“I am surprised by the speed of the ‘Peso Pluma’ phenomenon.”

By Reynaldo Mena

First, it took the lead on Spotify. Then, its appearance on the Jimmy Fallon show followed. It continued with a spectacular billboard in Times Square, taking the lead on YouTube, and a recent collaboration with producer Bizarrap. The singer of “corridos tumbados” is taking the world by storm.

“I am amazed by the rapidity of this phenomenon, which can be explained by the way music is consumed nowadays,” says academic Luis Omar Montoya from the University of Guanajuato. For Montoya, there is no doubt that this is a triumph of narcoculture.

“Peso Pluma himself says, ‘My music is not for children, but for adults. Otherwise, I would be making Cri Cri songs,'” comments Montoya. For this scholar, an expert in “corridos tumbados,” this phenomenon is on the rise.

“Peso Pluma is the Bad Bunny of corridos tumbados, he will continue to grow, and I have no doubt that he will be at the Grammy’s next year. Look, there are many details, if you notice, he is sponsored by Gucci, just imagine,” says Montoya.

He insists on the triumph of narcoculture, where he is friends with or knows people connected to drug trafficking, and he sings to them because he has been close to those circles.

“If you pay attention, Peso Pluma himself has said that he has no need to compose ‘corridos,’ but he does it because he wants to and because they are his friends,” he adds.

Reflecting on the audience that follows “corridos tumbados” singers, Montoya says that they appeal to a public between 13 and 25 years old. Those over 30 do not listen to it, nor do they want them to.

“If you notice, they are young people who identify with this culture of cars and luxurious clothing. They are young people who seek to relate to that rebellious behavior. They are young people without much emotional well-being,” adds Montoya.

For him, this is a phenomenon that will pass. When? That remains to be seen. But it is a movement that is built through visuals, not through sound, so musical quality doesn’t matter.

“For me, it’s like a Maruchán soup, it is quickly constructed with a formula, and that’s it. It doesn’t require a musical memory. They are not ‘corridos’ or Norteño music; they are musical phenomena. These ‘kids’ are moving on a different road,” says Montoya.

“Furthermore, it is a sales strategy. Which segment of the population consumes it? Well, the majority, I believe,” he says.