Paulo Londra

In 2018, the world discovered him. «Adán y Eva», «Nena maldición», and «Chica paranormal» climbed Spotify and YouTube charts, and suddenly Londres was the most-listened-to Argentine on those platforms. It wasn’t a one-hit wonder: these were songs that, while not identical, shared something in common. All had that air of melodic rap, with beats that didn’t explode but caressed, and lyrics that told stories without falling into the obvious. He even collaborated with Becky G on «Cuando te besé», a track that sounded like urban pop but with his signature: the rhythm didn’t get lost in the shine, it remained recognizable as his own. That year, he also became the first Argentine to enter the Billboard Social 50, trailing only Lali Espósito and Tini. It wasn’t a coincidence: he had found a sound that, while not new, felt fresh in a market saturated with screams and autotune.

But the path wasn’t easy. In 2020, a legal dispute with his former record label left him without a platform to release music until 2022. During that time, the silence was louder than any song. When he returned, he did so with Back to the Game, an album that sounded like someone who had been off the ring but hadn’t lost their rhythm. The single «Plan A» debuted at number one on the Argentina Hot 100, as if time had stood still. Then came the Music Sessions with Bizarrap, a track that not only broke records but proved his style remained intact: rap with melody, unhurried, without needing to shout to be heard. At the Premios Gardel, his Homerun had already been nominated for Album of the Year, and now Back to the Game was competing in the same category. It wasn’t awards he was after, but there they were, like a reminder that sometimes what sounds different ends up being what lasts the longest.