Peruvian cumbia singer Robert Muñoz, performing under the stage name Clavito y su Chela, has launched a sharp critique against La Bella Luz owner Óscar Custodio Chavesta over the band's reliance on cover songs.
Speaking in an interview with news outlet Mario Noticias, Muñoz accused Custodio and his musical group of damaging the industry by flooding the market with recycled tracks and mixes. He argued that the excessive reproduction of existing songs is exhausting listeners and oversaturating the Peruvian cumbia scene.
Muñoz, a former police officer who left Peru to start a new life in the United States with his wife Andrea Fonseca, described the practice as short-sighted. He warned that bands relying on covers are acting like scavengers and failing to prepare for the long-term future of the genre.
According to Muñoz, the audience is already experiencing fatigue from the constant influx of duplicate material. He expressed concern that failing to produce original work would ultimately harm the entire music sector as more groups copy the same business model.
Criticism of La Bella Luz and Industry Practices
Addressing Custodio directly, Muñoz stated that the veteran producer has consistently undermined music throughout his career by prioritizing repeated covers over artistic innovation. He noted that Custodio is a personal friend, making it particularly disappointing that an established figure is not working to help the industry flourish.
Muñoz pointed out specific instances of imitation, claiming that Custodio went so far as to copy the vocal rapping style of Sonido 2000, a pioneering Peruvian cumbia group from the Amazonian region. While acknowledging that running a band is a business designed to generate income, Muñoz insisted that popular artists have a broader responsibility to enrich the musical landscape.
Cumbia peruana emerged in the late 20th century by combining traditional Andean and tropical rhythms with electric instrumentation. In recent decades, the genre has become a major commercial force across South America, supported by large orchestras that tour extensively and produce high-volume discographies.
Muñoz contrasted greedy, revenue-driven production with the mindset of genuine songwriters. He explained that composers do not become desperate or overly materialistic because they understand that new original songs take time to achieve commercial success and that regular work remains available in the interim.
Original Composition as a Model for Success
To illustrate how artists can elevate Peruvian cumbia, Muñoz highlighted the approach taken by Agua Marina, one of the nation's leading orchestras. He praised the group for releasing and performing unreleased original compositions, noting that their commitment to fresh material commands deep respect and admiration from fans.
Agua Marina, formed in the northern city of Sechura, Piura, is widely regarded as a cornerstone of modern cumbia in Peru. Muñoz expressed delight that the group is preparing to return to active performing following a recent hiatus in their concert schedule.
Muñoz also cited Grupo 5, another legendary northern cumbia ensemble, as a positive example of balancing tradition and creativity. He noted that while Grupo 5 presents interpretations in their own distinct style, the band has consistently prioritized maintaining a catalog of original songs.
Concluding his remarks, Muñoz urged producers and band leaders across the market to shift their focus toward long-term artistic growth rather than quick financial returns through recycled material.
