“I think it was only a matter of time, right?” Peso Pluma tells Apple Music. “I’d been wanting to do this project ever since he [Tito Double P] was my songwriter. I wanted to show the world what he was capable of, too. He built his own path as a solo artist, and we’re very proud of the direction he’s taken.” By now, there’s no need to retell the full Laija story. Two cousins who, each through their own strengths and skills, reworked the corrido formula and brought it to an increasingly global audience. Under the Doble P banner, they’ve become architects of one of the most visible movements in contemporary música mexicana, defined by a clear aesthetic standard that began with a fruitful vocalist-and-songwriter partnership, later split into separate artistic paths and ultimately reunited at the peak of their careers to celebrate their DINASTÍA. Hassan/Peso and Roberto/Tito. The younger cousin and the older cousin. The one who changed the game and the one who carried the torch forward. The Laija family lineage comes together on the first collaborative album between undisputed corrido icons. The project arrives at a pivotal moment for the genre, which is grappling with its own evolution while other artists push toward increasingly divergent sounds. “It’s a message of firmness for all música mexicana, especially corridos, which are going through a different, more complicated process than other genres,” Peso Pluma explains. Still, the duo doesn’t shy away from the responsibility of acting as a compass. “It’s time to reflect that change,” he says. “I think everyone is waiting—not just fans of the genre, but artists, too—to see where we’re headed.” The result is an album without half measures. Pure, unfiltered corrido from Doble P, where both artists’ energies collide at a shared center. On “dopamina” and “20s,” Tito’s high-speed corridos take the spotlight, driven by vocal intensity and the sharp brilliance of brass. On “billete” and “malibu,” Peso’s almost cinematic ability to sketch scenes of lust and pleasure emerges over an unrelenting bajo quinto. In between, more pop-leaning cuts soften the edges, like the sweet-toned “ni pedo” and “daño.” “There can be beautiful corridos, explicit ones, or songs without any references at all,” says the younger Laija. “It’s a genre meant to be enjoyed like any other, to feel it, vibrate with it, cry, laugh, everything.” Inspired by the story of Jacob and Esau, another biblical reference within Peso Pluma’s universe, DINASTÍA unfolds around duality: light and shadow, life and death, good and evil. But this dichotomy isn’t explored in the traditional sense of probing human darkness. Instead, it’s about reflection and balance. Jacob, more reflective and strategic, can perhaps be seen in Hassan; Esau, more physical and visceral, in Tito. As the album trailer puts it, “In every dynasty, power doesn’t lie in one person, it lies in unity.” The album’s guiding concept comes through in sweeping, almost liturgical choruses that lift the instrumentation toward something divine. “It took us a long time to produce it because we added a lot of elements, more instruments, new backing vocalists,” Hassan says. “We even have singers from Kanye West’s Sunday Service.” On the songwriting side, they let their pens flow freely while also welcoming new writers who pushed them toward different melodic structures. More than a year of work ultimately brought every piece into place. Nothing feels accidental, even if it appears effortless. And neither is the decision to so openly celebrate música mexicana at this particular moment in history. Hassan Laija, as a representative of his lineage, understands that clearly. “This is a message of unity for the Mexican people and for those who stand up for the country, because I know there’s light,” he says. “A lot has happened. I hope this brings a bit of hope to everyone, that it puts a smile on their faces.”