Featherweight debuted in Buenos Aires: his corridos, Messi’s 10, Riquelme’s “Topo Gigio” and Bizarrap as a guest

“FriendWhat do you think of that? morra?” is perhaps the question of the year. She wrote Pedro Tovar as the opening verse of that intercontinental hit without a chorus called “She dances alone”, which she performs with her band Armed Link and with Featherweight. And so, overnight, the world began to talk about what is called “corridos tumbados”, a variant of Mexican folk music that new generations of artists from the northern country updated taking elements from storytelling and the fronteo of trap and reggaeton. The song finally arrived in Buenos Aires at the end of the debut show in Argentina of the “double P”, the group project headed by a certain Hassan Emilio Kabande Laijaborn in Guadalajara and with Lebanese blood.

The Movistar Arena looked quite full although not overcrowded, with the majority of young people with an adolescent smell and the desire to sing loudly those songs that they have been using to musicalize their songs. tiktoks and reels. A white curtain covered the stage to project a short film full of self-improvement quotes, until it fell so that Featherweight came out with his face covered by a balaclava in the best style. Subcommander Marcos and peel his hoarse, nasal, imperfect voice, an improbable cross of Elvis Crespo and Pity Alvarez.

With a tonal look very argentinian (light blue sports outfit and white muscular girl) that did not completely match her hat from the New York Yankees and a white golfer’s glove, the singer developed his necessarily revolutionary attitude to cross the Rubicon of this musical era hegemonized by the beats and drumkits monotonous: there are no drums here, the rhythm is carried by the tapping on the strings of the double bass that pulses Parkamusical director and second voice of the tight acoustic septet that completes Carlitos with the requinto, a kind of twelve-string electroacoustic; Lalito on guitar; Chinese with a five-string bass, very heavy and groover; Fidel on the trombone; and a duet of charchettas in the hands of harold and Check. The filming and expertise of the group is highlighted every time they take an extra turn before a verse or when they rehearse a double ending after the applause.

His lyrics generated great controversy in his native country for being part of the tradition of the narcocorridos commissioned and the alleged connections with the Sinaloa Cartel. Yes, as I would say Ricardo Iorio, reggaeton was the “mara advance”, could this be the narco advance? It is better not to talk about certain things, although the abundant references to the camel and gang life (“Rosa pastel”, “El belicón”) that are increasingly less alien to local reality. But there is also nostalgia for the toxic loves that were left along the way (“Lagunas”, “Bye”), the memory of his deceased father (“Nueva vida”), the vindication of the migrant chicano in the United States (something typical of his biography, since he was born in Mexico but grew up in San Antonio, Texas) and also to the revolutionary leaders: at the end of ”Zapata” he rehearsed “Topo Gigio” from Juan roman riquelme that Lionel Messi spread around the world at the last soccer World Cup to better listen to its audience.

Energetic, bouncy, haranguing, Featherweight only stops when he knows he no longer has to sing and leaves the stage until it is his turn to return for the next song. His vocal delivery is focused on the verses and abandons the watermark-phrases which he uses as a bridge in his recordings. Thus, at no time was his characteristic “cha-chauuu!“, greeting that is less than half of the one he registered Marcelo Tinelli but it’s as catchy as if I had written it Chespirito as a catchphrase for some character The kid.

A notable point in Peso Pluma’s performance is the non-use of additional tracks, whether vocal or instrumental. Thus, the verses of Becky G when he performed “Chanel” nor those of Junior H at the time of “El azul”, one of the most celebrated of the night, nor the beat that Bizarre he composed for “BZRP Music Sessions Vol. 55.” Another absence, although more striking, was that of his girlfriend Nicki Nicole. When “At Night” began to play, almost all the cell phones in the stadium stood up because they imagined that the Rosario native would come up and sing the version with him. remix that they registered at the beginning of this year. However, Nicole was caught following the actions with some reluctance from one of the boxes and, minutes later, she fled to be a guest of the Spanish Bad Gyal, who was giving his own recital at C Art Media, two blocks away. Crisis at the door? We don’t know, but there was some disappointment among those who were waiting for it.

The one who did give the present was Milo Jthe MVP of current Argentine rap, who with his unusual flow Cansino gave shine to his own song called “Una bala”, recorded in his latest work 111 and in which Featherweight participates. In “Las morras” a group of four dancers with generous curves joined the quartet of dancers ninja who had been animating almost the entire show and closed the first part of the concert. For the second, Hassan changed his outfit and he came out with Messi’s Argentine 10. Although, judging by the large number of references to the tusi that there is in their lyrics, the pink of Inter Miami would have been more appropriate. Riding the hangover of World Cup euphoria, the singer asked his people to sing “Muchaaaachos” and, once his request was fulfilled, he admitted that Argentina “put Mexico’s dick in the World Cup… Messi is a dad.” .

After the two parts of “El Gavilán”, “Siempre pending” and “Luna”, the musicians left, the singer was surrounded by the dancers and, now, the tracks were released. So, everything that until now had been unusual became conventional. And then a block composed of his reggaeton collaborations played, in which he almost limited himself to dancing and shaking punchlines: “Plebada” (originally with The Alpha), “Burn” (Ryan Castro and SOG), “Qlona” (Karol G) and “La Bebe remix” (Yng Lvcas). Paradoxically, the least solid segment of the show was the most celebrated by those present.

After “PRC”, the aforementioned “She Dances Solo” and the festive “Lady Gaga” played, with which she usually closes her concerts, Peso Pluma asked the crowd not to leave. “One more and we won’t fuck anymore“, the almost anonymous but equally unmistakable voice of Bizarre. The producer came to life, stormed a booth that was set up at the back of the stage and let out a remix techno session which he edited with the Mexican in June of this year. In the old style of encores, the song was played again in the night to shake up the last dance of the night. “They don’t know what this kid wants from the country, the respect he has for Argentina. Thank you for receiving it like this“, was the blessing that Ramos Mejía’s Jedi gave to Hassan before the local public and they said goodbye hugging.

From now on, time will tell if the star of Peso Pluma is fleeting, if he will sustain himself by staying original or turning towards reggaeton or whatever will be stuck in the coming summers. There is also the possibility that he will be a martyr, as happened with his compatriots. Chalino Sánchez either Valentin Elizalde: this tragic possibility is imaginable since the singer was threatened by the Jalisco New Generation Cartel, forcing him to cancel a performance in Tijuana last September. Happenings of the narcocorrido, destiny is in your own hands but also in those of the enemy.