It is no surprise that the musical scene in recent years has been shaped by the terms of artivism, i.e., artistic productions grounded inexplicit political engagement, largely of a progressive nature. While the union of aesthetic concern and social function is not entirely revolutionary, contemporary productions gain freshness by emerging from a sense of collectivity, transforming the artist s individual subjective expression into a record that inscribes a shared reality into social memory. Thus, the song form is used not only to reaffirm existences silenced by the scrutiny of coloniality but also to project new imaginaries of dignity. In this insurgent movement, women have claimed protagonism, asserting the first-person discourse through singer-songwriting—an operation that has contributed to the recognition of the plural experiences of femininity. To examine the possibilities opened by this cultural landscape, this study focuses on the audiovisual album Bom Mesmo é Estar Debaixo d Água (2020), by Luedji Luna, and the album Pajubá (2017), by Linn da Quebrada, the latter in conjunction with the documentary film Bixa Travesty (2018). Drawing on the theoretical frameworks of escrevivência, as developed by Conceição Evaristo, andarchive of feelings, formulated by Ann Cvetkovich and mobilized by Nicolas Wasser, this research seeks to understand how popular songemerges as a powerful tool for rehumanization, projecting horizons ofaffection, desire, and freedom.