Akapellah (Maracay, Venezuela, 1991) is one of the clear international references in Venezuelan rap. Pedro Elías Aquino first gained recognition in freestyle battles over a decade ago, where he began shaping a unique style influenced by great artists from his country like Randy Acosta, fused with the visible impact of urban legends like Notorious B.I.G. In 2012, his debut album «Como antes» was released, a studio work that includes a cover of «Big Poppa.»
After making a name for himself within and outside the genre, his iconic album «Goldo Funky» and his song «Condenados» earned him his first nomination at the Latin Grammys. He was also nominated in the two following years consecutively for Best Urban Music Album with «Respira» (2022) and «Xtassy» (2023), and for Best Urban Music Song with «Amor» (2022) and «Pa Ganá» (2023).
After an exciting tour in the United States with Spanish rapper Prok, where Akapellah witnessed the overwhelming success of Latin urban music, and while awaiting the release of his next studio album in 2024, the Venezuelan rapper speaks with LOS40 USA to unveil the best-kept secrets of his upcoming projects. Together, we also review the boom of Latin music in our country because, as he himself says, «being Latino is in style.»
Soon, you will release a new song with Venezuelan artist El Aldeano. Can you tell us a bit about how this new release will be?
Yes, it’s the second single from the album I’m going to release in the middle of the year, the second opportunity I have to record with someone who, in Venezuela, is one of the rappers who influenced us the most. We listened to them a lot, grew up with their music, and today I am fortunate to say that he is also my friend. And the song is incredible; it has an amazing video! We did the first song many years ago, and that makes it even more special, like a continuation. It’s not a scoop, it’s not the first time, but we have years since we got together. It’s a great single, I love it.
As you mentioned, you are preparing a new album for 2024 as well. What do you have in mind for this new work? What styles and concepts are you exploring?
Well, we paused the exploration of genres and styles a bit, and we want to give people classic rap on this album. Yes, this was a good year, incredible, and I make many different styles of music, even though my niche is rap. But I’m always trying to rap in some other genres. But this year, in particular, was very nostalgic. There were many occasions where the traditional rap, old school rap, classic rap, and protest rap were trending. So people, the rap community, were left with that feeling that it was like a momentary thing. Many thought that rap is back, maybe Latin rap. But at the end of the day, it seemed like just another trend in this year… With this upcoming album, we want to finish honoring those who were expecting an album of just rap, who like the sound of hip-hop, that sounds very Venezuelan, that rap of Canserbero, Lil Supa, and all of them.
Many thought that rap is back, maybe Latin rap. But at the end of the day, it seemed like just another trend in this year.Akapellah
Any collaboration besides Aldeano that you were mentioning that we will see soon or already in your album that you can give us a hint about?
Of course, definitely. Nach Scratch from Spain and… oh, I can’t reveal the unofficial ones because it’s a commitment! But so far, super, super confirmed features… the legends, the ones I grew up listening to. I mean, Aldo, Nach Scratch, Randy Acosta, Lil Supa… Internationally, I want to make a selection so that the features are with people who also contribute what I’m talking about. For example, a song with Original Juan. I also have an idea of balancing the album, having a more mainstream part with other artists, but bringing them into rap, making them rap, I mean, taking them out of their comfort zone, not me venturing into theirs. That also, I have several names in mind. I plan to invite Blessd to Ryan Castro, artists from Colombia. And besides being very talented, I also enjoy their friendship, so… We’re in the midst of structuring it.
You were recently nominated for the Latin Grammys for your album «Xtassy» and for your song «Pa Ganá.» How did you experience the ceremony?
This one, in particular, I liked much more than the previous two I was nominated for. Perhaps it makes sense because, for the first time, the Latin Grammys were in a Spanish-speaking country. And I love all countries, but I have a cooler connection with Spain. The coolest thing was that I could see different people because when they are in the United States, due to visa issues, many people can’t attend. In Spain, many people who couldn’t attend before were able to come. So I loved the ceremony.
Any anecdote or moment that you will cherish and would like to share?
An anecdote, wow. I met Carlos Baute! One afternoon, I was with Ovy On The Drums and several friends, and suddenly Carlos Baute was there, and that’s the cool thing about the moment. Another anecdote that I will always cherish was the first time I was nominated. The outfit I chose then was very colorful, attention-grabbing, a shirt with many colors and drawings. And Diego Torres, an amazing Argentine singer that I listened to since I was a child, was there. He had no idea who I was, but he liked the shirt so much. And the first time I was nominated, I was there like…»a small bird in the grass,» as we say in Venezuela… and Diego Torres puts his hand on my shoulder and says, «wow, what a beautiful shirt, how cool.» And it’s crazy, any person you grew up listening to is there, you’re in the same space, at the same gala, at the same award ceremony. It’s beautiful, yes. It gives a feeling like, «wow, I’m here too, I’m also doing it, I can too.»
You appear in the rankings of the best Spanish-speaking rappers on Billboard and Rolling Stone. Looking back, how do you perceive your artistic evolution as a rapper over the years?
Okay, well, my start in hip-hop was in freestyle battles. Obviously, the first transition was from battles to discography. Especially in that era when all the rappers who freestyled were well categorized. No one wanted them to make albums or songs. I come from releasing a song with the highest expectations and receiving comments at that time like: «no, we prefer you battling,» «yes, it’s very good, but we prefer you freestyling…» So that was the first wall I had to jump over. The second was around 2014, 2015 when other rhythms different from classic boom bap started to become fashionable. And I wanted to make it clear
to people in the scene that I was keen on experimenting with them, but this transition also cost a lot. People saying they liked the previous albums… but it’s funny because, after a few years, someone tells me that they don’t like the current one as much as the old one, and I remember when I released the old one, they didn’t like it either. So, I ended up understanding that it’s part of everything; it’s like a cycle. And the last thing would be that now I’m much more organized. I’ve always been a very empirical artist, very much doing everything at the moment, if I have energy, it flows, and if not, it doesn’t. Also, these last few years, I’ve tried to be more professional, to see it more as a job and not always do it when I want to but make it a habit. I think it’s the crisis of the 30s.
What strikes me the most from playing in the US is the number of Latinos. The audience is just like playing in Latin America. And perhaps it’s even nicer because there are many people there in the United States who cannot go back to Latin America. It’s very beautifulAkapellah
Which rappers have been for you those who have influenced to shape your style?
In my style, there are perhaps some very fundamental names because I grew up listening to them. Even at some point when I was a child, I had to modify and try to adapt my own style because it sounded similar to theirs since I listened to them too much. They would be Randy Acosta, a master from Puerto Rico, and obviously, Notorious B.I.G. They are very present in my way of rapping, yes. Obviously, as the years go by, it sounds like Akapellah, but that’s where I come from. That’s what I was telling you, listening to them and with them, I helped define my proposal.
And on the other hand, who are, for you, the best Spanish-speaking rappers in history?
That’s delicate because of the top… but I always say the same ones because they are the ones that seem to me. And for me, if you talk to me about a top 5, I suppose without enumerating them, Aldo, Randy Acosta, Lil Supa, Canserbero, Kase O could be too, Nach Scratch…
You recently toured the United States in different cities. How was the audience here? What struck you the most about the experience?
What strikes me the most is the number of Latinos. There is always that expectation of thinking that I am going to play for an American, but no, there is no standard anymore. There is too much race mixing, too many people, many nationalities, so there are Latinos… obviously there are Americans, but they are also Latinos, of Latin origin. The audience is just like playing in Latin America. And perhaps it’s even nicer because there are many people there in the United States who cannot go back to Latin America. It’s very beautiful, it’s very cool. The experience was great. Of all the cities, I liked Dallas the most. We closed there because I was a judge at the Red Bull Batalla, and it was very cool.
In the last year, in recent years rather, we have seen a media explosion of Latin music, especially Latin urban music. Now that you have been in the United States recently, well, and that you have been there before, have you also perceived that explosion, that increased demand from the U.S. audience for Latin urban music? What do you think has changed?
Yes, obviously, I remember when I was a child, Ricky Martin with «Livin’ la Vida Loca,» Gloria Stefan, Miami Sound Machine… there was always that privileged Latino who managed to penetrate the American mainstream, but it was like one, then Shakira, Chayanne. Now there are phenomena like Bad Bunny, who appear on lists even in those countries, and everyone is paying attention to Latin music, thanks to those guys.
Now, without talking about genres, not rap or hip hop, but in general terms, I had never seen a Latin artist with so much fame and recognition worldwide, you know? And that’s what I’m seeing right now. Before, you had to explain to people like, oh yes, in my country, we listen to this, but now people see you as Latino, and they know you’re Latino, and they sing you a Bad Bunny song, they associate it with you. Sometimes I think that Latinos are in vogue.
In Europe, I also experience a lot that when I was little, I grew up thinking that Europeans… maybe didn’t see it as inferior. And I don’t know if I even came to think and go with fear the first times in Europe, thinking, like, okay, I’m Latino, I’m third world, I’m black, I’m… And no, rather, I sometimes see such a cool acceptance… I see my Spanish friends trying to speak with my accent, everyone wants to be Latino, I mean, everyone. Years ago, I imagine it was different. That guy’s dad or grandfather, years ago, was like… Oh, what a nuisance! Go back to your country, go back, I don’t know. And now I see that there is more… Yes, we are in style, yes, everyone wants to be Latino.
There was always that privileged Latino who managed to penetrate the American mainstream, but it was like one, then Shakira, Chayanne. Now there are phenomena like Bad Bunny, who appear on lists even in those countries, and everyone is paying attention to Latin music, thanks to those guys.Akapellah
Precisely in line with what you’re saying, we have also seen a greater presence, which is what you say, of the new generations, well, in different genres of Latin music, Bad Bunny or Peso Pluma also, with the corridos tumbados. For you, I mean, and this would be the last question, who are the artists, Latin artists, that you think are currently transforming urban music in different aspects, different countries, that catch your attention?
Wow, without a doubt, those you mentioned at the mainstream level, obviously, Bad Bunny, Peso Pluma, Feid, Bizarrap, with what he is doing with the Bizarrap Sessions. Those are things that I feel broke the molds and parameters, you know? Years ago, I can’t imagine at a Grammy ceremony, Shakira winning an award with a guy who makes rap beats at home on a laptop. The format changed; they turned everything around. The first 10, 15 years of reggaeton’s history, imagining that a Colombian would be there alongside a Puerto Rican, that also broke schemes. Karol G or Feid, who are Colombians, right now, nationalities don’t matter. Or imagining that a reggaeton from a Spanish urban artist was going to succeed, I mean, without being from Puerto Rico or the Dominican Republic, for example, like Bad Gyal, who I see is listened to a lot in Latin America, and they love her. You know, the schemes no longer exist, there are no rules or parameters, everyone is simply doing their thing and enjoying it. So many names, obviously, in the musical scene, there are so many incredible people. But there are also many people who don’t have the exposure of these artists. But well, and we could spend hours and hours talking about music because every time there are more amazing people. Venezuela is at the level of rap, there is obviously Lil Supa, El Dojo, there are also new talents, incredible, Marila Carajita, Elena Rose… and many incredible people more.
PRISA MEDIA USA, INC, expressly reserves the right to reproduce and use the works and other services accessible from this website by machine-readable media or other suitable means.
USA
ES
MX
CO
CH
PA
ARG
CR
GUA
EC
RD
