Movies

What is the state of Latin music today?

BBG News

In recent times, artists such as Bad Bunny, Karol G, Shakira, and Peso Pluma have been leading the charge, making a significant impact on the global music scene. Remarkably, Spanish tunes are now regularly featured among the top 10 of influential American charts like the Billboard 200 and Hot 100. In fact, by the year 2024, Latin music in the United States generated an astounding $1.4 billion in revenue, breaking previous records.

Apart from financial impact and streaming statistics, their influence can be seen in the evolving sounds coming from Latin America. These sounds have become more progressive and daring, with reggaetón seamlessly integrating into pop music’s genetic code, and a trailblazing group of young artists and musicians redefining Mexican music’s principles.

Artists like Rosalía, Ca7riel & Paco Amoroso, Carín León traverse a unique sonic cosmos deeply rooted in Latin culture and enriched by the beauty of Spanish poetry. Simultaneously, their albums find harmony alongside modern icons such as Drake, The Weeknd, or Ariana Grande. Remaining steadfast to its origins, Latin music has transcended boundaries, becoming a global tongue. Stars such as Ozuna and Karol G are packing stadiums and drawing massive crowds at festivals not just in the U.S., but also across Europe.

As a movie lover, I can’t help but wonder about the future. Will the Latin wave, as strong as it was during Ricky Martin’s reign in the late ’90s, eventually recede like the sea after a storm? Will Mexican music continue to enchant those who don’t speak Spanish? Might reggaetón lose its rhythm? Is rock music, the genre that has moved millions, now a thing of the past? These are questions that dance in my mind as I look towards tomorrow.

De Los brought together a group of renowned singer-songwriters hailing from various regions of Latin America to offer insights on some profound existential questions: Chile’s Mon Laferte and Francisca Valenzuela, Colombia’s Juanes, Cuba’s Cimafunk, and Jorge Hernández, the leader of iconic norteño group Los Tigres del Norte, shared their perspectives.

As a devoted fan, I can’t help but feel a mix of pride and apprehension as Latin music continues to captivate the world. On one hand, it’s truly heartening to see our unique sounds resonating globally. Yet, I can’t shake off a nagging fear that we may be in danger of being stereotyped, turning our vibrant culture into a predictable, monotonous cliché.

I recall the dismissive remarks made by the media during the Latin music boom in the late ’90s, reducing us to mere symbols of color and passion. Is this current wave of popularity entirely beneficial, or are there hidden dangers lurking beneath the surface?

Mon Laferte: It’s true that our music is being heard worldwide, which gives us many opportunities. However, this doesn’t fully capture the depth of who we truly are. Our continent has an immense cultural wealth, and it’s unrealistic to think that mainstream audiences will immediately accept a chacarera, a tango, or the most avant-garde aspects of Latin indie. Unfortunately, there’s a lot of misunderstanding out there, and we all tend to be perceived as stereotypes. It’s not surprising if the rest of the world sees us as people who spend our days dancing to salsa and reggaetón. I don’t blame them for their misconceptions.

Cimafunk acknowledges that he is among the artists who have prospered from the ongoing Latin music trend. He explains that once a door has been opened, it becomes simpler to reach a broader audience. In Havana, he noticed the masters playing the same traditional songs for hours on end at bars, which he felt had become a stereotype. However, upon leaving Cuba, he understood the significance of these clichés. Latin music is widespread now, and its power cannot be underestimated. Even in Michael Jackson’s older records, you can detect the rhythm of bongó or maracas. If we don’t acknowledge its value ourselves, no one will do it for us. He thinks it’s great that our culture and style are popular right now. That’s rich.

As a passionate admirer, I’m curious about the longevity of today’s Mexican music wave. Can this vibrant soundscape, including the captivating Peso Pluma, maintain its grip on the popular consciousness and continue to enthrall the mainstream audience in the long run?

Juanes: I really hope they do. It’s wonderful to see young people playing this kind of music, as it involves learning an instrument and mastering it takes skill. It’s truly inspiring to know that a new generation is embracing their roots, making it nothing less than genius.

As a passionate movie critic, I can confidently say that Mexican music, much like a captivating indie film, is nothing short of extraordinary. It embodies the raw energy and rebellious spirit reminiscent of rock and punk, making it a unique gem in today’s musical landscape. The sincerity and authenticity in Mexican music have always resonated with me, inviting listeners to challenge the status quo, just as an engaging film provokes thoughts and emotions.

José Alfredo Jiménez, a legendary composer in this genre, is one of my personal favorites. His work carries a timeless quality that transcends generations. The current crop of musicians continues to build upon these traditions, infusing their music with contemporary flair while maintaining the spirit of their predecessors.

Music, much like cinema, has an incredible ability to evolve and adapt, all the while preserving its roots. It’s a testament to human creativity and resilience that we can continue to grow and innovate while staying true to our heritage.

Francisca Valenzuela expresses: I find it delightful to breathe new life into traditional genres by incorporating current styles. Whenever I’m in Mexico, I immerse myself in its unique musical landscape. Many of these songs have a self-deprecating quality, as if they were whispered confessions over drinks at a cantina. I know that these musicians are thriving, and their work truly resonates with me.

Jorge Hernandez: Social media has been incredible for spreading our music across the globe. It’s wonderful, engaging, and informative how young people are discovering and connecting with new trends that still stem from our origins. Ultimately, it’s up to the fans to decide if these trends will persist or not.

Is the appeal of urban music, particularly reggaeton, still strong and consistent? Could it be that listeners are growing tired of the frequent reggaeton rhythm? Or could we be experiencing a time beyond reggaeton?

Cimafunk: The traditional reggaeton by artists like Tego Calderón is no longer relevant. On the other hand, there’s a Cuban genre called reparto, which was suppressed for some time and originated from the streets. Now that I travel extensively, it has become clear to me that people worldwide listen to an enormous amount of music that doesn’t resonate with the popular sounds in the U.S. at all.

Is rock a cult genre? Is it on life support?

Juanes: While rock may not be as prevalent in today’s mainstream, it certainly hasn’t vanished. In fact, I notice a resemblance between rock and country music, almost like they are cousins. Additionally, emerging young artists are breathing new life into the blues genre. The role algorithms play in shaping our musical preferences is significant – they act like a giant influencer determining when, where, and why we listen to music. However, I believe that rock’s spirit will continue to resurface from time to time.

Nowadays, the traditional structure of songs, which usually consists of verses, choruses, and bridges, is no longer a strict requirement. Instead, musicians have the freedom to experiment with various structures such as having multiple choruses before the verse or even placing the bridge before the chorus. This change in convention can be seen as a source of creativity and excitement for some, while others might find it daunting. So, does this newfound freedom and flexibility excite you, or does it make you feel apprehensive?

Valenzuela expresses a fondness for structure as it aids in clearer expression. When it comes to composing a song, he feels a strong impulse and selects tools that streamline the process. Over the years, his music has always been crafted with an instrument, focusing on melody and lyrics, thus adhering to traditional formats. In essence, he identifies as a romantic in this aspect. He cherishes the blank page, poetry, and words more than the technical side of production. He doesn’t share the same close bond with a computer that other artists do. If he were producing music from the perspective of a producer, he might experiment with forms. However, he appreciates the idea of departing from established norms. Innovation is always beneficial as it offers a fresh platform to display creativity.

Mon Laferte: Traditional song structures have never confined me. When I first started writing songs at 15, I followed the music I listened to because there were limited alternatives. However, once I grasped my own world, I began to explore and experiment. Some of the melodies I composed at 21 are seemingly nonsensical. I’ve always felt incredibly free.

Initially, Cimafunk adhered to traditional musical structures due to the music he was listening to at the time. However, once he discovered alternative methods, he thought, “Hold on, I believe there’s a unique way for me to convey this story.” Technology played a crucial role in this exploration. He began rearranging elements within the studio, such as shifting a chorus to the intro. After all, creativity is like a game – it should be enjoyable. We no longer have a restrictive imaginary voice telling us there’s only one way to express ourselves. Now, we have multiple channels at our disposal, and direct access not just to millions, but to our dedicated fans who truly resonate with our individual style and rhythm.

Hernández:Experimentation truly liberates me. Yet, as a collective, we’ve decided to adhere to the traditional songwriting structures that [Los Tigres del Norte] have agreed upon.

Could it be that a fresh sibling duo, known for their heartfelt love ballads played on acoustic guitars, will emerge as trailblazers in popular music? With our increasingly complex and globalized culture, there’s a sense that a reconnection with simpler musical joys might be long past due.

Valenzuela expresses his affection for the wordy nature of modern songs and their constant narrative flow. He finds them packed with syllables, devoid of silence; instead, they are a whirlwind of chaos and urgency. Despite everyone aiming for the same goal – completing a song – there are various paths to take: using samples, loops, hyperpop, Spanglish, high-fi or low-fi. Ultimately, it’s about tapping into an energy that feels genuine.

Hernández: It’s wonderful to go back to the straightforwardness of basic emotions. I’m considering a profound musical sensibility, a genre that can resonate with both mind and spirit without coming off as pretentious. To us, songs such as [the Tigres classic] “Un Día a La Vez” are like pure water for the soul.

I recently discussed with a friend how technology and artificial intelligence have expanded our choices tremendously. However, this abundance only highlights the priceless worth of a human being expressing themselves through singing or playing an instrument such as a guitar. Nobody would prefer a robot over a live performance at a concert. For instance, if you attended the recent ABBA shows in London, you’d immediately realize that while smooth, it lacked any genuine emotion. On the other hand, witnessing Metallica, Paul McCartney, or Bruno Mars performing live, with their playing, dancing, and emotional expressions before an audience, is incomparable to such a soulless performance.

If a young individual is considering learning piano, guitar, or violin, I’d encourage them not to fear AI. They should remember that no machine can replicate the emotional depth and authenticity found in composing a sincere song drawn from personal, vulnerable experiences. This aspect of music creation is priceless and beyond quantification.

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2025-06-24 21:31

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