The Cuban singer, flautist, and percussionist Yaite Ramos Rodriguez, aka La Dame Blanche brings together hip hop, cumbia, dancehall and reggae, to create a powerful sound. Born out of her father, trombonist Jesus “Aguaje” Ramos’, legacy Rodriguez chose her own path to create a new music against her classical training. With a musical background and a strong stage presence this proved to be a natural progression. Her music carried with it a more urban sound that is supported by strong technique, mixed together to produce a fun sound that is based in Cuba but developed further.

La Dame Blanche refers to the legend of the white lady, a female ghost found in folklore all over the world. Rodriguez borrows her name from this white lady, and unlike something of fear she wishes to appear to people, give them something new through her music and at the same time be able to see and learn more in order to grow, she also enjoys the irony of being called the white lady.

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The music itself sounds like what one would expect from hip-hop in its rhythm and danceability as well as the rap supported lyrics that bring an urban voice. This is contrasted in what sounds like a level of refinery in the music. The voices are layered together with the music that reaches a crescendo right on the beat. Setting this apart are seemingly random noises and sound effects as well as unrefined instruments that break off the continuity and add a more fun experimental aspect. Under the melodic lyrics the music is layered again over itself concealing and revealing within those very layers a variety of instruments, and uses of those instruments to create interesting and engaging music that all seems to come together very smoothly.

Occasionally one can hear the flute being played in melody through the music only to take the foreground for a moment before falling back to the supported melody. La Dame Blanche’s voice is driven with passion, iconic of the RnB voice, the spoken word rhythm that comes together in melody and accentuating words delivers the lyrics powerfully and grips the listener. The lyrics are thick with Cuban colloquialisms and refrains, displaying the roots of the music, but often what is being sung about tells a cohesive story that can be felt beyond the inner circle structure. The new voice created and stemming outside of the classical training is a summary of what the music is to enjoy. There are often breakings of melody and instruments but the music lives in urban noise.

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