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This fall, two months after Venezuela’s disputed presidential election plunged the country into crisis — with Nicolás Maduro claiming victory despite overwhelming evidence he’d lost — six of the country’s most influential figures convened in Miami for what some of them considered a historic conversation. 

Despite the travel challenges posed by Hurricane Helene, Danny Ocean managed to arrive from Mexico, Elena Rose made it from Italy, and the rest — Nacho, Mau y Ricky and Lele Pons — met them at a studio in Coconut Grove.  

All of these artists are part of a growing wave of Venezuelan musicians who are succeeding at levels perhaps not seen since the 1980s, when stars like Oscar D’Leon, “El Puma” José Luis Rodríguez or Ricardo Montaner had successful careers outside of their home country. 

This year, there are more than 20 Latin Grammy Award nominees from Venezuela — including Elena Rose, Danny Ocean and Mau y Ricky, with multiple nods each — and a greater presence of Venezuelans on the Billboard charts. But the artists who are here today have not only stood out globally with their music — or in Lele Pons’ case, as a social media content creator — but also use their voices to speak out about the political strife in their home country, a cause close to their hearts. 

Until the July election, the concert business had been a rare bright spot for Venezuela’s economy: Luis Miguel and Karol G filled stadiums in Caracas with their spectacular tours in February and March, respectively, and there were others scheduled. But an artist like Nacho, who until recently lived part time in Venezuela, has not been able to sing in public in his country since 2016, presumably for criticizing the government. 

In Miami, Mau y Ricky chat animatedly with Nacho, reminiscing about better times in Venezuela. Elena Rose and Lele Pons give each other a sisterly hug. A rugged Danny Ocean arrives straight from the airport and greets everyone with a wide smile. 

At 41, Nacho is the oldest of the group by a decade. He paved the way for them as a Venezuelan musician — first as part of his popular duo with Chino Miranda and later with a successful solo career — and the respect they have for him is evident. “You made us understand that it is possible to make it when things are difficult,” Danny Ocean tells him about Chino y Nacho, who achieved international fame in 2010, when there were practically no singers coming out of Venezuela. 

Unlike superstars from Mexico, Colombia or Puerto Rico, who started in their countries with the support of a local industry and then went international, all, with the exception of Nacho, have built their careers outside of Venezuela, having left as children or teenagers, as in the case of Mau y Ricky, Elena Rose and Lele Pons, or right before his first release, like Danny Ocean with “Me Rehúso,” the song that put him on the map in 2016, in which he already sang about pain of emigrating leaving behind a loved one. 

Today, multinational record companies practically don’t have a presence in the country, and most local artists are independently produced. “There is no industry as such, really, with a solid base in Venezuela,” Elena Rose will later explain. Gone was the boom of the ’80s, when great talents like Yordano, Frank Quintero, Karina, Kiara and more flourished nationally with the support of labels like SonoRodven and Sonográfica, as well as a law that forced radio stations to play a song by a Venezuelan artist for every song by a non-native act. 

At the time of this interview, two months have passed since the consequential presidential elections of July 28, when the Venezuelan electoral authority declared Maduro the winner with 51.2% of the votes (although it has not shown proper documentation that support the results) and the opposition denounced irregularities in the count and stated that its candidate, Edmundo González, had obtained almost 70% of the votes. The demonstrations that followed turned violent due to the repression of the Armed Forces and police, with dozens of deaths and more than 2,000 detained. An arrest warrant against González has led him to seek asylum in Spain, and opposition leader María Corina Machado has been forced to take shelter. 

Today, this group has gathered to speak openly about the roles they play as musicians in the context of Venezuela’s politics and society. Just before starting, Elena Rose says, “We have not prayed today.” We all hold hands and Mau does the honors, finishing with gratitude: “Thank you for allowing us and giving us this platform to talk a little more about who we are and where we come from.” 

Nacho, since you’ve been doing this the longest, what do you feel when you see this kind of renaissance of Venezuelan musicians? 

Nacho: Pride. I feel very proud when I hear from everyone wherever I am in the world, because we Venezuelans have gone through many difficulties. But something that these difficulties have left is the fact that we all feel part of the same family. Like when we met this morning, right? We felt like we were cousins ​​or family in some way. We use the same lexicon; we almost always have stories in common with Venezuela and we feel close. 

What do you think has unleashed this new wave of talent? 

Nacho: The desire, the drive, the disposition, the responsibility that characterizes us as Venezuelans. And of course, I suppose that social media has played an important role and has been sort of an escape door for us in the face of the difficulties that Venezuelan talents face to be able to export their music. Because there is a need for a lot of music industry culture in Venezuela, and I believe that talent cannot be covered with a finger. When I talk about Venezuelan talents, you realize that everyone plays an instrument, everyone writes, everyone has a lot to say through their songs. 

That is something that has also caught my attention, how the lyrics of Venezuelan artists tend to be very deep. They say that art is often a response to sublimation and repression. 

Elena Rose: I dare say that, in this particular group of people here, what stands out is sensitivity and humanity. I feel that if we were born again, we would choose things to happen in the same way that we have experienced them. But at the same time, I think it goes much further. I think that when we make music, we do it in such an intentional way, really, so from our soul, so wanting to leave something behind, that all the sacrifices we’ve made are worth it. 

Danny Ocean: Yes, I think that we all write based on our angle and our perspectives of the things that we have all experienced. I think art is about that, about each person writing through their eyes and sensations. I make music because I love music, I need to write. 

Everyone here has publicly expressed their frustration and feelings about what a long list of organizations and governments have pointed out as electoral fraud in Venezuela, and the repression that followed the elections. Most of the comments on your social media are positive, but some have written that artists should dedicate themselves to being artists and not get involved in politics. Do you feel that artists have a duty to speak out? 

Lele Pons: If it’s not us pushing people, who is going to do it? Because many times people are afraid, and because we do it or people you admire do it — if you admire Elena or Danny or Nacho and they do it and they speak for you, it also pushes you to speak. That is our power, communication, so that everyone knows what is happening, not just us [Venezuelans].

Mau: Beyond me thinking that it can generate a change or not, for me the important thing is that people … feel that Ricky and I have their backs and that we are with them. Many times, when you are going through something, what you need, beyond a voice, [is] people to hold on to so you can say, “I’m not in this alone.” 

Lele, you also used your enormous social media platform for an Instagram Live with Venezuelan opposition leader María Corina Machado for which Maduro later mentioned you in a speech. What did you think when all this happened? 

Lele Pons: Well, I think it’s the most important thing I’ve done in my career. Because being an influencer is helping. It’s a way to be a leader. And if I can help another leader to talk to people who don’t know what is happening, because I have an audience that [is not all Venezuelans] … When I made a video [about the situation in Venezuela], I did it in Italian, I did it in English and I did it in Spanish so that everyone knows what’s happening, so that they can share, repost and use my platform, so that [María Corina Machado] would have a voice. I listen and I see what people are saying, what they tell me: “Please help me. This is going on.” And I go, “Jeez! I’m here, what can I do?” I use everything I have to help, so that people know and the world knows too. 

Danny, Nacho, after the July 28 elections, you two called on the Armed Forces and police to avoid the use of violence against demonstrators. Nacho, you even said, “I promised my family, for everyone’s safety, that I would not do this again, but I can’t see what is going on in the country and stay silent.” Have you feared for your life while in Venezuela? 

Nacho: The truth is, no, but not because something bad can’t happen, but because for some reason — I don’t know if it’s because I’ve had a closer encounter with God — death is something that doesn’t mortify me as much … But definitely there are people around you who may tell you, “The actions you have taken have had an impact on my stability, on my tranquility, on my integrity.” Then you start to feel guilty, because these are people that you love, that you have around. Or “Look, they took my job away because they found out I’m your cousin.” Or “They don’t want to do anything with me anymore because they know I’m your friend.” Or “They shut down my business because they saw me in a photo with you or hanging out with you.” So, more than fearing for myself, those were actually the repercussions that worried me when it came to expressing myself. But there are bigger purposes than that. 

Danny, you released an EP dedicated to Venezuela days before the elections, venequia., and you called on your fans who had relatives in the Armed Forces or the police to talk to them to make them see reason to avoid the use of violence. What is your message to them today? 

Danny Ocean: For me, the issue of Venezuela stopped being political a long time ago. For me, it is already a humanitarian issue. We are surely in the top three countries with the most displaced people in the world … We have [almost 8] million people who have had to leave our country, leave everything, leave a life to look for a better future, and that is not right. So, why did I do venequia.? Because … eight years after having to leave Venezuela, I am still seeing the numbers [of emigrants] increasing and saying, “But nothing is happening.” And the video I made calling the families of the military, because it’s true. I mean, we need a change.

Elena Rose: And something that happens to us a lot, for example, when we arrive in another country, when a Venezuelan sees us, it is as if they see fresh water and they’re hot. It’s happened to me that someone hugs me and tells me, “I haven’t seen my dad in years, I have been separated from my children for years.” Those are the kind of things [they say that go] beyond the limit of what we can accept … What do you say to that person? Something I always do; I like to pray with them at that moment, and my message has always been to nourish faith. I really don’t want any Venezuelan to surrender without seeing their country free. 

Lele Pons: Knowing that you are on the right side of history, that you go to sleep and say, “I did something good today, I am proud of my friends, of my family, of what is happening,” gives you peace. Even if you can often lose friends or followers or whatever, you don’t have to care … It’s not political. It’s for the people. 

Elena Rose: (To Danny Ocean.) The night before [venequia.] came out, I remember that you called me, and we talked for about an hour about how you felt at the moment. And these are the things that people don’t see and don’t know… 

How did you feel, Danny?

Danny Ocean: Distraught.

Elena Rose: We both did! We were like, “OK, this is going to happen, and after we cross this line, it’s going to be OK.” But at the same time, I remember telling you, “This has been in your heart for a long time and you have to say that now.” … It is a love letter to Venezuela, as is your album [Hotel Caracas] too, [Mau y Ricky], as is [our song] “Caracas en el 2000,” which at the end of the day was also what we always talked about: I want this to be a hug for Venezuelans and for Venezuela. 

Mau and Ricky, speaking of Hotel Caracas, you traveled to Venezuela for the first time in many years to shoot all the videos for the album, as well as a documentary which is nominated for a Latin Grammy. You were able to reunite with Venezuela and really get to know the country. 

Ricky: It was like a personal need of knowing who the f–k I am … I was 10 when I left Venezuela, and my reality of Venezuela and Caracas was different. My father [singer Ricardo Montaner] was kidnapped when I was 6, so my relationship [with Venezuela] was almost toxic. There were 20 years of fears of thinking that I was going to get there and get killed or something… So, when we started making Hotel Caracas, which is an album where we are returning to our creative beginnings as well, we realized that we needed go back to where we are from … Being able to stand up in a stadium in Argentina and say, “¡Viva Venezuela!,” and not feel that the people there would say, “Oh, how cute, they say they are from Venezuela, but they haven’t gone.” I felt imposter syndrome; I didn’t want to feel that anymore. And I got there and felt their pride in saying, “I’m so proud of what you’ve accomplished out there and how you’re representing us.” That, for us, became our motivation. So, making Hotel Caracas was literally, “How can we carry this communication on another side as well?” And our way was going back to Venezuela, making a movie, employing 200 people there, investing an absurd amount of money in the country for hope and for telling people, “Hey, what we are fighting for is worth it. Look at the people of this country. Look at the talent and that we can make an entire movie in Venezuela.” 

A year ago, international artists were returning to Venezuela to play massive shows, something that had not been done in many years. You have not had the chance to do that. Do you hope that will happen for you one day? 

Ricky: My biggest dream is imagining us returning to Venezuela with our people singing. Obviously now it can become very uncomfortable for us … because we have clear opinions of where we stand, so stepping on a stage and not communicating a truth is very complicated. There are real threats, there are things happening that are serious. 

Danny Ocean: Look, I’m going to be very frank and excuse me, I’m going to try to choose the best words. I’m not thinking about concerts … All I want is for this to end and for us to be calm and be able to walk in peace … I’m not saying that Venezuela is not suitable for concerts; I believe that people deserve joy, I believe that people deserve to be able to enjoy [concerts]. But personally, I can’t think right now about a show in Venezuela knowing the critical situation we are in. With electricity problems, with water problems, with basic needs. 

Elena Rose: There are many things that are missing in Venezuela [also] regarding the music industry. The concert is like the last thing that in theory should happen. There is no industry as such, really, with a solid base in Venezuela. There are many things that are happening with artists who are there, who have other needs than ours, who have fewer opportunities to say no, to put it that way. Unfortunately, there has not been a good education for the artists to explain to them the value of their art, that it is not OK to give away what is truly priceless, that no one should be able to say to you, “Give me [your song] and take this.” I have seen cases that hurt me a lot. 

Can you give an example? 

Elena Rose: Yes. There are wonderful, super talented songwriters there, and they tell them, “Look, I’ll give you 500 dollars for your song and you no longer have any power over it.” And the person who is really struggling says yes. 

In Colombia, music has caused a tangible change in how the country is perceived. Do you think the same thing could happen with Venezuela? 

Nacho: I think it can happen, but we need to count on the resources that Colombia has. For example, consumer platforms that generate dividends for artists through streams, through views. You see a Venezuelan artist succeeding abroad, and perhaps Venezuela does not appear as the country that consumes their music the most. If you check which are the countries that consume me the most, Mexico is No. 1 and Venezuela is 17, and it’s not that there are not more Venezuelans who follow my career than Mexicans, but that there is no industry. That’s the problem. And for there to be an industry we need to change the reality of the country, start to see what is best for us in terms of the economy so that things begin to move the way they are moving in Colombia … In our country, we are survivors, really. 

Ricky: To give you an idea, on Spotify Mexico, a No.1 can be 2 million streams in a day, while in Venezuela it can be 8,000. I mean… 

Everything is relative… 

Danny Ocean: The numbers aren’t condensed into one place. Our numbers are scattered. So, since there is no industry to be able to concentrate the numbers in one place, in the end we are not attractive … There is great work to do. 

Nacho: The thing is that our main market is not our main market … Because you say, [if] a Venezuelan is achieving this level of consumption, it is because he is conquering the world around Venezuela. So, it is not a fair fight for us. And obviously — without detracting from the wonderful talents and numbers that artists from Colombia are achieving, or our colleagues who we love and adore and follow and admire — for us it is definitely a little more difficult.

Mau: And I’ll tell you something that I find very interesting. Listening to you speak, Nacho, heals many things in me … It is beautiful to know that there are other people living the same thing as you. You know? It’s very nice to know that, damn, I’m not alone and that maybe I, a little bit foolishly, should have taken refuge with my Venezuelan colleagues before. Why do I think that is happening what’s happening with Venezuelan artists in the world right now? Precisely because we are more united than ever. I think that is the difference and that is why it is happening, because I think we are realizing something what Colombia realized a while ago. And Puerto Rico, of course. They understood that to be able to carry and take out and make people on the outside talk too — “Wow, you’re from Colombia! From where J Balvin is!” You know, that wasn’t just J Balvin, that was them grabbing each other and saying, “Hey, let’s go into this together.” 

Nacho: But that’s this generation. We come from generation that was quite separated, where egos won all the time and the competition was between who is going to achieve the most things without understanding. And that is why I bring up technology, because now you can see with numbers what you can achieve through unity … Now the new generations are being trained with knowledge and education about the music industry. And it is not only motivated by unity, by knowing that together we are more, but also knowing that we are enhancing what we are doing.

Music and the arts in general have the power to help us deal with hardship. How do you feel it has helped you as artists and as people? 

Ricky: Music is my great love. Music is everything to me. I don’t remember a time in my life where there was a plan B. 

Elena Rose: I always say that music dedicated so many songs to me, that I can only dedicate my life to music. Through music I feel like I got to know God more, because I can’t put God into words, and I can’t put into words what I feel when I listen to music. 

Lele Pons: You all are so talented, and you write music. But for me, since I was little, I used music as therapy, as a way to communicate because I didn’t talk much. I don’t talk that much in my videos either, so I put on music so that it speaks for me in my videos. 

Music can change lives. Music can change hearts. Do you feel that it can help change the course of history? 

Elena Rose: Wherever there is music, and someone who wants to listen to it, there is love. 

Danny Ocean: Sigmund Freud said that music is to the soul what gymnastics is to the body. I very much agree with that.