Claudia Leitte, one of Brazil's most celebrated axé singers, faced intense backlash during the opening of the Salvador Carnival on February 27, 2025. The popular artist was booed by the majority of the audience as she attempted to perform at the circuit Campo Grande, marking what became one of the most controversial moments of the carnival this year.
The boos erupted immediately after Carlinhos Brown, another Brazilian music legend, announced Leitte's entry onto the stage. The crowd's disapproval was palpable as many attendees unleashed loud jeers and insults. Even before she could perform, it was clear the atmosphere was charged with tension. Claudia's decision to change the lyrics to her popular song "Caranguejo" has sparked widespread criticism, leading to serious accusations of intolerance against her.
Initially, the song included the line "Saudando a rainha Iemanjá," which honored the Afro-Brazilian orixá Iemanjá, regarded as the goddess of the sea and motherhood. Since becoming Evangelical, Leitte modified the lyrics to say, "Eu canto ao meu Rei Yeshua," with Yeshua meaning Jesus. This change has been interpreted by many as disrespecting Afro-Brazilian religious practices and beliefs, igniting discussions around religious intolerance.
One of the notable consequences of her actions has been the involvement of the Bahia Public Ministry, which is investigating claims against Leitte for acts perceived as racism and intolerance toward African-rooted religions. These controversies seem to have played a significant role, as many believed her lyric change was not only disrespectful but indicative of broader issues of cultural appropriation and religious insensitivity.
While the booing persisted, there were supporters among the crowd who shouted Claudia's name, indicating the split opinion among festival-goers. Nonetheless, the overwhelming negative response overshadowed any supportive cheers. Attendee videos circulated on social media captured the intensity of the moment, with one clip showing Leitte's stunned expression as she attempted to continue her performance amid the crowd's hostility.
The carnival opening was also marked by Carlinhos Brown's effort to create a more inclusive atmosphere. He was seen encouraging the audience to join him for the traditional "Ajayô" greeting, which invites goodwill and community spirit. Brown performed "Bola de Sabão," originally sung by Leitte when she was part of the group Babado Novo. This performance shifted focus temporarily and offered the audience moments of shared excitement.
Despite the backlash, many carnival-goers seemed determined to enjoy the festivities, opting to immerse themselves fully, momentarily setting aside the ugly incident involving Leitte. Other prominent musicians also shared the spotlight at the carnival, including notable figures from Bahia such as Daniela Mercury and the iconic Grupo Olodum, which is known for its strong cultural link to Afro-Brazilian heritage.
After the incident, social media platforms were flooded with reactions to the booing incident, with many calling for greater respect and awareness surrounding the diversity of Brazil's cultural and religious expressions. Debates over Leitte's actions illustrated the underlying tensions around faith and cultural heritage within Brazilian society.
Claudia Leitte's Carnival experience serves as a stark reminder of the divisions present even during celebrations dedicated to joy and unity. The public outrage, hinted at during the carnival and expressed through the cries of disapproval, speaks volumes about the delicate balance of tradition and modern beliefs. With discussions anticipated to continue following this incident, Leitte's future performances may be under considerable scrutiny as both sides of the debate demand their voices be heard.
Whatever the outcome for Leitte going forward, it is clear the opening of the Salvador Carnival this year was unforgettable for all the wrong reasons. The artist's name has become synonymous with this year's carnival controversy, and how she navigates the aftermath remains to be seen. Only time will tell if she can reconcile the grievances or if this will mark a significant shift in how her artistry is perceived by the public.