“I think the blues is still alive because it keeps finding new ways to express itself. But when we talk about its evolution, I think it’s important to remember that it didn’t emerge simply as a musical genre; it came out of a very particular historical, social and cultural context. For me, that can’t be separated from its identity.”

Dai Gallo: Soul & Breaths of Harp Attack

Dai Gallo is an harmonica player from Argentina with international recognition, known for her energy on stage and her passionate harmonica playing. Currently based in Mexico, her career combines live performances, recordings, classes, and workshops dedicated to promoting the harmonica as a leading instrument. Her powerful and expressive style, along with her talent and ability to connect with the audience, have made her one of the most active harmonica players in Mexico. Dai Gallo regularly performs at major music festivals, blues and jazz clubs in Mexico, and has been invited to accompany renowned international artists visiting Mexico and Central America on tour. She has shared the stage with figures such as Tia Carroll, Sax Gordon, R.J Mischo, Sugar Blue, Bruce Ewan, Birdlegg, Don Vilanova "Botafogo", David Tanganelli, Quique Gómez, Jimmy Bowskill, David Rotundo, Sandra Vasquez, Nico Smoljan, Fabricio Rodríguez, Dave Herrero, Kyle Rowland, and Peaches Staten.

(Dai Gallo, Mexico 2026 / Photo by Kathrin Meier)

Additionally, with some of her projects, she has opened concerts for big names like Junior Watson and ¨La Mississippi¨, bringing her distinctive sound to top-tier stages. Her versatility and commitment to music have made her an artist who brings the harmonica to the forefront with strength, sensitivity, and a passion that transcends borders. As an official HOHNER artist, Dai (Daiana) Gallo has managed to stand out globally with her unique passion, dynamic stage presence, and the distinct way she blends blues with jazz. In our conversation, she spoke to us about her musical journey from Argentina to Mexico, her collaborations with legends of the global stage, and what the harmonica means to her — a small instrument with a massive soul.

Interview by Michael Limnios

How has the music influenced your views of the world and the journeysyou’ve taken? What keeps you passionate in blues?

Music is my door to the world. There was always music of all kinds in my home. When I started exploring it and found the courage to make my own music with the harmonica, I took a bigstep: I discovered a wonderful universal language. Over time, I came to understand that music is about much more than playing an instrument; it’s a way to communicate, meet other people and share.

Music has taken me to places I never imagined going. It’s my passport. Argentina, Mexico, the United States, Germany, Ecuador, Guatemala… I never imagined I’d get to travel and see so many places, and there are still many more I’d like to discover. I’ve also been lucky enough to share music with musicians from all over the world and see that, even when our cultures, languages and realities are different, music always finds a way to bring us together.

What keeps my passion for the blues alive is knowing that I still have so much to discover. I’m still learning, traveling back in time through listening, and discovering the many musicians who built an extraordinary legacy—one that can be heard in the roots of so much of the music we listen to today. That’s what draws me to it. The blues lets me be vulnerable and strong at the same time, express myself freely and find something new within a language with such a rich history. And in the world we live in, I feel it’s still honest and real. That’s what I look for in music.

How did your journey with the harmonica begin in Argentina, and what inspired youto make it the leading instrument of your career? What moment changed your musical life the most?

My story with the harmonica began when I was 14, in Argentina. My older brother played electric bass in rock bands, and I wanted to find a way to share that musical world with him. I wasn’t especially drawn to string instruments, but I’d heard songs by Los Piojos, a very popular Argentine rock band that featured the harmonica. I especially remember “Tan Solo”, which opens with a bass and harmonica line. I thought I could play the song on harmonica while my brother played bass. That’s how it all began.

A turning point came when I saw James Cotton live during one of his tours of Argentina. He was the first great blues harmonica legend I’d seen onstage, and the experience had a huge impact on me. After that, I became more and more interested in the blues, developed a real love for the genre and began to discover everything I could express through the harmonica. That was when I started to imagine I might be able to make a life in this music.

Over the years, the gigs, tours, recordings and collaborations came along. The harmonica stopped being simply the instrument I’d chosen to share music with my brother and became my main means of expression. I live in Mexico now, and I’m still making my way with it. Sometimes I think it all began with one simple idea: playing a song with my brother. I never imagined where it would take me.

“Music is my door to the world. There was always music of all kinds in my home. When I started exploring it and found the courage to make my own music with the harmonica, I took a bigstep: I discovered a wonderful universal language. Over time, I came to understand that music is about much more than playing an instrument; it’s a way to communicate, meet other people and share.” (Daiana ‘Dai’ Gallo, a harmonica player from Argentina, currently based in Mexico - known for her energy on stage and her passionate harmonica playing / Photo by Kathrin Meier)

As one of the most active harmonica players in the Americas, how do you see theLatin American audience's response to blues, jazz, and the harmonica in general?

I think there’s a very genuine connection with the blues and jazz in Latin America, even if they don’t always get the same visibility as other genres. Usually, there is a “bigger” scene in Jazz than Blues, but regarding to the Blues, there are musicians, festivals and audiences working incredibly hard to keep this music alive, often in difficult circumstances.

In my experience, Argentina and Brazil have a very strong blues presence, both in the number of musicians, festivals and audiences, and in the musical level of their players. There are also hugely talented musicians in Mexico, and a scene that’s still looking to grow and find new spaces.

The harmonica is a very distinctive instrument. It’s small, accessible and familiar to a lot of people, but they don’t always know how expressive it can be. Although it’s often associated with the blues, it also has a place in jazz and many other styles.

At harmonica gatherings and festivals, I’ve seen the instrument take centre stage and create a very special connection with the audience. I’d love to see more opportunities to show its range and for it to keep gaining ground as a lead instrument, not just an accompaniment.

You have shared the stage with great international names. Is there a specific collaboration or piece of advice that you hold onto as a milestone in your career?

There are several experiences that have stayed with me for different reasons. One was being part of Don Vilanova Botafogo’s band. He’s a key figure in the history of Argentine blues rock. I played different venues across Argentina with him, and it was a very important experience for my professional development. It was the first time I felt that someone I deeply respected and admired, for his history and career in my country, believed in my work as a musician.

But last year I also had the chance to share my harmonica with two great blues legends, and it was unforgettable. I went to Chicago for the first time, during the city’s biggest blues festival. On the first night, I went to see Buddy Guy’s legendary club. My good friend, the brilliant guitarist Dave Herrero, was playing and invited me up onstage. To my surprise—and everyone else’s—the one and only Buddy Guy was in the room, and he decided to come up and sing.

Just being there was incredible. But I wasn’t simply in the audience: I was onstage playing, and Buddy Guy himself gave me the cue to start my solo. He heard me. He heard my harmonica. I still can’t find the words to describe how happy I was. Even in my wildest dreams, I wouldn’t have imagined that on my first trip to Chicago, on the very first day and the very first night, I'd be playing at Buddy Guy’s club with him right there onstage. Another of the most wonderful things the harmonica has given me was meeting Billy Branch. One time, I went over to tell him how much I admired him. As we chatted, I told him I played harmonica and he asked how long I’d been playing. When I said more than twenty years, I’ll never forget the look on his face: a mix of surprise and a little disbelief. Then he asked if I had a harmonica and said, “Play something!”

It was one of those moments when fear, happiness and adrenaline all hit at once. I played right by his ear and, after listening for a few seconds, he looked at me, nodded, took out his harmonica and we started playing together. It all happened in the courtyard of Muddy Waters’s house, where the Mojo Museum is now, in Chicago. It was deeply symbolic for me: being in Muddy Waters home, playing the blues with Billy Branch. That encounter felt like a great validation of my instrument and the way I play. It’s a moment I still carry with me.

I couldn’t say there was one piece of advice that changed my life. A lot of the most important lessons don’t come in the form of a saying; they come through experience. If I had to choose one lesson, it would be that you have to learn to listen. Playing your instrument well isn’t enough: you also need to know when to play, when to leave space and how to contribute to the music that’s happening. And there’s one more thing: you have to keep looking for opportunities. Sometimes things take time, sometimes they don’t go as we’d hoped, and a lot of doors close. But I believe that consistency, preparation and a willingness to keep learning are essential to building a career in music.

“I think music has a huge impact on society because it’s a way of communicating that goes far beyond words. It can connect people across different cultures, generations and realities. It can bring us together, make us feel part of something and accompany us through different moments in life.” (Photo: Dai Gallo with Billy Branch jammin on the road, Chicago IL 2026)

Beyond your live performances, you frequently organize classes and workshops.What is the biggest challenge when teaching the harmonica to young or aspiring musicians?

For me, one of the biggest challenges in teaching today is conveying the importance of patience and persistence. I feel we live in a time when people want quick results, but learning anything takes time. And, honestly, I believe learning music takes a lifetime. We have so many tools for studying now: social media, tutorials and all kinds of content that put information at our fingertips. But even when everything has been explained and understood , you still need hours of practice, mistakes, a few successes, focus, dedication and, above all, listening—really listening closely to the music you want to learn to play. That can be difficult. I sometimes struggle to find quality time myself, with so many distractions. I know this affects all of us.

That’s why, when I teach lessons or workshops, I always spend some time talking about the challenges they’ll face along the way. Learning isn’t quick or easy, but if you really give your practice time and attention, you can achieve amazing things. You can also discover a slower-paced world, one that takes patience but is incredibly rewarding and creative.

The harmonica can seem simple because it’s small and easy to carry, but developing a good tone, controlling your breathing, articulating notes and finding your own musical expression all take time and a lot of practice. Sometimes we want to move ahead quickly and get frustrated when things don’t work out. At those moments, I like to remind my students that consistency and discipline are essential. We won’t always feel inspired, but we can keep learning if we stay curious and willing to put in the work. I also try to get across that learning music isn’t just about piling up techniques and theory or playing lots of notes. As I said, you have to listen a lot, get to know the people who built the musical language you’re learning, and understand that music is a dialogue.

What is the impact of music on the socio-cultural implications? How do you want the music to affect people? What is the role of musician/music in today’s society?

I think music has a huge impact on society because it’s a way of communicating that goes far beyond words. It can connect people across different cultures, generations and realities. It can bring us together, make us feel part of something and accompany us through different moments in life.

I’d like my music to move people in some way: to make them feel something, smile, dance, or simply pause for a moment and enjoy it. I don’t think there’s only one way to feel music, and that’s exactly what’s lovely about it: each person can find something different in the same song.

I also believe musicians have a responsibility towards the music we make and the culture we’re part of. For me, playing the blues means keeping a music with an enormous history alive, knowing and respecting its roots, while also bringing my own voice and the way I feel and express it.

In a society where everything seems to happen faster and faster, I feel music is still a place for people to come together, listen and connect. I think that’s one of its greatest values.

“For me, one of the biggest challenges in teaching today is conveying the importance of patience and persistence. I feel we live in a time when people want quick results, but learning anything takes time. And, honestly, I believe learning music takes a lifetime.” (Dai Gallo / Photo by Kathrin Meier)

What does to be a female artist in a Man’s World as James Brown says? What is the status of women in music?

Being a woman who plays harmonica in the blues has its own particular challenges. The instrument has historically been associated with men, and in some places people can still be surprised to see a woman playing it as her main instrument.

I can’t speak for all women or say that we all have the same experiences. In my case, I’ve had to build my career with patience, hard work and perseverance, like any musician, while also being aware that women are still underrepresented on some stages.

I think things have changed for women in music, and there are more and more incredible artists taking up important spaces. Even so, there’s still a lot to do to create real opportunities—not only to get onstage, but also to record, produce, take part in festivals and have a say in decisions across the industry.

Women have always been part of music, even if they haven’t always received the recognition they deserved. Personally, I don’t want to play harmonica to prove that a woman can do it. I want to play because I have something to say through it. I hope my presence also encourages other women and men to get into the instrument, the music and the live scene.

We notice that the blues is constantly evolving auditorily and blending with new genres, without ever losing its traditional identity. What drives this balance, and whatdo you think the next step in its evolution will be?

I think the blues is still alive because it keeps finding new ways to express itself. But when we talk about its evolution, I think it’s important to remember that it didn’t emerge simply as a musical genre; it came out of a very particular historical, social and cultural context. For me, that can’t be separated from its identity.

Throughout its history, there have been musicians who truly transformed the language of the blues. When it comes to the harmonica, Little Walter is my great reference point. He was a revolutionary: he developed a technique, a sound and a presence that changed the way people improvised in the blues, while still sounding like the blues.

Each generation brings its own influences and experiences. The blues has connected with rock, jazz, soul and many other genres. I’m not closed to those explorations; on the contrary, I’m interested in exploring other sounds and experimenting. But I think there’s a difference between adding new ideas and losing sight of what gives this music its identity.

I don’t know what the next step for the blues will be. I even wonder whether everything we call evolution today will still be called the blues in a few years, or whether some of those explorations will end up becoming something else. I don’t think that’s necessarily a bad thing. For me, what matters is knowing and respecting the roots of this music. After that, every musician will find their own way to express themselves.

Dai Gallo - Home

(Dai Gallo, Mexico 2026 / Photo by Kathrin Meier)