Argentina urban music export: from the boom of Nicki Nicole and Bizarrap to the Grammy that Fito Páez won after 23 years

RIO DE JANEIRO, BRAZIL – The new generation of the so-called urban music managed to consolidate itself in Argentina and show its potential in the United States, Latin America, and other markets; with the return of shows with 100% of the venues, the live machinery started working again.

When taking stock of the musical map of 2021, the axis that connects facts and characters is, once again, the pandemic. For the effects caused, the limitations it has imposed, and the permissions it has granted since the second half of the year. The platforms that offer music were the consolidation of an under 30 generation, which is the one that was talked about during 2021.

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In many cases, with the trap as a standard (although not exclusively), the value was measured by the number of reproductions rather than quality. Producer Bizarrap and singer L-Gante could be occasional partners and, simultaneously, extremes of a range of names and faces that climbed very high this year.

On the other hand, Maria Becerra, Nathy Peluso, Cazzu, and Nicki Nicole positioned Argentine artists in the U.S. Spanish-speaking market, something that had not happened since several decades ago. They competed and, in some cases, won Latin Grammy awards.

They toured concerts. They participated in festivals in North America. There was a television milestone: Nicki Nicole participated in Jimmy Fallon’s popular late-night show (she also did a “petit” concert in the Tiny Desk cycle of the public radio of the United States, NPR). Meanwhile, more than 10,000 kilometers away, in these pampas, the music industry has risen from the ashes; or, at least, it is in the process of doing so.

In the backrooms of the stages, the producers of musical shows say that, out of 100 tickets to sell, they only start earning with ticket number 71. They also say that with protocols that did not allow to occupy more than 50 percent of the room, the live shows that were offered were almost symbolic of putting the machinery back on track after 2020, marked by quarantines and the extended social distancing.

The blessed 100% capacity made it possible to fill the halls. Massively, musicians returned to auditoriums, theaters, concert halls, bars, and stadiums. To present albums or, at least, to say goodbye to the year and start looking at next year’s agenda. Debuting on stage was the litmus test for artists that two years ago nobody knew and today have thousands of followers and, especially, millions of reproductions of their songs.

Bizarrap became champion without getting up from his desk chair and anyone knowing his face. No one managed to take off the giant glasses he wears. Not even James Corden (yes, the British TV star) could, in a video call he made to him for a Globant production called “The Power Of Reinvention.” “Bizarrap has the largest Spanish-speaking platform,” said Corden, “with over 3 billion views for his work, collaborating with international artists from his home studio.

Music was the ground of expansion for many influencers, YouTubers, streamers (and posters in general). The emblematic case is that of María Becerra, who rose to fame, participated in the “revelation” category of the Latin Grammy Awards, scheduled twenty performances in a Buenos Aires theater, and now plans for next year, a show in a stadium. Nicki and Cazzu went to try their luck in the United States.

And they did. It could be said that there were some critical impulses, such as Jimmy Fallon’s invitation for Nicole to sing in his late-night show, but then the doors kept opening. And to this, we have to add the cucardas de adelantado. Nicki, the first Argentinean in an Anglo late night; Cazzu, the only Latina in the Made In America festival.

If we are talking about numbers, L-Gante was born with the millennium, but only ten percent of his life (the last ten percent) is enough to talk about the fame he has today.

One single after another and exposure in networks transformed him into a popular idol that so many go from foot to foot look at. A full-court player, L-Gante has made the leap: from videos with a band of kids, scantily clad girls, cars, and monobloc scenery to a night party clip and a mansion swimming pool with Tini. Or to La mesa de Mirtha Legrand, or Tinelli’s runway.

Or to a meeting at the Quinta de Olivos with President Alberto Fernández. “In a soccer team, it’s L-Gante and ten more”, said Marcelo, when he had him as a jury in his program.

NEW AND OLD WAYS

If 2020 was the year for streaming, 2021 was the year of the return of the public to the shows in person. Of course, virtuality has left its mark. These two cases could be paradigmatic. El Indio Solari returned to sing on stage from the screen of the concert of Los Fundamentalistas del Aire Acondicionado.

And suppose the Buenos Aires shows of Gracias Totales. In that case, Soda Stereo is like the ones that until March 2020 were performed in a couple of stages in Latin America, Gustavo Cerati will also revive from the screens of the Campo Argentino de Polo next weekend.

It could be thought that the former Soda Stereo and Los Fundamentalistas is another way of feat., that formula with which industry companies enhance the flow of public of their figures by adding the audience of other artists.

A very singular case that does not escape from that sub 30 generation (although it already has 31), and that so much has been calling the attention in this time, is the impeccable album El madrileño, by C. Tangana.

A favorite son of Hispanic trap, of the 14 songs included in his most recent production, 12 are with collaborations. And he did not look for peers of his generation, he nourished himself with experienced artists: Kiko Veneno, Andrés Calamaro, Elíades Ochoa, Toquinho, Jorge Drexler, José Feliciano, and the Gipsy Kings, among others.

2021 also gave rise to other experienced artists. From the Gardel de Oro and the Grammy for Best Alternative Rock Album, both in the hands of Fito Páez, to the grand celebrations for the 70th anniversary of Charly García and León Gieco, one can think that there is still reverential respect for those who have left a lot of perfect quality music.

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