Cuco has always existed in liminal spaces — between languages, genres, and generations. With Ridin’, his new album out today, he trades dreamy synths for sun-faded soul, drawing from the warm crackle of vinyl and the smooth glide of a lowrider hugging LA streets. It’s a record that feels lived-in yet newly awake, a tribute to Chicano car culture, vintage ballads, and the kind of love that lingers like smoke on a summer night.
In this conversation, Cuco speaks on reconnecting with his roots, exploring the full stretch of his voice, and why Ridin’ is more than a sonic shift — it’s a cruising companion, a love letter to Los Angeles, and a bold step into artistic maturity
Before we dive into the album, I have to ask, what’s your ideal cruising setup? What car, what vibe, and most importantly, what’s playing on the speakers?
My ideal cruising setup lately is a Honda S2K. The vibe is top down, six speed, morning to noon, by the beach, listening to Meshuggah’s In Death is Death.
I’ve been a fan of your music for a while, and so many of my friends have had your songs as part of the soundtrack to their lives. With Ridin’, you’re bringing a new sound while staying true to what makes your music special. How do you hope this album resonates with both longtime fans and new listeners?
Longtime fans will relate to the oldies roots of my music, and new listeners who identify me for a specific sound will be able to see me in a new light.
Ridin’ feels like a sonic shift for you, moving toward a more organic, soulful sound. What inspired you to leave behind the synth-heavy production of your past work?
I’ve taken a break from the synth-heavy production of my past work because I wanted to explore my voice, be more raw in how I project as a singer and write as an artist, while experimenting with new forms of recording.
You’ve described Ridin’ as a tribute to Southern California’s past, especially its Chicano soul and car culture. How do you see your music fitting into that legacy?
I want this record to become an essential album that people cruise to and use to identify with the city of Los Angeles.
Working with Tom Brenneck seems to have brought a fresh dynamic to your process. What was it like collaborating with him, and how did recording on tape shape the album’s sound?
Working with Tommy was easy because our personalities clicked and we shared a lot of common music references, while also being put on to a lot of new music. Recording to tape helped level up the musicianship because you have a limited number of tracks to record on and get things right.
You mentioned lifting your vocal range a full octave for this album. What challenges and surprises did you encounter while pushing your voice in this new direction?
My range has always been there but this album helped me figure out how to use my range to full potential.
Walk the Way is one of the tracks where you really showcase your vocals. Did you have any specific inspirations or references for this song’s sound?
I wasn’t going after any specific references; I was simply going for a sad ballad inspired by soul music.
Ridin’ explores romance from different angles — some songs are uplifting, while others carry heartbreak. Was there a particular relationship or moment in your life that shaped these themes?
I try not to reference specific relationships or moments in my life; I prefer to connect with an emotion when I’m writing.
Seems So interpolates Barbara Lewis’ Hello Stranger. What drew you to that song, and how did you approach reinventing it while keeping its nostalgic essence?
It just made a lot of sense with the chords, not putting any additional thought into it inherently made it feel natural and it took its course from there.
You’ve incorporated elements of bossa nova, doo-wop, and 60s soul into Ridin’. How do you balance these classic influences with your own modern perspective?
Being a fan of a lot of different types of music, I intuitively find common ground to bring things together without overthinking it.
Your music has always resonated deeply with bilingual and bicultural audiences. How do you see Ridin’ continuing to connect with both your Latinx fanbase and a broader audience?
I’m exploring a genre of music that connects my roots growing up in LA with universal themes through soul music, which contains emotions and experiences that everyone can relate to.
My 45 pays homage to vintage vinyl culture. Do you have any favourite records from your childhood that left a lasting impression on you as an artist?
Graduation by Kanye West was an album that I remember being my first CD, which exposed me to a lot of classic music from Steely Dan, Daft Punk, and Michael Jackson.
You’ve mentioned that your parents introduced you to a diverse range of music, from mariachi to the Beatles. Which of those early influences do you think shines through the most on Ridin’?
If there were two references, it would be Juan Gabriel and Los Panchos.
Psychedellic elements have been present in your music from the beginning. How did you incorporate that aesthetic into Ridin’ while still keeping it rooted in Chicano soul?
With my compositional and chord choices, there are always some psychedellic elements in my music.
You started out making music in your bedroom, and now you’re working with industry veterans. How has your creative process evolved over the years?
My creative process has evolved by finding new ways to collaborate with the people I work with in the studio.
With this album, you’re embracing a rawer, more immediate sound. Do you think this marks a permanent shift in your music, or do you see yourself experimenting with other styles in the future?
I will always be experimenting with other new styles while staying true to myself.