Every Monday evening as the sun sets over Montevideo, Uruguay’s coastal capital, hundreds of people stream into Plaza de España, gathering around a large wooden table to lose themselves in the rolling, centuries-old rhythms of candombe. What began as an informal jam session between a small group of friends has exploded from humble street-corner origins to one of Uruguay’s most celebrated cultural events, even earning an invitation to the world-famous Cannes Film Festival.
“It started as something just for us, and we never set out to become this visible,” explained Caleb Amado, a Uruguayan producer and one of the co-founders of La Rueda de Candombe. The late-season closing performance held this Sunday marked the end of the group’s 2025 public gathering schedule, bringing together six core musicians to honor candombe — the dynamic, drum-driven musical tradition that sits at the core of Uruguayan national identity, and a practice officially named an Intangible Cultural Heritage of Humanity by UNESCO.
The story of La Rueda de Candombe begins in the fall of 2024, when Amado and his collaborator Rolo Fernández traveled to Rio de Janeiro, Brazil. Strolling through the city’s iconic bar districts under warm tropical nights, the pair encountered “rodas” — loose, informal circles of musicians who gather around a table to play and sing, with standing audiences milling close to join the energy. Inspired by the accessible, communal spirit of these gatherings, they returned to Montevideo and gathered four additional local musicians to launch their own version, rooted in Uruguay’s own iconic musical tradition.
Like the Brazilian rodas that inspired it, La Rueda de Candombe centers its performance around a single table. But the sound it produces is unmistakeably Uruguayan: a driving blend of drums, acoustic guitar and accordion that brings new life to candombe, a genre with roots stretching back to the 18th century, when African traditions were brought to the region by enslaved people. Today, candombe is woven into the very fabric of Uruguayan national identity, a status formalized by its UNESCO designation in 2009.
In the group’s early days, nearly 100 fans packed into a tiny neighborhood bar called Santa Catalina on a quiet Montevideo corner to listen. Within just a few months, the crowds grew too large for the small space, forcing the weekly gatherings to move out into the open expanse of nearby Plaza España. As word of the communal, energetic performances spread across social media, tourist vans began arriving weekly from across the country, and the event became a must-see stop for visitors to Montevideo.
Unlike neighboring South American capitals such as Buenos Aires or Rio de Janeiro, spontaneous street performances are relatively rare across Montevideo, even with the city’s abundant public spaces, including a 22-kilometer waterfront promenade that stretches along the Atlantic coast. But social media buzz around La Rueda drew attention from across Uruguay’s creative scene, leading to high-profile collaborations: the group has shared the stage with Oscar-winning Uruguayan singer-songwriter Jorge Drexler at Montevideo’s legendary Centenario Stadium, and has recorded a full studio album of traditional and reimagined candombe tracks. By early 2025, the group’s rising profile earned them an invitation to represent Uruguayan culture at the Cannes Film Festival, which hosts dedicated global cultural showcases alongside its iconic film competition program.
For Uruguay, candombe has never been just music — it is a living cultural and political tradition tied to the country’s African roots. The genre itself first emerged from the historic Plaza España, where enslaved Africans brought to Montevideo used drum beats to preserve their ancestral rituals at the site where they first disembarked. Traditional candombe is built around three distinct drum types: the small, high-pitched chico, the mid-range repique, and the low, booming piano drum. Every February, the tradition takes over the country during carnival, when dozens of community troupes called comparsas parade through Montevideo’s streets playing nonstop candombe rhythms.
By the middle of the 20th century, candombe evolved to blend with jazz and mainstream popular music, giving rise to a new subgenre called “candombe canción.” It became a staple of informal community gatherings much like La Rueda, and during the political repression of the 1960s and 1970s, it emerged as a powerful form of cultural and political expression for Uruguayan communities demanding greater autonomy and recognition.
As the Southern Hemisphere’s colder winter months approach, Amado and Fernández have no plans to pause the project. Instead of slowing down, the pair say La Rueda de Candombe is using the off-season to develop new programming, with plans to expand weekly gatherings to additional public squares across Montevideo in the 2026 season, bringing the centuries-old rhythm to new audiences across the capital.









