When Peso Pluma announced his album Éxodo in his historic Rolling Stone cover story earlier this year, he promised to reveal a “darker side” of himself and explore a part of his artistry he hadn’t touched on his excellent 2023 breakthrough, Génesis . “There’s going to be a lot of things about why we do what we do,” he said coyly about his new music. On Éxodo , Peso delivers a solid album and generally stays true to his word, but he struggles to push himself out of his comfort zone on the album’s corridos.
He divides the album into two parts: the 16-track música mexicana Disc One, and an eight-track second disc, where he branches out into a range of genres, from rap to reggaeton. On Disc One, Peso sticks with what he knows best: bar-filled corridos full of requintos, tubas, and trombones, and the raspy vocals he made famous on Génesis. He also packs the record with collabs with mexicana heavyweights: Luis R Conriquez, Junior H, and Óscar Maydon join him on tracks like “Santal 33” and “La Durango,” and he shines on songs like “Sr.
Smith” and “La Patrulla,” delivering the narco stories he knows how to tell well. It takes nine tracks, until “Bruce Wayne,” to hear Peso without features. The track shines as a standout on the album, transitioning into the second half of Éxodo’ s first disc, where he finally opens up and dabbles, albeit briefly, with new sonics.
The Batman-referencing song opens with a left-field piano, and sees Peso .
