ANITTA RELEASES NEW ALBUM ‘EQUILIBRIVM II’
Featuring collaborations with Maria Bethânia, Alceu Valença, Mart’nália, MC Tha, and others
Anitta releases her latest album, *EQUILIBRIVM II*. A follow-up to the project released in April 2026, the singer’s ninth studio album revisits the themes of love, spirituality, and ancestry explored in its predecessor. The work features collaborations with Maria Bethânia, Alceu Valença, Mart’nália, MC Tha, Alexandre Carlo, Mestrinho, King Saints, the production duo Los Brasileros, Katú Mirim, Letícia Fialho, Brô MC’s, Kbrum and Grupo Ofá.
The release is also accompanied by a musical short film that transforms the new songs into visual poetry. The production premiered exclusively on the “TVZ Esquenta – Especial Equilibrium II” program on the Multishow channel on Thursday evening and now lives on the singer’s YouTube channel.
“I poured my whole self into this album. Anyone who listens will realize that. These songs reflect so much of my spirituality, my worldview, the Brazilian elements that captivate me, and even touches of my own life story,” the artist reflects. “Every choice—musical or visual—was made with intention. I am very proud of what we are delivering.”
Like its predecessor, Volume II of the project celebrates the diversity of Brazilian music. The soundscape reveals influences ranging from bossa nova, samba, reggae, funk, and forró to other rhythms from our culture. As for collaborators, Anitta welcomes icons of MPB (Brazilian Popular Music) while also sharing vocals with celebrated contemporary artists and emerging voices.
CLEANSED SOUL
Anitta kicks things off with “Você Já Sabe.” Torn between the sacred drums of Candomblé and the heavy *tamborzão* beat of funk, the opening track pays homage to the *Exus* and *Pombagiras*. It issues a warning: “Let it rain / I’ll turn into thunder”—lyrics that channel the vital energy of these spiritual entities, paired with an arrangement that transforms the song into a sonic powerhouse.
“‘Você Já Sabe’ is in direct dialogue with ‘Meia-Noite’—from my first album—because it’s that super-percussive, powerful funk track that really makes a bold entrance, you know? The idea was precisely to establish that connection with the first record, which my fans loved,” Anitta explains.
Pedro Dash, a member of the production trio Los Brasileros—who produced the track—recalls: “The idea was really to create a song that says, ‘Damn, you already know who’s arrived, right?’ When I sent it to Anitta, I said, ‘Look, I made a song for you to open your show or your album with.’”
The same trio also produced “Sem Pressa,” a highly anticipated collaboration between the “Girl from Rio” and MC Tha. Here, the artists sing about the beauty of living life without rushing, savoring life’s pleasures and giving thanks for blessings despite daily challenges. It is all set to the rhythm of *Ijexá*. “I discovered MC Tha thanks to my fans, who really wanted me to record with her. I fell in love with her work instantly,” Anitta recalls.
The São Paulo-based singer-songwriter, for her part, shares that “Sem Pressa” is “a track that invites us to care for ourselves and be aware of how our bodies are vibrating in the world. It highlights our strengths but also offers a moment to catch our breath amidst so much daily struggle.”
This atmosphere of gratitude and positivity continues in tracks like “Abre Caminho” and “Tudo Isso.” Presented in sequence on the tracklist, both draw on the sound of reggae, albeit in distinct ways.
In a collaboration with Alexandre Carlo, “Abre Caminho” showcases a more dance-oriented version of reggae, singing about the importance of approaching our relationships—whether romantic, familial, or platonic—with greater lightness and freedom, while respecting the other person’s identity and desires. This is reflected in lyrics such as: “Love, when it’s real / Knows no prison.” The musician, nationally known as the lead singer of the band Natiruts, celebrates the collaboration with Anitta: “I’m flattered by the invitation. It makes sense to be on an album that carries a message and a vibe I’ve championed for 30 years. Anitta knows this, and I have great admiration for her and everything she does.”
Meanwhile, the reggae track “Tudo Isso” has a slower, more powerful groove. The lyrics reveal the reflections of a narrator who refuses to waste time on what doesn’t matter. “I won’t waste my time explaining the obvious / I don’t compromise my peace or my tranquility,” the verses go.
Anitta also wants no conflict with anyone in “Não Me Cutuca,” which features vocals by Alceu Valença. “‘Não Me Cutuca’ is a fantastic *forró* track that I have the honor of singing with Alceu. The lyrics are lighter, even a bit cheeky. But it’s really about just wanting to be happy, staying away from conflict, and soaking up only what’s good for us,” the singer explains.
The musician from Pernambuco also playfully celebrates the partnership with the superstar: “Anitta was such a lovely partner. In the middle of the *São João* tour, we found a little window of time, rushed to a studio in Salvador, and out came this charming, playful little tune. I wish you double of everything: peace, health, success, and balance.”
BRAZILIAN FAITH
The *forró* sound continues to shape the tracklist with “Eu Não Sou Santa,” a collaboration with Mestrinho—an accordionist, singer, and songwriter nationally known for his work on the “Dominguinho” project. Here, the duo sings an ode to Our Lady of Aparecida, Brazil’s patron saint. “It’s beautiful to see Anitta bring in regional elements and transform them into something pop, sharing the most beautiful aspects of Brazilian music with new generations,” the musician celebrates.
The singer notes that, for her, there was no way this track could be left off the album. “My mother was with us in the studio during the recording, and she kept saying how beautiful the song was. I totally agree with her. ‘Eu Não Sou Santa’ really reminds me of the women in my family who are devoted to Our Lady. It’s a song that truly represents the faith of my loved ones and of millions of Brazilians.”
Belief and Brazilian identity also set the tone for “Ogum Me Rodeia,” a song featuring Anitta alongside Maria Bethânia and Leticia Fialho. The *orixá*—strongly associated with Saint George in Brazilian religious syncretism and known as the patron of workers—is the song’s central theme. “This song has a timeless sound and lyrics that are pure poetry. It still moves me deeply, especially because I’ve really connected with Ogum’s energy during times when I didn’t think I could handle the workload. And I’m sure many Brazilians do the same thing every day. It’s a song about faith and about Brazil, you know?” Anitta reflects.
“I enjoyed taking part in Anitta’s new project, ‘EQUILIBRIUM,’ at her invitation to offer words of greeting to the boy Oniri. Hail, all hail,” says Maria Bethânia, who contributes to the song by reciting a poem in honor of Ogum.
Letícia Fialho’s participation in the track came about spontaneously. The artist was initially set to contribute as a songwriter for the project—she penned three tracks on the album—but Anitta fell in love with her vocal timbre. “Being led there by my pen as an independent artist—through the daily grind—to write and sing a prayer-song honoring Ogum for Brazilian workers makes perfect sense to me,” reflects Letícia, who identifies as a “blue-collar worker of Brazilian popular music.”
Anitta also reaffirms her connection to Candomblé in the samba-pop track “Feitiço,” which features vocals by Mart’nália and samples the Exu *ponto* (ritual song) “Botaram Feitiço” by J. B. de Carvalho. In the lyrics, the artists sing about the power of crossroads and the sense of security found in faith-based protection.
In “Contemplação,” the Rio-born singer joins forces with Grupo Ofá, a musical ensemble made up of members from the Terreiro do Gantois community in Salvador. Conceived as a musical prayer, the song features verses in Yoruba and was chosen by Anitta as her favorite on the album. “I’m a huge fan of Grupo Ofá. I follow and admire their work. But nothing prepared me for the emotion I felt when I heard the finished production. It’s a song that brightens my day whenever I listen to it.”
Producer Julio Feijuca, who handled the arrangements, notes that the song was already partially finished when the “Girl from Rio” first heard it. “Anitta saw a void in the music that I hadn’t noticed. When I heard her vocal session—with its various layers—I realized that was exactly where something was missing. She was already envisioning those vocal layers. She sang beautifully, delivering a stunning performance and pouring her heart into the microphone,” he says.
For his part, Iuri Passos, a member of Grupo Ofá, celebrates the collaboration: “Grupo Ofá’s mission is to preserve Candomblé music and bring it to the widest possible audience, and now we have the opportunity to share this music with all of Anitta’s fans. It’s an honor.”
ANCESTRAL KNOWLEDGE
There are several moments where *EQUILIBRIVM II* engages in a dialogue about Brazilian ancestry. In “Deus Mãe” (Mother God), for instance, Anitta and King Saints sing about the feminine strength passed down from mother to daughter. The message is conveyed right from the start, in an opening that features a sample of “Plantadeira” by Minuska Lima. “It was in your bosom / That I first dwelt / In your eyes I see / All the pain of creation,” the lyrics go.
Meanwhile, the electrifying “OKE”—which closes the album—celebrates Indigenous peoples. The sound draws from funk and electronic music to channel the power of these peoples, who are named one by one in the lyrics. “Not even the rattlesnake’s venom killed me / The worst storm didn’t stop me / The river dolphin’s enchantment didn’t fool me / Nothing in the forest kills me,” the verses declare, highlighting the resilience of these populations. Additionally, the track shines with a sample of “Cabocla de Pena,” a traditional *Umbanda* song.
Rapper Katú Mirim, a descendant of the Boe Bororo people, speaks about the importance of this collaboration with Anitta: “This feature represents a call to reconnect with our roots, to value ancestral knowledge, and to reclaim our spirituality—reminding us that balance is born when we recognize the strength of the earth, our ancestors, and the collective,” she explains.
The rap group Brô MC’s—composed of Guarani-Kaiowá Indigenous artists—also contributes vocals to the track. As Bruno VN, one of the group’s members, states: “I believe my people will feel represented by this song. Not just represented; it will strengthen our struggle and our resistance, and help people see Indigenous artists more clearly. May more doors open. May the Guarani-Kaiowá people of Mato Grosso do Sul never stop dreaming.” A frequent collaborator on the “EQUILIBRIVM” project, music producer Carlos do Complexo co-produced “OKÊ,” among other tracks on the project. He recalls the song’s creative process: “We often pictured this song being performed live, with the crowd singing the chorus and raising their hands in the air. It was a really fun song to make. The track blends 150 BPM funk and electronic music with instruments like the flute.”
BODY RITUALS
Funk—the rhythm that has defined Anitta’s career since the very beginning—drives the sound of “Sal Grosso.” The track even features a sample of “Treinamento do Bumbum”—a classic by Brazilian DJ O Mandrake—alongside references to dancehall and ragga. “‘Sal Grosso’ is really about rituals of protection and soul cleansing, you know?” the singer explains. “For me, dance, sensuality, and the moving body have this power to heal and uplift. So, I wanted the production to be very dance-oriented to celebrate that ritualistic energy.”
Hailing from Duque de Caxias, Rio de Janeiro, Kbrum provides guest vocals on the track. “My mind was blown when I realized Brazil’s biggest artist was making a dancehall/ragga track with me. It felt like the part I was meant to compose was already fully formed inside me, so I wrote it all very quickly,” he recalls.
Sensuality as a tool for spiritual elevation is also the theme of “Divino Sexual,” which portrays the encounter between two bodies as an energetic experience—a connection between souls—drawing heavily on Tantric philosophy. “Tantra views sexual energy as a life force capable of integrating body, consciousness, and spirituality, breaking down the idea that desire and the sacred are opposites,” reflects the “Girl from Rio.”
In a similar vein, “Ponta do Pé” is a samba track inspired by *gafieira* dance. The song holds deep emotional significance, as Anitta shares a love for ballroom dancing with her family.
VULNERABILITY
A recurring theme across both “EQUILIBRIVM” albums, emotional depth also shines through in the lyrics of volume two. This is evident in “Azul”—a Spanish-language version of the Djavan classic—which speaks to the purity and vastness of love.
In “Pra Você Gostar de Mim,” Anitta employs a melancholic bossa nova style to reflect on her emotional connection to her own career. She draws inspiration from the classic Carnival *marchinha* of the same name—immortalized by Carmen Miranda in 1930—to draw a parallel between the trajectory of the “Little Marvel” (*Pequena Notável*) and her own.
“You could say Carmen Miranda was the starting point for my journey of self-discovery. Learning her history—the ways she had to bend to navigate that industry, what she had to go through just to be liked… ‘EQUILIBRIVM’ was born from my desire for my own journey to have a different ending than hers,” Anitta reflects.
The confessional tone reaches its peak with “Respira.” This light samba track, originally featuring Spanish lyrics, was translated into Portuguese by Anitta herself. “She came from the favela / Appeared elegantly on your screen / But everyone only talked about her butt / The girl was wild but also had her head on straight,” the lyrics go, concluding: “She shared real wisdom, but no one talked about that / Because she sang funk—what a waste / If only she were a man, she’d have had more perks / What a mess.”
“I made a point of taking credit for this translation because the verses are so personal. Very intimate, you know? They reflect on my career and some of the challenges I’ve faced as a woman along this path,” Anitta shares.
AUDIOVISUAL POETRY
Conceived also as an audiovisual project, “EQUILIBRIVM II” arrives accompanied by a short film that transforms the songs’ reflections into a cinematic spectacle. The production is helmed by Ginga Pictures—a team led by Felipe Britto and Mel Chapaval, who were responsible for all the visuals for the first album. Nídia Aranha serves as creative director (overseeing both visual and musical aspects) and also collaborates with Felipe Sassi and Nico Mascarenhas on the general direction.
The short film continues the four-part narrative established in the previous album. “We begin the short film by discussing karma not as punishment, but as a learning experience,” reflects Anitta, who appears embodying Carmen Miranda to the tune of the melancholic “Pra Você Gostar de Mim”—the very track the singer highlighted as the project’s narrative starting point. The visual inspiration here is the Portuguese actress’s iconic musical number from the 1943 film *The Gang’s All Here* (originally titled *Entre a Loura e a Morena* in Brazil).
Following the disillusionment depicted in the track, Anitta seeks divine guidance: she consults a fortune teller, played here by Thai de Melo, and opens up about stardom and the pressure for material success.
She finds the path to healing and protection alongside Mart’nália in “Feitiço,” a moment where they celebrate the invisible forces that run through life—specifically the *Exus* and *Pombagiras*, who set the tone for the production.
Next, the cultural diversity that forms part of the “Girl from Rio’s” spiritual identity shines on screen. In this context, *babalorixá* and anthropologist Pai Rodney William Eugenio appears as a *pai de santo* (Candomblé priest), advising the singer to care for her *ori* (spiritual head/consciousness) and connect with her spirituality.
Here, the track “Contemplação” stands out as an ode to Oxum, representing a primordial movement toward healing. In this journey of self-discovery, the powerhouse artist also sets out to connect with two fundamental elements: her ancestors and nature—a movement illustrated alongside MC Tha in the delicate dance of “Sem Pressa.”
Next, “Deus Mãe” (Mother God) celebrates motherhood as a manifestation of the divine—featuring the mothers of Anitta and King Saints, as well as a procession of women. The segment is also graced by actress, writer, and poet Elisa Lucinda, appearing as a traditional healer who warns that “matter cannot satisfy the soul’s hunger.” “Não Sou Santa” (I Am No Saint), in turn, continues this celebration of the divine feminine, this time by exalting Our Lady of Aparecida in all her Brazilian essence.
Portraying a *caboclo* (a figure representing Indigenous and mixed-race heritage), actor and cultural producer Mac Suara appears next, offering a moment of wisdom. Through his spoken word, he critiques irresponsible land use and proposes a bridge connecting the present, ancestry, and the future. The tracks “Oke” and “Sal Grosso” stand out here.
“In ‘Oke,’ we propose a union between the energy of nature and technology. We turn the forest into a dance floor. It’s one of my favorite visuals because it shows a rave of diverse, free bodies, you know? It breaks away from stereotypes associated with Indigenous peoples and makes it clear that there is no innovation without respect for Indigenous ancestry,” reflects Anitta.
Kelvin Mbarete, a member of the group Brô MC’s—who appear in both the song and the visuals—comments on the impact of the production: “The most striking thing was seeing so many Indigenous relatives gathered in this music video. It holds deep significance because we are bringing our identity, our history, and our art to a much wider audience.”
The track “Sal Grosso” closes the segment, drawing inspiration from Oyá (mistress of winds and lightning) and the Yoruba tradition of the Zangbetos to shine a light on the Black ancestry that crossed the Atlantic and pulses through Brazilian culture. In one scene, for instance, Anitta appears riding a buffalo, adorned with elements inspired by the culture of Benin, a West African nation.
Daniel Ueda, the stylist who co-designed the production’s looks (alongside André Philipe), reflects on the diversity of references and concepts permeating the fashion of “EQUILIBRIVM II”: “We looked at the whole of Brazil for this curation,” he explains. “We wanted to step outside the Rio-São Paulo axis. We held a brainstorming session with Nídia Aranha; as she presented the concept for each act of the short film, we realized we would be showcasing multiple versions of Anitta. Carmen, the *pombagiras*, the romantic, the playful side… It was like seeing different ‘skins’ of hers, you know?” He also highlights the care taken to showcase Brazilian brands and designers during the process: “We prioritized national brands from all over the country. That’s really cool, because we end up showing the world brands that could be hugely impacted by this visibility.”
Inspired by the syncretic relationship between the *Erês* (Candomblé spiritual entities) and Saints Cosmas and Damian—as well as the miniseries *Hoje É Dia de Maria* (2005)—Anitta appears in a dreamlike universe while singing “Abre Caminho.” But the mood shifts immediately: bathed in red-hued cinematography, Anitta receives counsel on the connection between the sacred and the profane—between sex and spiritual elevation—from a Pombagira portrayed by Valéria Barcellos. Set to the tracks “Divino Sexual” and “Ponta do Pé,” this segment visually translates Anitta’s reflections and studies regarding Tantra and the relationship between the moving body, sensuality, and the sacred.
“Nídia Aranha and I use the term ‘choreographic manifesto’ to describe ‘Divino Sexual.’ It’s a video inspired by Tantra, supporting the idea that sex—beyond the merely physical—can be an encounter of souls and affections… It is a choreographic manifesto for the freedom to feel desire and pleasure,” the powerhouse artist says. Another major inspiration here was Kali Shakti, the Hindu deity of destruction and feminine energy. In “Ponta do Pé,” the artist honors her Rio roots by performing dance sequences inspired by Rio de Janeiro’s *gafieira* dance halls.
The short film nears its conclusion as Anitta comes face-to-face with Exu—portrayed by actor Jorge Guerreiro. Here, set to the track “Você Já Sabe,” the narrative moves away from moralizing interpretations of the deity, instead exalting him as the one who opens paths, breaks through stagnation, and reminds us that every journey begins at a crossroads.
The ritual sequence begins amidst thick red smoke and silhouettes emerging from the darkness. A standout feature is an iron structure—inspired by the work of Salvador-born artist Zé Diabo—that serves as a stage for dynamic dance. “We wrap up the short film for this second album by celebrating the freedom and the truths that Exu lays bare for us—elements that are essential in the quest for balance,” Anitta explains.
TRACKLIST: “EQUILIBRIVM II” – ANITTA
1. Você Já Sabe (with Los Brasileros)
2. Sal Grosso (with Kbrum)
3. Não Me Cutuca (with Alceu Valença)
4. Eu Não Sou Santa (with Mestrinho)
5. Feitiço (with Mart’nália)
6. Ponta do Pé
7. Abre Caminho (with Alexandre Carlo)
8. Tudo Isso
9. Sem Pressa (with MC Tha)
10. Deus Mãe (with King Saints)
11. Ogum Me Rodeia (with Maria Bethânia and Letícia Fialho)
12. Contemplação (with Grupo Ofá)
13. Pra Você Gostar de Mim
14. Divino Sexual
15. Azul
16. Respira
17. OKE (with Brô MC’s and Katú Mirim)