It’s no coincidence that ‘São Paulo,’ the song uniting the voices of Anitta and The Weeknd, was released on Halloween. It’s one of the most haunting and unsettling tracks to come out this year. A song of this kind could only be paired with a music video that brings out an even darker side of both artists, showcasing a side of them previously unseen.
This song was first presented in the very city its title references, São Paulo, and it incorporates classic elements of Brazilian music, directly inspired by the popular funk track ‘Bota na Boca, Bota na Cara.’ Anitta and The Weeknd drew heavily on this rhythm, which has been a fixture at Brazilian parties for decades, infusing every detail of this surprising collaboration. Hints of this funk influence can be heard subtly at both the beginning and end of the track.
What’s most intriguing about the song, as mentioned, is its eerie vibe that grabs listeners from the very first seconds. Although funk may not typically carry spooky connotations, The Weeknd has found a way to incorporate this genre into his darker, more mysterious style, leaving us with a track that’s both haunting and sinister. Yet, thanks to Anitta’s input, the song retains its Latin and urban essence.
‘São Paulo’ by Anitta and The Weeknd is an intense, dark, and sensual track that explores themes of desire, power, and seduction. Anitta’s lyrics, heavily influenced by Brazilian funk, are provocative and direct, evoking an assertive embrace of sexuality. Her refrain, laced with repetition, underscores her character’s confidence and control over her sexuality, embodying a bold and unapologetic persona.
The Weeknd’s verses, on the other hand, add an element of darker romance, a kind of vulnerability masked in passion. His lyrics express submission, enchantment, and a loss of control, highlighting a willingness to surrender to this consuming attraction. Lines like, «I surrender at your feet» and «kill me softly like you want me euthanized» convey an intense, almost haunting longing and the powerful effect his partner has over him.
The interplay between their parts—Anitta’s assertive verses and The Weeknd’s submissive tone—creates a juxtaposition that captures a complex, emotionally charged dynamic, with undertones of obsession and yearning. The chorus and bridge echo themes of mutual attraction, with both artists celebrating the thrill and excitement that comes with giving in to this dark allure.
So how did The Weeknd and Anitta, two very different artists, end up working together? The song’s producer, Mike Dean, suggested the idea to the Canadian star, inviting the Brazilian to join the project. What began as a request for a few improvised verses quickly transformed into one of 2024’s most standout and surprising collaborations. In fact, Dean shared with Billboard that they loved Anitta’s initial proposal so much that they ended up building the entire track around it.
Put it in the mouth, put it on the face, put it wherever you want
Put it in the mouth, put it on the face, put it wherever you want
The young dude looked at me and wanted to fuck my little p****
Today, I’ll give it to the young dude, fuck, fuck the «larissinha»
The young dude looked at me and wanted to fuck my little p****
Today, I’ll give it to the young dude, fuck, fuck the «larissinha»
Every time I try to run, you put your curse all over me
I surrender at your feet, baby, put it all on me
Every time I try to pray a way, you got me on my knees
I surrender at your feet, baby, put it all on me
I love it when you turn me on
I love it when you turn it on
I love it when you turn me on
So come back in and turn it on
Put it in the mouth, put it on the face, put it wherever you want (Turn me on)
(Turn me on) The young dude looked at me and wanted to fuck my little p****
(Turn me on) Today, I’ll give it to the young dude, fuck, fuck the «larissinha»
(Turn me on) The young dude looked at me and wanted to fuck my little p****
Today, I’ll give it to the young dude, fuck, fuck the «larissinha» (Turn me on)
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Put it in the mouth, put it on the face
Put it in the mouth, put it on the face
Put it in the mouth, put it on the face
Put it in the mouth, put it on the face
Put it in the mouth, put it on the face, put it wherever you want
Baby, ride me to the darkness of the night
Kill me softly like you want me euthanized, oh yeah
Hot like risin’ sun, burnin’ everything she touch
She don’t even want your money, came right here with someone else
She’s addicted to the rush, I could never get enough
She desensitized to money, need to pay with something else
Baby, you turn me on
Baby, you turn me on
Baby, you turn me on
Girl, you turn me on
Hit it from the back, she louder than two sold-out nights
I think she fell in love, she said she trusts me with her life, oh
Hot like risin’ sun, burnin’ everything she touch
She don’t even want your money, came right here with someone else
She’s addicted to the rush, I could never get enough (Put it in the mouth, put it on the face, put it in the mouth, put it on the face)
She desensitized to money, need to pay with something else
Baby, you turn me on (I love it when you turn me on)
I love it when you turn me on (I love the way you turn me on)
See how you turn me on? (I love it when you turn me on)
I love the way you turn me on, oh (So now I gotta turn it on)
Oh, baby
Oh, oh
Oh, oh
Oh, oh
Oh, oh, oh
Take it easy, easy on me (Put it in the mouth, put it on the face, put it wherever you want)
Take it easy, easy on me, oh (Put it in the mouth, put it on the face, put it wherever you want)
Take it easy, easy on me
Oh, oh, oh
Put it in the mouth, put it on the face, put it wherever you want
Put it in the mouth, put it on the face, put it in the mouth, put it on the face
Put it in the mouth, put it on the face
Put it in the mouth, put it on the face
Put it in the mouth, put it on the face, put it wherever you want