Crate Digging: Carmen Montañez-Callan, Independent Film and TV Music Supervisor

Carmen Montañez-Callan, independent film and TV music supervisor, discusses her top two finds from Concord Label Group.

As Above, So Below by Sampa The Great

Sampa the Great is easily one of the most compelling current artists, and 'Lane' featuring Denzel Curry has become one of my favourite recent tracks, which is why I’ve chosen As Above, So Below as my frontline dig. As a Music Supervisor I listen to tons of music all the time for various projects, so when I find an album that I want to listen to at home on repeat for pleasure, I know I've found something truly special. Something that I can enjoy purely for myself, rather than for work. When I'm in that headspace, I revert back to the music-obsessed teen in my bedroom living for and through music.

I grew up listening to Hip Hop and have always loved the more experimental corners of it - subgenres characterized by unconventional, abstract sounds that combine elements of Hip Hop with other genres. Weird music with a fat bass is always going to get me and so I fell for As Above, So Below with its bold, immersive, and otherworldly sounds.

Born in Zambia, raised in Botswana and living in Australia, Sampa the Great reconnects with and celebrates her roots through this album. It was recorded in Zambia with local musicians who understood Sampa’s cultural references and that connection runs deep throughout the record. The result is a rich, genre-blending body of work that feels both deeply personal and sonically adventurous.

The album weaves together elements of Zamrock, Afrobeat, Amapiano, Hip Hop and Neo Soul, layered with African rhythms, languages and storytelling traditions. Stand-out tracks for me include ‘Lane’ (feat. Denzel Curry), ‘Mask On’ (feat. Joey Bada$$) and ‘IDAGF’ (feat. Kojey Radical).

'Lane' opens with a low hum that hits like a somatic vibration in your chest. Every time I hear it, I instinctively close my eyes and feel shivers run from my head to my toes. It’s dark, defiant, and psychedelic. Tense yet strangely soothing. The bass is heavy and the production feels warped and slightly off-kilter, a combination that I am always drawn to. There’s a distinct 1950s influence at moments in the vocal textures and backing harmonies, giving the track a ghostly, retro-futurist feel that adds depth to its defiant energy. Lyrically and sonically, 'Lane', like much of the album, is about resistance, self-determination and authenticity. Sampa rejects conformity and refuses to be pigeonholed. It’s a track that holds space for strength, vulnerability and transformation all at once.

I used 'Lane' by Sampa the Great (feat. Denzel Curry) in an episode of Boarders Series 2 last year. It was the perfect fit for a pivotal scene where Femi pushes back against his strict Nigerian father’s expectations and begins to carve out his own path at school, no longer willing to be boxed in or defined by others.

Also exploring the theme of identity is 'Mask On', which delves into the emotional weight of the masks we wear to meet other people’s expectations. This tension is mirrored in the song’s structure, shifting between distorted, bass-heavy textures and a smoother, more laid-back groove. The contrast between the warped, multi-layered production and the calm, almost soothing vocal delivery captures the push and pull between self-protection and authenticity.

And to end, 'IDGAF' is one the boldest, most unapologetic tracks on the album. A declaration of self-worth and creative independence. Sampa will not shrink herself to make others feel comfortable. She's not asking for permission to take up space. The production is stripped back giving her voice space to land every word with intention. This is a quiet, unwavering middle finger.

A Todos Mis Amigos by Celia Cruz

I'm Venezuelan on my father's side, and Salsa music has always felt instinctive to me. I grew up in England with my mum’s side of the family, so visiting Venezuela for the first time at 22 was a profound experience of self-discovery. One night, my youngest uncles took me to a Salsa club and something just clicked. The music, the energy, the dancing - it all felt so natural, primal, intoxicating. As soon as the percussion and horns kicked in, something deep inside responded. The feeling was visceral and electric.

I’ve also had a long fascination with Cuba, ever since watching the film Soy Cuba by Mikhail Kalatozov. It really left a mark - the cinematography, the atmosphere and the soundtrack made it feel like an otherworldly time capsule, full of beauty and spirit.

A few years later, I had the chance to travel to Havana to shoot a music video. The moment I arrived, it was a full sensory explosion - music was EVERYWHERE - blasting from doorways, taxis, bars, street corners, newsstands, beautiful 50s cars, cafes. Every space had its own captivating soundtrack. I wanted to stop and listen to every track and learn about it and the person playing it. This was pre-Shazam! Combined with the saturated colours, the food, the heat and the deep blue sky, it was like landing in a dream. Despite the struggles people face there, the vibe was joyful and music seemed to hold everything together.

This led me to Celia Cruz, AKA the 'Queen of Salsa' and a true icon of Cuban music. I've picked her 1978 compilation album A Todos Mis Amigos as my catalogue dig. A Todos Mis Amigos by Celia Cruz is a vibrant, frenetic Salsa compilation with tight percussion, bright horns and a vintage big-band feel. Imagine yourself transported to a scene straight out of a 1960s film set in Havana. This album includes tracks from the golden age of the Havana nightclub scene where Cruz made her name, cinematic, alive, and utterly of its time.

'La Guarachera' is a vibrant, high-energy track that transports you to 1960s Cuba. Picture a wild lust for life, frenzied dance, hot nights, rum and unapologetic Latin American femininity. The title refers to a female singer of Guaracha, a fast-paced Cuban music genre rooted in Afro-Cuban traditions. This track blends Guaracha with Salsa, driven by punchy brass, layered percussion (congas, timbales, cowbell, bongos), deep bass and a rolling piano montuno. Celia Cruz’s vocals are commanding, intense and completely magnetic. Originally released in 1966, La Guarachera is a standout classic.

'Bómboro Quiñá' (1970) is more playful but just as rhythmically infectious. The bass line drives hard and the groove is impossible to resist. 'Oye Mi Consejo' (1966) still carries urgency but it’s more melodic. The horns alternate between sharp stabs and smooth melody, punctuating and underlining the vocals. I can picture it animated in the air as I listen. It’s easy to imagine the whole thing playing out in a vintage animation.

I'd love to immerse myself in a period drama set in 1960s South America! That would be pure joy!

NB - the head shot I've chosen for this article is in honour of Celia Cruz and my love of vintage music from when I used to run a 50s Rock n Roll club.

If you’d like to know more, or you’re keen to discover more of our repertoire, please contact: labelsyncuk@concord.com.