Natanael Cano has ventured boldly into a new chapter with his latest album, Porque La Demora. Known for pioneering corridos tumbados, Cano now fully embraces his “urbano era,” infusing reggaeton, hip-hop, and Afrobeats into this transformative release. This shift marks a significant departure from traditional roots, showcasing Cano’s versatility as he explores fresh musical landscapes.
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Redefining Boundaries with Porque La Demora
Natanael Cano’s transition into his urbano era on Porque La Demora signifies a pivotal moment in his career. After two years focused on collaborations within his usual genre, Cano decided to set corridos aside, igniting his journey into reggaeton, hip-hop, and Afrobeats. “There was a delay with this album because I hadn’t found that spark and drive to keep creating music,” Cano revealed to Rolling Stone. These new urban beats rejuvenated his creativity, sparking a reinvention that highlights Cano’s versatility.
A New Creative Process
Cano’s urbano era marks a departure from the intricacies of producing corridos. “Sometimes it can take four, five, or six hours to make a corrido,” he explained. In contrast, urbano’s straightforward rhythms have spurred his motivation. Reggaeton, in particular, offers a refreshing platform where Cano can effortlessly express his artistry.
Highlights from Porque La Demora
Porque La Demora stands out with dynamic tracks like “Blancanieves,” where Cano’s urban flair shines as he serenades his girlfriend. Collaborations on the album bring additional texture, such as the invigorating “Mary Poppins” featuring Chilean talent FloyyMenor, and the Scarface-inspired “Como Tony” with Eladio Carrión. Notably, “Perlas Negras” sees Cano dive into Afrobeats alongside singer Gabito Ballesteros, a track he describes as “incredible.” “This is my favorite album and I want my fans to enjoy it as much as I enjoyed making it,” Cano shared.
Behind the Tracks
Cano delved deeply into the creative process behind each song on Porque La Demora, shedding light on his artistry. “Blancanieves” flowed naturally after an evening of inspiration, while “Perlas Negras” materialized through a meaningful collaboration with Ballesteros. For “Mary Poppins,” Cano connected deeply with the beat, leading to a seamless partnership with FloyyMenor.
Partnering with Myke Towers for “El Juez” demonstrated Cano’s collaborative spirit. Discussing “Como Tony,” Cano reminisced about its origins and the ease of working with Eladio Carrión. “Primero Muerto,” despite being unexpected, struck a chord with fans, rounding out the album’s diverse emotional palette.
Natanael Cano’s embrace of his urbano era on Porque La Demora showcases his unyielding drive to evolve and explore new musical horizons. This album isn’t merely a shift in genre—it’s a testament to Cano’s creative versatility and his ability to captivate audiences with his artistry. As he continues to innovate, his urbano era promises to open doors to even wider recognition and success.