J Balvin / Willy William: “Mi Gente (Remix)” (2017) But his actual relationship to such sources could be hard to read: Was Maus poking fun at music’s power to manufacture an emotional response, like when we find ourselves crying in the middle of a commercial, or celebrating its potential to offer us a fleeting moment of ecstasy, a glimpse of a world that is better than our own? Arriving at the end of 2011’s We Must Be the Pitiless Censors of Ourselves with the cathartic finality of perfectly curated exit music, this song-with its glittering harpsichord arpeggios, briskly pulsing bass, and grandiose allusions to borderless love-is the closest Maus has ever come to being a true believer. Much of what makes Colombian singer J Balvin’s “Mi Gente” sizzle-that audacious drumbeat, that insistent five-note vocal melody-is lifted from Mauritian-French singer Willy William’s 2017 track “Voodoo Song,” which itself reinterprets a sample from the Indian composer Akassh.

No wonder “Mi Gente” was such a global, cross-culture sensation.īalvin worked with William to reinvent the source material, adding Spanish lyrics, chants, and ferocious Latin percussion. His lines like “el mundo nos quiere” (“the world wants us”) transform the song into a universal call to the dancefloor, an embrace of solidarity and unification at a time of enormous worldwide polarization. Aided on the remix by Beyoncé, who audaciously tackles Spanish and ups the diva ante, “Mi Gente” became the first all-Spanish song to reach the top of Spotify’s Global Top 50 chart.

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