The Marías, an indie pop band hailing from Los Angeles, have cultivated a sound that feels as effortless as a late-summer dream. Led by singer María Zardoya and drummer-producer Josh Conway, the band blends indie pop, psychedelic soul, jazz percussion, and bilingual lyrics into an emotive, cinematic tapestry. Their journey from intimate EPs to Grammy nominations showcases a commitment to artistry and cultural fluidity.
The band arose from a serendipitous meeting between María Zardoya—born in Puerto Rico and raised in Atlanta—and Josh Conway at Los Angeles’s Kibitz Room. Their creative spark turned romantic, and they soon recruited longtime friends Edward James (keyboards) and Jesse Perlman (guitar) to form the core group . The duo’s cultural differences—María steeped in Latin music and Conway drawn to rock and psychedelia—became a defining force in shaping their sound .
Their early work began with the Superclean Vol. I and Vol. II EPs, released in 2017 and 2018, respectively. These records established a dream-pop aesthetic that felt otherworldly—and gained early traction through their genre-blending artistry .
Their debut album, Cinema, released in 2021 after signing with Atlantic Records, leaned into both literal and figurative cinematic motifs. María described each track as “its own individual scene in its own individual world” . The album’s bilingual nature—five Spanish or partly Spanish tracks—reflected their group’s cultural hybridity .
They fine-tuned atmospheric production, jazzy rhythms, and lush guitar layers to create a vintage-meets-modern sound reminiscent of 60s psychedelia and 90s trip-hop. Critically, the album earned a Grammy nomination for Best Engineered Album, Non-Classical .
“Vintage is a word that’s been used forever… finding a balance between being inspired by vintage songs…and then making it your own—that’ll be something new.”
— Josh Conway, on blending influences into a new language .
In 2024, Submarine surfaced, introducing listeners to a more introspective, aquatic world. The LP’s opening track, “Ride,” acts as a gateway into a submerged soundscape filled with muffled guitars, ambient pulses, and Zardoya’s hushed vocals sailing like slow currents .
Themes of heartbreak, solitude, and transformation are woven throughout the album. Its sonic palette—bubble-like effects, gentle grooves, and melancholic lyricism—underscores personal transition following Zardoya’s split from Conway and the untimely loss of their manager .
Beyond their albums, The Marías have moved confidently between the indie and Latin music spheres. Collaborations include:
These high-profile collaborations broadened their reach and demonstrated how effortlessly they inhabit a space that’s not strictly Latin, nor merely indie—but excitingly both .
In their live shows, the band emphasizes atmosphere over spectacle. Their performances often feature minimalist staging, warm lighting, and a deliberate intimacy that mirrors their recorded soundscapes . At Austin’s Moody Center, Zardoya leaned into vulnerability, performing emotional tracks like “Nobody New” and “Back to Me” with palpable presence and acknowledgment of her Puerto Rican roots .
Their live aesthetic aligns with a growing movement in alternative music: a preference for immersive, emotionally honest experiences over polished, commercial facades.
Despite debuting in 2016, The Marías hit a pivotal career moment in 2026: a nomination for Best New Artist at the 68th Grammy Awards . This recognition—arriving a decade into their artistic journey—signals their evolution from niche indie works to a culturally resonant force.
Parallel to the band’s ascent, María Zardoya has emerged with a solo project, Not for Radio, debuting with the moody, atmospheric album Melt. Rooted in solitude and personal exploration, the project channels Gothic, naturalistic inspirations—described by Zardoya as “vampire enough” .
Her Bay Area solo debut in early 2026 underscored the intimate, genre-defying nature of Not for Radio—a creative detour that underscores her evolving artistic identity beyond the band .
The Marías offer a rare blend of dreamy indie pop, Latin identity, and cinematic storytelling. Their evolution—from Superclean EPs to Cinema and Submarine—traces a path of emotional honesty and cultural fusion. Their collaborations extend their reach authentically, and live shows reinforce their ethos of vulnerability. As María Zardoya embarks on a solo arc, the group’s presence feels more vital than ever: rooted in identity, rich in mood, and ever-forward.
They blend indie pop, dream pop, psychedelic soul, jazz-influenced rhythms, and bilingual lyricism—often described as a cinematic, genre-defying fusion .
María’s Puerto Rican upbringing and bilingual songwriting bring Latin influence through Spanish lyrics, rhythmic textures, and collaborations with Latin artists like Bad Bunny and Tainy .
Cinema dramatizes emotional scenes, often romantic or cinematic; Submarine explores heartbreak, solitude, and transformation, all enveloped in underwater atmospheres .
Key collaborations include work with Bad Bunny (“Otro Atardecer”), Cuco, Tainy & Young Miko (“Mañana”), and Selena Gomez (“Ojos Tristes”)—each exposing them to different audiences .
Although active since 2016, the band earned a new mainstream recognition with this nomination, marking a creative peak and broader industry respect .
Not for Radio and the album Melt are more intimate, moody, and exploratory—eschewing pop polish for atmospheric minimalism and personal storytelling .
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