Born in 1983, at the tail end of Chile’s dictatorship (1973-1990), and becoming prominent as an artist in Chile in 2003 and later well-known across Latin America and worldwide, Mon Laferte’s career has been marked by its dynamic relationship with retro-futuristic aesthetics. Covering a range of genres, from futuristic Latin-Pop, the retro-Latin ballads of the 1960s, 1970s and 1980s, to Latin America’s folkloric traditions including Mexican regional music, bolero and even salsa, Laferte’s work combines the nostalgic sounds of the popular music of Latin America’s recent past with a set of intensely personal narratives. Utilizing Mark Fisher’s and Bifo Berardi’s theorizations of hauntology and lost futures, Simon Reynolds’ insights into the retro, and combining these with Ahmed’s insights on feminism, this article proposes that Mon Laferte’s work as a musician, lyricist, cover-artist, and producer of visual media, functions towards overcoming the dual traumas of Chile’s dictatorship and Latin America’s machismo, by producing an aesthetic territory that privileges feminine and traditionally feminized spaces, experiences, affects and discourses. In this way social traumas are enmeshed with personal ones, and a retro-futurist voice emerges, which side-steps masculine visions of the social and the political, proposing instead an introspective vision that is filtered through the feminine experience.