Anthem after anthem, victory after victory. She was a singer and songwriter who began writing songs when she was 12 years old. Brazilian singer Marília Mendonça changed everything once she released her first EP in 2014. She made a name for herself as a composer, publishing 17 albums, most while still in her adolescence. Marília has had numerous hits as a songwriter since then, including the third volume of her album “Todos Os Cantos”, which consisted of 3 brilliant genuine songs we are all able to sympathize with, regardless of our current situation and feelings; “Supera” being exemplary to that.
Clayton Follmann, Fernando De Moura, Hugo Del Vecchio Breiner, and Renan De Moura wrote “Supera.” Where the gifted singer sings passionately and confidently. Still, it proves not to be about her own personal suffering; on the contrary, it becomes a plea for not only her friends but her fans to stop suffering over relationships which no longer exist. Marília launched the anthem in 2019, becoming a huge success as it was quickly recognized as the empowering song you play for your friend who is suffering over the wrong boy. Who hasn’t gone insane attempting to reassure a friend of their worth, right?
“Ele tá fazendo de tapete o seu coração
Marília iconically declares, and rapidly enough expands her already existing fame to an even higher level.
Promete pra mim que dessa vez você vai falar não
De mulher pra mulher, supera
De mulher pra mulher, supera”
The album was encouraged by the singer’s eponymous project, a script of shows recorded in all Brazilian capitals between 2018 and 2019. “Todos os Cantos'” repertoire was not written by Marília, unlike her previous albums. Still, it was a commercial success, bringing together several songs that would go on to become hits for the astonishing artist. Sadly, her career was short-lived. Marília Mendonça passed on November 5th, 2021, being only 26 years old; attempting to attain her busy concert schedule, her plane crashed into a river in western Minas Gerais. The beloved singer produced some of the biggest hits in Brazil, including “Infiel”, “Todo Mundo Vai Sofrer”, “Como faz com ela” and especially “Supera”. Marília’s success in the sertanejo earned her the title of “feminejo’s pioneer”, which saw the rise of female singers in a genre that had previously been dominated by men until the early 2000s. As a result, it is clear, therefore, that the Brazilian star’s death shook the people as much as her entrance to the musical world did.
EAC PRESS 