As summer comes to a close in America, a young artist’s song jumped to the top of several music charts, including the # 1 spot in the coveted Billboard Hot 100.
To the surprise of many, his name is not Taylor Swift, Drake, J Balvin, or Bad Bunny; he is not from New York or Los Angeles and doesn’t sing pop, rock, or hip-hop.
His stage name is Peso Pluma (featherweight in Spanish). He comes from Guadalajara, Mexico, and his style is known as regional Mexican. His single, “Ella Baila Sola,” was the first song of this style that reached the number-one spot on the trending music charts.
Peso Pluma’s meteoric success confirms a significant trend reversal for Latino artists developing their careers in the US. A few years ago, Latino artists had to start singing in English to be appreciated by “mainstream America” (See Shakira’s “Hips Don’t Lie”); they sought duets with established American artists (Justin Bieber on “Despacito”), and some even tried to hide their Latino background from the public.
But now we see the opposite trend, with Latino artists unceremoniously choosing to sing, speak, and connect with fans in Spanish wherever they are, regardless of the media, channel, or stage. This is driven not only by the growth of the Hispanic population in this country but by something more relevant: the understanding that consumers, irrespective of their ethnic background, seek authentic voices and authentic experiences.
Artists like Karol G, Rosalía, Peso Pluma, Bad Bunny, and J Balvin are just a few examples of this trend, and their authentic voices are conquering fans from the entire spectrum of our society, demonstrating that Latino influence goes beyond the Hispanic segment.
To expand further on this topic, I spoke with Marcos Juarez, Pandora’s Head of Latin Music Curation, and here’s an edited version of our conversation:
Isaac Mizrahi: For those unfamiliar with regional Mexican music, could you please describe it?
Marcos Juarez: Regional Mexican is a term that was coined within the music industry in the US to loosely organize the subgenres (banda, norteñas, corridos, etc.) of popular Mexican music under one heading. The moniker has now become more widely used globally. There is growing opposition to the term because of the label it imposes on Mexican artists, i.e., you are from a subregion performing a subgenre of Mexican music instead of letting the music be without the qualifiers.
Mizrahi: Some are surprised that a young Latino artist is getting this kind of attention singing something other than reggaeton or salsa. But the Latin music spectrum is very diverse and rich. Could you share with our readers some examples from this spectrum?
Juarez: It’s not surprising that Mexican artists are having a breakout moment. There have been many instances of Mexican artists crossing over and reaching broader audiences. Selena is one relevant example, and she did it before the internet. Mexican artists like Marco Antonio Solís, Luis Miguel, and Juan Gabriel have long been able to pull substantial global numbers, selling out stadiums and moving millions of units across diverse audiences.
In the same way that reggaeton and salsa are distinct genres and popular exponents of Puerto Rican music, corridos and rancheras, for example, are distinct genres with distinct audiences within Mexican music. It’s a mistake to group all Mexican music as one genre, the same as it would be to group all Latin music.
Mizrahi: What is it about Peso Pluma that makes him so unique?
Juarez: I think Peso Pluma has a lot going for him. His distinct voice, singing style, and catchy trombone-heavy arrangements allowed him to stand out and be instantly recognizable. He sounded different, looked different, and presented himself with a confidence and swagger that people could relate to. He also emerged out of a genre, corridos, that is enjoying a huge moment right now, pushed forward by a large class of both new and veteran artists. His early collaborations with established artists like Luis R. Conriquez, Natanael Cano, and Fuerza Regida were significant boosts. The genre gave him a platform to be noticed, and he then elevated the visibility of the genre. He capitalized on his moment by not compromising his vision. What he’s been able to do in now interpreting other genres like reggaeton and trap is equally impressive. He seems to have crossed over in a way that other Mexican artists interpreting those genres haven’t.
Mizrahi: Peso Pluma is another example of Latino artists staying close to their roots, singing in Spanish, and still winning fans across all demographics in the US. Why do you think this happening?
Juarez: I think audiences respect authenticity in any genre, even if it’s a subconscious affirmation. I believe authenticity is being transmitted by many of the most popular Latin artists today. Secondly, I think the US market is becoming more acculturated to Latin music, the Spanish language, and Latin culture. In the same ways that the mainstream learned the ‘language’ of hip-hop, the mainstream is learning the ‘language’ of Latin music, making it more easily relatable and consumable. And Latin artists are making amazing music right now.
Mizrahi: Last but not least, what’s playing in your Latin playlist, and what’s the next name to get bigger soon?
Juarez: The last three Latin tracks I added to my playlist were Panter Bélico “La 701,” Álvaro Díaz & RaiNao “Suki,” and Estevie & Cuco “el paso.” The emerging artist to watch for in 2024 is Gonzy out of Miami, chosen as the first Latin artist in SiriusXM’s and Pandora’s emerging artist program, Artist Accelerator.
While music is one of the favorite ways marketers look to connect with the US Hispanic segment authentically, most miss the essential nuances within the Latin music environment. Understanding this diversity can help brands further differentiate in a heavily crowded music environment and demonstrate a strong alignment with what is fresh and relevant for the segment.
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