This article explores the blues genre from a psychoanalytic perspective, aiming to understand how music affects the individual's subjectivity and establishes communication with collective and cultural spheres. The authors review psychoanalytic literature, including works by Freud and commentators such as Renato Mezan, Tânia Rivera, and Leandro A. Tavares, who discuss the relationship between art, music, and psychoanalysis. Cinematographic productions, such as "Devil at the Crossroads" (2019) and "The Blues: A Musical Journey" (2003), are also selected to understand the historical trajectory of the blues. The article theorizes that the blues has served as a space for acceptance, resistance, and meaning-making by bringing people and musicians together to sing, dance, and lament together. The blues emerged in the context of extreme racism and oppression, allowing the African American community to maintain their cultural identity and resist daily oppressions. The music preserves the experiences and struggles of this community, providing a means for expression and a way to cope with the trauma of slavery. The authors highlight the psychoanalytic aspects of the blues, such as the identification process and the projection of repressed elements, which are facilitated by the music. The blues also contributes to the understanding of the interplay between life and death instincts, reflecting the tension between the need for creation and the tendency towards destruction. Overall, the article argues that the blues is a powerful medium for subjetivation, preserving and expressing the experiences of a marginalized group.This article explores the blues genre from a psychoanalytic perspective, aiming to understand how music affects the individual's subjectivity and establishes communication with collective and cultural spheres. The authors review psychoanalytic literature, including works by Freud and commentators such as Renato Mezan, Tânia Rivera, and Leandro A. Tavares, who discuss the relationship between art, music, and psychoanalysis. Cinematographic productions, such as "Devil at the Crossroads" (2019) and "The Blues: A Musical Journey" (2003), are also selected to understand the historical trajectory of the blues. The article theorizes that the blues has served as a space for acceptance, resistance, and meaning-making by bringing people and musicians together to sing, dance, and lament together. The blues emerged in the context of extreme racism and oppression, allowing the African American community to maintain their cultural identity and resist daily oppressions. The music preserves the experiences and struggles of this community, providing a means for expression and a way to cope with the trauma of slavery. The authors highlight the psychoanalytic aspects of the blues, such as the identification process and the projection of repressed elements, which are facilitated by the music. The blues also contributes to the understanding of the interplay between life and death instincts, reflecting the tension between the need for creation and the tendency towards destruction. Overall, the article argues that the blues is a powerful medium for subjetivation, preserving and expressing the experiences of a marginalized group.