Nathy Peluso

Natalia Peluso (Luján, 1995) didn't start out singing on red carpets or TV sets, but covering Nina Simone songs on terraces in Torrevieja for tables full of British tourists. She arrived in Spain in 2004 with her family, fleeing Argentina's economic collapse. She moved from Alicante to Murcia to enroll in Audiovisual Communication, though classroom theory on editing did not fit her physical energy.

She moved to Madrid to study physical theater at Universidad Rey Juan Carlos, focused on dance, dramatic body mime and movement biomechanics. That stage foundation shaped the way she commands the lens in every frame.

She dropped out of classes in her second year.

From Street Cabaret to the Vertical Screen

In 2017, she recorded Esmeralda in a DIY way, using instrumental beats downloaded from the internet and home videos edited without intermediaries. A year later, with La Sandunguera (2018), she refined that mix of Latin jazz, rap and New York street characters that stunned critics in the capital.

Her first releases on digital platforms had no record label backing, yet they surpassed ten million streams on a budget that barely covered renting two secondhand spotlights.

And the music industry took a while to grasp that her proposal relied on stage language as much as on melody. In her videos, she dropped the pleasing pop-singer pose in favor of unhinged gestures, grimaces drawn from Jacques Lecoq's method and suffocating framing.

In 2020, she released her first full-length album, Calambre, produced across Los Angeles, Buenos Aires and Barcelona. The project won Best Alternative Album at the Latin Grammys in 2021.

That same year, she teamed up with Bizarrap in Buenos Aires to film BZRP Music Sessions, Vol. 36. Three minutes in a single fixed shot, rapping with two-colored contact lenses and wild audacity, were enough to blow up streaming numbers across half the planet.

The Toledo Scandal and Pushing the Body to the Limit

In 2021, C. Tangana invited her to co-star in the music video for Ateo inside the Toledo Cathedral. The sensual dance in front of the high altar sparked an internationally covered clerical storm, forced the immediate resignation of the cathedral's dean, and led to a liturgical penance sanction that closed the building's doors for purification rites.

Peluso knew exactly what impact that single-take sequence would have. Because behind the media controversy was a disciplined actress who knows how to calculate the dramatic weight of every breath.

The relentless work pace nearly destroyed her.

During the 2022 tour, she coordinated exhausting stage productions inspired by classic mid-20th-century boxing. She played major arenas in Madrid and Buenos Aires, but the accumulated physical strain led to nearly two years of creative paralysis.

The Dirty Celluloid of the Milanesa

In May 2024, she premiered Grasa, a sixteen-chapter audiovisual work in which each track has its own piece of celluloid directed by Agustín Landa. No friendly choreography or artificial disco sparkle.

The project draws on the criminal aesthetic of Martin Scorsese, the brash salsa of Fania in New York and the raw phrasing of Kendrick Lamar. To build its sound identity, she recruited Venezuelan producer Manuel Lara and brought Duki and Blood Orange into the studio.

In October 2024, she released a twelve-minute documentary short with filmmaker Félix Bollaín about the analog recording process of her track Remedio.

The rolling machine never stops.

The audiovisual production of Grasa earned three Latin Grammy nominations in 2024 and mobilized more than seventy film crew members over eight straight days in industrial warehouses on the outskirts of Buenos Aires.