How J Balvin’s thoughts about his first car reconnected him with reggaeton

As a music enthusiast who has followed J Balvin’s career since its inception, I find myself deeply moved by his recent collaboration with Leon Bridges. It is not just the fusion of their distinct musical styles that intrigues me but also the respect and humility they show towards each other and the genre they represent.

At age 17, José Balvin recollects spotting an ad for a second-hand 1997 Volkswagen Golf in the local newspaper. With aspirations of cruising around Colombia to perform reggaeton and peddle CDs from his trunk, he believed that this car was the one missing piece required to bring those dreams to life.

Balvin expressed, “At the time, neither I nor my father had any funds, yet he recognized how much I cherished it, and understood the purpose behind it.

Rayo, affectionately known as his vehicle, once transported a young, promising singer to various cities in Colombia that were ready to offer him an opportunity. After releasing seven albums and winning six Latin Grammys, the 39-year-old “King of Reggaeton” looks back to his first car as the primary inspiration for his upcoming project, titled “Rayo.

At the Petersen Automotive Museum, as per arrangement with the team of the artist behind “Mi Gente”, I encountered J Balvin. The lobby was filled with gleaming lowriders and high-end sports cars from the past and future, occupying every inch on all four levels. Inside, J Balvin’s gaze fell upon the museum’s prized possession – a 1925 Rolls-Royce Phantom. Behind his stylish chrome sunglasses, his eyes sparkled with amazement. The sleek black car adorned with a tempting red interior radiated an air of opulence, a feeling that Balvin, who has grown accustomed to such luxury, appreciated. Known as the “rarest Rolls-Royce in existence” by the museum, this vintage automobile caught Balvin’s attention, and he circled it, meticulously examining every detail – from its round doors to its reflective grille. The same youth who once got thrilled about a classified ad now playfully demanded that this was the only car he wished to be photographed with.

While circling the Rolls-Royce, his silver accessories such as a grill for his lower teeth, a gleaming pair of Jordan sneakers, and his all-black clothing, catch the eye. His style mirrors the image of “Rayo” – the album cover portrays a luxurious, metallic rendition of his Volkswagen with scissor doors.

In an effort to bring together the past and present aspects of the singer’s life, his seventh studio album aims to musically merge these two sides of Balvin. By returning to the authentic reggaeton sounds that have shaped his career, “Rayo” explores how Balvin can stand out in today’s vibrant Latin music industry.

J Balvin initially gained global recognition through his debut studio album “Mi Familia,” which dropped in 2013. This album played a significant role in propelling the fusion of contemporary reggaeton with hip-hop and dance music rhythms into the mainstream. Notable tracks such as his first Billboard’s Latin Airplay No. 1, “6 AM,” and “Ay Vamos,” which became the first video by a “Latin urban/reggaeton artist” to surpass a billion views on YouTube, established him as a key figure in the genre during that period.

By the close of the 2010s decade, his influence extended beyond the Spanish-speaking market. In 2017, “Mi Gente” made history as the first entirely Spanish song to lead Spotify’s Global chart, a version of which featured Beyoncé. His consistent collaborations with renowned artists like Cardi B, Bad Bunny, and Rosalía saw him surpass Drake as Spotify’s most-streamed artist globally in 2018. To the present day, he retains the position of Spotify’s second most popular Latin artist worldwide, trailing only behind Bad Bunny.

In 2021, when Jose launched his sixth album titled “Jose”, his public image started to deteriorate. He found himself embroiled in several scandals – a complex feud within the music industry with Puerto Rican rapper Residente, backlash over the racially insensitive “Perra” video featuring Black women portrayed as dogs on leashes, and controversy surrounding his acceptance of the Afro-Latin Artist of the Year award at the African Entertainment Awards.

Balvin hit a breaking point, not only in his image but also in his sound.

Balvin expressed, “As I begin following others’ desires, I feel my individuality slipping away. Yet, I am not like that. I observe a popular path where many wish to tread. That’s acceptable. However, it’s my uniqueness – being myself – that sets me apart.

Following a decade-long agreement with Universal Music Latino, Balvin signed a fresh deal with Interscope Capitol in May. Nir Seroussi, the executive vice president of Interscope Capitol Labels Group, considers Balvin as an influential figure who represents Latin music.

In a nutshell, Seroussi expressed that life has its highs and lows, but what truly counts is the ability to bounce back. With Balvin, this has been his primary concern. The Jose I am familiar with possesses maturity and self-control, much like a boxer preparing for a fight, he’s at the peak of his performance in terms of energy, mental resilience, and determination.

Balvin explains that his approach started to seem “methodical.” When it came to producing albums, he frequently slipped into a predictable rhythm.

In the studio, Balvin expressed, ‘This is our objective. This is what I aim to achieve.’ This approach has worked for all our previous albums. However, this time it was incredibly genuine, joyful, and true to myself. Honestly, I haven’t had this much fun working on an album in a while.

With “Rayo,” he didn’t go into the studio with any sort of expectation or pressure.

He shared that he stepped inside, and started improvising as he used to, experimenting with the rhythm and tunes. Sometimes, he’d record up to 20 takes. He emphasized that this didn’t matter much because they were simply enjoying themselves. This experience reminded him of his early creative days when it was all about going with the flow and letting creativity take its natural course.

His return to a more organic process eventually led him back to his roots in party-centric music.

Instead of incorporating the popular sounds from the early 2000s into reggaeton, as he did in albums like “Mi Familia,” J Balvin now leans towards contemporary trends such as synth pop, EDM, and trap beats to produce a modern take on his music. On songs like “Swat,” he acknowledges a more aggressive variant of traditional reggaeton, while on “Doblexxó,” featuring frequent collaborator and fellow Colombian singer Feid, Balvin merges an industrial electronic vibe with a classic perreo rhythm.

The most significant risk on the album was the track titled “Stoker,” which features Carin Leon, a renowned Mexican crooner. This song initially begins as a melodic ballad, marking a unique instance for Balvin. However, upon reaching the chorus, there’s an underlying Afro-beat pulse that serves as the foundation for the tune. As they trade verses, blending their individual styles, the artists effortlessly unite the realms of reggaeton and Mexican folk music.

As a movie critic, I’d rephrase it like this: “I was faced with the challenge of creating a track that would delight both Carin and my fans without appearing as if I’m capitalizing on the current buzz surrounding Mexican music. To be clear, I don’t join bandwagons lightly, as I hold Mexican music movements in high regard. Therefore, I approached this collaboration with extreme care to ensure we struck the right balance.

They first met last year during the Coachella Valley Music and Arts Festival, a unique event in the desert, which for the first time featured more Latin music artists on its lineup than any other year.

Leon remarked that what made the song exceptional was the shared surprise between us, and he found the easiest aspect of working with Jose to be his straightforwardness. He’s consistently open to involving his companions,” (Paraphrased)

Initially, they kicked off the creative phase by exchanging suggestions on prospective tunes, back and forth. However, when he listened to a rough draft of “Stoker,” Balvin realized he could contribute “something truly innovative and exceptional” to that particular song.

Balvin pointed out that there’s a delicate balance between enhancing something to make it more appealing and overdoing it to the point of ruining it,” or simply, “Balvin noted that improving something can be a thin line from making it better to damaging it.

When inquired whether he’s ever discarded any of his compositions, he chuckles and responds, “At times, I’m unsure of what transpires, but I find myself thinking, ‘What on earth did I do?’ More often than not, it proves to be a risk worth taking.

I’m confident because I have solid evidence from my professional experience. When we implement these changes, we become trailblazers who bring about transformation.

Credit goes to him for stepping into a Latin music scene that was dramatically transformed from what it is now when he first began. He expresses his gratitude for having commenced his career at this time. Given the era of streaming and the abundance of the genre, he acknowledges the struggle new artists face in making their mark.

Something he’s always been adamant about is singing exclusively in Spanish — refusing the idea of crossing into the English-language market. Now that Latin music is the U.S.’s fastest-growing genre, he lets a smile shine through and says, “I knew it.”

In my youth, I used to hear Shakira and Enrique Iglesias, and they were singing the same tunes in English that they had initially released in Spanish at that time. I admire this choice because, at that moment, it wasn’t the ideal time for it. However, my language is a means through which I express my thoughts and feelings.

Over the past several years, J Balvin has been recognized as a pioneer in Latin music. However, with the recent release of “Rayo”, it is now viewed as one of many contemporary Latin albums. Moving forward, his influential legacy within this thriving genre will remain a significant asset to him.

Balvin expressed his satisfaction, saying it’s as if he brought it into reality. He envisioned what our current situation looks like, and now he’s stating that these doors will stay open for good.

Following thirty minutes of Balvin striking poses next to the luxurious Rolls-Royce, his publicist signals the end of the photoshoot. Balvin slips on his reflective sunglasses and exits the display area, too engrossed by the dazzling lineup of impressive vehicles to bid farewell. Accompanied by around fifteen individuals, one of his group queries a museum employee about the Batmobile’s location. Upon learning it’s located on the fourth floor, they rush to catch the elevator Balvin was boarding. Despite a hectic schedule filled with media interviews and business engagements, the “King of Reggaeton,” who bears the Batman emblem tattooed on his torso, insisted on leaving the museum without first catching a glimpse of the legendary vehicle showcased in Tim Burton’s 1989 superhero film.

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2024-09-07 14:27