On 'Mirada,' Ivan Cornejo Redefines The Sound Of Sad Sierreño And Helps Fans Heal Through Music | GRAMMY.com (2024)

Within the landscape of Música Mexicana, Ivan Cornejo is a rarity.

The 20-year-old California native stands out as one of the most intriguing acts in a genre represented by artists known for their flashy looks and music. Soft-spoken and warm, Cornejo's gentle demeanor effortlessly translates into his music and on-stage persona and musical productions.

Cornejo's songs and lyrics are far removed from the "corridos tumbados" that have taken over global charts. Fans have dubbed the Mexican American singer the "Gen Z therapist" because of his heartbreak-influenced lyrics and dexterity in creating the ethereal, melancholic sound known as sad sierreño.

With two albums under his belt, Cornejo makes his major label debut with Mirada, released on July 18 via Zaragoza Records / Interscope. The album features the wistful, sad sierreño sound that made Cornejo famous three years ago with "Está Dañada," a heart-wrenching ballad from his first LP, Alma Vacía (2021).

In the single, which has amassed over 270 million streams on Spotify, Ivan — then 17 — captivated listeners with powerful melodies accompanied by languid and nostalgic vocals, reciting verses filled with maturity beyond his years.

In Mirada, the Música Mexicana breakout star presents 12 solo songs inspired by summer nights, including singles "Aquí te Espero," "Donde Estás," "Baby Please," and "Intercambio Injusto." As with his previous productions, Cornejo makes heartbreak the central theme of his album while guitars and melodies reminiscent of alternative rock take center stage.

While the album doesn’t feature additional artists, Cornejo opened up to collaboration within the studio. The singer, used to collaborating solely with his producer, Frank Rio, encountered a challenge when bringing two additional creatives into the studio.

"The process for this new project was very different," Cornejo tells GRAMMY.com in a Zoom interview from Mexico City. "[Having other] creatives in the studio [resulted] a lot of learning. For example, my producer and I learned a lot from each other; we had constructive disagreements. We heard each other's opinions and learned a lot from this project."

The rising sad sierreño star discusses with GRAMMY.com the creative challenge of Mirada, the artistic boundaries he pushed along the way, the advantage behind bilingual songwriting, and the unexpected singer that influenced his lyrics.

This interview has been edited for length and clarity.

'Mirada' feels very personal, almost like a diary. How would you describe the album's overall theme and feeling?

While writing and recording this album, I wanted it to feel very personal, intimate, and gentle but with a little more uplifting sound.

I wanted the Mirada theme to feel like a nostalgic summer night. I want people to feel like they can play these songs on the beach, with friends, or alone in bed. I wanted it to feel a little euphoric.

The record showcases a blend of Latin and Anglo influences. Tracks like "Baby Please," "Dónde Estás," and "Aquí te espero" have a rock ballad feel. What inspired this fusion?

My influences come through a lot. I remember listening to my sister's and brother's music at eight while my parents would play classical regional Mexican music, like mariachi and corridos. As I grew up and started making music, it meshed into this sad sierreño and this funky Spanish alternative [genre].

The guitar is a staple in your sound. How did it become so central to your musical expression?

I started playing the guitar when I was about seven. I fell completely in love with the instrument. My mom tried to put me in violin classes, and I learned the instrument for a while, but the guitar kept winning me over. I kept learning more and more about the guitar, and around 12, I started learning songs by Radiohead, Arctic Monkeys and Tame Impala, and that's where my music emerged.

Mirada portrays the nostalgia around summer nights. How were those nights for you?

I spent it with my friends, making a bonfire and hanging out at the beach, pool, or jacuzzi.

Those nights when you just put your phone away and let the wind hit you and talk about your feelings, your thoughts are different, that kind of night.

What kind of music did you listen to on those summer nights?

Last summer, I listened to [Bad Bunny’s] Un Verano Sin Ti; [that album] was No. 1 on my playlist.

The year before, I listened to just any vibey music, like Arctic Monkeys, Tame Impala, or Radiohead, when I was alone. Cigarettes After Sex, I listened to them a lot during the summer when I was going to sleep. I always put them on.

You say that each track on this album is pushing the boundaries of your art. In what aspect are you breaking those barriers?

I go back to my last two albums [Alma Vacía and 2022’s Dañado,] and I want to grow as an artist and musician every time I listen to them.

Every time we enter the studio, [my producer] Frank Rio and I try our best to push the limits for ourselves and keep growing as artists. Vocally, musically, instrumentally, [we're] trying our best to make things sound even better.

How do you achieve that? Do you take vocal references from singers you like? Instrumentally, how do you break patterns within the genre?

Sometimes, when I feel something is missing from a song or I want to do something but don't know how to listen to a bunch of music that I think [is similar].

For example, each song on Mirada has a very different style. Depending on the style of the song, I’d listen to genres, styles, or certain ways that artists sing that match that song. Listening to those songs gives me ideas; it's like combining those ideas.

Vocally, for example, if I don't know how to sing a specific word or note, I listen to references and try to combine them in the best way possible.

Your lyrics show maturity beyond your years. Do you consider yourself an old soul?

Yes, I'm an old soul, for sure. When I was 7 years old, my brother would play Johnny Cash songs, and I was right behind him listening to them, downloading all the songs. I remember that for a while, I would go to sleep listening to Johnny Cash for an entire year.

Read more: Meet The Gen Z Women Claiming Space In The Regional Mexican Music Movement

Your song often references therapy sessions, and your fans even consider you the therapist of an entire generation. Do you feel that way?

I never realized my music had that effect. I would read comments saying, "Oh, he healed me" or, "I feel better now," or "he's my therapist, he's my comfort artist." That gave me a lot of joy because my music touched my fans in a very emotional way.

[Those comments] gave me the great idea of naming my [last] tour "Terapia." [Going to a concert] It's like you go to a therapist and you hear them. It all made sense. I hope my music is therapy for a lot of people.

Have you ever been to therapy yourself?

No, I have not. But... I should go. [Laughs.]

How do you articulate emotions clearly in your songs, especially without formal therapy experience?

I write about emotions that everyone goes through or has been through. And I try to write it in a way that sounds fresh and new. Also, melodies are very important because you can say something; depending on the melody, it can change your feelings. I try my best to make it hit the heart melodically and lyrically.

What about Spanish led you to express heartbreak in this language?

I was very inspired by Mexican music because there's something about the sound and the language that is very romantic. For example, there are some phrases in English that you might translate to Spanish, and they sound better in Spanish. Since my first language is English, I can translate them into Spanish and make them sound better and more emotional.

I try to write [songs first] in Spanish, but from time to time, when I get stuck, I start thinking in English. I try to think of just lyrics, and I'm like, okay, that's a cool lyric; how do I make it fit into this? And then, if it doesn't work, I'll try another one and another one until something works, or I get an idea in English, and it just works in Spanish.

[Being bilingual] gives you two perspectives, which helps a lot in the writing process.

What does it mean to you to represent Mexican American culture through your music?

It feels like you're put on a pedestal and have to be a role model. Being part of two cultures is a blessing, because you have two sides and perspectives. I'm very lucky to be here in Mexico and to learn about Mexican culture while still being from the United States and learning from American culture.

Did you feel you fit in when you were growing up?

No. At first, no. I was very shy.

Did music give you that sense of belonging?

Yeah, for sure. It gave me relief as I fit somewhere, and my voice was being heard. [It makes me feel] like I have support and people are [rooting for] me, and it helps me feel a bit understood.

As you enter your twenties and deal with growing fame, do you feel pressure being labeled as the voice of a generation?

I feel the pressure of being a role model, but it's a good kind of pressure. It helps me to make sure that I'm always giving my all. It's almost like motivation; I have to keep trying my best every time to be a role model.

It helps me to ensure that I'm always giving 100 percent and that it's like motivation, too. I have to keep trying my best each time to be a role model.

You sold out the mythical Houston Rodeo in April. How did singing to a crowd of 72,000 make you feel?

[Selena] and Johnny Cash are many of my favorite artists and artists that I look up to [have performed there]. It was a complete honor to play the Houston Rodeo and one of the scariest things I've ever done. [Laughs.]

It was scary at first. But when I realized that there were a good number of fans, I took out my in-ears, and I heard nearly the whole stadium singing back to me. It was such a beautiful and unforgettable night for me. It was a crazy experience.

Los Lonely Boys have found success in spades over the past two decades, thanks in no small part to their familial bonds.

Following in the footsteps of their musician father Enrique Garza, Mexican American brothers JoJo (vocals, bass), Henry (guitar, vocals) and Ringo Garza (drums, vocals) formed Los Lonely Boys in 1997. Their dynamic, "Texican Rock ‘n Roll" sound netted the group a GRAMMY in 2005, as well as five career total nominations. Throughout their career, togetherness has remained an important component of their artistry.

"We're homebodies, we're family men and this is where we're most happy," JoJo Garza tells GRAMMY.com. "But when we get out there and we're on stage and we're in a different city, different state or whatever, the way that people make us feel like family is, it's a home away from home feeling."

That feeling inspired the band to reunite in 2022 after a four-year hiatus. Their return tour, which included several shows with the Who, went so well that they decided to also get back into the studio and record new music. On Aug. 2, the band will release their first album of new music in 11 years, Resurrection. Each song on the album sounds different, highlighting Los Lonely Boys' roots in Texas blues, soul, country, and Tejano music.

"When we got back together and started jamming, I think the rejuvenation, it came natural, the same, and it just felt right, fresh," says Ringo Garza. "I think our playing is the same as anything that gets older. If it doesn't start to rot, it gets better."

The Garza brothers have built their success through belief in one another. It paid off early on, when San Angelo, Texas club owner John R. Steele hired the group as his house band (and later became LLB's road manager). They also supported their musician father before branching out as a trio. In 2003, they struck gold when they got the opportunity to record their self-titled debut album at Willie Nelson's Pedernales Recording Studio in Austin.

Released in 2004, Los Lonely Boys' lead single, "Heaven," hit No. 1 on the Billboard adult contemporary chart and reached the top 40 on the Billboard Hot 100. The following year, the song took home a golden gramophone for Best Pop Performance by a Duo or Group with Vocal.

Their success allowed them the chance to collaborate with the other musicians. Los Lonely Boys partnered with Santana on 2005's "I Don’t Wanna Lose Your Love," performed with Ronnie Milsap on an episode of "CMT's Crossroads," and released music with Dr. John, Enrique Garza Sr. and Willie Nelson. LLB also released a string of popular studio albums, including 2006’s Sacred, 2008’s Forgiven, 2011’s Rockpango, and 2013’s Revelation.

Recorded in part at Henry’s home studio in Texas, Resurrection finds the trio continuing to channel their love of making music together. Their unique sound continues on the album, featuring everything from the Beatles-eque pop of "Wish You Would" to the smooth R&B and soulfulness of "Dance With Me."

Family continues to be important for the brothers. The album comes at a challenging period as they’ve tried to help and make their father comfortable after he suffered a stroke and heart attack earlier this summer. Ahead of the Resurrection's release, the group spoke with GRAMMY.com about the importance of their brotherly bond and how music has a magical quality that lets them connect with others.

This interview has been edited for clarity and brevity.

The new album is the band’s first in 11 years and comes on the heels of a recent return to the road. What brought everyone back together?

Henry Garza: We got to give all that credit to the man upstairs, brother. Of course, we could take some little bit of credit for that being brothers and family, but we accredit the higher power man. It's just the way things happen. It's like why are the stars in the places they are and why did that one shine brighter tonight than the last?

JoJo Garza: We need to pay our bills, man. I'm kidding. I mean, it is our livelihood, but it ultimately comes down to realizing that we still have a major purpose. While we have life in our bones, we still have a purpose to express what the creator has given us as a blessing, but also to express purpose in needing to show how important music is and what it means to us to do with it.

Henry: Yeah, we’ve got to still keep spreading that message of love through music.

What made the band start thinking about creating new music?

JoJo: We never stopped creating music. Even when we took our much-needed sabbatical, we were still in the process of always writing music. And I think when Covid happened, that really put a halt on what musicians could do as far as touring goes. So, we were able to really sort of almost start over. The songs that we chose for the album were given an ample amount of time to be something we felt really positive about.

Some of [those songs] are about having a good time and a lot of them are about life's lessons, but there's a few tunes in there too that are really, really deep as far as offering some input to the people, to the youth, as well as people in our age bracket as well.

JoJo: We were also personally affected by losing some family members and things like that, just like everyone across the world. Whenever we finally did regroup and saw each other for the first time, one of the first things we did was we gave each other big hugs and big kisses and a lot of crying.

I know that Henry and Ringo had done some work together. One of the first things I told Henry when I had heard "Send More Love" was the last time he had delivered a song like this it went global, we went worldwide. We won a GRAMMY.

It's got the basis of what was going on through Covid and it's kind of like a letter to or a phone call to the man upstairs saying, "Hey, could you send more love down here because this world is going crazy."

Was it challenging starting to play again after a few years apart?

Henry: Oh man. It was hard to remember any of the songs that we had played. It was a really emotional gettogether. When we first started rehearsing again together, every song that we played, even old songs, tears were falling because you just didn't know during that time if and when that was ever going to happen again.

Were there things the band was able to do better or differently on 'Resurrection' with everyone older and wiser?

JoJo: I think as far as the music goes, it’s very apparent that we have matured and grown. We actually embraced a little bit more of the digital aspect of what you can do in a studio.

Henry: There was growth during that period with technology for us and getting into the actual recording part of it ourselves and creating a studio to do the work in. We never had that gift or the comfortableness to be able to do that. We were always recording in somebody else's studio where you're paying a thousand dollars for every second that counts. So, we had some kind of freedom to be able to do that on our own and we grew in that aspect.

JoJo: We were always a live band, [that recorded live to tape]. The magic happens when you're live because then you can't go back and recut it or you can't go back and overdub it. Even when you record a live show, there's just a spark between each of us, a connection that it's really hard to capture. But building our own little studios and having the ability to do it ourselves, it's actually brought us closer and to the idea of maybe we should do a little more of this or a lot more of this instead of having to tour so much. So, that's in the cards for Los Lonely Boys as well. Squad goals.

My brothers gave me the opportunity to sit in the producer's seat on most of these songs. I was actually mixing some of the record while driving from Texas to California, listening in the car speakers. I was able to tell him, "Oh no, this has too much bass. We need to move that to the left or the right. Let's swap places." The ability to do that. Mix a record while you're driving. Come on man.

The band’s sound has been called "Texican Rock n' Roll" due to the diverse influences and that continues with this new album. Why is it important to have that dynamic, diversified sound?

Henry: We created what we call Texican rock and roll, which is anything and everything that has to do with real music from real musicians. This record really still expresses that about what we're about: family, love, brothers, the message of truth through music and resurrection. There's a little bit of flavor of everything in these songs, so it's kind of hard to just classify it as a certain genre.

Ringo Garza: Every single one of our albums has always had a song that you could put in another genre of music, country or pop or rock.

JoJo: It really is because we don't see or feel the boundaries between music. What we promote is not exclusivity, but inclusiveness because we're all one people…We're the human race and music is food for the soul.

Henry: Our dad taught us that music was the universal language, it didn't matter where you were from even if you didn't understand what they were saying. It speaks to everybody all across the board. I think that's our main focus with music.

Ringo: When I'm recording drum tracks or vocal tracks, I want my brothers to be impressed more than anything in the world. My brothers and my family. When we can get a song together and it brings a tear to our eyes and makes us love each other even more, that's what I strive for.I think my brothers are the same in that aspect of trying to impress and please one another.

You've all followed in the footsteps of your father, who himself had a band with his brothers called the Falcones. Why is that brotherly bond and honoring tradition so important?

Henry: If you can imagine a cup being filled with water and it spills over and there's another cup that takes on that water too. Our dad did it with his brothers, our mom's family did it with their brothers and my grandpa. Music was so natural, we thought everybody did it growing up. We owe all that to our greatest teacher, which of course for us is our dad. It began with him, and he’s our biggest hero.

He's the guy that showed us anything from the Beatles to Willie [Nelson] and Waylon [Jennings] to Richie Valens to Fats Domino. Every song he showed us growing up, we thought he wrote all those songs that he was showing us, and we believed he came on the radio, and we'd be like, "They're playing your song." He didn't deny it either.

Ringo: Having each other to play in this band together, it was just as natural as being brothers. I think when we were younger, we knew that we were brothers and we were a band, but I don't think that really dawned on us until we started playing out everywhere and knowing that there's not too many bands of brothers. I think that's where our strength comes from.

JoJo: We're family first. Even if we were doctors or we were lawyers or roofers, we were always going to stick together because that's the way we were raised. That's part of our destiny and that's part of what we're here to express. As beautiful it is as it is to have friends and extended family or whatnot. There's nothing like having true family, true blood.

This year marks the 20th anniversary of Los Lonely Boys' debut album and one of your biggest hits "Heaven." What do you recall about recording that record?

Henry: The way we grew up, we had zero expectations for anything because it just wasn't in the cards for where we came from. We were completely shocked and completely amazed when we were grabbing success.

Ringo: When we were younger playing and writing and recording, we knew that if we continued something was going to happen. But I don't think that we ever thought to ourselves, Hey, let's put this on the album so we can win a GRAMMY or so that we can sell millions of records.

JoJo: We have a very close connection to all the songs [on our debut album], but when it came to "Heaven," that was the only song that it seemed like everybody would pick on. All the people that were the Lonely team [were] basically saying that they didn't see nothing special in that song. The special thing to us was that it was a prayer that Henry had written that he was instructed to write down as a song. So, what a turn of events for everyone that said "nay" to have it turned up being the song.

Ringo: The first single was supposed to be "Real Emotions," and when we sent out [our music to radio stations in Austin], DJ Jody Denberg played "Heaven" instead. It lit the fire. It stayed up there [on the charts] for a little bit, and it broke. We're still able to reap the benefits of that.

What was your favorite memory of working at Willie's studio?

Henry: We can't talk about that man. Oh man. [Laughs.]

JoJo: The fact that we were there in a place that belonged to Willie Nelson. We had seen him on TV and heard him on the radio or whatever, you don't imagine that you're going to be that close to people. Basically, that was his home away from home. And so that's pretty freaking huge, man.

Henry: I'll never forget him driving up in his pickup and visiting us while we were outside drinking a couple of herbal refreshments. He treated us just like family. There's a lot of things to remember, but I think the fact that Willie was even around or took the time to make that connection with us.

JoJo: We were able to start meeting other artists and things like that, but he was the first one that said "these guys got something special. You might want to check him out."

Henry: Right around that time when we were recording the record, 9/11 had happened. "Heaven" was the only song that was recorded that day, on the day that the Twin Towers were hit and everything, man.

You later recorded a song with Willie and your dad called "Outlaws." What was your favorite memory from working on that song?

Henry: Our dad always considered himself the missing outlaw. So just to be working with Willie and having our dad work with him and be on the same song, man, that was the treat in itself. TWhen we hear that song, it's like tears to the eye because we were given the blessing to help our dad's dream come true a little bit.

Ringo: And it's a rocking song. It's pretty badass.

The album’s title 'Resurrection' continues the trend of using religious terminology. What drew you to that word?

JoJo: You can definitely tie it to religion, but resurrection exists without religion. When you look at how grass dies every winter and comes back to life and how trees, leaves fall through the fall and the winter and then they return. And resurrection is also like music. It's a gift that most people don't recognize as a gift or as something considered resurrection.

The reason we chose the term resurrection is because we were off the road for nearly three years and we weren't even sure we were going to play again. When we finally made that decision to come back I felt like…I mentioned the trees, the grass, how the sun rises and sets every day. It's a constant resurrection.We were given a chance to breathe new life into something.

Ringo: I love the fact that it does bring people closer to our father, closer to the love of this world in just that name.

Henry: When you got a band like us who won a GRAMMY for a song called "Heaven," and I think that speaks all in itself. So, when you hear a name title for a record called Resurrection, it ties into what we believe and how we were brought up, but it's definitely not something that we were going to go off and say that "Hey, this is religious."

What songs from the album surprised you most and how they came together?

Henry: Oh man, all of them. Songs seem to come out of thin air sometimes. Even when you try to write a song, it doesn't [always] happen. So, all of them are really just a surprise.

JoJo: Our song "Natural Thing" is really special because something we had already had [written years ago]. The way Ringo delivered it, I can't wait for the rest of the world to be able to hear this song. Ringo usually sings one song per album or something like that, but this one is very dear to us, but it's also very dear to Ringo because he sang it to his wife at their wedding.

Henry: It's a resurrected song.

JoJo: It really is. That's the true resurrection on the album.

The band's song "Wish You Would" has a pretty encouraging message about going for your dreams, while being careful. And conscient. Has becoming parents and grandparents shifted your perspective?

JoJo: We've been parents for a long time. Some of our oldest kids are in their twenties...There’s the old saying of "be careful what you wish for." If you're not careful about what you call dreams and aspirations, it can come with some serious consequences.

Another song on the album, "See Your Face" is a very emotional one as it pays tribute to your mother who passed away in 2015 as well as other family and friends. How was it helpful writing that song?

Henry: It's about our mother and how memories are in your head when you haven't seen someone for so long. You don't want to forget their face, but it's crazy how a memory pops up and you wish you could just hold it and control it.

Henry: Our dad had a massive stroke and a heart attack at the same time. And it's been a really tough time right now.

Ringo: It’s crazy how that song came out and the video and everything having to do with our mama and our dad is having a pretty rough time. Nothing is coincidental. Everything is meant to be, there's no such thing as coincidence.

JoJo: "Wish You Would" and "See Your Face" are kind of intertwined. That's one thing we're here to really express to people, is tell the people you love them or you're going to wish you would because someday you're going to be wishing just to see their face.

JoJo: Do it while you have the time, express to the people that mean the most to you, that they mean that to you.

Ringo: I think it ties into even "Send More Love" because I think a lot of that is being forgotten.

Henry: Love is growing cold in this world, man.

JoJo: We do music purely because first off, it's a given to us. Secondly, we do it purely for the music and each song that is given to us sort of appears out of thin air. It's definitely given from the creator of all things. There's nothing greater than being able to have the consciousness that we're given as human beings to be able to express these things so deeply.

Música Mexicana isn't the only sound of Mexico that's blowing up; the country's artists are now starting to make their mark in reggaeton. Imbued with the essence, swagger, and lingo of Mexico, reggaeton Mexa is the next big Latin sound that's going global.

Originating in the Caribbean, reggaeton evolved from Panama’s reggae en español and Jamaican dancehall of the 1980s. Puerto Rican acts like DJ Playero and DJ Nelson shaped the sound of reggaeton in the island's underground scene during the '90s, while Daddy Yankee, Tego Calderón, Don Omar, and Ivy Queen pushed the genre into the mainstream at the dawn of the new millennium.

Boricua acts Tainy, Bad Bunny, and Ozuna pushed reggaeton into the next decade, though Colombia also brought about the genre's second wind. J Balvin's success solidified Medellín as a reggaeton hotbed, spawning Maluma, Karol G, and Feid as global stars.

Learn more: The Sonic And Cultural Evolution Of Reggaeton In 10 Songs

In the 2020s, Mexico is becoming the next hub for reggaeton as artists who grew up listening to the Puerto Rican OGs — as well as Mexican acts Ghetto Kids and Pablito Mix —are now putting their own stamp on the genre. In late 2022, Bellakath put a spotlight on reggaeton Mexa with her viral hit "Gatita"; the following year, Yng Lvcas took the sound to new heights with his "La Bebé" remix featuring Peso Pluma, which reached No. 11 on the Billboard Hot 100 chart.

Reggaeton Mexa pulls from the genre's underground roots in Puerto Rico, infusing its songs with Mexican culture and grit. Lyrics are full of Mexican slang that reflect life in the barrios.

"Reggaeton Mexa is reminiscent of the sounds of the '90s and 2000s from Puerto Rican DJs like Playero and Joe," El Mallila, one of the reggaeton Mexa leaders, tells GRAMMY.com. "The songs, the beats, and rhythms are more or less similar to that flow. The difference here is the Mexican jargon. Reggaeton Mexa is spicy. We play with Mexican profanities without being offensive."

The emerging genre has gained traction among the larger reggaeton community with Jowell y Randy, Maldy, and J Balvin recently featuring on their songs. Following the success of Yng Lvcas, Bellakath, and El Malilla, Mexican acts like Peso Pluma (who dedicated part of his Éxodo album to reggaeton) and pop star Kenia Os are embracing the wave. As the tide continues to rise for reggaeton Mexa, GRAMMY.com is highlighting seven of the sound's leading artists.

Yng Lvcas

Guadalajara, Jalisco native Yng Lvcas noted that no one around him could name a Mexican reggaeton artist, so he decided to fill that void.

An early encounter would make for auspicious beginnings. As he was signing a record contract with Warner early last year, Yng Lvcas crossed paths with Peso Pluma. The música Mexicana star's first foray in reggaeton was with Yng Lvcas and their global hit, a sensual remix of "La Bebé." Their collaboration became the first reggaeton song by Mexican artists to enter the Hot 100 chart.

Last October, Yng Lvcas released his album Super Estrellas to put a spotlight on more reggaeton Mexa acts. The LP included songs with El Malilla and El Bogueto. Puerto Rican OG Maldy later teamed up with Yng Lvcas for the hypnotic "Diviértete."

Bellakath

The first artist to get the global conversation started about reggaeton Mexa was Bellakath. After earning a law degree from the National Autonomous University of Mexico, the Mexico City native became a social media personality. Bellakath leveraged her following to start her music career, which exploded in late 2022 with the frisky "Gatita." The song went viral on TikTok and the music video has over 144 million views on YouTube.

In the male-dominated reggaeton Mexa scene, Bellakath is continuing to keep women on top. Last year, she released her debut album Kittyponeo with the hit "Reggaeton Champagne" featuring Dani Flow. After signing with Warner in May, Bellakath dropped "Sandunguea," which sampled the reggaeton classic "Mayor Que Yo" by Luny Tunes. On July 15, Bellakath released her second album, Sata 42, where she ventured into dembow music with artists from the Dominican Republic.

Learn more:

El Malilla

El Malilla proudly represents the chakalones (Mexican slang for "bad boys") in reggaeton Mexa. Hailing from Valle de Chalco, El Malilla remembers his first encounter with reggaeton as a teen came from the pirated CDs that were sold at the tianguis, or open-air markets.

Now, El Malilla is bringing Mexico's version of reggaeton to the forefront. He recently released his debut album ÑEROSTARS, which includes his viral hit "B de Bellako" with Yeyo. Back in May, Puerto Rican OGs Jowell y Randy jumped on a remix of the quirky banger.

El Malilla also wants to make reggaeton Mexa more inclusive. Reggaeton has historically excluded LGBTQIA+ folks, though queer artists such as Young Miko, Villano Antillano, and La Cruz are changing that tune. On the Mexican front, El Malilla wanted to be an ally to his queer fans with the 2000-inspired "Rebote" music video, which was shot at the gay club Spartacus with Mexican drag queens.

Within his album, El Malilla is also stretching the bounds of his artistry by exploring merengue in "Coronada" and experimenting with house music in "Todo Tiene Su Final." "ÑEROSTARS is a call to all the reggaeton Mexa artists to dare themselves to make new music and try different sounds," he says. "Don’t stay in your comfort zone just making perreo."

Yeri Mua

Veracruz native Yeri Mua is keeping a high heel firmly planted on the neck of the genre, holding it down for the women in reggaeton Mexa.

Mua started out doing makeup tutorials on YouTube and later grew a massive social media following. Last year, she launched her music career on Uzielito Mix's reggaeton romp "Línea del Perreo," which has over 103 million streams on Spotify. In songs like "Chupon," Mua brings a fierce femininity to reggaeton Mexa while flipping the genre's explicit lyrics from a woman's perspective. In April, Kenia Os tapped Mua and Ghetto Kids for her reggaeton Mexa banger "Mamita Rica." With a laugh, Os told GRAMMY.com at the time, "[Mua] sounds very sexy and makes noises like meowing. It felt very great to work with her." Last month, Mua signed a record contract with Sony Music México.

El Bogueto

Alongside El Malilla, El Bogueto is one of the OGs of reggaeton Mexa. The Nezahualcóyotl native has scored a number of hits since 2021, including "Tu Favo" and "G Low Kitty," which has nearly 60 million streams on Spotify.

The title of El Bogueto's 2023 debut album Reggaetoñerito is an amalgamation of the words reggaetonero and ñero, which is Mexican slang for a person from the hood. El Bogueto has continued to rack up millions of streams with his LP, which include hits like the freaky reggaeton romp "Piripituchy" and "Dale Bogueto." In May, J Balvin gave his co-sign to El Bogueto and the reggaeton Mexa scene when he jumped on an all-star remix of "G Low Kitty."

Yeyo

Among the artists on this list, Yeyo is the freshest one on the reggaeton Mexa scene, but he's fast becoming one of the genre's brightest stars and the go-to artist for a hit collaboration. The Zacatepec, Morelos native is a protege of Ghetto Kids' Luis Díaz, who also serves as his manager.

Yeyo's playful and infectious flow as a Mexican reggaetonero has translated into million of streams in songs like "B de Bellako" with El Malilla and "Mami Chakalosa" alongside Bellakath. He has also flexed a romantic side to his distinct voice in Ghetto Kids' recent hit "En El Ghetto #5 (La Discoteca)." Yeyo has also shined on the electronica-leaning reggaeton of "Maldad" and the sensual "Tentación."

Uzielito Mix

Many of the songs mentioned in this list wouldn't have been possible without Uzielito Mix. Following in the footsteps of Ghetto Kids and Pablito Mix, the Mexico City-based producer has become the backbone of the sound of reggaeton Mexa. Uzielito Mix produced Yeri Mua's hits like "Línea del Perreo" and "Brattiputy." He also co-produced El Bogueto and El Mallila's "G Low Kitty" with DJ Rockwell, which J Balvin later hopped on.

In his stellar collaborations, Uzielito Mix is known for uniting many of the reggaeton Mexa stars. He continues to push the sound of the genre into the future like in the spooky "Espantan" remix with El Bogueto, Alnz G, Dani Flow, and Tensec. In 2022, Bad Bunny tapped Uzielito Mix to open his World's Hottest Tour stops in Mexico City.

Let’s not bury the lede here: Café Tacvba’s Re is one of the pantheon rock albums in the Spanish language. And arguably one of the greatest rock albums in any language.

Since its release 30 years ago on July 22, it’s been held up as one of the most ambitious and eclectic albums of its time, elevating the standard by which almost every rock en español band would be held to ever since — including its own creators. As a song cycle, Re is a whirlwind, with genre exercises and mini-suites scattered seemingly at random. Many pop critics liken its sonic diversity to the Beatles’ White Album, which is true if you’re just counting musical styles. But whereas the Fab Four were indulging their personalities within the group context, Café Tacvba conveyed solidarity in putting together an almost sui generis collection of madcap melodies.

As a whole, Re was a great leap forward for Latin American rock music, and a landmark for Mexican music in general.

It's important to consider the context of Café Tacvba in 1994. Despite its large population and long history as a Latin American cultural center, Mexico City lagged in establishing serious rock acts aside from outliers such as El Tri. Part of this is due to the politics of the age — including the Mexican government’s notorious crackdown on public rock concerts after several clashes between rock fans and police during the '70s — leaving the majority of Mexican rock bands resigned to playing in shady, underground clubs.

However, the 1980s saw the birth of BMG’s "Rock de tu Idioma" marketing blitz, and Mexican record companies finally began to put efforts into finding a national equivalent to South American-born stadium bands like Soda Stereo and Los Enanitos Verdes. On their second album, El Circo, Madilta Vecindad brought Mexico City to the forefront of the modern rock en español movement with their innovative mix of rock n’roll and ska crossed with pachuco subculture. Other bands that emerged around this time — from the gothic Caifanes (whom the band is currently touring with across the United States) to the arena rockers Maná — began building large audiences across the continent, but the scene still lacked a singular act that could elevate Mexican rock to the forefront.

Read more: Revisiting 'El Nervio Del Volcán' At 30: How Caifanes' Final Album Became A Classic In Latin American Rock

Enter los Tacvbos. Aligning based on their shared passion for English new wave music, Café Tacvba was formed in the late '80s by college friends Rubén Albarrán and Joselo Rangel, who would serve as vocalist and guitarist, respectively. In time, they were joined by Joselo’s brother (and bassist) Quique and the multi-instrumentalist Emmanuel "Meme" de Real, choosing to name their band after a historic Mexico City café. Café Tacvba spent the late '80s evolving from a college garage band into one of Mexico’s most exciting live acts. After the release of their seminal 1992 self-titled debut — a frantic collection of ska-punk mayhem and colorful pop songs — expectations were high that the band could deliver a follow-up that would mirror their electric live show. What the band delivered would end up altering the entire scene completely.

Re is impactful and unique for many reasons, the first and most immediate being its adventurous studio production. Working again with rock en español superproducer Gustavo Santaolalla, Café Tacvba decided against continuing with the ska-punk foundations of El Circo and their own debut and embraced their own eclecticism. You can hear it from the jump with the huapango-via-jarana opening chords of "El Aparato," a sound previously unheard of on a pop record. Within its three-and-a-half minute runtime are layers of percussion and synthesizers complemented by glorious indigenous chants and one of Albarrán’s greatest vocals, rising and falling as the song demands. The movement in the final 45 seconds is ethereal, with its sheer sonic force sounding more apropos for the end of the world than the beginning of a double album.

Santaolalla revealed to Rolling Stone that he challenged the band, who responded with two batches of new songs for a sprawling double disc. Re is where a song like the sophisti-funk of "El Ciclón" is followed by two minutes of unadulterated thrash in "El Borrego." "24 Horas," meanwhile, mixes Beach Boys harmonies, Latin American lounge music, and post-punk beats. And that’s not even getting to the pure WTF of "El Puñal y El Corazón," with its multiple sections finding the middle ground between Pedro Infante and the Beatles, albeit with a merengue coda thrown in.

Perhaps the best testament to Santaolalla's production is "El Baile y El Salon," Re’s most popular song (and frequent concert encore for the band). It’s one of a string of great duets from Albarrán and Meme, perhaps the most earnest song in the band’s catalog with sweetly sincere lyrics. Santaolalla lets the music aid the storytelling: Meme’s vocals ride against stomping percussion and a grooving bass line, while Albarrán sings against a wave of synthesizers. In lesser hands, the song would be an easy paint-by-numbers arena rock anthem. Thankfully, Café Tacvba leaned into their own indulgences, and came out with something immortal.

Another important theme across Re is the band’s sense of discovery for their home country. Indeed, one of Café Tacvba’s intentions for Re was to showcase the sounds that they heard while touring through Mexico in support of their debut album. As Albarrán told the podcast "La Vida Circular," the band wanted to deepen their relationship with traditional Mexican music and infuse it with the punk, metal, and funk rock that they were already experimenting with.

The most striking example comes in the form of lead single "La Ingrata." With a bouncy rhythm and tweaked time signature inspired by norteño, the song is a common tale of desperation and heartbreak with a spiteful edge bled over from Café Tacvba’s punk roots. The fan favorite is also one of the band’s most influential songs, as it presaged a number bands combining norteño and alternative music — from Tijuana’s Nortec Collective at the turn of the century, to the contemporary corridos tumblados resurgence. Café Tacvba decided to stop performing the song in concert in 2017, due in part to the harsh lyrics about its female subject, and the escalating waves of violence against women within Mexico during this period. Albarrán noted around that time that "We were very young when it was composed and we were not as sensitive to this problem as we all are now."

Re did not sell well in Mexico upon release, though the band fermented interest during a sold out tour of Chile and Argentina. This, along with exposure from the recent launch of MTV in Mexico, was the major catalyst for the album’s fortunes taking an upturn. As the Mexican music listening public soon gathered, Re had something for everyone: From the smooth bolero of "Esa Noche," the frenetic banda of "El Fin de la Infancia," and the glittery Mexican pop of "Las Flores." Lyrically the band was speaking to its compadres, most notably on "El Metro," a bizarre short story of a lovelorn man trapped inside the Mexico City subway.

Despite its madcap sound and unabashed orgullo Mexicano, Re’s deepest theme is about the cyclical nature of life. There’s an obvious hint to it within the album art’s spiral conch shell, and more allusions in the song title "El Ciclón" and the reflexivity of "Pez" and "Verde," which bleed in-and-out of each other.

But dig deeper and the album is rife with references to life, death, rebirth, and natural law. "Ixtepec" sounds like a buoyant pop number but is really a cryptic tale about Death coming to collect his bounty, underlined with the refrain that "life is a cycle." Multiple songs, including "Trópico de Cáncer" and closer "El Balcón," reference reclamation of their birth land from the conquistadors, with the former song in particular telling a heartbreaking story of a civil engineer encountering the ecological damage to which he’s complicit. And there’s also the understated elegance of "El Tlatoani del Barrio," which recounts a love story in a pre-Columbian world soundtracked by Indigenous chants and a disco boogie.

Unlike many bands in a similar position, Café Tacvba never tried to replicate the magic of Re. Their next release was the covers album Alalancha de Éxitos, itself born out of their label’s reaction about Re’s lack of commercial hits (this bet paid off; the album was nominated for Best Latin Rock/Alternative Performance at the 40th GRAMMY Awards). Their visionary, hyper-experimental 1999 release Revés/Yo Soy, solidified their critical standing by winning a Latin GRAMMY for Best Rock Album and earning a GRAMMY nod. Today, it's a cult item currently unavailable on any streaming service due to label in-fighting.

After the turn of the century came Cuatro Caminos, a much more traditional sounding rock album, which led them to new critical and commercial heights, including their only GRAMMY win for Best Latin Rock/Alternative Album, and their career ever since has seen them find their groove as the thinking person’s favorite Mexican rock band. But within their exceptional catalog, Re remains a glorious outlier.

Even if Café Tacvba had never released another record after Re, their legacy would have remained secure. Re was among the major catalysts for the second wave of Mexican alterna-rock, which saw the likes of Julieta Venegas and Kinky elevating the genre with new sounds and perspectives. All modern rock owes a debt to the freewheeling spirit of Re, and the album’s continued influence and critical accolades are proof-positive of that.

In a sense, it’s almost poetic that Café Tacvba — a band formed through their shared idolization of David Bowie, the Clash, and the Cure — ended up proving to be as essential and venerable to rock history as any of their influences.

Peso Pluma marked his musical destiny with a Tupac tribute tattoo in the center of his clavicle: "All Eyez On Me."

The Mexican artist, born Hassan Emilio Kabande Laija, doesn't remember exactly what year he inked his chest. He knows it was well before his debut in music. Those four words reflected Peso's irrefutable confidence that the world's eyes would eventually be on him.

The world's eyes are indeed on Peso Pluma. In less than two years, the singer achieved global fame by singing corridos tumbados, traversing a path never before trodden by a música Mexicana artist.

At 25, Peso Pluma is at the forefront of a new generation of música Mexicana artists that have successfully modernized traditional Mexican rhythms, such as corridos, by infusing them with elements from urban music and a hip-hop aesthetic. The weight of representing an entire genre and a country could be great for some. But pressure doesn't affect Peso Pluma; on the contrary, it motivates him to keep working to exalt his roots.

"We've come a long way, but we still have a long way to go. And that doesn't mean we have to slow down; it doesn't mean everything is over. This is the beginning of everything," Peso Pluma said in a TikTok video before a performance at the Toyota Arena in Ontario, Canada, a little over a year ago.

Out June 20, Peso's extensive new album ÉXODO seeks to cement his global star status further. Over 24 tracks, the singer continues to explore corridos tumbados and digs into his urban side via much-awaited collaborations with reggaeton and hip-hop icons. Among those big names is Peso's teenage idol, the American rapper and producer Quavo, as well as further afield collaborations with Cardi B.

"ÉXODO is a project I've been working on for over a year before we even won the GRAMMY. GÉNESIS was an incredibly special project, and I knew we couldn't make the same diamond twice," the singer tells GRAMMY.com in a written interview.

Peso Pluma's path to the global stage has been lightning-fast. While he started releasing songs in 2020, Peso will remember March 2023 as the month that propelled him into global mega-stardom. His collaboration with Eslabón Armado on "Ella Baila Sola" led him to become a household name outside his native Mexico.

The hit resonated with an audience eager for new sounds, accompanying social media videos and surpassing a billion streams on Spotify. "Ella Baila Sola" became the first Mexican music track to top the platform's global chart. On Billboard, it conquered No. 1 on the magazine's Global 200 chart for six weeks and reached the coveted No. 4 spot on the Hot 100 chart. The mega-hit took Peso Pluma and Eslabon Armado to make their Latin GRAMMY stage debut in November with an electrifying performance.

Another collaboration, "La Bebe (Remix)" with Mexican reggaeton artist Yng Lvcas, released a day after "Ella Baila Sola," also contributed to Peso Pluma's virality in a completely different genre, but one in which he feels comfortable: urban music.

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As Peso Pluma gained traction with a global audience, his February 2022 single with Raúl Vega, put him, for better or worse, on the map in Mexico. The warlike content of "El Belicón" lyrics and video clip attracted attention for the way it allegedly promoted narcoculture.

Despite growing criticism, Peso Pluma remained tight-lipped regarding references to high-profile members of the Mexican drug trade, as well as drug use and trafficking. In a rare admission to GQ magazine, the singer explained this is a "delicate subject to talk about, but you have to touch on it with transparency — because it's the reality of things."

"In hip-hop, in rap, just like in corridos, and other urban music like reggaeton, it talks about reality. We're not promoting delinquency at all. We're only talking about things that happen in real life," the singer explained.

With the success of "El Belicón" and "Ella Baila Sola" under his belt, Peso Pluma released GÉNESIS in June 2023. Despite being his third album, Peso considers it his true debut in music.

"I didn't want to delete my previous albums [Efectos Secundario and Ah Y Que?] because they represent my beginnings," Peso told Billboard in a cover story published a few weeks after the release of GÉNESIS. In the same conversation, the singer said he saw himself winning his first GRAMMY and breaking more records.

Read more: 5 Takeaways From Peso Pluma's New Album 'GÉNESIS'

In February 2024, Peso Pluma did just that. He took home the golden gramophone for Best Música Mexicana Album (Including Tejano) — his first GRAMMY Award. This victory didn't weigh on him as he approached his next production. "It pushed me to want to create something different that the fans haven't heard from me before," Peso Pluma tells GRAMMY.com.

While GÉNESIS and ÉXODO may differ in substance, they share similarities beyond music. That both records pull from the Bible for their names is not a random occurrence; the opening book of the Hebrew and Christian Bible delves into the genesis of creation, while the Book of Exodus explores the themes of liberation, redemption, and Moses' role in leading the Israelites through the uncharted waters of the Red Sea.

"ÉXODO is the continuation of GÉNESIS, which was the beginning," Peso Pluma explains to GRAMMY.com. "ÉXODO means new beginnings, a new era for me. We are preparing for the next chapter, and that's what we are doing for Mexican music, paving the way, laying the groundwork for what's next because it doesn't stop here."

His "sophom*ore" album is divided into two discs: the first is corridos, and the second is urban. It also continues the line of collaborations, with twenty tracks where Peso Pluma shares the limelight.

"Some of my fans were craving música Mexicana, and some were craving urbano, and I wanted to give them everything while still staying true to myself and choosing songs and lyrics that spoke to me," he continues.

ÉXODO's disc one starts with "LA DURANGO," the album's fourth single, featuring Eslabon Armando and Junior H. In the record, he also invites collaborators such as Natanael Cano and Gabito Ballesteros for "VINO TINTO" and Mexican rising star Ivan Cornejo on the melancholic "RELOJ," among others.

For Side B, Peso enlisted heavyweights from the urban genre in the Anglo and Latin markets: Anitta in the steamy "BELLAKEO," Rich The Kid in the bilingual "GIMME A SECOND," and Quavo in the existential trap "PA NO PENSAR." Cardi B, Arcángel, Ryan Castro, Kenia OS, and DJ Snake complete ÉXODO's genre crossover.

In ÉXODO, luxury, drugs, alcohol, and women continue to take center stage in the lyrics, accompanied by fast-paced guitar-driven melodies and reverb-dense vocals. However, the production sheds light on the vulnerable side of Peso and explores the unexpected consequences of becoming globally famous.

"Fans really get to see the other side of the coin; there are two sides to me. It's darker, rawer," Peso says about the record.

In the songs "HOLLYWOOD" and "LA PATRULLA," for example, Peso details how this musical path keeps him up at night, as well as his aspirations, and how he remains the same despite his success.

Perhaps one of the deepest and rawest songs on the album is "14:14," a track inspired by the Bible verse 14:14 from the Book of Exodus, which, the singer explains, was fundamental amidst the turbulence he faced on the way to global stardom.

"[The] verse 14:14 says 'The LORD will fight for you; you need only to be still.' This verse couldn't be truer," Peso Pluma says. "Over time, I learned to really trust in this and believe that some things are not up to me and I should trust the process."

In the song — one of the few on the album without a collaboration — Peso references the challenges of his profession and how his faith has kept him afloat amid the vicissitudes. "Things from the job that no one understands/I hide the rosary under my shirt so I don't poison myself, so I don't feel guilty/because whatever happens, the Boss will forgive me," he sings.

In "BRUCE WAYNE," Peso Pluma croons about the passionate feelings his career arouses: "First they love you, and then they hate you/wishing the worst, envy and death," the song says.

The singer resorts to comparing himself to a superhero figure again. In an unusual twist, Peso crosses comic universes, moving from his now traditional reference to Spider-Man to one from the DC Comics world: Bruce Wayne, Batman's secret identity. A wealthy man, part of Gotham's high society, Bruce Wayne is known for transforming his darkness into power while remaining reserved and isolated.

"Everyone has two sides of them, even me," Peso tells GRAMMY.com. "Peso Pluma on stage is a high-energy person, someone who is powerful and dominates a show and isn't afraid of anything. And then there is Hassan, who's chill and more relaxed and who deals with all the realities of life."

During the year and a half it took him to complete ÉXODO, Peso Pluma had to deal with the diverse nuances of a global star's life, including a widely publicized breakup from Argentine rapper/singer Nicki Nicole, the cancellation of one of his shows in October 2023 after a Mexico drug cartel issued a death threat against him, and a media frenzy over his alleged admission to a rehabilitation clinic, the latest a rumor he laid to rest during a March interview with Rolling Stone for his Future of Music cover story.

"The reality is, all these days, I've been in the studio working on ÉXODO," the artist explained to Rolling Stone.

Most of 2023 was a successful balancing act for Peso Pluma, who combined touring, an album release, rare media engagements, two Coachella appearances, all the while developing another record. According to the singer, ÉXODO was created in Los Angeles, Miami, New York, and Mexico. "We go to the studio everywhere!" Peso says. "It doesn't really matter where we are; I love to get into the studio and work when we have free time."

Like GÉNESIS, ÉXODO will be released via Peso Pluma's Double P Records, of which he is the CEO and A&R. Much of the talent the Mexican singer has signed to his label took part in the album's production, and songwriting process.

"For the Mexican music side, I had the whole [touring] band with me; I like to have them involved in the process so that we can all give our input on how it sounds, discuss what we think needs to be changed, create new ideas," he explains.

Peso Pluma knows that echoing the success of 2023 is no easy task. He was the most streamed artist in the U.S. on YouTube, surpassing Taylor Swift and Bad Bunny, and was the second most-listened to Latin artist in the country, amassing an impressive 1.9 billion streams, according to Luminate.

Música Mexicana emerged as one of the most successful genres in 2023, witnessing a remarkable 60 percent surge in streaming numbers, adds Luminate's annual report, crediting Peso Pluma along Eslabon Armado, Junior H, and Fuerza Regida as part of this success.

Collaborations on and off the mic have undoubtedly played a significant role in the rise of Música Mexicana on the global stage. Peso knows that the key to continuing onward is teaming up with renowned artists inside and outside his genre.

"All of us coming together is what pushed música Mexicana to go global," the singer affirms. "We showed the world what Mexico has to offer, and now no one can deny the power and talent we have in our country."

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