Most importantly, these new conversations are encouraging fans and gatekeepers to question their own prejudices and bestow some overdue flowers upon the legends that raised us.

And challenging the genre’s stale boy’s club dynamics, brash women like Chiquis Rivera, Ely Quintero, and Ivonne Galaz have started taking up more space in the spotlight. New markets have also opened up-just look at Central America, where banda sinaloense and corridos are bigger than ever. Tangana, and Snoop Dogg have gladly hopped aboard. Of course, plenty exists in between and beyond, but the changing sonic landscape has opened new avenues for creative exploration that non-Mexican artists like Bad Bunny, C.

Corridos and banda have never needed saving, but they are certainly evolving.Ĭorridos tumbados and their many sibling hybrids have manifested in two distinct flavors: the stateside melding of bajo sexto and maleanteo-heavy rap flows ( Natanael Cano and the whole Rancho Humilde gang), and the Mexican mashes of organic instruments with glossy trap production ( La Plebada ).

While many newcomers associate this music with rancho life and boozy parental catharsis, the reality is that listeners across all generations and walks of life connect to the storytelling of these borderland mavericks. As with every generation of artists, the disruptive and rejuvenating jolt of the tumbado wave has stirred controversy among traditionalists while attracting legions of new fans fascinated by the majesty and cultural significance of corridos, norteño, rancheras, banda sinaloense, and so much more. For a few years now we’ve witnessed an insurrection unfolding in the realm of regional Mexican music.

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