If not for Natanael Cano, one has to wonder what the música mexicana movement of the 2020s would have looked and sounded like. Thankfully, with seminal projects like Corridos Tumbados and Mi Nuevo Yo, the Hermosillo, Sonora, native provided an invaluable foundation upon which both he and countless others subsequently built their careers. That elevated status allowed him to take bigger risks, critically venturing into styles like trap and reggaetón while collaborating with an impressive range of artists. A return to form of sorts after the diversified approach that dominated 2025’s Porque La Demora, the semi-eponymous Natanael Cano, Vol.1 eschews his genre excursions to get back to the core of his songcraft. Several of the signatures found on his earlier singles reappear here, evident via brash corridos like “CR7” and the 420-friendly “Aprevenido.” Still, this isn’t some retread of his past achievements, but rather a reflection of his tenure—undeniably informed by his successes and reaching toward newer aims. On the romantic front, he’s downright wistful on “Mar Azul” and hopelessly lovestruck on “Por Amarte Así.” His frequent collaborator Gabito Ballesteros makes three appearances here: on the action-packed “La Cherokee,” as part of a trio with Adriel Favela on “Pa La Maña,” and alongside Javier Rosas on the luxe yet menacing “Nos Vamos de Dance.” Elsewhere, Cano gets into his narcos bag opposite Crecer Germán for “Apelativo” and takes a decidedly guarded stance with Dan Sanchez for “No Soy Amigo de Todos.” Our Favorite Track: A rare cover on this album stuffed with original material, Cano’s take on Jeanette’s ballad “Frente a Frente” honors the original even as it hews closely to his style.