“Gataza” started as a phrase thrown into the TikTok universe and ended up becoming one of the songs that best represents Melanie Santiler. The song, which plays with security, attitude and that impulse to feel powerful even in days of doubt, marks a key moment for the Cuban artist known as Mami Fina.
At almost 25 years old, Melanie Santiler builds a sound where the Cuban cast meets alternative pop, guaguancó and electronica. Their proposal looks towards the musical roots of the island, but also towards the experiences of a generation that grew up among traditions, changes and new ways of expressing themselves. From Pogolotti, the Havana neighborhood where her story was born, to international stages, the singer turns her experiences into part of her musical narrative.
After being recognized by Rolling Stone and Billboard as one of the emerging voices that are driving the sounds of the Caribbean, Melanie is preparing the release of her first studio album. In an interview with Noticia NY, the artist talks about the origin of “Gataza”, the place of the Cuban cast in current music and the path she is charting as Mami Fina. Read the full interview.
“Gataza” was born from a spontaneous phrase on TikTok and ended up becoming one of the most important songs on your debut album. At what moment did you realize that that idea could be transformed into something much bigger?
I think you never know if something is going to be big or not. There was simply fun here at all times. I managed to feel proud of so many memories that I unlocked with this song. The most special thing about it is that it reminds me that I’m a cat when I don’t feel like that at all. It is pure security and trust.
The song mixes references from Cuban popular culture such as “La pavita pechugona”, “Yunai Yunai” and “Chona”. What did you want to rescue from those songs and from that collective Cuban memory?
“Yunai Yunai” is a fundamental part of us. I think that if you explain it to someone who is not Cuban, they will never understand what the Yuma means. “La pavita pechugona” is a fairly well-known children’s song, but at the same time I think it is nice to be able to rescue it in these times and realize to say: “Look how cool she is, seductive and fine.”
I heard “Chona” at a party when I was quite old. Yomil, even before I met him, is someone I respect very much. I admire both him and Danilo for everything they achieved and for how incredible it was how they moved all of Cuba with their music. Without a doubt, they are an inspiration to me.
“Gataza” will be part of your first studio album. What can the public expect from this completed project?
Actually the album is no longer going to be called Mami Fina. At first yes, but it has taken a very different path and much more sincere than I expected. I don’t know exactly what the audience might expect, but I can comment on what I would like them to receive.
Firstly, I would like you to meet a much more mature artist, talking about important topics such as identity, fear, emotional instability, mental health, freedom and growth. And, secondly, that they know what my path to adulthood and my personal relationships have been like.
Anxiety, especially that feeling of not feeling enough and how one can create false confidence, is a very present issue. The album tells of my stages so far, which may be the same ones whoever listens to it is going through.
Is “Mami Fina” an alter ego or is she a freer version of who you have always been?
I think that sometimes alter egos speak more about you than what we call the “real self” or the “public self.” Mami Fina is someone I try not to separate from myself so much.
At one point I felt like she was taking all my trust and that I was left much more vulnerable in my personal life. I even came to see it as something negative at times. That’s why I prefer not to separate it from who I am.
The cast has gained a new international audience in recent years. What does it mean to you to be part of a generation that is taking this Cuban genre to new stages?
I think we still have a lot to grow. There is a lot of work ahead and I am excited to know that my colleagues are making this possible.
I am interested, above all, in making my own type of cast. More than achieving any specific achievement, I would first like to make music that I like and with which I feel represented.
Many times urban genres are born from the street and from real experiences. What stories from Cuba do you want to bring to the world through your music?
In the cast genre, few talk about the situation in my country. And that is totally contradictory, because those who come from the neighborhood are the ones most affected or those who see it the most up close. It is logical that these stories explode from there, but it does not always happen.
So, I would like to turn that around and talk about the neighborhood. Mine, Pogolotti, is a neighborhood with a very bad reputation. Showing where I grew up in one of the videos from my first album made me very excited.
I always had a hard time saying that I came from there, but right now I feel more than proud.
At only 23 years old you have already received recognition from media such as Rolling Stone and Billboard. How have you experienced that recognition and what pressure or responsibility does it bring with it?
I’m almost 25 yaaaa! (laughs)
Without a doubt, I received each recognition from Rolling Stone or Billboard with tears of happiness in my eyes. Achieving something like this is extremely difficult coming from my country. It really is quite an honor.
When someone hears “Gataza” for the first time, what do you want them to remember about Melanie Santiler?
The “I don’t have a boyfriend, I don’t have a boyfriend” (laughs). Anything that reminds us how free we are.
