![]() It’s a stance that’s steadfast in its aspirations for cross-cultural amalgamations. His dominant presence across streaming platforms demands a crowd-sourced visibility that disrupts the industry standard for market segmentation. and the international music market.īalvin describes his newest full-length work Vibras as a “world record,” going so far as to explicitly say that he “ even think of it as a reggaetón record.” Balvin’s bravado coexists in an industry where it’s still a rare feat for Latinx artists to excel and entertain the same visibility of their English-speaking counterparts. Vibras, showcasing lyrics almost exclusively in Spanish, demands not only respect for Balvin as a global pop artist, but also a reconsideration of what now constitutes dominant culture in the U.S. It’s a business model with an understanding of a vast cross-section of identities and intersections not previously recognized by the mainstream, one where Spanish-language and deconstructed Afro-Caribbean sounds exist at once. These wins are not coincidental instead, the parts fit together in the context of Balvin’s calculated design – a steady, transcendent defiance of expectations where Balvin has created his own paradigm. With these successes, Balvin has renounced limitations for Spanish-language artists quite simply by thriving. Balvin has racked up a slew of now-familiar barrier-breaking accomplishments: he appeared at this year’s Coachella alongside Beyoncé (making him the first reggaetón artist to take the mainstage at the festival) he released the slow-whining, Afrobeats take “X (Equis)” with Nicky Jam, and had it reach number one on Billboard’s Latin Airplay Chart and counted “Mi Gente” as the first Spanish-language track to reach the top spot on Spotify’s global charts. Over the course of his short career, he’s made it his mission to flip the script on conventions for Spanish-speaking artists and rewrite this narrative for himself. J Balvin refuses to absorb any notions of existing in a static state. ![]()
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