Music of Argentina

The music of Argentina includes a variety of traditional, classical, and popular genres. According to the Harvard Dictionary of Music, Argentina also has "one of the richest art music traditions and

Folk music#

Folk music—known as música folklórica or folklore in Spanish, from the English “folklore”—is a music genre that includes both traditional folk music and contemporary folk music, which emerged from the genre’s 20th-century revival. Argentine folk music comes in many forms and has Indigenous, European, and African influences. In the late 50s, Argentina experienced a “folklore boom.” Among the most influential groups of the time were Los Chalchaleros, from Salta; Los Fronterizos, also from Salta; and Los Hermanos Ábalos from Santiago del Estero. Composer Ariel Ramírez and guitarist Eduardo Falú were also notable figures during this period. Between 1960 and 1974, Leda Valladares created a documentary series, known as the Mapa musical argentino (“Musical Map of Argentina”), taping traditional folk music throughout the country. The recordings she made were funded by the National Endowment of the Arts and directed by Litto Nebbia for Melopea Records. The Nuevo Cancionero movement was officially codified in Argentina in February 1963 with the Manifiesto Fundacional de Nuevo Cancionero (“Foundational manifesto of the New Songbook”). It was written by Armando Tejada Gómez, with the collaboration of artists like Mercedes Sosa, Oscar Matus, Tito Francia, and Eduardo Aragón. Atahualpa Yupanqui was another important figure in the movement. The 1976 dictatorship created a difficult environment for folk music. The military censored, blacklisted, and prosecuted artists, and many received anonymous phone calls warning them: “o te callas o sos tierra de cementerio” (“either you shut up, or you’re cemetery land”). Many artists left the country, and their music was not distributed in Argentina at the time. The repressive actions and black lists against artists and intellectuals to be kidnapped or censored were known as Operativo Claridad (“Operation Clarity”). The 1980s saw a resurgence of folk music after the Falklands War, which led to the fall of the dictatorship. Popular artists included Sixto Palavecino and Facundo Cabral. Folk music continues to enjoy success in Argentina. Soledad “La Sole” Pastorutti brought folk music to a new audience at the end of the 20th century, and, in the early 21st century, Juana Molina has earned a cult following for her fusion of electronic music, folk music and ambient sounds. In 2004, the album Cantor de Cantores, by Horacio Guarany, was nominated for the Latin Grammy Award for Best Folk Album.

Notable folk music festivals#

The Cosquín National Folklore Festival is an annual music festival held in Cosquín—a small town in Córdoba, Argentina. The festival first took place between 21 and 29 January 1961, and has grown to include musicians from across Argentina and neighboring countries. The principal focus of the festival is traditional folk music, but other genres are presented. Though not an official partner, Cosquín en Japón (“Cosquín in Japan”)—a three-day folk festival held in Kawamata, Fukushima, Japan—does derive its name from the Cosquín National Folklore Festival. The Cosquín National Folklore Festival typically includes representatives from musical genres developed in Argentina and its surrounding areas, including:

Andean music#

Andean music refers to a group of Indigenous musical styles from the Andes. In Northern Argentina, tarkeada is a popular style played on wooden flutes. Noted interpreters of Andean music include Jaime Torres, a charango player, and Micaela Chauque, a Qulla Argentine composer who specializes in the quena and siku. Andean music has also been fused with other styles of music by musicians such as pianist Daniel Tinte and on songs such as “Cuando pase el temblor” by Soda Stereo and “Lamento boliviano” by Los Enanitos Verdes.

Chacarera#

Chacarera is a traditional folk dance and musical style developed in the rural northwest of Argentina, namely in Santiago del Estero, with both African and European influences. The name chacarera has its origins in the Andean term chacra, which refers to farms or agricultural fields. Some academics theorize that the dance developed as a tribute to the female workers of these farms. In January, Santiago del Estero hosts the annual Festival Nacional de la Chacarera (“National Chacarera Festival”). The festival was founded in 1971 by folk musicians Agustín and Carlos Carabajal.

Chamamé#

Chamamé is a traditional folk dance and musical style from northeast Argentina, with Corrientes often cited as the style’s birthplace. It has Guaraní, Paraguayan, Spanish, and central European influences, and incorporates elements of popular dances from the 19th century, such as the waltz, mazurka, and Paraguayan polka. The traditional instruments used in chamamé are the violin and vihuela. Guitars, harmonicas, accordions, bandoneons and double basses were later incorporated. Notable chamamé musicians include Teresa Parodi, Raúl Barboza, Chango Spasiuk, Tránsito Cocomarola, Ramona Galarza, and Alejandro Brittes.

Tango#

Tango was developed in the bars and port areas of Buenos Aires, Argentina and Montevideo, Uruguay, by the cities’ urban lower class. It emerged as a fusion of various styles of music from across the globe including European styles such as flamenco, minuet, polka, mazurka, and contradanza; Argentine and Uruguayan folk music, including candombe, payada and milonga (considered a precursor to tango); and sub-Saharan African influences. The Golden Age of tango is generally considered to have been from 1935 to 1952. At this time, tango was generally performed by large orchestral groups known as orquestas típicas, which typically featured over a dozen performers. Notable band leaders at the time included Francisco Canaro, Julio de Caro, Osvaldo Pugliese, Aníbal Troilo, Juan d’Arienzo, and Alfredo De Angelis. Notable vocalists from the era included Carlos Gardel, Roberto Goyeneche, Hugo del Carril, Tita Merello, Susana Rinaldi, Edmundo Rivero, and Ignacio Corsini. In the 1950s, Astor Piazzolla revolutionized tango with his nuevo tango, which incorporated elements of jazz and classical music. Though his innovations were initially scorned by traditionalists, Piazzolla’s compositions eventually earned him widespread recognition and celebration. Many musicians who worked with Piazzolla went on to have their own successful careers, including violinist Antonio Agri; fellow bandoneón virtuosi José Libertella and Rodolfo Mederos; and pianists Horacio Salgán and Pablo Ziegler. Today, tango continues to enjoy popularity on both a local and international level. Buenos Aires is home to both professional demonstrations and local gatherings at bars and community centers across the city, and hosts the annual Campeonato Mundial de Baile de Tango, typically in August. Groups like Tanghetto, Bajofondo, Gotan Project, and Típica Messiez bring both nuevo tango and traditional tango to new audiences. Finnish tango, an established variation of the Argentine tango but whose rhythm follows the ballroom tango, is popular in Finland.

Rock Music#

Rock music from Argentina, commonly known as Argentine rock or rock nacional (“national rock”), is one of the earliest incarnations of Spanish-language rock. Argentina was one of the major exporters of rock en español during the 1980s, with several Argentine acts achieving international success during the decade, including Soda Stereo, Virus, and Enanitos Verdes. Subgenres of Argentine rock may include: * Pop: Virus, Los Abuelos de la Nada, Fito Páez * Ska: Los Fabulosos Cadillacs, Los Auténticos Decadentes, Todos Tus Muertos * Reggae: Los Pericos, Lumumba, Dread Mar-I * Folk rock: Sui Generis, Las Pastillas del Abuelo, Pedro y Pablo, León Gieco * Blues: Manal, Memphis La Blusera * Hardcore: Fun People, Nueva Ética * English-language: Sumo, Triddana, Maxi Trusso, Siamés

1960s#

Early Argentine rock and roll was heavily influenced by Anglophone artists. Singer and actor Sandro initially styled himself after Elvis Presley, and even earned the nickname “the Argentine Elvis.” His music is often considered a precursor to Argentine rock. At the same time, the variety show El Club del Clan hoped to compete in the domestic rock and roll market by offering young people a mixture of pop music, rock and roll, bolero and cumbia. The show was extremely popular and turned its cast—including Palito Ortega, Leo Dan, Billy Caffaro, Violeta Rivas, and Cachita Galán—into the first national teen idols. Both Sandro and El Club del Clan offered young Argentines the opportunity to listen to rock and roll in Spanish at a time when the market was dominated by music in English. Beatlemania reached Argentina during the early 1960s and inspired many local cover bands who sang predominately in English. A definitive shift occurred with Los Gatos’ 1967 single “La balsa,” which established the distinctive sound and emphasis of Spanish-language lyrics that have defined Argentine rock. The 1960s also saw the rise of groups like Almendra, Vox Dei, Manal, and Pedro y Pablo, and singer-songwriters like Tanguito, Moris, and Javier Martinez.

1970s#

By 1970, Argentine rock had become established among middle-class youth with groups like Almendra, Pescado Rabioso, Color Humano, Arco Iris, Sui Generis, and Serú Girán. Band lineups were often tenuous, with members frequently leaving or dissolving bands and forming new ones. Notable examples include Luis Alberto Spinetta, who founded Almendra, Pescado Rabioso, and Invisible during the decade, and would form additional bands during the 80s, and Charly García, who formed part of Sui Generis, PorSuiGieco, La Máquina de Hacer Pájaros, and Serú Girán over the course of the 1970s. Artists often faced pushback from the military dictatorship, and were often forced to censor their music, or use metaphors to bypass the government.

1980s and 90s#

During the Falklands War, the dictatorship banned music in English from playing on the radio, giving Argentine musicians additional exposure on the airwaves. This, paired with the fall of the dictatorship in 1983, allowed Argentine rock to grow and reach new audiences in Argentina and abroad. Several Argentine groups were able to achieve international recognition during this period, and were featured in the Rock en tu idioma (“Rock in your language”) publicity campaign. In the 80s, Argentine rock moved away from the folk style that had dominated the 70s and embraced new production styles and irreverent sounds and lyrics with groups like Soda Stereo, Virus, Los Twists, Viuda e hijas de Roque Enroll, and Los Abuelos de la Nada gaining popularity. Of course, this música divertida (“fun music”) wasn’t the only music being created during the decade. Sumo, Los Fabulosos Cadillacs and Todos Tus Muertos brought ska influences into the fold; Riff, La Torre, V8, and Rata Blanca were all notable heavy metal bands; and rock rolinga, a style heavily influenced by The Rolling Stones, was popular with groups like Los Ratones Paranoicos. Other important acts included Charly García (now a successful solo artist), Fabiana Cantilo, Celeste Carballo, Sandra Mihanovich, Los Violadores, and Patricio Rey y sus Redonditos de Ricota. Like the 1980s, the 1990s saw a continued diversification of influences in Argentine rock. Heavy metal bands like A.N.I.M.A.L., Tren Loco, and Horcas gained more mainstream success; Fito Páez and Los Rodríguez achieved popularity with pop-influenced styles; and Iguana Lovers and Babasónicos were important groups of the movida sónica (“sonic movement”), which was a local interpretation of alternative rock.

2000s–present#

While rock is no longer the dominant genre in Argentina, it continues to play an important role in Argentine national identity. Graffiti of influential artists like Luis Alberto Spinetta, Charly García, and Gustavo Cerati can be spotted around Buenos Aires, and the Cosquín Rock music festival has brought local and international acts to Cosquín, Córdoba since 2001. Notable acts have included: Él Mató a un Policía Motorizado, Airbag, Árbol, Los Espíritus, Marilina Bertoldi, Eruca Sativa, Fidel Nadal, Tersivel, and Triddana.

Electronic#

Rock musician Gustavo Cerati helped pioneer electronica in South America during the 80s and 90s, and the genre heavily influenced his 1999 album Bocanada. The genre continued to grow during the 2000s and many artists gained local notoriety at the Zizek Club nights at the Niceto Club in Buenos Aires. After three years, the club nights evolved into ZZK Records, an independent record label that helped pioneer electro-folklore in Latin America, with a focus on cumbia fusion. Argentina has also been home to the annual electronic music festival Creamfields BA. Electronic artists from Argentina include DJ Hernán Cattáneo; indietronica band Entre Ríos; electropop band Miranda!; tango fusion bands Bajofondo Tango Club and the Gotan Project; cumbia fusion artists Faauna and El Remolón; Heatbeat; and DJ and producer Tayhana.

Pop#

Notable Argentine pop artists include Miranda!, Lali and Tini.

1950s–1960s#

In the postwar era, pop music in Argentina was significantly influenced by American and English musicians. During the 1950s and 1960s, the “la nueva ola” movement emerged, marking the rise of youth-oriented pop music in South America. Musicians often adapted popular English-language songs into Spanish, appealing to audiences across the country. Notable early pop performers from this period included Billy Cafaro, Violeta Rivas, and Palito Ortega.

1970s–1980s#

During the 1970s and 1980s, several Argentine rock bands embraced elements of pop, contributing to the emergence of the “música divertida” (“fun music”) movement. Bands like Los Twist, Viuda e hijas de Roque Enroll, and Los Abuelos de la Nada integrated catchy choruses and danceable rhythms into their music. Additionally, the cumbia pop group Las Primas gained popularity with songs like “Saca la Mano, Antonio”, further diversifying the Argentine pop landscape.

1990s–2000s#

The 1990s and 2000s saw the rise of pop groups that significantly influenced the Argentine music scene. Groups Groups such as Miranda!, Bandana, Mambrú, Erreway, Teen Angels and Tan Biónica contributed to the landscape of Argentine pop music. Miranda! became a stand out in Argentine pop music, pushing boundaries and redefining the genre. Formed in 2001, the band, consisting of Ale Sergi, Juliana Gattas, and Lolo Fuentes, notably, quickly rose to fame with their catchy melodies, playful lyrics, and infectious energy. Their debut album, Es Mentira, (2002), gained commercial success and introduced their blend of electronic beats and pop melodies. Subsequent albums like Sin Restricciones (2004) and El Disco de Tu Corazón (2007), reinforced their presence in the industry. Miranda! achieved numerous awards and accolades, including multiple Gardel Awards, highlighting their impact on the genre. Following the success of global girl groups like the Spice Girls, Bandana was formed through the reality television show Popstars and became one of Argentina’s best-selling groups in the early 2000s. Their performances and catchy songs appealed to teenage girls across the nation. Similarly, Erreway in the early 2000s and Teen Angels in the late 2000s, spawned from the television shows Rebelde Way and Casi Ángeles respectively, achieved national and international recognition, selling records and attracting significant youth followings. Notable solo artists during this era include Axel, Alejandro Lerner, Diego Torres, and the Uruguayan Natalia Oreiro.

2010s–present#

Since her transition from a Disney teen idol to a solo artist, Tini has played a pivotal role in the internationalization of contemporary Argentine pop. She is often cited by critics as the artist who bridged the gap between traditional pop and the burgeoning urbano scene, helping to establish Argentina as a powerhouse in the global Latin music market. In 2015, Tini became the first Argentine artist to sign with Hollywood Records, a move that facilitated her crossover into European and North American markets. Her self-titled debut album (2016) reached the top 10 in countries such as Italy, Germany, and Austria, showcasing a global reach uncommon for Argentine soloists at the time. Her influence is also measured by her high-profile international collaborations, which have linked the Argentine scene with global stars. She has recorded with artists such as Coldplay (performing on Saturday Night Live in 2024 and their shows at Hard Rock Stadium in Miami and Croke Park in Dublin), Christina Aguilera, Alejandro Sanz, Ricky Martin, and Steve Aoki, effectively acting as a cultural ambassador for Argentine music in diverse genres. As of 2026, she remains one of the most-streamed Argentine female artists on platforms like Spotify and YouTube, serving as a blueprint for the “new generation” of Argentine pop stars including Maria Becerra, Emilia, and Nicki Nicole. In the early 2020s, Maria Becerra emerged as a central figure in the global expansion of the Argentine urban-pop scene. Transitioning from a successful career as a YouTuber to a music powerhouse, her impact is characterized by massive digital consumption and historic live performances. In March 2024, Becerra became the first Argentine female artist to sell out the River Plate Stadium, performing two consecutive shows for over 130,000 fans. By late 2025, she broke her own record by announcing a 360° show at the same venue, solidifying her status as a stadium-level act. Emilia has become a leading icon of the 2020s pop revival, specifically noted for her role in bringing 1990s and early 2000s aesthetics back to the mainstream. Her second studio album, .mp3 (2023), debuted as the No. 1 global female album on Spotify, reaching the top 5 of the Global Album Debut chart. This era was marked by a record-breaking string of 10 sold-out shows at the Movistar Arena in Buenos Aires, all sold out within 10 hours, followed by massive stadium dates at Sarsfield. In this decade, Lali, reaffirmed her status as a pioneer of Argentine pop by spearheading a sonic evolution inspired by the 80s and 90s ballroom and dance scenes. Her impact during this decade is defined by her massive cultural presence and record-breaking live performances. Lali launched her sixth studio album, No Vayas a Atender Cuando El Demonio Llama, in 2025, that same year between May and December, Lali became the first Argentine female act to sell out the Velez Sarfield Stadium six times in a single year, totaling over 250,000 attendees. In June 2026, she will perform two back-to-back sold-out shows at the River Plate Stadium.

Region: South America