“Lady Gaga” plunges us into the glittering nightlife that Mexico’s new wave of corrido tumbado stars love to flaunt. Peso Pluma, Gabito Ballesteros and Junior H turn the corrido’s traditional storytelling toward 21st-century excess, bragging about Dom Pérignon, designer shades, Lamborghinis, powder-pink “tussi,” and journeys from private islands to Japanese seafood bars. Behind the flexing lies a coded salute to street hustle: triple-washed product, masked friends in RZRs, and a vow that nothing reaches Instagram. The message is clear: real bosses party hard, spend harder, and stay off the grid.
At the same time, the trio poke fun at curiosity about their identities—“¿Que quiénes son? Eso mismito me pregunto yo”—while hinting that every greeting comes with a wad of cash. Influencers, bandida lovers, and ice-bright smiles orbit their world, yet loyalty and secrecy are the price of admission. In true corrido fashion, “Lady Gaga” glamorizes danger and decadence while capturing the swaggering confidence of a generation that measures success in Cartier, Louis Vuitton, and the bass of Makabelico beats.