Movies

Belinda cannot be tamed. Her latest album, ‘Indómita,’ proves it

BBG News

There is no containing a star of Belinda’s caliber.

When crafting her fifth studio album “Indómita,” the Mexican performer realized that the very qualities which made her difficult to tame – both personally, romantically, and professionally – were compelling enough themes for an entire album.

As I was immersed in my book one moment, the word ‘indomitable’ suddenly caught my eye, Belinda shared over a call from her residence in vibrant Mexico City. This term lingered in my thoughts for two consecutive days, echoing within me like a mantra: ‘Indomitable, indomitable.’ Belinda reiterated this during our recent conversation from the heart of Mexico City.

On June 5th, “Indómita” is a collection of tumbled corridos, reggaeton, rock, and pop ballads featuring thrilling collaborations, including the American rock band Thirty Seconds to Mars and Latin stars such as Tokischa and Tito Double P.

As a true cinephile, I must say this album holds a unique charm that transcends gender boundaries. It resonates profoundly with those who feel wild at heart, fearless, and warrior-like – a perfect anthem for the unconventional spirit in all of us.

The title aptly describes the 35-year-old artist, who has built such a lengthy and successful career that she’s now recognized as a familiar figure worldwide, much like an indomitable spirit or one who cannot be tamed.

Born under the name Belinda Peregrín Schüll in Madrid, Spain, she later gained fame simply as Belinda. Kicking off her career in Mexican television, she starred in popular telenovelas for children in the early 2000s such as “Friends Forever,” “Adventures in Time,” and “Complices Al Rescate.” In these series, she portrayed twins who were separated at birth. Additionally, Belinda made her mark in the Disney world, playing Marisol – a Spanish pop star rival to the main girl band – in the 2006 sequel of “The Cheetah Girls 2.”

Belinda’s music journey has been prosperous, with highlights such as her role as a singing mentor on the TV show “La Voz” and numerous successful singles like “Amor a Primera Vista,” a 2020 collaboration with Los Ángeles Azules and Lalo Ebratt. Her past albums, including “Belinda” from 2003, “Utopía” from 2006, “Carpe Diem” from 2010, and “Catarsis” from 2013, have all made appearances on the Billboard Top Latin Albums chart.

This new album represents a significant artistic victory for the artist due to its distinctly regional Mexican flavor. The 2024 corrido track, “300 Noches,” collaborated with Natanael Cano, peaked at No. 4 on the Mexican Billboard pop chart and also made it onto the Billboard Global 200, marking Belinda’s first entry on that particular chart. Other corridos tumbados such as the tough “La Cuadrada,” featuring Tito Double P, and the fiery “Mírame Feliz” with Xavi, introduce a new persona for the well-known singer called “Beli bélica,” which translates to ‘warrior’ in Spanish.

Belinda expresses her desire for this album to serve as an invitation, encouraging more women to share their stories through tumbada corridos about sorrow,” she says.

The record is currently sizzling, featuring tracks such as “Cactus” subtly referencing her previous romance with Christian Nodal, symbolized by his tattoo of her eyes on him. Additionally, there’s a blend of reggaeton and corrido called “La Mala,” which playfully touches upon the gossip that Belinda is a cool and calculative lover, a reputation that grew stronger during her high-profile relationship.

Despite her reputation for breaking hearts, this captivating celebrity has been elevated to saint-like status by adoring fans, who have fabricated prayer cards in an attempt to boost their own romantic endeavors.

Belinda explains that the songs on this album reflect the everyday experiences we encounter, such as heartbreak followed by healing, then finding love only to experience more heartache. In essence, she’s saying life has an ebb and flow of ups and downs.

However, “Indómita” represents so much more than just Belinda’s exploration into regional Mexican music. It also includes the electrifying collaboration with Kenia Os titled “Jackpot”, a track that celebrates high-speed cars in “Rayo McQueen”, and even her affection for anime, showcased in “Death Note”.

“I’m a versatile artist and this record reflects that,” says Belinda.

This interview has been edited and shortened for clarity.

Why did you decide to publish this album more than a decade following your previous one, “Catarsis”? Despite the time gap, I never actually left the music scene. I’ve been actively involved, working on collaborations such as “Amor a Primera Vista” with Los Ángeles Azules, “Las 12” with Ana Mena, “La Niña de la Escuela” with Lola Indigo and Tiny, and “Si No Te Quisiera” with Juan Magán and Lapiz Conciente.

As a music enthusiast, let me tell you, this record holds a special place in my heart. Unlike crafting tunes for other artists, creating for myself is an entirely unique experience. This album boasts collaborations with one of my all-time favorite bands, Thirty Seconds to Mars. Moreover, it features Kenia Os, Tito Double P, Neton Vega – a powerhouse in the reggaeton and corridos tumbados scene – and Natanael Cano, whose talent I can’t help but admire. The album offers a diverse range of styles, making it a complete masterpiece that truly reflects my passion for music.

In your album, numerous tracks are tumbados corridos. What drew you towards this particular style of music?

I aimed to challenge the stereotype surrounding this genre, which is often considered male-centric with limited thematic content. I wanted to demonstrate that instruments such as the trombone, alto horn, and tololoche aren’t exclusive to men or specific lyrics, but can be used to express a wider range of romantic themes, blend with pop music, and even urban music.

It was also important to me to convince my collaborators of this new approach, as they are accustomed to different subjects. However, everyone trusted my vision from the start, and the songs organically developed with a mix of genres.

Could you share some insights about your partnership experiences? What skills did you acquire from these collaborations and what knowledge did you impart to them? Natanael Cano is incredibly gifted, he can play virtually any instrument impressively. In the studio, he even played a Metallica song that left me in awe. While we might categorize them based on their genre, they’re actually quite versatile and skilled. I hold them in high regard.

Speaking candidly about one track from my album, “Cactus,” which touches on feelings toward an ex, I must say it was liberating to vent my emotions through this composition. Could it be that the song’s healing qualities are genuine? Well, music has a remarkable ability to help me process and heal, as suggested in the lyrics: “Therapy helps, but music heals more bad-ass.” By pouring my feelings into music, I can articulate what might otherwise be difficult to express with words. As a songwriter, I use lyrics to convey emotions, but it’s essential to note that not all songs are based on personal experiences. Instead, they serve as a means for listeners to connect with their own love or heartache stories. Although I never name names, people can draw their conclusions from the song. Ultimately, my purpose in creating music is to provide relatable lyrics for others to enjoy and identify with.

Have you ever pondered if there are two sides to Belinda, one for the public and another reserved for your close family?
Yes, indeed. In fact, I’ve written a song that touches on this very concept, where I am often labeled as a villain, or “La Mala.” At heart, though, I know who I truly am, and those closest to me understand the depth of my emotions and intentions – that’s what truly matters to me. If I let every comment define me, I might end up trapped in a room with no way out, which can sometimes be a reality for me.

How do you block out external criticism? Well, I make an effort to avoid focusing on it. Although sometimes it’s hard to ignore, I don’t intentionally seek out what others are saying about me online. Instead, I engage in more constructive activities that benefit me instead.

It’s clear that hurtful comments can cause pain, even when they aren’t factually accurate. The negative vibe they carry is what causes the discomfort. I don’t wish to validate these comments as truth, but their underlying negativity – whether it’s criticism, insult, humiliation, or any other form of negativity – has an impact. Therefore, it’s important to be mindful about how we communicate, given the prevalence of negativity in our world. It would be wonderful if we could counteract some of this negativity with more love instead.

In your music, “Death Note,” it seems you’re expressing your deep affection for anime. Can you share why incorporating this element was significant to you?

Or simply: Why did you choose to reference anime in “Death Note”?

Have you found it challenging to balance your identities since you were born in Spain yet grew up in Mexico? I’ve never felt a need to choose one over the other, as I strongly identify with being Mexican, having been raised there and possessing a Mexican accent. I am deeply rooted in my Latina heritage.

If I could talk to my younger self, I’d say: “Try not to take things so personally and remember to just live life. When I was young, I used to worry a lot about what others thought of me. I would often think, ‘Do you like this? Oh, you don’t? Why?’ And it would make me unhappy. But now, if I like something, that’s all that matters, and even if no one else likes it, well, too bad for them – I like it!

Read More

2025-06-06 01:02

Previous post Why is the SEC Playing Hard to Get with Crypto ETFs? Find Out! 🔥
Next post Billy Joel’s first wife breaks silence on their marriage as she takes starring role in his new HBO doc