DJ Ramon Sucesso – Sexta dos Crias 2.0
Sexta dos Crias 2.0
DJ Ramon Sucesso
EP
Dance
Nicholas (Nick) Caceres
February 15, 2026
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Hailing from an evangelical family in Palhada, Nova Iguaçu, inside the metropolitan community of Belford Roxo in Rio de Janeiro, Ramon Sucesso grew up basking in a world where baile funk pulsed around every corner, whether that be car stereos or blaring radios atop balconies. He would eventually try his hand at DJing during his rebellious teens, channelling the fun, chaotic energy of Rio’s localised sub-genres into his own style.
Sucesso’s presence continues to be disarming, both digitally and – this writer imagines – live, with shuddering videos on Instagram as he works at the decks, all while repping Flamengo shirts and a dotted hairdo. He has the appearance of an older brother who DJs at favelas and uses his cousin’s head to pull up the decks rather than a radical, tee-total savant in composition. Yet the latter reveals itself on Sexta dos Crias 2.0.
Somewhat predictably – but by no means less jarring – off-kilter avalanches of blown-out baile funk. The familiar ground he walks is not disappointing, but a scarce example of an upcomer mastering their niche from the get-go. Besides, this is a style that may never feel familiar.
Jumping into Rompendo o espaço-tempo, a short looping burp-esque vocal sample pushed to its limit is followed by a deviously toned introduction to a labyrinth, Sucesso calls out with a fiery energy, like a DJ possessed. Onwards, Sucesso has drawn his efforts away from sheer brutality towards a more festive atmosphere here – although such barrages still pop up here and there, incorporating cheesy melodic motifs baile accordions into some of his sharpest arrangements, each switch-up goading a smirk from the listener half-minute or so.
So much occurs throughout every minute that it will always carry the energy of an improvisation, despite it being formulated and choreographed. However, Sucesso saved his best fleeting groove for last, bringing in passionately drunk violin strings that bob with the avalanche of beats that had a nearly unnoticed build-up in the commotion. He then hops on the mic, steering into the second half.
Entering Distorcendo o Universo things only get better. This brevity and best grooves float like “bubbles”, jerking upwards towards the tail-end – “tambor bolha.” This is a style of southeastern Brazilian dance music that allows Sucesso to apply his technique to a more excitable manipulation of aggressively sharp arrangements.
One of the highlights of this second half is the use of a piercing trumpet, giving Sucesso the opportunity to jab them through hammering movements of monstrous beats, tinged with patterned samples of high-pitched vocals. He then cuts the samples, throwing in sped-up bongos as a means to intensify this groove, sending it on its way.
The album ends as quickly as it began – zero time is wasted in just 34 minutes. While still firing out on all cylinders with clattering quickfire DJing, Sucesso still exercises compositional nous and restraint, locking all of this newfound energy in a perfect package with more to hear upon each revisit, rather than sheer bewilderment.
Sucesso has managed to facilitate a fun-loving social media presence with his aggressive deck-work. He casually strolled in and told his contemporaries that they’re simply not going hard enough for the people– you have to respect it. Along with contemporaries riding a wave of Western interest – like Chuquimamani-Condori and Weed420, Sucesso’s music obliterates any desire to box it in or dissect it.
At the end of the day, Sexta dos Crias 2.0, while unorthodox and challenging, is not inspired by such academic perspectives. The true inspirations lie in the artist’s immediate surroundings. It’s clear that Sucesso puts his faith and love in the bustling Brazilian life that moulded him. Even if Sucesso’s adolescent days of breaking the rules of tradition are behind him, his career persists with that drive to push DJing to the extreme.
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