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Bratty will make her Coachella debut this weekend, also marking her first visit to the United States. In addition, she will be the only Mexican-born act to participate in the famed California festival this year (next to Mexican-American artists Becky G, DannyLux, and Conexión Divina), all of which will make the experience three times as special for her.
“I will fulfill the American dream!” she tells Billboard Español, smiling, in a video conference interview. “I feel very lucky that the festival organization noticed me.”
The 22-year-old artist is headed to the Empire Polo Field in Indio, Calif., with her latest musical work, Es Mi Fiesta Y Si Quiero Hago Un EP (Universal Music), with which she seeks to woo new audiences. The five-track set includes the single “Continental,” a melodious indie-pop ballad with Nsqk and Mené (two emerging talents from the northern city of Monterrey) in which she speaks of falling in love and the first weeks of courtship.
Before Coachella — which will take place on the weekends of April 14-16 and April 21-23 — the first big festival in which she participated was Vive Latino 2020 in Mexico City, shortly before COVID-19 spread and the entire world went into lockdown. Now, the challenge for the artist born Jenny Juárez will be greater when performing before a mostly Anglo audience, even if Latin superstar Bad Bunny is the headliner.
“The achievement of getting to Coachella is 50% the product of my team’s work, of the GTS (Global Talent Services) agency, where there are also other alternative artists like Ed Maverick, and also the trajectory of my project, pretty unconventional, and with a view to a more global audience,” says Bratty.
The Culiacán, Sinaloa, native says she has been working on the show that she will present at Coachella for several weeks, where the main challenge will be to capture the attention of the audience and make them stay to listen to her music in the midst of multiple stages and a rich sound offer.
“I always wanted to go, to know the influences of what my music is. I think California, Los Angeles and obviously Coachella are great references for musicians who have come out, who have been part of history, both the most famous and the smaller ones, where there are super interesting projects that have influenced me, and [with which] I am now very happy to be together,” she adds.
Active in the music scene since 2018, Bratty made her debut that year with the EP Todo Está Cambiando, and the following year she released the song “Ropa de Bazar” with fellow emerging Mexican talent Ed Maverick. In 2019, she released her first album, Delusion, followed by tdbn in 2021.
This year, she was featured on Billboard’s On the Radar for her “seductive, whimsical quality” and “knack for kitschy songwriting.” She now hopes to be able to release a third studio album and expand her global reach after her stint at Coachella. “Three is my lucky number,” she says, “so hopefully it will be dropping this year.”
Thalia fans, rejoice! The Mexican pop star and actress is celebrating the music that influenced her throughout her life in an upcoming music docuseries, Thalia’s Mixtape: El Soundtrack De Mi Vida.
Partnering with Paramount+, the three-part music docuseries will premiere exclusively on the platform Tuesday, May 2, in the U.S. and Canada. On May 3, it’s slated to launch throughout Latin America, Australia, the U.K., Italy, France, Germany, Switzerland and Austria. The release will also complement the star’s upcoming album, Thalia’s Mixtape, due April 28 via Sony Music.
Thalia, who is also executive producer and creator of the upcoming docuseries, takes viewers to her musical foundations, uncovering the classics that inspired her and a generation of fans. She is seen rocking out alongside Charly Alberti, the fiery drummer of the timeless Argentine band Soda Stereo, and Roco Pachukote, frontman of ska-rock group Maldita Vecindad. The series then evolves where she entrenches herself into the current, booming Latin music landscape, meeting up with new Mexican pop stars Kenia Os and Bruses.
“This has been my most personal project,” Thalia said in a statement to Billboard Español. “Four years ago, the idea and concept of the mixtape of my life was born in my mind and heart. This docuseries goes through the songs that influenced my path, forging my destiny. I talk to my lifelong idols, the artists behind these legendary songs that marked entire generations with their music. In this series we delve into the stories and origins of these compositions, and as an absolute fan of these great artists, I have the honor of performing these musical gems with them. It’s an incomparable gift.”
https://www.youtube.com/watch?v=KObfELic21k
Through interviews, raw footage and modern renditions of classics with veterans and contemporary artists, the show promises to “revisit the history of Latin music and uncover its future in an intimate way not yet seen before.” Thalia has been a longtime supporter of emerging talent, and she continues to shed a spotlight on the most riveting sounds today. She is also an honoree at Billboard’s premiere Latin Women in Music event, taking place May 6, and broadcasted via Telemundo the next day.
“This has been a labor of love for Thalia — to relive and bring to life the music and the most popular songs of her teenage years, and to document and perform in the film with the original artists is a lifelong dream,” said executive producer and entertainment mogul Tommy Mottola, also Thalia’s husband.
Ntertain Studios executive producers Lex Borrero and Santiago Zapata added: “Collaborating with people you admire will always be a dream in whatever your line of work. Thalia’s Mixtape is the perfect blend of documentary and musical, yet another example of the timeless impact Thalia has had and continues to have on music and culture.”
Thalia’s Mixtape: El Soundtrack De Mi Vida is produced by MTV Entertainment Studios and Sony Music U.S. Latin.
Yandel once again rules a Latin airplay chart as “Yandel 150,” his collaboration with Feid, ascends to No. 1 on Billboard’s Latin Airplay and Latin Rhythm Airplay charts (dated April 15), lifting 2-1 on both rankings.
“Yandel 150” leads with a 28% increase in audience impressions, to 12.5 million, earned in the U.S. March 31 to April 6, according to Luminate.
The new champ gives Yandel his 15th No. 1 among 34 chart appearances on the all-genre Latin Airplay chart. He returns to the summit following the one-week lead of “Déjà Vu,” with Tainy, in 2021. His longest-leading champ was “Encantadora,” which held atop the chart for three weeks.
Feid, meanwhile, claims his third No. 1 just a month after his featured turn in Ozuna’s “Hey Mor” ruled the March 4-dated list.
The collaboration ousts another pairing, Myke Towers and Daddy Yankee, after one week in charge for “Ulala.”
“Yandel 150” is the fourth single from Yandel’s Resistencia, his seventh studio album as a soloist, released Jan. 13 via Sony Music Latin. The 17-track set, jam-packed with reggaetón vets and newcomers alike, including his longtime collaborator Wisin, earned the Puerto Rican an eighth straight top 10 on Latin Rhythm Albums (March 23-dated list).
Further, “Yandel 150” leads in its ninth week on Latin Airplay, tying with “Hey Mor” as the third song to rise to the summit in nine weeks or fewer among Yandel’s 15 champs. Only two other tracks climbed faster: “Como Antes,” featuring Wisin, led in its second week, while “Se Acabó El Amor,” with Abraham Mateo and Jennifer Lopez, conquered in its sixth week.
Elsewhere, Yandel also takes his 15th No. 1 on Latin Rhythm Airplay, while Feid picks up his fourth champ.
SBS Entertainment, the live event arm of Spanish Broadcasting Systems, and global venue development company Oak View Group (OVG) have inked a multi-year strategic agreement, the companies tell Billboard.
The deal, which has been in the works for two years, is described as an effort to “reimagine the live industry landscape” and an opportunity to reach new markets with Latin-focused music events.
Founded in 2015, OVG has grown to work with more than 400 venues worldwide. The deal with SBS marks the first time they’ve teamed up with a Latin company that focuses on producing and promoting large-scale live events. For 16 years now, SBS has produced L.A.’s Calibash, the best-known urban Latin festival in the U.S. that has boasted J Balvin, Daddy Yankee and Karol G as headliners over the past few years. It also produces the New York-based Mega Bash concert (presented by SBS radio station La Mega 97.9), which in December will take place for the first time at UBS Arena — marking the first event announced under the partnership.
Conversations about a possible partnership began when New York’s OVG-developed UBS Arena, which opened in November 2021, was still under construction. It was then that Mark Shulman, the facility’s senior vp of programming, invited the SBS Entertainment team to tour the grounds.
“When you look where [UBS] is located and [the] diversity nearby, Latin music should be a core of what this building is built on,” says Shulman. “I reached out to SBS, being such a leader in live events, and brought out their entire team so they could experience it from its early days. That began the explorations of what the possibilities might be. What started as a New York discussion quickly turned into a national discussion.”
But it wasn’t until last year that the national deal was sealed, and it happened when Francesca Bodie, president of business development at OVG, and Alessandra Alarcón, president of SBS Entertainment, met at Billboard‘s Women In Music 2022 event (both women were honored that year).
“I knew Mark had a relationship with SBS, but Alessandra and I just sat together at the event and said, ‘Wouldn’t it be great to work together?’ The fact that our venue in Palm Springs will do over 20 Latin shows this year, we thought, ‘This is not just a New York thing, this is going to be a nationwide opportunity,’” says Bodie. “We could’ve easily done a one-year commitment but doing a multi-year deal instead was a no-brainer. They have the team that can execute these marquee events and we have state-of-the-art arenas in the U.S and in the world. It was just a natural fit.”
“In our continuous dialogue with OVG about where to take the shows next, we suspect we’re going to be bringing our marquee shows to other markets,” says Christopher Martinez, director of business affairs at SBS. “We are focusing a lot on growing our heritage brands. There’s also a focus on regional Mexican and we’re planning on bringing one-off shows to Austin and also to Palm Springs. We’re definitely looking at expanding and not just focusing on reggaeton.”
The deal between SBS Entertainment and OVG comes at a time when Latin music continues to see global growth across multiple metrics, particularly in touring. The top 25 Latin tours of 2022 grossed $990.8 million and sold 8 million tickets (based on Billboard‘s Boxscore reporting period of Nov. 1, 2021-Oct. 31, 2022). Moreover, in 2022, Latin music outpaced growth in the overall industry with a 24% increase, totaling $1.1 billion in revenue, according to the newly-released RIAA U.S. Latin revenue report, which also highlights an all-time high in terms of market share for the genre at 6.9%.
“Companies like OVG are prioritizing the Latin space and now see the value of partnering with media companies like us because we are the general market now,” says Martinez. “We’re seeing people responding to what the new normal is [with] respect to Latin music.”
Adds Bodie, “As we look at the way we want to continue to anchor and prioritize [Latin], it is critically important that we have alignment with SBS.”
With OVG venues under development in the United Kingdom and Brazil, Bodie hopes to keep expanding their deal with SBS by developing Latin-focused content and activations in those markets. “We’ll definitely talk about what those opportunities will look like in the future.”
Latin music revenues in the United States hit an all-time high last year, exceeding the $1 billion mark on the wings of 24% growth that outpaced the overall market.
According to the RIAA’s year-end Latin music report for 2022, total revenue jumped from $881 million in 2021 to $1.1 billion in 2022, with Latin music’s overall share of the total music market lifting from 5.9% in 2021 to 6.9%.
“Latin music revenues in 2022 exceeded $1 billion for the first time and grew significantly faster than the broader industry. That sustained expansion speaks to an openness to new artists, music and ways of listening,” says RIAA senior VP, state public policy & industry relations Rafael Fernandez Jr.
Months earlier, the RIAA’s mid year report had already suggested that Latin music revenues would reach a new peak, driven by the success not only of Bad Bunny — who ended the year as the most streamed artist in the U.S. and around the world — but also a cadre of other artists who have had major streaming success, including Rosalía, Karol G and Rauw Alejandro.
Streaming makes up a stunning 97% of Latin music revenue, accounting for more than $1 billion. Within that, paid subscriptions were the biggest growth driver, contributing 71% of streaming revenues and posting revenue growth of 29% to $758 million.
Another major contributor to growth was ad-supported on-demand streams (from services like YouTube, Vevo and the free version of Spotify), underscoring how important video is to the Latin fan. Revenue from this space grew 24% to $230 million, a 21% share of total Latin music revenues, over-indexing compared to the 11% average of the overall market.
Conversely, revenue from digital services like Pandora and SiriusXM decreased 5% to $73 million, making up 7% of streaming revenues. Permanent downloads also fell 15% to $11.7 million. They now make up only 1% of revenue.
And while physical sales remain a tiny percentage of revenue – less than 1% – they are growing. CD revenues were up 60% to $3.1 million and vinyl grew 67% to $9.1 million, signaling a fresh area of growth potential for Latin music.
Warner Music México has announced the launch of Gorgona, a label which will be “completely” run and managed by women, and will also be focused on promoting women talent.
According to a statement issued by the company Wednesday (April 12), the “historically low” presence of women in key senior industry roles initially led to the formation of Warner Music México’s Gender Equality Committee, comprised exclusively of women across the organization. Then came the idea of creating a label in which all roles — from songwriting to digital music services — would be executed by women.
The creation of Gorgona — a creature who is a protective deity of women according to Greek mythology is — led to their first songwriter’s camp attended by Ali Stone, Erika Vidrio, Escarlata, Ingratax, Marian Ruzzi, and other artists, producers and songwriters.
“The atmosphere in our first camp was very friendly because everyone felt that their opinions and voices were validated in the studio,” says Andrea Fernández, A&R manager at Warner Music Mexico and the label’s creative leader. “They had practically never attended a camp where the participation of women was greater than that of men. We came out with a network of creative women who were able to get to know themselves and their work and produced spectacular songs.”
“Cypher 1: Ella”, which dropped on International Women’s Day, was the first release under Gorgona. A collaboration between singers and emcees Mabiland, Emjay, Mare Advertencia and Delfina Dib, the alternative, urban-leaning song was produced by Maria Vertiz, mixed by Marcella Araica and mastered by Natalia Schlesinger.
The underrepresentation of women in the industry in Mexico reflects the reality of music in general. A report on inclusion issued by The University of California Annenberg Inclusion Initiative earlier this year found that women have been woefully underrepresented across the recorded music industry.
The number of women with producer credits continues to be low. In 2022, only 3.4% of producers were women across all songs included on the year-end Hot 100 chart, according to the report, which examines the gender of artists, songwriters and producers across all 1,100 songs included on Billboard’s Hot 100 year-end charts spanning from 2012 to 2022. Moreover, women represented only 30% of the 160 artists on the Hot 100 year-end chart, while men made up 69.4% and artists who identified as non-binary made up less than 1%.
Mariah Angeliq caught up with Billboard News to discuss the criticisms that inspired her latest single “Ricota,” running away from home to pursue music and how she thrives as a woman in reggaeton.
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“I [grew up] listening to music because of my mom. She has a love for music and named me Mariah because Mariah Carey was her favorite artist,” she explains. “When I was like 9, I realized yeah, I wanna be on the screen. That could be me.”
The Miami native has seen much success in a short time, including her breakout single “Perreito,” which she performed at Billboard’s 2022 Latin Music Week and later with the chart-topping “EL MAKINON” alongside Colombian star Karol G.
Mariah recalled meeting producer Nely “El Arma Secreta” at age 16 and was motivated by the Luny Tunes hitmaker to begin singing in Spanish. “For all my teenage years, I was singing in English and thinking to myself that I was going to be like the next fire R&B American artist,“ she tells Billboard.
Around that time, Mariah ran away from home to fully immerse herself in the pursuit of music, something she says her family didn’t take seriously early on. Despite the lack of enthusiasm from her loved ones, she pressed forward. “We always know as artists that we’re going to make it,” she says. “I always believed in myself, and in my music.”
Her most recent single, “Ricota,” came in response to Internet “haters” hurling insults at the 23-year-old singer regarding her weight. “They started saying I was fat and I’m not here looking for validation. I think what that’s what the message of the song is,” Mariah explains. “Society has such a distorted perspective of beauty. But while I was getting all those negative comments, I received a DM saying that I was ‘bien ricota,’ so I got inspired.”
When it comes to navigating reggaeton, which for most of its history has been male-dominated, she draws on inspirations like Ivy Queen and her own “boss” energy. “I feel like I’ve navigated or learned to navigate through it really well because of my attitude and my strong character. You just gotta learn to speak up for yourself and have a voice.”
Mariah will embark on a European tour this summer, and possibly a U.S. tour to follow.
The music industry is mourning the sudden death of actor and singer Julián Figueroa, son of the late Mexican star Joan Sebastian and Costa Rican actress Maribel Guardia. Figueroa died Sunday in Mexico City at the age of 28 — just one day after what would have been Sebastian’s 72nd birthday.
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In an Instagram post, Guardia said Figueroa was found unconscious in his room while she was at the theater. “They called 911 and when the ambulance and police arrived, they found him already lifeless, with no traces of violence. The medical report indicates that he died of acute myocardial infarction and ventricular fibrillation,” she said.
Figueroa, who was known for songs such as “Pídeme,” “Volaré” “and Cómo Olvidar,” had a close relationship with his father, which could be reflected in one of his last Instagram posts.
“How slowly 8 years have gone by since the day you left time tastes more bitter. And people proclaim that time is a fix for everything, but this is a vile lie, it hurts more every day, and this is without fear of hurting sensibilities,” the artist wrote, next to a photo of himself as a child with his father.
Sebastian, who died in 2016 after a long battle with bone cancer, had eight children with five different women. His love for his children often shined in his music like in “Julián,” the song he wrote for Figueroa 23 years ago.
The lullaby-like, waltz-inspired track — part of his Secreto de Amor album that spent nine weeks at No. 1 on the Regional Mexican Albums chart in 2000 — finds Sebastian dedicating sweet words of love, appreciation and promises to his then-5-year-old son.
Below, listen to the sweet track, followed by the lyrics translated into English:
When you were a child JulianYou asked me to write a song that saidWhat I feel for you
That’s not easy, JulianAlthough I wrote a thousand songsThe most beautiful thing about love, JulianIs carried in the hearts
And this waltz is for you, for you, JulianDance it, enjoy it from beginning to endAt your graduation and your wedding dayAnd this waltz is for you, for you, JulianI will be celebrating tooFrom a corner, I will be watching you dance
When you were a child JulianGod was very good to meHe gave me the honor of being, JulianOf being your father and your friend
And this waltz is for you, for you, JulianDance it, enjoy it from beginning to endAt your graduation and your wedding dayAnd this waltz is for you, for you, JulianI will be celebrating tooI promise I will be watching you dance
Eslabon Armado and Peso Pluma celebrate a new win with their first partnership, “Ella Baila Sola,” as the song hits No. 1 on Billboard’s Hot Latin Songs chart (rising 2-1 on the April 15-dated list). The achievement arrives after the song debuted at No. 1 on Latin Streaming Songs and earned both acts career-highs on Billboard Hot 100 and Hot Latin Songs charts (dated April 1), until now.
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“We didn’t expect for the song to make so much noise!” Pedro Tovar, lead singer for Eslabon, tells Billboard. “I really liked the song when I first wrote it, but I didn’t really expect it to be such a big hit. I previewed it on my stories on Instagram and two days after it went viral on TikTok and that’s when I knew that the song was going to do big numbers.”
“Ella Baila Sola” dances its way to the top with a 2-1 lift and evacuates Karol G and Shakira’s “TQG” from its five-week domination. It’s the first leader for both Eslabon Armado and Peso Pluma, who, as mentioned, previously claimed their highest ranking on Hot Latin Songs when the track debuted at No. 2 (chart dated April 1).
“Normally I don’t expect to chart with songs,” Peso Pluma tells Billboard. “It is a great song, and we just enjoyed the process of doing it.”
“Ella Baila” traces its No. 1 arrival largely to 19 million official U.S. streams, up 22%, earned in the tracking week ending April 6, according to Luminate. The figure makes for a 12-6 lift on the overall Streaming Songs chart and a third week at the summit on Latin Streaming Songs.
“Working with Peso Pluma is probably one of my best collabs,” Tovar adds. “He’s a super humble and chill guy, and we get along good in the studio. He invited us to his show in Ontario and it was amazing, everybody was singing the song. I really appreciate him hopping on the song, it benefited us both.”
“I admire every artist I work with!” Pluma continues. “I’ve always wanted to collaborate with them along with other great artists I looked up to.”
“Ella Baila” also sold 1,000 downloads in the same tracking week, jumping 7-5 on Latin Digital Song Sales. The song likewise makes progress on the all-genre Hot 100 tally, peaking at No. 17, earning both acts their highest rankings there.
On a global scale, “Ella” concurrently unlocks new highs on both Billboard Global lists: jumps 11-9 on Global 200 with 67 million streams, while ascends 10-8 on Global Excl. U.S. with 46 million clicks.
Further, Peso Pluma places a total of five simultaneous tracks on Hot Latin Songs as “PRC,” with Natanael Cano, pushes 11-7 on the current chart. With five total top 10 entries on the same week, he ties with Karol G who also placed five top 10s on the March 11-dated ranking. Only one other artist has placed more concurrent songs in the top 10: Bad Bunny registered 6, 7, 8, and 9, across different chart weeks.
If you don’t yet know the name Peso Pluma, now would be a good time to start learning. The rising Mexican corridos singer-songwriter, who had little Billboard chart to history speak of prior to 2023, notches a stunning five separate songs on the Hot 100 this week — all without so much as a debut album to his credit
The burgeoning 23-year-old star can be found on the April 15th chart at No. 17 (“Ella Baila Sola” with Eslabon Armado), No. 26 (“La Bebe” with Yng Lvcas), No. 63 (“AMG” with Gabito Ballesteros and Natanael Cano), No. 64 (“PRC” with Natanael Cano) and No. 65 (the solo “Por Las Noches”). What’s more, he also lands just outside the Hot 100 this week with two more releases: “El Azul” alongside Junior H and “Igualito a Mi Apá” with Fuerza Regida.
How did Peso Pluma become such a prolific hitmaker? And how big might he still get from here? Billboard staffers answer these questions and more below.
1. Despite having no Billboard Hot 100 history before this year, Peso Pluma notches five songs on the Billboard Hot 100 this week — behind only Morgan Wallen (and tied with SZA and Luke Combs) for the most of any artist. On a scale from 1-10, how surprised are you at how big he’s gotten this quickly? (Please include an actual number with your answer.)
Griselda Flores: It’s an 8 for me. I’m surprised because Peso Pluma is relatively a new artist. But looking at the bigger picture, Peso Pluma’s takeover reflects the growth that Mexican Music has been experiencing over the past few years. We’ve been reporting a ton about how the genre has experienced a renaissance of some sort thanks to a new generation of singer-songwriters, such as Natanael Cano, Junior H, Eslabon Armado, to name a few. In comes Peso with an unmatched swag and confidence, and he’s collaborating with all the young acts that came before him (including the three I just mentioned), plus artists that aren’t regional Mexican, including Ovy on the Drums and Nicki Nicole. It’s a strategy we hadn’t seen before. Typically, these acts stick to their genre for collaborations at the beginning of their career and don’t start collaborating with artists outside of their genre until much later. For Peso, it’s all happening at the same time and that only boosts his presence in every single space.
Jason Lipshutz: A 9. The difference between a promising new artist and a surefire new star is often an issue of quantity: instead of having one song bubble up to the mainstream, multiple tracks coalesce around an intriguing voice being invested in by the general public. As a regional Mexican performer with modern production flourishes and dalliances with reggaeton, Peso Pluma’s sound and approach are refreshing — but most new artists simply can’t score five simultaneous Hot 100 entries! The sheer number of chart hits Peso Pluma currently boasts suggests that he’s not just enjoying a fruitful moment, but about to join the A-list of popular music.
Isabela Raygoza: 4. It’s very impressive! But I’m not super surprised because there are several artists that have helped position the new corridos scene for the next superstar to take over. It was just a matter of, “who will step up to the plate (and kill it) for this sound we’ve helped build the foundation for?” Artists like Eslabon Armado, Natanael Cano, and Junior H have been paving the way for a few years now (remember, only a few years ago even Bad Bunny was still relatively unknown in the mainstream). Plus, Peso Pluma has collaborated with most of these acts, which boosted his level of exposure. Also keep in mind that we’ve also seen a variety of artists within the “corridos urbanos” landscape achieve similar success, like Chino Pacas, who landed at No. 84 for the first time two weeks ago, so this is certainly a start of a bigger movement booming.
Jessica Roiz: 10 (and then some!): To be frank, I wasn’t too aware of who Peso Pluma was until recently this year; otherwise, I would have suggested him for our “23 Latin Artists to Watch in 2023” list. Nonetheless, for an emerging artist who dropped his debut single in the midst of the pandemic, his growth is indeed surprising — but doesn’t come as a shocker (if that makes any sense). He has a relatable personality, a mature mentality, and a signature raspy vocals that have all played a big factor into his success.
Andrew Unterberger: At least a nine. We just don’t see artists from pretty much any genre blow up this widely this quickly — especially with one single at a time, without even an album to collect them all — and we certainly don’t see it from the regional Mexican music world (which, again, had never even launched a single Hot 100 hit before two years ago). Times and tides are changing quickly, and Peso Pluma is here and ready to ride the wave.
2. What do you attribute the speed of Peso Pluma’s rise to? How is he already at the stage where seemingly any song he’s on becomes an automatic breakout hit?
Griselda Flores: Definitely collaborations inside and outside of the genre. His early collaborations with Natanael Cano and Luis R Conriquez were key to his rise. Both Cano and Conriquez have very different audiences — Cano is more urban-leaning while Conriquez is a bonafide corridos exponent — so Pluma was introduced to those different audiences at once. He’s sticking to that formula with his new collaborations — most recently Becky G and Blessd.
Jason Lipshutz: Simply put, Peso Pluma does not sound like any other artist in popular Spanish-language music: he operates primarily in regional Mexican, but his voice is malleable, he can succeed on his own as well as with other artists, and none of his hits have flashy marketing rollouts or viral-primed hooks. He’s just a singular presence as a singer and rapper, his voice capable of achieving a cool grittiness but also navigating light, hummable melodies. And because his success can be chalked up to an overall presence instead of a single-song flash point, I’d expect him to be around for a while.
Jessica Roiz: It’s evident that Pluma has a very distinct style and that he was able to secure collabs with acts such as Luis R. Conriquez so early on in his career. But I think what ultimately got him on the radar was when he was taken under Natanael Cano’s wings, with whom he dropped “AMG” (alonside newcomer Gabito Ballesteros) and “PRC.” After that, it was just a domino effect, where even artists outside the Música Mexicana realm (Nicki Nicole, Becky G, Ovy on the Drums, Blessd) wanted to work with him.
Isabela Raygoza: Let’s face it, we’ve been bitten by the Peso Pluma bug, and we foresee no immediate cure. JK! The kid has it — the cool swagger, a unique vocal registry, the attitude, and his unflinching lyrics. He chooses wisely who he collaborates with, and that’s also helping elevate his star. Just a few weeks ago, he killed it alongside Becky G — the Inglewood singer is now stepping into singing corridos urbanos! (She has an album underway that’ll focus specifically on this genre, and that says a lot about the rise of the rugged, acoustic cross-border sound.) We needed a poster boy and Peso Pluma is filling that role with gusto.
Andrew Unterberger: I’d be lying if I said I totally understood what was going on here yet. I like the songs and he seems like a cool guy, but the speed and trajectory of his popularity growth is not something I’d be able to explain convincingly to someone who’d never heard of him. I’m definitely intrigued enough that I look forward to getting to know and understand him better, though — as both an artist and as a rising pop star.
3. Of the five tracks he’s currently charting on the Hot 100, do any of them seem like a more obvious hit than the others? Do you expect any one of them to keep growing and take him to the next level?
Griselda Flores: I think all will keep growing for sure but the obvious hit to me is “Ella Baila Sola” with Eslabon Armado. It’s the song I like the most because I’m also a big fan of Eslabon Armado but out of all his collaborators, Eslabon is the act that has had the most chart presence. The sierreño band made history las year when their album Nostalgia became the first top 10-charting regional Mexican album ever on the Billboard 200. It’s two powerhouses coming together so it’ll be tough to beat. This week, it hits No. 1 on Hot Latin Songs — the first leader for both Peso and Eslabon.
Jason Lipshutz: The obvious answer is “Ella Baila Sola” given its chart movement and streaming numbers, but I’m still bullish on “La Bebe,” a reggaetón change-up for Peso Pluma that’s gentle yet overpowering. As we approach the summertime, “La Bebe” sounds ready to chew up a whole lot of beach-playlist minutes, for both Peso Pluma fans as well as casual listeners entranced by its two-step thump.
Isabela Raygoza: “AMG” is proving to have lasting power with 11 weeks on the Hot 100, and anything with a Natanael Cano credit is bound to be great — Cano is a pioneer of corridos tumbados and has an unmatched ear for identifying new acts to work with. “Ella Baila Sola” comes in hard with a fiery guitar melody that instantly captivates from start to finish, and the vocal interplay between Peso and Eslabon Armando sounds seamless; the horns at the end are the icing on the cake. I don’t think we can predict which of the batch will make the Greatest Latin Songs of All Time list at this stage, but they sure are shaking things up in the scene right now.
Jessica Roiz: “AMG” holds a special place for the artist, especially after telling Billboard that this is the first song one should listen to to “know all about Peso Pluma” — I think this single and “PRC” are the most representative of his craft. “Por Las Noches” is a beautiful song that’s laced with Nicki’s soft, dulcet vocals, and “La Bebe” finds Peso on an infectious reggaetón track — one that’s currently all the rage on social media. However, I think that if being No. 1 song on the Hot Latin Songs chart this week is any indication, the Eslabon Armado-assisted “Ella Baila Sola” is the most notable of the bunch and will only continue to grow.
Andrew Unterberger: The clipped trumpets and woozy trombones of “PRC” definitely make it my favorite song of Peso Pluma’s so far — but it does seem like “Ella Baila Sola” is the right song at the right time (with the right collaborators) to take him to the next level. Probably won’t be long until the next song comes along to take him to the level above that, either.
4. Regional Mexican has obviously had a major chart breakthrough over the past two years — and one that only seems to keep growing — but despite its crossover success, it has yet to really punctuate mainstream awareness for most of the United States. Do you think Peso Pluma is that kind of Bad Bunny-type artist who might be able to get the genre to that level of unavoidable visibility?
Griselda Flores: That’s a really tough question. I think Peso Pluma has a lot of potential and he’s already taken the genre to another level with his chart success. I think the next few months will be telling for Peso Pluma. I don’t think he’s peaked yet and I’m excited to see what else he can do. He’s definitely up for the challenge, as he told Billboard for his Latin Artist on the Rise interview.
Jason Lipshutz: It’s hard to compare any artist to Bad Bunny and the effect he’s had on the visibility of Spanish-language music in North America and around the world, but I do think regional Mexican is about to gain a lot more listeners thanks to Peso Pluma, placing an exclamation point on a fruitful years-long run for the genre. While it may be reductive to describe a 23-year-old as the new face of a time-honored sound, his stardom will absolutely unlock more regional Mexican music for those who are curious and willing to do a deep dive — and hopefully, produce even more crossover stars from that world over the next few years.
Isabela Raygoza: It’s too early to tell. One telltale sign for Bunny — besides his chart-topping success early in his career — was that he was able to sell-out arenas across the United States in 2019, which became a dead giveaway of his ever-expanding draw, especially when he continued growing that momentum year after year. We know Peso Pluma has a fervent fanbase online, but can that translate to physical massive appeal? He recently announced his first national tour slated for this summer. If he’s able to sell out the bigger cities, then I think that’ll indicate a new moment for his career and his star power on a wider scale. It’s also a matter of how prolific he’ll continue to be. (Remember, Bunny dropped three albums in 2020.)
Jessica Roiz: Bad Bunny is an entire force to be reckoned with, and I believe Peso Pluma is following the correct steps by collaborating with renowned and emerging artists just like Bunny did at the beginning of his career. But I think it’s too soon to say. What I do feel is that there’s a refreshing wave of very innovative Mexican artists who, collectively, have pushed forward the Música Mexicana movement: Grupo Frontera, Fuerza Regida, Yahritza y Su Esencia, Ivan Cornejo, DannyLux, Victor Cibrian and Peso, to name just a few.
Andrew Unterberger: The early evidence certainly suggests it, doesn’t it? It took Bad Bunny years to get to the commercial level that Peso Pluma has gotten to in a couple of months — and while some of that is timing and circumstance, you can practically the see the cracks in the dam getting bigger and bigger with each new hit of his. It might not be bursting just yet, but it ain’t likely holding out for too much longer either.
5. If you were working on Peso Pluma’s team right now as he had all the momentum in the world, what would you be advising him to do with his career in order to properly take advantage of it?
Griselda Flores: For starters, keep collaborating. I think that’s been major for Peso. He’s already touring so that’ll definitely boost him even more. I guess I would say his next move should be to drop an album. The last set he released was Efectos Secundarios in 2021 so I think to take advantage of this momentum and to gain more streams, it’s time for an album.
Jason Lipshutz: Keep releasing new music! Peso Pluma is on such a hot streak right now that seemingly everything he releases becomes a crossover hit with nine-figure streams. Although he’s building for the long haul, artists rarely go on this type of heater — so supply enough material to meet sky-high demand, and enjoy the moment.
Isabela Raygoza: Stay focused, ignore online bullying, stay away from drugs (or as much as possible). Take time for you. Fame can be fleeting, so always stay in the present and keep envisioning a greater future to continue manifesting. Your life might never go back to what it was, but I advise you to always keep your feet on the ground and thank those who got you there, your team, your fans, your supporters.
Jessica Roiz: TIKTOK! Almost all of the tracks he’s released are going viral on the app. He boasts nearly two million followers, yet only has a few posts. I think it’s crucial for him to be more active on the app and connect with fans by reacting to videos, doing the dance trends, and whatnot.
Andrew Unterberger: Slow down and start thinking about an album. People may tell you 2023 pop is a singles’ market, but the way you build a real career as a hitmaker is by establishing yourself as an albums artist; just ask Benito himself, who could go the rest of his career without another conventional Hit Single and still run the game with his LP releases. Get one of those under his belt — without shortcutting the process or compromising his artistry — and you can be damn sure the world will stand up and take notice.