Eliut González and Juan Carlos Sulsona had recently started college, while Willy Rodriguez was still in the fourth grade of high school when Cultura Profética formed.

"We got together with the dream of transforming the world with music, which I still believe we haven't lost, right?" Willy laughs, "despite having grown up and getting a slap in the face from reality."

Willy's neighbour, Estevan, was Eliut's classmate. He introduced them and they began playing together almost immediately. 

"We were Puerto Rican dreamers with a lot of curiosity and a desire to change the world, so that's how it all started," Eliut reflects. "And just like that, we got together for our first performance on May 16th, 1996."

Cultura Profética is essentially a reggae band, but one that bridges the gap between the British and Latin Caribbeans by incorporating salsa, bachata, merengue, and other afro-Cuban, Puerto Rican, Dominican, and other Latin genres, including tango, into their music. Early on, the band was influenced by the music of Bob Marley and other Jamaican groups, but their Puerto Rican roots are a big part of who they are.

"Salsa is literally oozing from our pores, it's undeniable." Willy concedes, "It’s unquestionable that the salsa flavour and that Puerto Rican flavour come through more than anything else, even though we work with reggae in the arrangements, and it can come in the way we sing."

The result is a band with a distinct identity and something to express. Everyone knows when they listen to the sound, "this is Cultura." From the outset, Cultura’s unusual style captivated Latin American audiences, especially reggae lovers, looking for a different kind of music from the typical Latin Caribbean.

Added to its musical vision is the band’s acute awareness of the political reality of Puerto Rico, a country still under the yoke of US control but which doesn’t receive the benefits of being their own country. Most of their lyrics are quite personal, discussing love, passion, breakup, despair, and anxiety, but they have a strong link with their people and its hardships, as addressed in songs such as Qué va! and Sobrevolando.

"The worst part is that history has ingeniously covered up the fact that we are one of the few remaining colonies. While we are not yet free or truly associated, we are considered a Free Associate State," explains Willy. "The current predicament facing our country has prompted us to have these discussions. The bare necessities are all our brothers and sisters are asking for. That's why we turn to music: it's a medium that naturally encourages or facilitates the discussion of serious matters. People are more receptive to what you have to say, and your ideas are more easily accepted when you are listening to music."

Even when they are being political, Willy adds, the band members’ own emotions underlie the lyrics in their songs. Willy confesses that he has included many of his personal experiences. "I guess that's why people can identify more, because it's genuine."

Instrumentally, Juan Carlos clarifies that each member contributes independently, resulting in a collective expression of the band's interest in experimenting with various music genres: "For instance, if Willy finds a genre he can identify with at the time, then I can ring with another style, and that is how the sound of Cultura is formed."

Their journey has been marked by numerous accomplishments. In 1998, Canción de alerta (1998) was certified as a Gold record by the RIAA. In 2010, their album La Dulzura received the Gold Record for physical sales, and its single, La Complicidad, was in the Hot 100 of Billboard for more than 50 weeks. In 2015, they won the Gold and Silver Gaviota awards at the legendary Viña del Mar festival in Chile, gaining high recognition from a country at the other end of Latin America known to be fans of Reggae.

There was a 10-year gap, however, between La Dulzura and their most recent album, Sobrevolando (2019), which won a Latin Grammy as Best Alternative Album and was nominated in the same category at the Grammy Awards. Willy, Eliut, and Juan Carlos all concur that several causes contribute to these gaps.

"We went through a lot of personal changes. Many of us also became parents and committed to not only having them but also being present and involved in their lives. Since La Dulzura, our careers have taken off like a rocket, yet the more we travel, the less we feel like we could spend time with our loved ones back home. Our band sessions gradually decreased as we give ourselves the chance to be with our families," Willy stated. 

They add that they are picky about the material that makes it onto albums "You need to be out there, living for a time before you can write new things and keep that poetic music alive."

For example, Sobrevolando, was released at the same time Puerto Rico was experiencing one of the worst socioeconomic crises.  The summer of 2019 saw the deposing of the administration in Puerto Rico amid protests, just as Cultura was looking for a new drummer to usher in a new era.

"Sobrevolando was written while we were locked up in the studio during the protests. This social struggle for democracy in the Caribbean is a topic near and dear to our hearts, and this song tells our struggle." Juan Carlos recalls, "we saw the people's strength as they united and called for change on the island. Therefore, this album serves as a kind of Caribbean perspective summation of this momentous moment."

In other words, Cultura is not afraid to take its time crafting an album and rely on traditional methods. The members unapologetically prefer the tactile experience of owning a physical album, where they can study the lyrics and absorb the music more deeply. They want to give the videos greater care and attention so that more people can appreciate them. It's an interesting approach to building a connection with viewers. 

"Some say we should have more albums, but this has been the perfect way for us," Willy agrees.

I wonder how the overwhelming global dominance of reggaetón as the leading genre to come out of Puerto Rico, becoming the world’s most listened to music, has affected their own journey.

"We believe there is space for everything in the music industry," answers Juan Carlos. "We don't follow a formula like reggaeton, instead we make things spontaneously that arise out of the moment, so it's not like we throw anything away. We collaborate with all musicians in Puerto Rico because they are our brothers."

Willie agrees: "We’ve always maintained and still maintain a genuine approach to our work; this has been crucial to our success. We play for our audience who likes what we do. We are proud of our accomplishments as we are of our Puerto Rican brothers and sisters, and we are happy for all their success, which is well deserved and long-overdue."

"To our relief, we haven't experienced any significant challenges. We've travelled to incredible places thanks to the power of our music," Eliut adds. "We have been blessed with a long and fruitful career that shows no signs of ending anytime soon.

"Yeah, we bring a strong energy to the table," Willy continues. "And that, in my opinion, is more than enough." 

While Willy hints at more output for fans in the near future - "we’re going to lock up in the first quarter of next year, there are tunes in the works" - he says the band is very much focused on enjoying the present.

"I would say we are in the best period of our careers. We are enjoying the current album, which best captures our current situation, and this is the energy that you are going to get when you go see us."

Their first tour since the pandemic and celebrating the band's 25th anniversary, Cultura Profetica are overjoyed to be back in London, to finally perform the songs from Sobrevolando that they were prevented from releasing due to the pandemic.

"We wanted to do it right. If we ever went on tour, we wanted it to be with a full band and do it properly. So, we're very happy to be here, and we're looking forward to come and play to new audiences."

Cultura Profética perform at Brixton Academy tomorrow night. Tickets here