Based in Barcelona, alongside another key member of this emergent movement Rosalía, Peluso is building on the folkloric qualities of Latin American music, both the classic instrumentation and the lyrical content. Where they differ is that Peluso’s entire package is coloured heavily with ironic and humorous references, with a strong 90s aesthetic. 

In this sense, Peluso is a perfect star for where we’re at now. She is, in many ways, a product of the internet age. Her performances, like her iconic rap on BZRP Music Sessions, are both lyrical displays of high and low brow, and are often accompanied by a slightly strange and off-beat showing.

It never appears contrived either, more like letting loose in an exorcism-by-music display, where vaguely confrontational raps juxtapose with a traditional delivery of classically-tinted Spanish music. Having cut her teeth in hotels and restaurants in Torrevieja, early attention came to Peluso when she began to upload her performances onto YouTube.

Such an idiosyncratic personality generates a larger-than-life appearance in her music videos and on stage. That’s only one side of the Argentine-born star though. There’s a soul to her music too. In ‘Buenos Aires’, an upbeat yet melancholic love-letter to her youth, Peluso draws on the 90s beats that typified groups like TLC and singers like Aaliyah. Picking up a Latin Grammy nomination for Best Alternative Song helped project her into the limelight, a stage she looks set to hold, given her penchance for experimentation and chameleonic ability to shift between forms. 

In ‘SANA SANA’, Peluso draws on the typified beauty and elegance of her classic Spanish influences and brings them into the contemporary era, redefining femininity into a more accessible and relatable set of imagery. Pictured smoking a cigarette on the toilet or reading a magazine eating at the table, she’s promoting a specific brand of femininity - one that many people seem to be getting behind. The message seems to be clear: be you, whatever that means.