Jalisco singer Peso Pluma, one of the most influential figures in Mexican regional music today, returned to the center of the public conversation after an interview with Esquire UK magazine.
In it he spoke about his meteoric rise, his upcoming projects and his lifestyle, but what generated the most headlines was a statement that divided opinions: he claimed to be “the king of corridos tumbados”, and by extension, “the king of corridos”.
The statement quickly turned him into a trend on social networks, arousing both praise and harsh criticism among followers and detractors of the genre.
Peso Pluma talked about how his most recent albums, GÉNESIS (2023) and ÉXODO (2024), consolidated him as a global reference.
Both materials reached prominent places in the Billboard charts, opening doors in markets where regional Mexican music had never before had such a wide reach.
The performer also highlighted his gratitude for having put Mexico on the international map through his music. “I always knew I was going to be great, I didn’t know what level or where I would get to, but I always knew I had something to offer the world,” he stated. “I am happy with how I did and grateful to God for giving me this opportunity and making me, I guess, the King of Corridos.”
Beyond the controversy, the singer took the opportunity to reveal personal details. He told that, despite the fame, he tries to keep a low profile and avoid excessive exposure on social networks. “I like to be anonymous. If you see my Instagram and so on, I’m not the kind of artist who publishes what he does minute by minute. That’s how I like to be and I’m not going to change for anyone,” she explained.
His style contrasts with that of other exponents of the genre, who tend to share much of their private life with fans.
Featherweight and the reactions it provoked
The self-proclamation as “king” provoked a strong debate on platforms such as X (formerly Twitter). His followers defended him with phrases such as: “In two years he achieved what many in his entire career had never achieved” or “he has always given credit to others, see the tribute to the regional at Coachella”.
However, it also received harsh criticism.
Some comments said: “He’s been hitting for two years and he’s already got a big head”, or compared his historical weight with artists such as Natanael Cano, Junior H, Fuerza Regida, Los Tigres del Norte and Los Tucanes de Tijuana, who are considered pillars of the genre.
Others accused him of not yet having consolidated a sufficiently robust solo career to hold the title.
Despite the controversies, Peso Pluma keeps his public expectant about his future. In the interview with Esquire UK he said he is preparing important moves, although he preferred to keep it a secret: “To be honest, nobody knows what I’m going to do. Just wait, it’s going to be good”.
The episode makes clear how corridos tumbados have become a central genre within Latin music and how the figure of Peso Pluma embodies both international success and generational controversy. For the U.S. Hispanic community, these types of discussions are not only about music, but also about cultural identity, Mexican pride and the clash between tradition and modernity.
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