QUIMERA

Among the songs that best define this album is Slow It Down, a track that seems made to close live shows: the bass sets a steady groove, while Becerra’s voice plays with intensity shifts that invite full-throated singing. Another standout is Pierdo la cabeza, whose chorus bursts with energy reminiscent of the electrifying moments from her Animal Tour, the one that took her across stages with a band that sounded like they’d been playing together for years. Also included is Tatú, a song that relies on the repetition of short phrases, almost like a mantra, and must sound even more hypnotic live when the crowd chants every word.

They recorded it in studios in Buenos Aires with equipment that wasn’t always state-of-the-art, but that didn’t hinder the creative process. In fact, some of the most emotive takes emerged from improvised sessions in hotel rooms, where Becerra jotted down ideas on napkins or her phone screen. The result is an album that sounds alive, as if every note were captured in the perfect moment, without excessive retouching. That said, not everything was spontaneous: some songs went through multiple versions before settling into their final form, like Romántica, which originally had a darker arrangement before the team decided to give it the luminous touch that now defines it.

When Quimera was released, it shot straight to the Argentina Hot 100 chart on Billboard, and not just because of Becerra’s name: the album already carried the weight of previous hits like Miénteme (with Tini) or ¿Qué más pues? (with J Balvin), which had proven her music could cross borders. But this album is different: it’s the first where she herself handled nearly everything, from songwriting to production, and that’s evident in every detail. It’s not a flawless album, but it’s honest—and in a world where music is often highly calculated, that ends up being its greatest virtue.