In the universe of urban music, few artists blend tradition and new rhythms like Vicente García. The Dominican musician, singer, and composer has had a long trajectory since his days with the alternative rock band Calor Urbano. However, he made a name for himself after going solo and collaborating with artists such as Juan Luis Guerra, Alejandro Sanz, Cultura Profética, Juanes, and Ximena Sariñana, among others.
Today, Vicente García is a three-time Latin Grammy nominee, including Best Contemporary Tropical Album for Puñito de Yocahú, Best Singer-Songwriter Song for “Quisqueya,” and one of the most notable nominations of the year: Album of the Year.
Crema had the chance to speak with the Dominican singer-songwriter about what these milestones mean for his career. “I’m really surprised, because I’m doing a different type of music,” García reflects. “I’m trying to explore different corners of my identity as Dominican and as Caribbean, and with that in mind, I do my music. I’m not looking for commercial success. I really appreciate it if it happens, but it’s not my goal.”
Puñito de Yocahú consists of thirteen tracks blending reggae, bachata, merengue, and more, weaving Caribbean soul into each song. The album explores themes of love, heartbreak, and cultural resilience, telling stories that go beyond music for entertainment.
After six years without releasing an album, García returned to the studio to resume what he enjoys most: creating music. He explains that the time away allowed him to reflect and craft something truly personal.
“I’ve been living in Colombia for 11 years now,” he shares. “Here, the indigenous people they’re really present. They’re still alive. And that’s not happening in the Dominican Republic, at least.”
García’s goal with the album was to highlight Taino culture, weaving Taino vocabulary, food, places, and even the names of gods such as Yocahú, God of cassava and fertility, and Atabey, mother of the waters, into songs like “Puñito de Yocahú.” “That’s the most important thing I wanted to bring to this album,” he says. This project was an ode to cultures that he felt needed to be represented.
The album’s sound is also shaped by García’s longtime collaborator, Latin GRAMMY-winning producer Eduardo Cabra. Cabra is known for being part of Calle 13 and has produced music for unforgettable artists. “He knew what I wanted to do with this new influence, the Taino influence. He’s Puerto Rican, and he shares the same ancestry,” García explains. The duo began recording in Bogotá before heading to Puerto Rico, building on a partnership that spans five albums. For García, working with Cabra is like working with family: “It’s a brotherhood.”
García describes Puñito de Yocahú as an anthem of cultural resilience. “As Caribbean artists, we’re not just fun music,” he says. “We have a lot of different corners with spirituality, ancestry, and politics, and we try to look forward with faith and to understand that tomorrow is going to be better, but we have a consciousness of what is good and bad and where we are trying to go with our culture. What are we trying to make better as Caribbeans?” Garcia’s music is not only for entertainment but also a message; a vehicle to uplift and reflect on Caribbean identity in today’s global scene. He represents his Caribbean culture with pride in his actions and lyrics.
This year, García’s 2016 song “Carmesí” was featured in Pixar’s Elio, introducing Dominican music and culture to a younger generation. “It was really great news to know that I was picked to be in the movie. I’ve been watching Disney and Pixar movies since I was young, so being there with my song was a special experience,” he shares. Seeing his niece’s pride while watching the film made the moment even more meaningful. “Carmesí” was released back in 2016, and its lyrics convey the meeting of souls and draw on elements of Dominican music, from the cigüita to the mountain rain. Through Elio, García emphasizes that Dominican music is more than just fun songs. “We have many feelings, different situations, and understandings of different cultures, but we stay true to ourselves,” he says.
When listeners dive into Puñito de Yocahú, García hopes they feel the depth of the Caribbean beyond the clichés. “I try to make music so I can feel better. And if people feel better when they listen to it, I think I’m doing it well,” he says. There is more to come from Garcia this year, including plans for a tour. He hasn’t toured in three years, but he continues to elevate Caribbean music through his work.
