Gabi has become one of the freshest and most authentic female voices of the Latin urban new wave. Born and raised in the Dominican Republic, she began her path in music in the most organic way possible: uploading covers to social networks that quickly went viral due to her energy, her natural flow and a presence that did not go unnoticed. That digital impulse ended up opening doors for her in a big way, until she was signed by J Balvin as the first artist of Ma G Nation, a step that took her directly to the stages of festivals such as Baja Beach Fest, Flow Fest CDMX, Sueños and Vibra Urbana.
Now, La Gabi reignites the conversation with “Maldita Guerra”, a song where heartbreak is not mourned… it becomes a decision. With a mix of afrobeat, kizomba and her urban essence, the artist explores that breaking point where there is no turning back, only self-love and forward movement. Between rhythm, attitude and a lot of emotional truth, La Gabi continues to demonstrate why her name resonates increasingly stronger within Latin music.
We invite you to read the full interview and discover how La Gabi turns heartbreak into strength, music and a new creative stage full of authenticity.
“Maldita Guerra” transforms heartbreak into strength and self-love. What inspired you to create this song and how does it reflect your view of relationships?
The producer had sent me the song, not finished, obviously, and then we finished it. It was a more personal concept, and we understood that many people go through that with their exes. I feel that everyone has that specific ex: we young people are always in that swing, we leave each other and come back. We wanted to make a song that reflected that, but also the message that we should not go back to the same thing; It is better to move forward, focus on yourself, especially if it was a toxic relationship. And that there is much more in the world, that one can give oneself the opportunity to continue and heal as well.
The song mixes afrobeat and kizomba with your urban style. What was the process of fusing these rhythms to maintain your artistic identity?
Yes, in truth I have been in that Afro sound for a long time, I think I identify with it a lot, especially being Dominican. I have been fusing those colors of afro, dancehall and R&B, but with this specific song I wanted to make it a little more commercial, right?, to connect with the public, with the radio stations, and for people to see another facet of La Gabi. Obviously, I wanted to keep the afro, which is what I identify with the most. We also added a touch of kizomba, which is something more catchy, more dance-like, and although the lyrics are deep, it fit perfectly. In fact, first it was more acoustic, with guitar, and then we turned to kizomba, and it worked incredible.
You say in the lyrics “I already ripped the pages out of the notebook.” What meaning does that phrase have for you and how does it reflect your way of closing cycles?
I believe that that phrase represents just that: that I am not going to go back. I can’t even read that page because I ripped it out. It is making the decision to say: “ok, I’m not coming back.” I prefer to focus on myself, move forward, because I know there are better things. That’s literally it: I’m not going back there because I already ripped the page out and threw it away.
Since J Balvin signed you as Ma G Nation’s first artist, your career took a big leap. How did your vision of music and stages change?
Yes, one hundred percent. I will always be grateful to Balvin for giving me the opportunity. I think I’m here today because he had his eye on me. The contract is over and now I’m independent, but I learned a lot in that process: the business, the industry, everything. I had never been to a studio before he signed me, and for me it was a dream come true. My goal was that: for someone to discover me through the networks. More than a change, it was a huge learning experience. I love recording in the studio and performing on stage, which is what I enjoy the most, because I feel that is what sets me apart: dancing. That stage gave me the opportunity to perform at many festivals and live experiences that I will never forget.
You have participated in massive festivals such as Baja Beach Fest and Flow Fest CDMX. What has been your most memorable experience on stage?
I think Baja Beach Fest was very special because it was the first time I got on a big stage, the first time I sang live. Even though many people didn’t know me, I felt a lot of affection, and that marked me. Also opening concerts for Jowell in Los Angeles, Miami and New York was incredible, a dream. And in the Dominican Republic, opening for El Alfa in the Olympic Stadium, with like 40,000 people, was crazy. All of those experiences have been super important for me.
Your work on initiatives like “Hembrismo” shows your commitment to female empowerment. What message do you want to give to the women who follow you?
As a woman, I understand how music often reflects the male perspective more, and I try to express what I feel from my place. My advice is simple: be you. Authenticity is what makes a woman shine. Believe in yourself, in your dreams, and don’t limit yourself by anything or anyone. Being yourself is your greatest strength.
How do you balance strength and vulnerability in your songs to authentically connect with your audience?
I think vulnerability and strength go hand in hand. Being vulnerable is a super power. Expressing what you feel, crying if you have to cry, is a beautiful thing. As long as you know how to channel it, not react from emotion, but express it. For me, the most important thing is to be authentic. I am like that in my daily life and on stage. I think that authenticity is what connects with people.
Looking to the future, what can we expect from this new creative stage and what surprises do you have for your fans?
There’s a lot of music coming out there. Follow me as @lagabi on all platforms so you know. Collaborations and many surprises are coming, with God in front. I’m in a very creative stage, so stay tuned because new things are coming.
