Album Review: Nathy Peluso’s Debut Gives the Latin Pop World a ‘Calambre’

Move over, Bad Bunny and J Balvin: Argentinian pop diva Nathy Peluso is coming for the trapero throne.

Written by C.S. Harper

Photos courtesy of Sony Music

With two Latin Grammy noms and a hit single that’s racked up over 13 million views on YouTube, it seems like Nathy Peluso has avoided the 2020 curse. The Argentina-born and Spain-based artist is quickly taking the Latin pop industry by storm, giving all the traperos, salseros, and reggaetoneros a run for their money.

In 2017, Peluso burst onto the scene with her EP Esmeralda, which teased her unique ‘90s-inspired R&B and trap sound. Songs like “Daga” showcased her tight flow and catchy beats, while the sleepy “Esmeralda” revealed her more soulful side with its heartfelt vocals. In her debut album Calambre, Peluso expands the sonic boundaries of her music, adding salsa, jazz, and pop into her genre-bending production style.

The album’s opening track, “CELEBRÉ,” explores this multidimensional sound. Beginning with sirens, it transitions into a trap banger with foreboding violins and horns. Faced with the uncertainty of making it in the industry, Peluso questions the sanity of her life choices: “These days no me queda nada / ¿Qué será de mí mañana? / Prendí fuego a mis billete' con mi libertad. [These days, I have nothing left / What will there be of me tomorrow? / I lit my bills with the fire of my independence].” However, she ultimately embraces the chaos, celebrating her journey as an artist.

“BUSINESS WOMAN,” the leading single from Calambre, continues to demonstrate her artistic versatility. Dainty synths preface the first verse before a heavy drum beat reminiscent of a ‘90s Eminem track kicks in. Rapping and singing in English and Spanish, she effortlessly switches between the two languages throughout the track. A female empowerment anthem, the song balances the singer’s playful energy with a braggadocious tone. She proclaims herself a businesswoman and puts all the machistas in their place: “Mira, nene, óyeme [Look, baby, listen to me] / Don't play with my ass / 'Cause if you play with my ass / You will quemarte [You will get burned].”

The next song, “SANA SANA,” follows in the footsteps of “BUSINESS WOMAN” with its hard-hitting beat and boastful rap verses. With lines like “Hip, con el hip, con еl hip-hip-hopa,” it showcases Peluso’s signature playful rap bars. In the following “BUENOS AIRES,” the production does a total 180 with its groovy neo-soul sound. Featuring mellow keys and a sensual vocal performance from Peluso, the track sounds like it came out of Lianne La Havas’ discography. She recalls her pre-fame life in the titular city, wallowing in her loneliness and yearning for company. With musings like, “Conozco esa pesada sensación de soledad / ¿Pero a quién esperamos? / Melancolía barata en la televisión / ¿A dónde va, eso a lo que rezamos? [I know that heavy feeling of solitude / But who do we wait for? / Cheap melancholy on the TV / Where does what we pray for go?],” the song features some of the album’s most beautiful lyrics.

Calambre picks up the pace over the next few tracks, as Peluso injects more of her Latin touch into the production. Like its name suggests, “DELITO” recounts an encuentro calenturiento at the club. A saucy piano line carries the melody as she croons, “Bailamo’, que parece un delito [We dance as if it were a crime].” “SUGGA” continues exploring this seductive sound with its blend of salsa and R&B. It features some of the catchiest hooks on the record, with trumpet flourishes and Peluso’s falsetto purrs. Following these steamy tracks, “LLAMAME” cools things down with its smooth jazz instrumentals. Belting, rapping, and harmonizing throughout the song, Peluso flaunts her vocal versatility.

Aside from offering a unique take on Latin fusion, Calambre also inserts Peluso’s trademarks into the trapero genre. The standout “TRÍO” infuses her ‘90s R&B flair into the trap formula. Built on a distorted piano melody, the track features a heavenly chorus that layers her auto-tuned vocals. The next song, “AMOR SALVAJE,” switches things up by starting with a comedic bit: “Ay, doctor, yo creo que estoy enferma / Mire cómo me pal — me palpita el corazón / ¡Ay, Dios mío! [Oh, doctor, I think I’m sick / Look how my heart bea — beats / Oh, Lord!]” With its infectious flute-driven beat, the reggaeton track sets the perfect mood for a “wild love” affair.

The last two tracks, “PURO VENENO” and “AGARRATE,” bring the album’s sonic themes full circle. With its salsa rhythms and playful lyrics, the former takes highlights from Peluso’s irresistible Latin pop sound. In the song, she feels conflicted about her relationship, expressing her frustration with colorful ad libs (“¡Calambre, auh!,” “¡Rra, cu!”). To close the album, “AGARRATE” experiments with sounds from her native Argentina. The song begins with a tango accordion that accompanies a dramatic vocal performance from Peluso, who lets go of an unfulfilled relationship: “No se puede amar solo ilusiones [You can’t only love illusions].” A beat switch kicks in halfway through the track, as she raps in Spanglish over a gritty hip-hop instrumental. She regains her sense of self, realizing that she is better off on her own: “I don't need your motherf-ckin' ego, I have mine.”

In Calambre, Nathy Peluso proves she is on the path to becoming a leading Latinx pop star. A testament to the singer’s multiculturality, the record boasts an impressive range of sounds and musical influences. Paired with her lively personality and unfiltered lyrics, her genre-defying music explores a variety of thematic and sonic dimensions. Showcasing her undeniable charisma and diverse blend of sounds in Calambre, Peluso is a breath of fresh air in the Latin music industry.