Las Bibas From Vizcaya has left an indelible mark on electronic music in Brazil and beyond. Recognized as the first drag DJ in Brazil and the second in the world, her career spans decades, influencing generations with her distinctive sound—blending house, electronic, and tribal elements—alongside her unique personality and iconic performances.
With a repertoire deeply rooted in queer culture, Las Bibas seamlessly incorporates political discourse, LGBTQIA+ references, and an authentic sonic identity that withstands fleeting trends. Beyond being a DJ and music producer, she is also a transmedia creator, exploring various formats such as podcasts and dubbing to further connect with her audience.
In this exclusive interview for Cultura Queer and Radio Power Strike, Las Bibas shares her influences, challenges, achievements, and vision for the future of the LGBTQIA+ electronic music scene. Get ready to dive into the journey of an artist who doesn’t just make music—she revolutionizes and resists.
Exclusive Interview with Las Bibas From Vizcaya
You have over 35 years of experience and are recognized as the first drag DJ in Brazil. What were the most significant musical influences that shaped your style—from house to tribal—and what led you to embrace this sound on the dance floors?
I was the first in Brazil and the second drag DJ in the world. My musical influence stems from the late disco era and the early ‘80s, along with the emergence of electronic pop through movements like synthpop, rock, and new romantics. Then, of course, the ‘90s brought house, acid house, EBM (not EDM), and Belgian new beat, among others.
Your journey has inspired many artists within the community. How do you view the importance of LGBTQIA+ representation in electronic music, particularly as a drag DJ in a still predominantly male industry?
Breaking through was tough, especially since drag artists were often seen as caricatures—stage performers focused on lip-syncing rather than DJs. But I was already a DJ before becoming a drag artist (nowadays, it’s more common for drag queens to become DJs). With perseverance and a keen ear, things gradually fell into place. And the proof that something is truly authentic? It stands the test of time.
I say this because the DJ profession has been diluted. Many people pursue it for the illusion of glamour, but when they face the reality of constant travel, sacrificing personal life, researching, and producing music, they disappear from the scene just as quickly.
What were the biggest challenges you faced as an LGBTQIA+ artist and drag queen in the electronic music scene? Have you ever experienced prejudice or been underestimated? How did you turn these challenges into a driving force to keep moving forward?
As I mentioned before, drag artists were often seen as caricatures—stage performers focused on lip-sync shows rather than actual DJs. Yes, I was underestimated, but that only made the recognition even sweeter when the plot twist happened, and I became a respected DJ.
I’ve never personally faced explicit prejudice as an artist, but of course, I notice the looks and the subtle remarks disguised as “opinions”. I never paid attention to them because I’ve always done my work with love, dedication, and quality… so there was never really anything for them to criticize! LOL
Your music celebrates queer culture—from pop divas to the vocabulary and glamour of the dance floor. How do you think your productions and performances contribute culturally to the LGBTQIA+ community, strengthening identity and pride?
I find a lot of inspiration in our community, especially in the trans community, for whom I have deep admiration. Whether it’s remixing iconic slang and memes (some of which are still relevant today) or incorporating powerful speeches—like those of Crystal LaBeija, Octavia St. Laurent, and a beautiful video testimony from Venus Xtravaganza that I turned into a song.
Perhaps Brazilian audiences (due to the language barrier) haven’t realized that these tracks actually carry strong political and empowering messages that need to be passed on to younger generations in our community—one that often lacks historical memory. I also remixed speeches from our congresswoman Erika Hilton, with her approval.
And, of course, I have the privilege of having my own queer anthem: DIVADRAG—a song with deeply personal lyrics that reflect my experience as a drag artist and LGBTQIA+ figure in the nightlife scene.
Known for your energetic sets blending house, electronic, and tribal, how do you see the evolution of the tribal house scene in Brazil? What makes this genre so special to the LGBTQIA+ audience, and how do you innovate to keep your performances fresh and vibrant?
“Tribal House” is a term coined by the Brazilian LGBTQIA+ community, which then spread internationally. This genre isn’t even officially recognized as a subgenre on major DJ music platforms like Beatport.
Even before the pandemic, “Tribal House” had been going through a decline in quality and production standards. But the final blow came during the pandemic itself: with underground parties, new DJs who saw these events as an opportunity to gain visibility, and a crowd that, for two years, only listened to what these DJs played at such parties. Not to say that all of them were amateurs, but the overall quality of these parties and professionals took an already weakened scene and pushed it even further down.
Post-pandemic, this impact has lingered. On top of that, we now have a new generation of club-goers who grew up with streaming and TikTok—people with zero patience for anything over two minutes long. They live in the “now”, completely disconnected from the past. Anything old is dismissed as outdated or unnecessary. Ironically, though, when an artist like Kate Bush resurfaces and goes viral because of a TV series, they suddenly change their tune and start consuming her music.
I believe the Tribal House scene needs serious event producers—people committed to quality, not just profit. Nowadays, straight folks view gay clubbing as tacky. Funny enough, in the ‘70s, ‘80s, and ‘90s, they had to go to gay clubs to hear good music! Now, the more music-savvy and quality-conscious gay crowd prefers straight parties and clubs… a complete role reversal.
As for me, I stay true to my identity, maintain quality, and follow new trends while resisting some of the more questionable fads. For months now, I’ve been doing something different at Club High—I open the dance floor with a warm-up set and follow through with a 4-5 hour long set. I feel that at this time of the night, the crowd is fresh, open to new sounds, and still arriving at the club excited but not overly “high”.
So, I take the opportunity to “cleanse the ears of the gays”. LOL! Because after 3 AM, all they want is to hear the same hits over and over again—the harder the beats, the better it is for them and their “enhanced” experience. LOL!
Your performances go beyond just music—they are full-fledged shows with extravagant outfits and a striking persona. Where does this theatrical energy come from, and how does it enhance your connection with the audience during your sets?
As a drag artist, I naturally have a strong visual identity. My persona, Las Bibas, is an outspoken alter ego (very different from my creator). I believe that my image alone already brings theatricality and a high-energy presence.
Back in 2017, at the now-closed The Week, I would make grand entrances, combining backdrop videos on big screens with dancers. That’s when other DJs started incorporating similar “openings”, which have since become more choreographed and theatrical.
The DJ’s entrance—an artist who essentially plays mechanical music—became an event in itself. I love the concept as long as the quality of the music matches the over-the-top intros (which, honestly, in 90% of cases, doesn’t happen LOL).
When I realized this trend was taking over, I decided to step back. I returned to being a “simple countryside DJ”, performing behind the decks because, for me, music is the most important thing I have to deliver.
Instead, I focused on creating more musically sophisticated intros—letting my message be heard rather than just seen. That doesn’t mean I’ll never do something theatrical again (like my choreographed intro to Lady Gaga’s music at the White Party in Bangkok in 2023), but my main focus is still the music—because that’s how my connection with the audience is truly built.
Beyond the DJ booth, you also innovated by launching Brazil’s first-ever gay podcast and the first gay voice dubbing project on YouTube. How do these transmedia initiatives complement your work as a DJ and producer? Do they serve as an extension of your art to reach new audiences?
These creative experiments come from my restless and transmedia artistic spirit.
I’m not a comedian, but I have a very strong, sharp, sarcastic sense of humor, and I feel the need to express it. I found podcasts and voice dubbing to be the perfect channels for strengthening my connection with my audience. And, naturally, that connection also helps promote my music—often without people even realizing it!
With dozens of official releases and collaborations with talented vocalists, how have these partnerships influenced your musical identity? Is there a remix or collaboration that was particularly transformative for your career or holds special meaning for you?
Of course! Collaborations are always an exchange—you can’t help but be influenced.
As Las Bibas From Vizcaya, I’d say my official remixes for Ava Max and Pabllo Vittar introduced me to a more mainstream pop audience, reaching younger generations who don’t typically consume “tribal” music or attend traditional LGBTQIA+ club scenes.
Your name has appeared in international magazines like Time Out, and your YouTube channel has surpassed 12 million views. What legacy do you hope to leave for future generations of DJs and LGBTQIA+ artists? Are there any upcoming projects or new musical experiments we should be excited about?
This year, my YouTube channel turned 19 years old (OMG!), with over 12 million views—without paid promotions, without being a pop artist, and without mainstream media exposure.
Younger DJs already call me “Mama” (LOL), and I feel deeply honored that they recognize the work I did to pave the way for them to flourish today.
This year, the documentary “Um Beijo Me Liga” (A Kiss, Call Me) about my career as Las Bibas From Vizcaya is finally set to be released. It has been in production for over three years, directed by Rian Córdoba and Leonardo Meneses, the same duo behind important LGBTQIA+ documentaries like Lorna Washington: Sobrevivendo a Supostas Perdas, Luana Muniz – Filha da Lua, and TENHO FÉ.
Musically, Las Bibas From Vizcaya is more active than ever! So far in 2025, I’ve already released three singles.
And, as if that weren’t enough, I’ve also launched an alternative, more underground project, simply called “Las Bibas” (@lasbibasbr), focusing on indie music, electronic, and house—genres that have always been a part of my identity, but now directed toward a different audience.
Having played at legendary clubs like The Week and major Pride events across the country, how do you see the evolution of LGBTQIA+ nightlife over the years? Do you feel that your work has contributed to making these spaces more inclusive and full of queer pride?
I was a resident DJ at the biggest LGBTQIA+ club in Brazil (The Week), and today, I’m the first and only Brazilian resident DJ of the biggest LGBTQIA+ party brand in the world—Matinée / Circuit Festival in Spain.
This is why I insist on keeping the clubber essence in my music and dance floors. I refuse to give in to the “pastelão” (over-commercialized music). It would be much easier for me to play the same hits, get my paycheck, and go home—but that’s not what I stand for.
Back in the day, as a drag DJ, I mostly played for the “muscle gays”. Today, my crowd is much more diverse, with many different types of people on my dance floor.
And I think that’s what it’s all about: inclusion, connection, and letting the music bring us together—not marketing, not image, but the pure power of music.
To the international LGBTQIA+ audience of Radio Power Strike, who connect with your beats and performances even from miles away: what is the central message you want to convey through your music? How does the energy of Las Bibas From Vizcaya connect and celebrate queer communities around the world?
Listen to my less obvious works. The fewer plays they have, the deeper and more intense they tend to be—usually attracting my most fearless and hardcore fans.
Dive into the story behind the single “PS: NYC IS VERY HOT” and learn about the documentary that inspired it. Discover Crystal LaBeija, Octavia St. Laurent—because to truly understand Erika Hilton today, you need to explore the past, my loves!
Even some of my most humorous releases, like the “trans meme bible” “EUROPA EM PESO – TODAS AS TRANS FINÍSSIMAS”, may seem like pure fun at first. But as the tracks unfold, they also tell a deeply moving story of struggle and resilience within our community. At the very end of the album, there’s even a hidden audio clip that ties everything together.
Las Bibas From Vizcaya is more than just a DJ—she is a true icon of the LGBTQIA+ electronic music scene, an artist who has built her legacy through authenticity and resilience. Her journey proves that it is possible to break barriers, innovate, and stay relevant in an ever-evolving industry.
Through music, performances, and digital presence, Las Bibas continues to impact and inspire the queer community worldwide. Her legacy is already etched into the history of club culture, and her future shines as bright as the dance floors she commands with her sound.
Follow Las Bibas From Vizcaya on social media:
Official Website: lasbibas.com
Instagram: @lasbibasmusic
Facebook: Las Bibas From Vizcaya
YouTube: Las Bibas
Spotify: Las Bibas From Vizcaya
DJ Sessions: SoundCloud – DJ Sets & Live Sessions