Some on the market are worried that the dominance of reggaeton and trap departs small room for other design
Probably the most essential narratives in modern pop music happens to be the emergence of Latin music as a powerful commercial force in the usa. Between 2016 and 2017, the wide range of Spanish-language entries in the Hot 100 jumped from the simple four to 19. To date this there have been at least 16 more charting singles year. After many years of calling up English-language functions and attempting to persuade them to collaborate, veteran A&Rs into the Latin music industry are now able to enjoy being chased by Anglo designers eager for a streaming boost.
However some industry numbers are worried that Latin gains that are pop’s too greatly focused in only one area — what’s known as “urban” music, which mainly encompasses reggaeton and trap. Some fear that other Spanish-language music genres will no longer be seen as profitable and may become niche products, abandoned by the mainstream as songs in this space rack up stream counts in the billions and labels follow that money.
“It’s a discussion we hear everywhere, but particularly within the U.S., ” claims Juan Paz, an old major label worker whom now works closely with Trending Tropics, Monsieur Perine and Superlitio, none of whom stay glued to the conventional sound that is urban. “Even Mexico — which was once a pop music and stone marketplace for quite a long time — is turning out to be a metropolitan market. Whenever every thing turns into a monoculture, it is dangerous with regard to artistry.