YSY A (Alejo Acosta, Buenos Aires, 1998) is more than just a name for many people; it’s a movement. The artist has been a part of the powerful Argentine urban scene since its inception, being one of its founders.
Acosta co-created El Quinto Escalón at just 13 years old. A rap competition in Buenos Aires’ Parque Rivadavia that emerged in 2012, it produced stars like Duki, Paulo Londra, Lit Killah, Wos, Trueno, and, of course, YSY himself.
After becoming a reference in rap and the underground movement alongside his peers, they soon exploded with the start of trap in Argentina. This era solidified the genesis of an unbeatable urban landscape on a global level. El Quinto continued until 2017, the year Acosta released his first single.
In 2018, Modo Diablo emerged, the group YSY formed with Duki and Neo Pistea, two global urban icons. This was also the era of the so-called ‘Mansion,’ located at 247 Antezana Street, where the three lived together, creating an iconic place that became the backdrop for the explosion of the genre, recording reference tracks like ‘Rockstar.’
Over the years, YSY has become a reference as a composer and performer, with unparalleled stage explosiveness. His ambition to maintain and improve one of the best stage performances in the scene is inspired by greats like Kendrick Lamar and Travis Scott. His evolution is marked by a successful discography, including studio works like Trap de Verdad (2021), YSYSMO (2022), his most recent EL AFTER DEL AFTER (2023), and Radio Club Hits (2024).
Now, on the occasion of his much-anticipated performance at the Cruilla Festival in Barcelona (Spain), we talked with the artist about what’s coming: his next album, which he’s traditionally been releasing on November 11 (11/11) for nearly a decade, a creative process with a strong desire to return to ‘raw trap,’ his experience at Duki’s legendary Bernabéu show, his inspirations, and much more.
You recently released a gem of this era with De la Ghetto. How did this collaboration come about?
Yeah, I had sent it to him to be included in EL AFTER DEL AFTER, but we couldn’t get it done in time. I was really eager for it to happen. De la Ghetto is one of the rappers who has influenced me the most, in my flow, my bars… We had this part finished early in the year with Gog, but I didn’t like the second part as much as the first. So, I told Koki (producer) not to release it and see who we could send it to. He didn’t imagine I would send it to De la Ghetto, whom Koki, also loves. He said, «Brother, absolutely,» and then he told me, «I’ll be in Buenos Aires on May 5 and want to make the video.» He’s a boss.
You released Radio Club Hits this year. At what artistic stage would you say you are right now?
Right now, I’m constantly making one album after another. As soon as I finish one, I’m thinking about the next. I’m taking advantage of my time in Barcelona to stay and record for about ten days, maybe two weeks, to see what I can cook up for the next album. I’m always thinking about that. So, I’m just starting to look for a new recipe, but I don’t have anything concrete yet (laughs).
Last time we spoke, you mentioned that you release an album every November 11. Will it be the same this year?
Yes, absolutely! This will be the 7th consecutive year. I’m here in Barcelona to get some inspiration (laughs). But I love it, really. The challenge of making an album every day keeps me active, and I enjoy it. It has become an addiction. I’m always thinking about what album to make next. I enjoy it a lot. I want this music to be for live shows, to make the performance explosive. I want to find new ways to do it, innovate on stage, and create a stronger experience, not just something people enjoy more.
For this new album, are there any names you want to include or are thinking about?
I first want to see what songs I make and then see who to send them to. I’ve released albums without features that have exploded, like YSYSMO, which was my most successful album and had no features.
Last year, you released your first duet album with Bhavi, a concept that hadn’t been done in Argentina before. Do you consider doing that again with another artist, or who would you like to collaborate with?
Yes, I would love to. It would be great. I don’t know who yet because it has to be someone with a very unique style to counterbalance and enrich the flow. But it also has to be someone with whom you vibe, share the same tone and ideals. Bhavi is my brother. When we thought of making the album, I didn’t hesitate because we got along so well and shared many experiences. Most of the songs on that album are about things we lived together. So, hopefully soon, a new duet project will come up because I love it. I think it’s vital. It would be great if more people in Argentina started making duet albums because it would give the scene a lot of strength.
Speaking of collaborations, I have to ask about Modo Diablo. Have you gotten back together in the studio recently?
A while ago, Duko and I were meeting up in the studio quite a bit, and some incredible things came out. But as we were both finishing our albums and I was starting another project, we didn’t finish those songs. But great things came out. And with Toni (producer), we haven’t met up in a while. Now I really want him to work on my new album (laughs).
With which artist, Argentine or from another country, do you think you have a pending collaboration?
I already have a song with Pablito Chill-E on Trap De Verdad (2021), but I would like to do something new with him when I go to Chile, to blow up the stage together because I love how he kills it live and how the crowd reacts. I care a lot about that. A studio rapper is cool, but for me, the stage rapper is the most valuable. Also, as I mentioned before, collaborating with Morad or Dellafuente would be incredible. They have very unique styles, and combining their sound with my tango influence could create something amazing. And Morad’s high-energy music is perfect for blowing up stages.
We have to ask about Duki’s Santiago Bernabéu show, where you made one of the most powerful entrances. How did you feel at that moment? How was that night for you, also sharing the stage with Neo Pistea?
First, we got to watch the show until it was our turn to perform. It was very emotional, and I felt very proud and happy for Duko. Achieving such a milestone and putting on a show like that is incredible. It was an enormous pride and joy for all of us. And when it was time to perform, it was spectacular. I love getting on stage. The more people there are, the better. It amplifies my desire to perform. I get on stage to enjoy, especially when the three of us are together; everything is very smooth in the best sense (laughs).
Over the years, we’ve seen your special artistic relationship with Duki. What does Duki mean to you, both artistically and personally, as you’ve evolved together over the years?
He has always balanced very well what he wanted to do and what he had to do. He has always been a trailblazer, achieving new things and making everything evolve. He’s also someone who does something, and everyone follows. It’s a big responsibility, and he handles it well.
You and your generation were the first to start making trap in Argentina, experiencing a strong boom with many emotions and craziness. How has it been to ride that roller coaster and then stabilize?
I feel grateful to have learned so much in such a short time. Having experiences that made us mature quickly. Thanks to that, we have experienced many things by our twenties and learned from them. Everything that happens, good or bad, trains you for what’s next. It’s never the end because, in five years, we might be talking again, and who knows where we’ll be (laughs). It’s a constant training, but the good thing is that it all gets recorded in the albums. It’s crazy to listen back and hear how you’ve evolved as a person and an artist.
You talked in a recent interview about the time at Antezana 247, the mansion where you lived with Duki and Neo Pistea. You mentioned that you would like Antezana to be a museum in the future. How did you feel when you saw the graffiti on the door, and what legacy would you like the Mansion to have?
Honestly, it was very emotional, like having that piece of history captured there. I can’t even imagine what could be done to that house, but it’s incredible that people show it so much love and care. People travel from all over. As I said, we lived there for a while, going wild and figuring out how to change everything. It’s very moving.
I’m asking you because you are a highly authoritative voice on this matter. Who do you think is currently leading in trap music? A male and a female figure that come to mind, either in Argentina or another country.
I think everyone brings something different to the table. I’m not sure if there’s one leader. What impresses me a lot is the tour Travis Scott is doing, with all those stadiums. I don’t know if any other American artist has done that. The general in trap, it’s pretty strong. That’s something I find really beautiful.
Is there a female figure that comes to mind?
In the United States, there are many great ones, like Megan Thee Stallion. She does a very street trap, but very pop at the same time. Also, Latto, Big Latto has a flow better than a lot of rappers (laughs).
This year you did the EL AFTER DEL AFTER tour, recently selling out Mandarine Park in Buenos Aires. Can you tell us what else you have planned for your fans this year?
We’ll see where the new music takes the show. EL AFTER DEL AFTER was a good electronic set, and now with the new album, I’ll see what new experience I can offer people through music, always trying to expand and improve the team to make the show even better. And we’ll see what places we can fill with people who want to come and see.
Now I want to make trap, very strong, very raw, with a sound that’s perfect for the stage, something that shakes everything up. I’m gaining more experience on stage and know how to make the audience explode more, you know? To enjoy more. I learn from every show I do. For me, it’s like a class, you know? I want to get the crowd jumping even more.
Earlier, you differentiated between a studio rapper and a stage rapper. What is the difference for you?
In the studio, you can sit down, be terrible at rapping, but cover it up because you record a take, and the producer can work magic with your voice, with this and that. On stage, you have to prove it. And many rappers are used to just getting up there and doing ad-libs, which I think is a rip-off. In the United States, they project that culture, and people like it, but it’s crazy. I swear when I saw Kendrick live, I understood everything. I said, «no, Kendrick nails everything, if he can, I can too.» It’s always been like that. In Argentina, the audience is very demanding, in a good way. If you go on stage without being prepared, people will cancel you right away. It’s impossible for them to support you, and I’m grateful for that every day. We grew up with that standard. Because I get on stage and might rap 40 songs, with the beat, doing all the verses, all the choruses, you know? You have to prove yourself. People go there for that.
Do you think the audience in Argentina has higher expectations?
They have high expectations because they have experience and the legacy of live performances. Argentina has had great, incredible rock moments that have made history. So, generations are used to that, and younger generations know that this country has had strong, great shows. We inherited this legacy, and also the prejudice that rock had against trap in Argentina. Rock had marked many generations and always tried to minimize us, but today we’re putting on shows that are tremendously historic, that people won’t forget, and we’re proving ourselves on the field, but always with a lot of love.
Given what you mentioned about trap being minimized, do you think that has changed now with the current references in Argentina?
Yes, it’s changed now. In fact, I have a lot of rock fans, people who have loved rock their whole lives, and now they listen to us without prejudice. I always try to make my lyrics as serious and artistic as possible. But then I can also write something like ‘Cómo Chilla Ella’ (laughs). Sometimes people criticize us, saying we’re a lost generation. But you can dive into my discography and find lyrics that talk about personal struggles, overcoming obstacles, and effort. Those criticisms make me laugh.
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