LA PEOPLE II

"LA PEOPLE II" is a narcocorrido that functions as a sequel to the song "LA PEOPLE" from Peso Pluma's earlier album, Génesis. The song's meaning is rooted in the glorification of the life of a cartel enforcer, detailing themes of unwavering loyalty, violent confrontations, and the strict code of conduct within a criminal organization. The narrative is a first-person account of a sicario who chronicles his experiences, emphasizing his bravery and commitment to his superiors.

The lyrics explicitly reference figures and events connected to the Sinaloa Cartel. The narrator, calling himself "El 19," describes facing off against various authorities ("green, white, and blue") and emerging victorious, not for personal glory, but as a fulfillment of his duty to his boss. The song makes mention of defending the boss's son and alludes to specific hitmen like "El 27" and "El Piyi," who are tasked with protecting the territory. These references ground the song in the reality of the narco world, creating a narrative that feels both immediate and authentic to the genre. It's a portrayal of a life lived on the edge, where violence is a tool and loyalty is the ultimate currency.

The narrative unfolds from the perspective of a high-ranking enforcer, identified as “El 19,” who operates with a blend of stealth and authority. He notes that while he is no longer seen among the general populace, everything is under control, confirmed by the constant crackle of radio communications keeping him connected to his crew. He is well-equipped and supported, carrying a rifle and sporting designer tactical gear like Dior and Under Armour, signaling both his readiness for conflict and his status. The song immediately establishes a world of constant vigilance and readiness for confrontation.

The chorus recounts a direct confrontation with various forms of law enforcement, symbolized by the colors green, white, and blue. The protagonist boasts of his ability to handle them all, causing them to retreat. He emphasizes that he was not alone or unprepared and that his actions were dictated by unwavering loyalty to his boss (“el patrón”). This wasn’t a matter of personal choice but the execution of his duty, a responsibility he fulfilled without hesitation or pretense. This section serves as the core thesis of the song: a declaration of competence, fearlessness, and absolute allegiance within a violent, hierarchical structure.

The story then provides specific context for these confrontations, detailing a mission to defend the boss's son. The lyrics mention several “Thursdays” of conflict, a possible reference to the infamous “Culiacanazo” or similar real-world events in Sinaloa. The narrator recounts fighting off adversaries and successfully evading capture. He laments the loss of a valuable member of their organization from the capital but accepts it as a harsh reality of their life (“Ni modo, así es esto”). This personalizes the conflict, showing the costs and the fatalistic acceptance required to survive in this world.

A spoken-word interlude shifts the tone momentarily, offering a philosophical reflection on the nature of family. It defines true family not by blood, but as those who would do anything to see you smile and who love you unconditionally. The narrator declares that his crew has become his family, raising a toast to them. This moment of camaraderie and redefined kinship provides a humanizing element amidst the violence, suggesting that the bonds forged in conflict are profound. The song concludes by reinforcing the chain of command and delegating responsibility, instructing key figures like “27” and “Piyi” to protect their territory, their families, and their elders, ensuring the continuity of their operation and the safety of their community. The final repetition of the chorus solidifies the song's central themes of duty and defiance, framing the narrator's life as a continuous cycle of executing orders and overcoming opposition for the sake of his organization and chosen family.

"LA PEOPLE II" was released on March 21, 2024, as the third single from Peso Pluma's fourth studio album, Éxodo. It is a direct sequel to "La People," a collaboration between Peso Pluma and Tito Double P from the 2023 album Génesis. The song features Peso Pluma, Tito Double P, and Joel de la P. It was written by Jesús Roberto Laija Garcia (Tito Double P) and Joel de la P, with production handled by all three singers along with Ernesto Fernández and Jassiel Ramos.

The song's release was preceded by speculation from fans after Peso Pluma posted the date on his social media, leading many to believe his album Éxodo would drop. Instead, the single was released, marking Peso Pluma's return to the classic corrido tumbado sound that first brought him to fame, following several collaborations in other genres like R&B and reggaeton. The music video, directed by Fernando Lugo, was filmed in Mexico City and features the artists aged up with gray hair, adding a unique visual element to the song's release.

"LA PEOPLE II" follows a rhythmic and lyrical structure typical of modern corridos. The song is set to a fast-paced tempo, driven by the energetic strumming of the guitars and the punchy brass section, creating a sense of urgency and tension that mirrors the lyrical content of confrontation and escape. The rhyme scheme is generally simple and follows an AABB or ABCB pattern, which is common in folk ballad traditions like the corrido, making the lyrics easy to follow and remember.

The rhythm of the vocals often has a declamatory, almost spoken-word quality, where the narrative flow takes precedence over complex melodic lines. This allows the storytelling aspect to remain at the forefront. The interplay between the syncopated guitar rhythms and the straightforward vocal delivery creates a dynamic texture. The overall rhythmic feel is propulsive and relentless, reflecting the high-stakes world described in the lyrics.

Musically, "LA PEOPLE II" is a quintessential example of the corridos tumbados genre, blending traditional corrido storytelling with modern sensibilities. The instrumentation is characteristic of the style, featuring prominent acoustic guitars (like the requinto), a strong bass line (tololoche), and brass instruments such as trombones. A notable addition in this track is the accordion, which adds a new texture to Peso Pluma's sound.

Lyrically, the song employs a direct, first-person narrative voice that is assertive and unapologetic. The language is filled with regional slang and coded references (argot) specific to the world of Mexican drug trafficking, which lends it an air of authenticity. The vocal delivery is confident and slightly raw, a hallmark of Peso Pluma's style, which conveys a sense of realism and urgency. The song's structure follows a verse-chorus pattern, making its defiant message memorable and impactful. The spoken-word interlude about family serves as a narrative device to break the tension and add a layer of emotional depth and justification for the violent lifestyle portrayed.

"LA PEOPLE II" made a significant cultural and commercial impact upon its release. The song debuted at number 69 on the US Billboard Hot 100, marking the first chart entry for collaborators Tito Double P and Joel de la P. It also performed strongly on Latin charts, peaking at number two on the US Hot Latin Songs chart. Its success reaffirmed Peso Pluma's status as a leading figure in the corridos tumbados movement and demonstrated the genre's continued mainstream appeal.

The song is part of the broader Éxodo album, which solidified Peso Pluma's artistic evolution by splitting the record into one disc of corridos and another of urban/trap music. As a narcocorrido, "LA PEOPLE II" participates in a long tradition of Mexican ballads that narrate the lives of figures in the drug trade. These songs are often controversial for their perceived glorification of violence and criminal lifestyles but are also defended as a form of storytelling that reflects a specific social reality in parts of Mexico. The song's popularity indicates a continued audience for these narratives, especially among younger listeners who connect with the genre's anti-authoritarian stance and modern sound.

The lyrical content of "LA PEOPLE II" is rich with symbolism and slang specific to Mexican narcoculture.

• The Colors (Verdes, Blancos, Azules): The repeated mention of "green, white, and blue" is a direct reference to different branches of Mexican law enforcement and military. "Verdes" (greens) typically refers to the Mexican Army or National Guard, while "blancos" (whites) and "azules" (blues) can refer to various state or federal police forces. Defeating all of them symbolizes the narrator's power and the cartel's ability to challenge state authority.
• "El 19," "El 27," "El Piyi": These are call signs or aliases for specific individuals within the cartel structure. Using these numeric and nominal identifiers adds a layer of authenticity and signals an insider's perspective. The original "La People" was a reference to Néstor Isidro Pérez Salas, or "El Nini," and this sequel continues the narrative by referencing his successors, with "El 27" identified as Jorge Humberto Figueroa Benítez.
• Radios (Los radios siguen tronando): The constantly crackling radios symbolize the command and control network of the organization. It represents constant communication, vigilance, and the ever-present connection between the footsoldiers and their superiors.
• Defender (En la Defender): The mention of a Land Rover Defender, a rugged and often armored vehicle, symbolizes power, security, and the tactical readiness of the group as they carry out their defense mission.

The most significant recurring phrase in the song is its chorus: "Fueron los verdes, fueron blancos, fueron azules / Y con todos pude, les puse un recule / Pelada no estuve y por el patrón no me detuve / Y no disimulé, solo hice mi deber." (They were the greens, they were whites, they were blues / And I could handle them all, I made them retreat / I wasn't exposed and for the boss I didn't stop / And I didn't pretend, I just did my duty). This refrain acts as the song's central thesis, reinforcing the themes of defiance against authority, tactical superiority, and absolute loyalty to a higher command. Its repetition drills the narrator's code of honor and professional pride into the listener's mind.

Another recurring motif is the idea of duty and mission-oriented action, seen in phrases like "solo hice mi deber" (I just did my duty) and "Al hijo del jefe salimos para defender." This frames the violent acts not as random criminality, but as a disciplined, professional responsibility within a paramilitary-like organization.