Pabllo Vittar Crosses the Language Line on 'Lost In Lust'

Pabllo Vittar's Lost In Lust arrived Thursday, October 1 via The Orchard, and the headline isn't just that it's her seventh studio album — it's that it's her first album sung in English and Spanish. For a Brazilian pop icon who built a global career in Portuguese, that is a door opening. She's walking through it in heels.

I've watched Pabllo's voice evolve from a distance and up close, and what strikes me about this era is the control. 'Body Type,' the single featuring Urias released August 27, is fueled by a dark bass line and vibrant percussion that pulls from hip-hop, house and electronic — and over it, her vocals glide. Glide is the word. There's a sensuality in how she lets a chorus land that you can't fake and you can't teach. Auto-tune is a tool; Pabllo uses it like a paintbrush, not a crutch. The voice underneath is always the star.

'Body Type' is about desire and owning your body, and she means it — she described it as a track about self-esteem and personal empowerment, about wanting a connection that goes beyond the physical. It follows 'Rockstar,' her collaboration with Puerto Rican rap trailblazer Villano Antillano, and the two singles together tell you what Lost In Lust wants to be: a global dance record with a pulse and a point of view. Urias, one of Brazil's most distinctive voices, joins her on 'Body Type' — their second collaboration after 2018's 'Ouro' — and the chemistry sounds like old friends who happen to be great singers. Urias called it special to release the song with a dear friend, and you can hear the friendship in the harmonies.

The romance of this record is in what it represents. An artist crossing languages isn't just translating lyrics — she's rebuilding her instrument in public, finding where her voice sits in English the way it sits in Portuguese. That's vulnerable work. The bravest thing a singer can do is let you hear her learning. Pabllo has never been shy about that kind of bravery; she built her career on it.

Again: I've heard the singles, not the full album, and I won't pretend otherwise. But an album's first impression is set by the voice, and the voice on Lost In Lust is confident, curious, and completely in its body. The album's out now. Go listen to the whole thing — that's where the truth of a record lives.

The album itself is a bigger statement than the singles suggested. Twelve tracks, about 29 minutes, every song written and produced by LGBTQIA+ artists — and Vittar was hands-on at every stage. The guest list is a map of where she is aiming: Villano Antillano on “Rockstar,” Urias on “Body Type,” plus Italian singer Mahmood and Venezuelan artist La Cruz. “Polizia” is in the mix too. Production was led by longtime collaborator Rodrigo Gorky alongside a roster of Brazil’s underground and peripheral electronic producers — S4tan, PZZS, Chernobruno, Jeska among them. The Portuguese is sharply reduced by design. This is, as the press rollout put it, her biggest swing yet at a global audience — while holding onto the Brazilian rhythms and personality that got her here.

The title got its meaning from the listening, Vittar says: “Lust is a world of constant pressure on ourselves and our bodies. It makes us lose ourselves in our own feelings, in anxiety, in promises, in false loves, and many times in our own refuge. The title captures that: being lost in this enchantment that is lust.” So the record is about desire, excess, and intimacy — the blurry line between pleasure and obsession, swinging between drama and the dance floor, between control and surrender, between fantasy and reality. Which, honestly, is the most Pabllo sentence ever written: the party and the ache in the same breath.

The Villano Antillano pairing deserves its own paragraph, because “Rockstar” is not a random feature — it is two history-makers comparing notes. Villana Santiago Pacheco broke through on Bizarrap’s Music Sessions Vol. 51, which hit the Top 15 of the Argentina Hot 100 and Billboard’s Spain Songs chart, and she made history as the first openly transgender and non-binary artist to enter Spotify’s Global Top 50. She co-wrote “Rockstar” with Vittar, and the pair filmed a lyric video together. Vittar’s quote on it: “I love Villano so much and I’m such a big fan of hers... Villano’s flow is incredible! I love her voice and how our voices sound together! I was part of writing it and producing it and I feel like it’s the perfect song to open the doors to what’s coming on the rest of the album.”

Early reception is split in the interesting way — the way that means people are actually listening. O Globo praised the international step; G1 applauded the production but argued Vittar sometimes gets overshadowed by it, that the record loses some of her signature charisma. Both things can be true on a first-week album that is rebuilding an instrument in public. The numbers that matter now are streaming and playlist traction: does the English-and-Spanish swing actually expand the global profile, or does the home crowd miss the Portuguese? Twenty-nine minutes, twelve tracks, zero filler by design — this is a record built to be replayed, not admired. The New York Times called her “the world’s most successful drag queen”; Rolling Stone called her “an emblematic pop star of our time.” Lost In Lust is her testing whether both of those titles travel. More music coverage lives on our music desk.