The past decade in Peru has been marked by political instability –with six presidents in the last six years— and growing social unrest, but it is well-known that periods of crisis can often stimulate the most daring and inspiring artistic endeavors. In difficult times, creativity flourishes. And the South American country’s music scene, in its immense and inexhaustible diversity, is a perfect testament to this.
Never before have so many bands and solo artists coexisted with such solid proposals and so much potential to transcend national borders and conquer new markets. However, any approach to the current moment of popular music in Peru must necessarily begin with cumbia, the most transversal and versatile genre of all, the most listened to and, of course, the most danced in the country, despite being an ‘import’ that arrived from Colombia more than five decades ago. Although some of the great ‘totems’ of the genre remain relevant –Grupo 5, for example, an absolute emblem of cumbia norteña, has been packing the largest soccer stadiums in the country on their 50th-anniversary tour; while Los Mirlos, living legends of cumbia amazónica, have dedicated this 2024 to touring music festivals in Europe and South America—, cumbia is a genre that is constantly evolving.
Perhaps the artist who best represents the possibilities of the genre is Mauricio Mesones, former vocalist of the influential band Bareto, who since starting his solo adventure has not stopped increasing his fan base with a proposal that mixes the classic repertoire (in his concerts there is no shortage of old ‘hits’ by Chacalón, Los Shapis and Juaneco y su Combo, among others) with an expansive exploration of the multiplicity of forms and styles that cumbia adopts throughout the Peruvian territory (his most recent albums are aptly titled Viaje Tropical 1 and 2).
Another former member of Bareto, guitarist Joaquín Mariátegui, leads Oriente Trío, a captivating instrumental ensemble that fuses cumbia with jazz and reggae. Meanwhile, bands like Hit La Rosa, Los Chapillacs, Barrio Calavera, and La Nueva Invasión are pushing the boundaries of Peruvian cumbia or chicha by incorporating sonic elements and concepts taken from rock, psychedelia, and punk. Finally, cumbia is open to even more unexpected fusions, as demonstrated by such electronic and experimental acts like El Sucumbión, Tribilin Sound, Shushupe, Qechuaboi, Deltatron, Animal Chuki, Elegante & La Imperial, and the renowned Dengue Dengue Dengue.
Peru boasts a long-standing rock tradition dating back to the pioneering bands of the 1960s and 70s, such as Los Saicos, Traffic Sound, We All Together, and Los Belking’s, who were instrumental in shaping the genre across Latin America.
However, despite this strong foundation, rock music has consistently lost ground to tropical rhythms and Andean folk. A recent survey by the Peruvian Institute of Studies revealed that nearly 40% of Peruvians prefer salsa or cumbia, while only 10% opt for rock and its derivatives.
Nevertheless, the local independent rock scene has persevered, overcoming the indifference of mainstream media. Through a vibrant online presence, a packed calendar of live events, and ambitious releases, the scene has continued to thrive.
Among these recent releases, the list of standout albums continues to grow, with new must-have productions emerging almost every month. For instance, just a few weeks ago, TOURISTA, a key band in the local indie scene, dropped the introspective yet irresistibly eclectic “la f*ckin’ terapia”, a new highlight in their remarkable discography. Also in August, Cecimonster vs Donka released their finest album to date: “Delilah.” Other notable rock releases in 2024 include “Suerte Campeón” by Suerte Campeón, “El mejor de los viajes” by Los Niños Vudú, and “New New Wave” by Lento Rodríguez.
Looking back at 2023, the albums that appeared on the most year-end lists belonged to Búho Ermitaño (“Implosiones“), Almirante Ackbar (“El ruido hecho por la gente“), and Kinder (“Desastres naturales para niños“). The year before, the most acclaimed albums in the national indie scene included –once again— Suerte Campeón (“El mundo es un lugar horrible con detalles hermosos“, featuring a guest appearance by the legendary Spanish band Los Planetas) and La Zorra Zapata (“Acantilados“), who successfully embarked on her first tour of Mexico and the United States in 2024.
For a glimpse into the future of Peru’s independent music scene, look no further than the recently released vinyl compilation “PAREN TODO (algo nuevo está sonando) Vol. 1”. This co-production by Disconforme Records and A Tutiplén—the most active and dedicated label in the Peruvian scene—offers a stellar overview of the ‘next generation’ of local talent. Featuring eleven fresh acts, the compilation spans not only Lima but also cities like Arequipa, Trujillo, Chiclayo, and Ayacucho. Many of these artists push beyond the boundaries of traditional pop and rock, presenting genuinely experimental and unclassifiable sounds.
Among them shines the hip-hop with electronic music influences and Afro-Peruvian touches of the intense and confrontational Yanna (who last year released the fantastic “Hija del pecado”), the indefinable and sinuous modernity of Fe Baca (her “Todo está en tus pies” was another essential album of 2023), and the playful bedroom pop of Cinthya Miranda.
It is no coincidence that the last names mentioned belong to female voices. In recent years, Peru has seen the rise of a fascinating movement of female singer-songwriters. Led by established artists such as La Lá, Cristina Valentina, and Danitse—all of whom have over a decade of experience performing and recording—it includes a genuine constellation of emerging talents navigating between confessional pop, singer-songwriter traditions, and exploration of Peru’s traditional rhythms. This group includes artists like Lorena Blume, Bea Mar, Santa García, Camille Jackson, Elisa Tokeshi, Clara Yolks, and many more. Among them, standing out as a unique and undefinable figure, is Dafne Castañeda, whose 2019 EP “Posguerra” remains a strikingly bold and challenging work.
In contemporary Peru, the musical landscape is increasingly shaped by the innovative and influential voices of female artists.
From the roughest neighborhoods of the sprawling coastal cities to the most remote towns in the Andean highlands, where native languages like Quechua and Aymara resist the advance of Spanish and Western culture influences, hip hop and trap have emerged as powerful vehicles of expression for a contingent of artists that has only grown more vigorous, combative, and diverse over time.
On one hand, in the labyrinthine urban jungle that stretches from the gritty port of El Callao to the extensive outskirts of the capital, the fun and sharp flow of Terco92 and the clever rhymes of the seasoned Pedro Mo stand out. On the other hand, artists like Liberato Kani and Renata Flores, rapping in Quechua, are transforming the genre’s paradigm by incorporating the sensibilities and themes of the Andean region into their lyrics.
But there’s more: from the battlegrounds of freestyle, Jaze has emerged as a prominent figure in the international hip hop scene, with successful performances at festivals like Lollapalooza in Argentina and Vive Latino in Mexico (next stop: Estéreo Picnic in Colombia). Skillbea, meanwhile, explores the contours of R&B, urban music, and synthpop in his highly anticipated second album, “Ángel joven”, released in April of this year. Mi Puga Mi Pishgo and Menores lean towards the more alternative and unconventional side of hip hop. And this is just a snapshot of the vast and diverse talent rising from Peru’s hip hop and trap scenes, which also include artists like La Torita, Pounda & NoModico, Inkas Mob, Yezzy Wallace, A.C.O, M2H, Gonzalo Genek, and Rafaell Cocoa.
To conclude this report on the vibrant rhythms that define contemporary Peru, let’s delve into the thriving electronic music scene, which, from the dance floors to its experimental fringes, has consistently showcased exceptional diversity and quality.
Today, Berlin-based Peruvian Sofía Kourtesis, whose acclaimed debut album “Madres” was released last year, stands out as a major source of inspiration for local producers and DJs aiming to break into the global festival circuit. However, others have also made their mark internationally, such as the aforementioned Dengue Dengue Dengue or the collective Novalima, which blends beats and digital textures with Afro-Peruvian and Andean rhythms. Many others are on the path to similar success, like the ethereal and enigmatic duo Laikamorí; QOQEQA, Vudufa, and the Barcelona-based producer and DJ Vitu Valera, with their enthralling deconstructions of Latin and African percussion; and the very talented producer Kayfex, who has gained prominence through his collaborations with Andean pop stars like Milena Wharton and cumbia artists such as Deyvis Orozco and Los Wembler’s de Iquitos.
Building on the influential legacy of Theremyn_4, founded by José Gallo over 25 years ago, Peru’s dance and experimental electronic music scenes are thriving with undeniable vitality. This dynamic energy is evident in acts that blend abstraction with accessibility, such as Grita Lobos!, Orieta Chrem, and the incendiary industrial ensemble Varsovia. Meanwhile, more radical projects, including those of Ale Hop, Prado, and Sajjra, —all associated with the innovative Buh Records label— are exploring new sonic frontiers with even greater intensity.
Cover photo via Hit La rosa