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Nathy Peluso has found her musical language

BBG News

Jimmy Fallon appeared radiant as he warmly welcomed Nathy Peluso on his program in December, following her performance of a few tracks from “Grasa,” her second album that won a Latin Grammy.

Theoretically, the best part of the singer’s first appearance on Late Night was expected to be her duet with U.K. artist Blood Orange. However, Peluso entered the stage with the stately grace of an operatic queen, combining elements of La Lupe and Maria Callas. Then, she powerfully performed “Corleone,” a grand orchestral bolero.

It’s somewhat puzzling how a 30-year-old singer, who hails from Argentina and grew up in Spain, can capture the intense melodrama of Latin music’s golden age so accurately. Nevertheless, their appearance on Jimmy Fallon was a significant stride towards gaining mainstream acknowledgment for Peluso.

Peluso tells me, ‘I can honestly say I felt fantastic during that show.’ She explains that she had such strong conviction in herself and her abilities that it felt like the perfect time for her performance. It seemed as though she was immersed within a film.

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On Saturdays, Peluso performs on her initial U.S. tour headlining, renowned for creating dramatic song experiences under a cloak. Her latest single, “Erotika,” pays a bold, confident homage to the controversial salsa erótica subgenre that emerged in the 1990s. In the vibrant video, she unambiguously charms both her dance partner and the camera. True to form, the track’s instrumental backing is meticulously authentic.

As a fan, I can’t help but appreciate the opening track “Corleone” from the album “Grasa,” an Argentine term for something tacky or vulgar. This song is richly layered with cinematic references that immediately capture my attention. The tune begins with a sample of John Barry’s iconic “007” theme “From Russia With Love,” skillfully taken from YouTube by producer Manuel Lara to propose a style for the entire album. This was the first track we collaborated on, and the distorted sample transitions flawlessly into the song’s bolero atmosphere. As the vocals of Peluso, the undeniable star of the show, kick in, they narrate the restless ambition that characterizes her mafia boss alter ego’s life, a figure defined by success.

From his Miami studio, Lara explains that ‘Grasa’ was designed to imagine how the music of organized crime might evolve in the future. Upon closer listening, you’ll notice that different global mafia groups such as the Russians, Italians, and Brazilians from the favelas are all represented, creating a sonic tapestry that mirrors the diverse genetic makeup of our planet.

Peluso’s musical reach has always been global, evident even when she was a teenager covering Nina Simone in Spain. The first single from “Grasa,” titled “Aprender a Amar,” is an exhilarating piece of Latin trap that highlights her ingenious rhymes and the distinctive rhythmic style that gained viral popularity in 2020, when she collaborated with Argentine producer Bizarrap on one of his most successful tracks. One of the standout tracks from her debut album, “Calambre,” is “Buenos Aires” – a heartfelt tribute to the city she left behind, subtly echoing the funky Spanish rock sounds of 1980s South America. Compared to Rosalía’s “Motomami,” “Grasa” captures both the current and emerging trends in pop culture. Both albums reflect the tantalizing diversity of the 2020s, embodying our seemingly endless craving for fresh blends of rhythm and sound.

She wonders if she’s always up-to-date with the newest musical trends; however, she chuckles and says it’s more of a natural instinct for her. She explains that she’s detached from reality on multiple fronts, not deliberately choosing to ignore new albums. Instead, she immerses herself in her own work, often finding solace in the tunes of Marvin Gaye or João Gilberto. Yet, she keeps an eye on what’s happening in visual arts, architecture, and design.

Her current tour, she explains, mirrors her attention to detail.

She notes, “There’s bass, guitar, countless keyboards, and drums.” Additionally, there are numerous pre-set layers due to the limited space on the current stage setup. The musicians perform within pit arrangements mimicking an opera house, creating a very dramatic atmosphere.

Despite encountering some challenges along the way, it’s worth noting that Peluso composed the songs on “Grasa” in just two weeks following the discard of a whole album that didn’t resonate with her. She has faced allegations of cultural appropriation due to her salsa recordings, which this author finds unjust given Peluso’s extensive studies and passion for Afro-Caribbean music. For “La Presa,” a track reminiscent of 1979 New York, she sought the backing vocalists from Puerto Rico’s El Gran Combo to add an authentic street vibe.

She responds by stating that her journey as a woman and role in society includes her salsa music. She’s not an artist who conforms or adheres to political correctness; she doesn’t create with the aim of pleasing others. Instead, her motivation for reviving salsa is rooted in her passion. If a genre can evoke such powerful emotions within her, she desires that same experience for others. As long as there are disagreements, people will have to listen to the songs, which ultimately means more exposure to salsa music.

Lara, collaborating with Peluso on their next project after “Grasa,” expresses her admiration for Natalia: “What’s captivating about her is how she brings such a diverse range of characters to life.” She can play the ruthless as easily as the betrayed, and her performances encompass creation and destruction, love and hate with equal depth. Her musical character is so versatile that it can transport us to numerous different realms.

As a seasoned artist now, I gleefully revel in performing my collection of tunes live, without a hint of the former apprehension or self-doubt that once plagued me. The stage is no longer a daunting arena, but rather a harmonious platform where my music effortlessly unfolds, free from any unexpected bumps in the road. I’ve finally discovered my musical voice, and it flows as smoothly as a melody in the breeze.

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2025-03-12 00:01

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