Ludmila Oliveira da Silva (born 24 April 1995), known mononymously as Ludmilla (Portuguese pronunciation: [ludʒiˈmilɐ]), is a Brazilian singer-songwriter who became known with the song "Fala Mal de Mim" (English: "talk smack about me").

[4] At the start of her musical journey, Ludmilla was considered an emergent female artist to watch-out for in funk carioca.

[7] Ludmilla's music career took off after her breakout hit single "Fala Mal de Mim" (released as MC Beyoncé) posted on YouTube went viral.

In an interview with SBT's TV show Domingo Legal, Ludmilla revealed that her former stage name was given to her by her friends because she was such a huge Beyoncé fan.

In early 2014, Ludmilla resumed her career with new look and signed a contract with Warner Music Brazil to release her first album with the label with pop roots and leaving "MC" out of her stage name.

[17] On June 20, 2014, Ludmilla released the song "Hoje", which was part of the soundtrack of the telenovela Império on Rede Globo, and its respective music video.

The song ''24 Horas por Dia' was released on 15 October 2015, in Brazilian radio as the fifth single from the album.

The album also included the singles "Sem Querer", "Te Ensinei Certin", "Não Quero Mais" and "24 Horas por Dia".

[28] The third part of the "Lud Session" project was released on 30 June 2022, and featured Brazilian singer Luísa Sonza.

[29] On 23 August 2022, Ludmilla released her third live album, Numanice 2: Ao Vivo recorded at Museum of Tomorrow, in Rio de Janeiro.

[40] Ludmilla is among the few modern popular Brazilian performers to collaborate with Spanish-language artists, notably from the reggaetón genre, including the Puerto Rican-American singer Mariah Angeliq, and Emilia (from Argentina).

Vocal agility is her singing strength, even with little apparent training, Ludmilla manages to perform melismas of considerable difficulty in fast tempos, demonstrating the potential of her small and delicate singing instrument; his previous aptitude for the mixed register is also not left out.

Ludmilla does not demonstrate an exquisite knowledge of reconciling support with breathing, making her high notes in a mixed register become tense and less salubrious, even though she has ease with this region of her voice.

[41] Ludmilla cites the North American singer Beyoncé as the biggest musical reference for her career.