A colorful journey in black and white, Juana Luna’s New Album: Canciones en Blanco y Negro
← Return to EDITORIAL
My first encounter with Juana Luna’s exquisite voice was like many of New York’s most magical moments—completely random and unexpected. On a cold winter night at Rockwood Music Hall, I went to see the Pablo Lanouguere Quartet. I knew I was in for a big treat, but little did I know about the magic that awaited me: when Juana Luna was invited on stage, her voice captivated the room, and I knew I had to learn more about this talented Argentinian singer. Many years and two solo albums later, it is a pleasure to sit down with Juana and delve deeper into her artistry.
● Read more: Xolo Cantillo Brings Colombian Vibrance to the United Nations in New York
Originally from Buenos Aires, Luna has traveled the world, performing her original songs alongside delicate renditions of traditional Argentinian folk music.
Her most recent album: Canciones en Blanco y Negro, recorded in October and November of 2023 and released in September of last year, seamlessly blends familiar folk melodies from her heritage with her own contemporary creations.
Juana Luna: Merceditas
In Canciones en Blanco y Negro, Juana envelopes the listener with timeless gems from the 50s and 60s, such as Merceditas and Serenata del 900, along with soulful creations such as Palabras, or the beautiful rendition of the habanera La Paloma, with Eleni Arapoglou.
Listeners from all tastes will find something captivating and enriching to their ears and their soul. No previous folkbackground needed!
Tracklist:
01. Merceditas
02. Flor de la Noche
03. Barco de Papel
04. Serenata del 900
05. Olmedo
06. La Paloma
07. Pato Sirirí
08. Palabras
09. Together
10. Las Golondrinas
11. Emilia
The album is released by Folkalist Records
BUY & STREAM
Juana Luna
Photo by Nicolás Manassi
Q&A with Juana Luna
1. What's an album that changed your life? How did it change it
Confesión del Viento by Liliana Herrero was a life-changer for me. It’s the album where I discovered the version of Liliana who became one of my most important musical influences. I fell in love with her voice and the freedom in her singing. I remember thinking, “if Liliana can be that free when she sings, maybe I can too”
I first heard the album when I moved from Argentina to the U.S. at 21. It became the soundtrack of that huge transition in my life. I must have listened to *Confesión del Viento* a thousand times!
I also feel deeply connected to the album’s entire repertoire. The songs by Falú, Dávalos, el Cuchi Leguizamón, Chabuca Granda—they’re all part of my musical DNA. And the guitarist on the album, Juan Falú, is someone I truly admire.
2. If you could only play 5 songs for the rest of your life (without getting bored!), which songs would you choose?
What a difficult question!
Um dia de domingo, from the one and only: Gal Costa (live version from the album: “Recanto Gal Ao Vivo”)
Oxalá by Maro
Palhaço by Egberto Gismonti
Special Occasion by Emily King
Palabras by Marta Valdés ( Haydé Milanés’ version)
I have three that got left on the bench (actually, way more than that) haha!
Acidito by Natasha Bravo
To the mountains by Lizzy McAlpine
Cherokee Louise by Joni Mitchell (The Orchestra version from “Songs of a Prairie Girl”)
3. Can you tell us a little bit about your creative process? E.g. Do you have any creative rituals or routines?
My creative process usually happens while I’m moving in some way: walking, traveling by train, cooking or even having a conversation… That's when I see or hear or take in something that moves me in some way. And then I get my phone and start recording the idea with the voice notes. Then I hear it later, maybe the next day or a week later and if I still like it I sit down with the guitar and develop the melody a bit more, I start working on the song. Sometimes, I really like the idea and I cannot wait to go back to it, other times I forget about it too.
4. What genre(s) of music would the soundtrack of your life be? Why?
I would say that Argentine folk music was the first sound I heard at home, and it was the first music I truly loved. We would sing folk songs together during family gatherings—my grandparents, aunts, uncles, and I. It was such a beautiful experience.
At an early age, I was also captivated by Brazilian music. My parents loved Caetano Veloso and Gal Costa (and so did I!), which led me to discover Vinicius de Moraes, Tom Jobim, and Rita Lee. I also remember listening to a lot of Juan Luis Guerra and Rubén Rada at home, along with countless boleros, especially those by Luis Miguel.
The first music I truly chose to listen to during my teen years was Argentinian rock. It was the first time I made a personal choice in what I wanted to hear. I started with Charly García, then moved on to Fito Páez, Spinetta, and soon found myself immersed in the rich world of Argentine and Latin American music. It’s hard to pinpoint a single genre because my musical journey has been a constant fusion of styles. I also listened to the radio a lot, which meant I was exposed to cumbia and pop songs as well. But I’d say the soundtrack of my life in the beginning was very South American.
When I moved to the U.S., I fell in love with jazz standards and started exploring folk music from all over the world—artists like Toumani Diabaté, Omar Sosa, Lionel Loueke, Yamandú Costa, and Arooj Aftab became part of my listening journey. I also discovered incredible pop songwriters like Emily King and, for the first time, Joni Mitchell—whom I absolutely adore. Along the way, I stumbled upon hidden gems like Silvia Perez Cruz, and my exploration of music continues to expand with every new discovery.
5. Which musicians (current or past) would you love to play with?
I would love to sing with Liliana Herrero!
6. Any advice for beginning artists?
It's important to work with people who listen to and respect your ideas. Whether you're forming a band or heading into a recording studio, make sure your voice is heard and your ideas are valued. It’s not always easy, especially as a woman, but there are incredible people out there—talented, open-minded individuals who have both their ears and hearts open. Find them, work with them, and remember, you owe it to yourself and to your music
7. What's a song that helped you get over a heartbreak?
Abre by Liliana Herrero (the songwriter is Fito Páez)
8. Pick three keywords that describe your lyrics.
Unsent letters, stories
9. Do you have any musical or artistic preferences that might surprise others?
If you didn’t know I have a toddler, you’d probably be surprised by how much kids' music I listen to! I’m even starting to love bands like Pim Pau—sometimes, I catch myself listening to them even when my daughter isn’t around.
10. Tell us one anecdote involving your audience.
I recently had a concert in Washington, D.C., where I presented my latest album, Canciones en Blanco y Negro. The music on this album is quite nostalgic and mostly slow, so I was a bit nervous, wondering if the audience would be able to follow that slower pace and calmness. The venue was a large space, completely filled, and as I started to sing and play, I realized the audience was actually engaged and following along. Even during a song with just my voice and guitar, I could feel that everyone was silent, with their ears and hearts open.
When the concert ended, many people came to talk to me—some were even crying—and they expressed their gratitude for the songs and for the space to be calm and reflective. It made me realize that there is a place for this kind of music, that it’s okay if my musical message at this point is about calmness. It doesn’t always have to be upbeat.
Gregoria TALKS music
Gregoria (AKA María Laguna) is a licensed clinical social worker (LCSW), teacher, writer and psychoanalytic psychotherapist in New York City. She has trained in her native Uruguay and in New York City. Laguna works as a principal curator, content advisor, and critic for IGM. Additionally, she writes periodically on Latino topics within the New York community.
As an avid music listener, concert goer and independent researcher, Laguna studies the intersection between music and Psychoanalysis, and wants to raise awareness of the importance of the arts as a mental health tool. She has led highly attended workshops on the healing power of tango, and continues to work on the intersection of music, activism and Psychoanalysis.
Gregoria is the co-founder of Bicultural Collective, a mental health collective for bicultural individuals.
