Cuban Albita and the Peruvian Eva Ayllón.

She has been part of Mestisay since 1986, becoming her solo voice and publishing in 1988 her first album under the title Canciones de Dos Orillas. This is followed by Más al Sur (1989) and El cantar Viene de Viejo (1992), all of them with clear Canarian influences. At the end of the 80s she has a television experience as a presenter of a program on the root music of her native islands entitled Redivivo, broadcast by TVE Canarias. In 1995, together with Mestisay, she opens Dear Néstor I, which becomes the greatest success in theatrical history in the Canary Islands.

The following albums La Rosa de los Vientos (1996), Viento de la Isla (1998) and Mestisay (2000) represent a great leap in the national and international projection of the group. In 2002 with Songs of the South, with which she toured cities of America and Spain, she experimented with a project where music and recitatives shake hands naked, accompanied by the piano of Maestro Alejandro Monroy and the voice of his Mestisay companion Manuel González, composer of most of his repertoire. In 2006 she debuts with Mestisay Dear Nestor II. Songs of the Island, which becomes a new blockbuster in the Canary Islands. Together they also publish Poeta en la Isla, a record work that gathers the show conceived by the group in tribute to the Canarian poet Pedro Lezcano. Then follow the recordings Pequeño Fado y Otras Canciones de Amor (2008) and Atlántico Radio (2011), which she presents with the single Morena Rosa, where she ventures with Mestisay in an Atlantic sound that underlines links with the African lusophony and Macaronesia Atlantic through collaborations with artists from that geographical area.

In 2014 she started a project called “Jallos”; as an advance of the same, she will record with her friend the singer and pianist Ana María Perera a live video with one of her favorite songs from the Carlos Varela repertoire, entitled Delicadeza. Also it publishes Estación Lisboa with Mestisay, a production recorded between the Portuguese capital and its native island where it proposes a fadista reading of Latin American and Canary songs in a disc that counts on the collaboration of the Portuguese singers Helder Moutinho and Ricardo Ribeiro. Their presentation tour will take them to perform for the first time in New York, within the fourth tour that he performs with her group in some cities in the United States.

In June 2016, she is accompanied by the Municipal Symphonic Band of Las Palmas in the show Vereda tropical, which premieres in the Plaza de Santa Ana in her hometown. In it she has as guests the Dutch trumpeter Maite Hontelé and the Colombian artist, composer and producer Juancho Valencia. In September 2016 Morera Sinfónico collaborates and co-produces, a tribute to the 70 years of life of Luis Morera in which the Tenerife Symphony Orchestra and the Las Palmas Philharmonic Orchestra participate. She later performed with Mestisay at the Jazz Museum in New Orleans and the Ida Lang Recital Hall in New York as part of the group’s fifth tour of the United States. In 2017, Jallos edits with Mestisay, which becomes the album of the year at the Canary Islands Music Awards.

She has collaborated on more than 30 recordings with artists from various countries. Special mention deserves her usual participation in the record productions of the Portuguese composer and multi-instrumentalist Julio Pereira. She has also recorded with Joao Afonso, the Portuguese fadistas Mafalda Arnauth, Helder Moutinho and Ricardo Ribeiro, the Galicians Milladoiro, the Guinean Daughters of the Sun, the Venezuelans Serenata Guayanesa, the Peruvian Eva Ayllón, the Cuban Albita Rodríguez, the Basques Tontxu and Kepa Junquera , La Bruja Gata from Madrid, Andrés Molina, Totoyo Millares, Luis Morera, Los Sabandeños, Beselch Rodríguez, Dacio Ferrera, José Manuel Ramos, Taburiente, the Gran Canaria Philharmonic Orchestra and the Tenerife Symphony Orchestra, among others.

Olga Cerpa has shared the stage and songs with friends like the Spaniards Joan Manuel Serrat, Carlos Cano, Amancio Prada, Tontxu and Víctor Manuel; the Cubans Albita Rodríguez, Compay Segundo or Carlos Varela; the Peruvian Eva Ayllón; the Guinean Manecas Costa; Cape Verdean Nancy Vieira, Dutch trumpeter Maité Hontelé and Canarian timplists Totoyo Millares, José Antonio Ramos and Germán López.

Muerdo is the musical alter-ego of the Murcian singer, composer and poet Paskual Kantero; it is an artistic project that continues to grow and that in its years of experience has transcended from small cafes to large venues and festivals, from the acoustic and intimate format to a powerful multicultural band of seven musicians, with great rhythmic and sound richness and encouragement to dance.

He has released five albums: Flores entre el acero (2011), Tocando tierra (2013), Viento Sur (2016), La Mano en el Fuego (2018), 10 años de Flores, Viento y Fuego (2021). In these albums he has had collaborations with other representatives of the same genre such as Pedro Guerra, Perota Chingó and Amparo Sánchez y Rozalén, among others.

His first musical work, Flores entre el acero, had the support of Luis Eduardo Aute. Specifically, on that album they sang song together, which was written by Edyardo, entitled “Prefiero amar”. With this work, Muerddo broke into the Spanish singer-songwriter scene, endowing it with features and characteristics that are its own, and that, in some way, were losing, among them, its social involvement and its commitment, its poetic content, and some mestizos and multicultural musical approaches. With his debut album, Muerdo had the opportunity to tour all of Spain and visit Cuba and Mexico.

In 2013 Muerdo presented his second work entitled Tocando Tierra, an album recorded in Barcelona under the production of Amparo Sánchez (Ex-Amparanoia), released by the independent label Kasba Music and in which he had extraordinary vocal collaborations such as Lichis, Pedro Guerra, Perotá Chingó, and Amparo herself. On that second album –with which Muerdo has toured Spain, Argentina and Chile– we can find lyrics of great power and human and social depth, seasoned with Latin and folklore rhythms, which merge with more urban and contemporary rhythms and musicalisations.

In 2016 he published his third album titled Viento Sur, an album illustrated by Ricardo Cavolo and in which, among others, Pascuala Ilabaca and El Kanka collaborated. Two years later, in 2018, he recorded a new album entitled La Mano en el Fuego, musically produced by Fernando Illán.

During 2018, he toured the main venues in Spain –managing to hang the sold-out poster on different occasions in benchmark venues such as the Sala Apolo in Barcelona or the Joy Eslava in Madrid– and embarked on his most ambitious Latin American tour: Argentina, Chile, Mexico, Colombia, Ecuador and Peru. In December it received the award for Best Album of the Year in the “Other Trends” category at the Murcia Region Music Awards.

On January 17, 2020, he published Fin de la primera vida, a digital album of versions of his own songs, with collaborations such as those of Rozalén, Juanito Makandé, El Kanka and Guitarricadelafuente.

In 2020 he recorded his fifth studio album, in Buenos Aires under the musical production of Diego Perez, an album that was published in early 2021 and is entitled 10 años de Flores, Viento y Fuego.

Muerdo’s success is not only in Spain, since his music has crossed borders to reach Argentina, Colombia, Peru, Mexico and Uruguay. He has presented three times in Montevideo. His last presentation in the Uruguayan capital was held in May 2022 in Sala del Museo.

Juan Gómez Canca, artistically known as el Kanka, is a Spanish singer-songwriter, composer and musician. Since he began his solo career in 2007, he has managed to establish himself as one of the most outstanding Spanish singer-songwriters of the new generation. As part of this new generation, his strong presence on social networks stands out, especially on YouTube and Spotify.

El Kanka has been dedicated to music for more than fifteen years. He released his debut album, entitled Lo mal que está y lo poco que me quejo, in 2013. Since then, he has traveled many kilometers accompanied by his guitar, both in Europe and Latin America.

In 2014 he released El día de la suerte de Juan Gómez, his second album, which had the collaboration of hundreds of followers through the My Major Company platform; a successful crowdfunding effort with which, due to the high level of participation, exceeded 200% of the originally set goal.

In 2015 he released his third album, De Pana y Rubí. In February 2017, and for the first time through his own label, he released the single Andalucía, a tribute to his homeland that served as a preview of his fourth album, called El arte de saltar, which was published at the end of February of 2018.

After nine months away from the stage, El Kanka announced his return in September 2022.