Óscar René Maydon was working small-venue cover gigs around Mexicali and San Felipe, Baja California, when the pandemic canceled every show he had booked. Broke and idle, he stopped playing other people's songs and began selling homemade corridos to friends — "Hey, I'll sell you a corrido," he told them, "let me write it and I'll tell you how much." A YouTube clip of one of those songs, "De la Nación," reached Rancho Humilde founder Jimmy Humilde by the end of 2020. Features with labelmates Natanael Cano, Junior H, and Peso Pluma built his name inside corridos tumbados' arena-scale second wave; a 2024 duet with Fuerza Regida, "Tu Boda," gave him his first Hot Latin Songs No. 1. He still describes the work as obsessively hands-on — three days alone on one song's guitars and vocals — the instinct that turned a pandemic side hustle into a career.
In a January 2025 profile, Billboard's Isabela Raygoza reported that Maydon "grew up on a steady diet of norteño music and 'all-things regional,'" naming Joan Sebastian among his constant listening — the magazine's framing of the interview, not Maydon's own words about Sebastian specifically. What is on record from Maydon is that nobody formally taught him guitar; an uncle showed him basic chords and, he said, "it's really the desire that makes you learn things." That self-taught, story-driven instinct is the plainest thread linking him to Sebastian's decades of narrative corridos and rancheras.
listen forBoth songs work as compact short stories rather than mood pieces: Sebastian's "Secreto de Amor" turns on a confession mid-song, its requinto runs framing the reveal like punctuation. "Tu Boda," Maydon's 2024 duet with Fuerza Regida, borrows that same narrative pivot — a wedding, a grievance — inside a colder, sierreño arrangement. No cover or sample connects the two; it's the storytelling shape, not a shared melody, that's worth listening for.
Billboard's same list named Mexicali balada group Los Muecas — formed in 1968, decades before Maydon was born — as a third constant influence, again the reporter's framing rather than Maydon's direct testimony about the band. The pull that's easiest to credit is geographic: Los Muecas were a hometown act, the kind of romantic, string-laced regional sound a Mexicali kid would have heard on local radio growing up, well before corridos tumbados existed as a genre.
listen for"Que Ironía" is straight Mexicali romantic balada — close harmony, string-and-requinto phrasing built for a slow dance rather than a beat. "Fin de Semana," Maydon's 2023 duet with Junior H that gave him his first Hot 100 entry, is mostly trap-corrido bounce, but its melodic bridges lean on that same requinto-led, string-soft texture — a Mexicali romanticism surfacing inside a much harder genre.
The same Billboard profile that named Joan Sebastian also placed Juan Gabriel on Maydon's list of constant listening — again reporter Isabela Raygoza's framing of the conversation, not a quote of Maydon discussing Juan Gabriel by name. The connection Billboard draws is a plausible one: Juan Gabriel built his catalog on big, unguarded, sing-along melodies threaded through regional-Mexican arrangements, and that same open vulnerability — a chorus meant to be sung back, not just felt — runs through Maydon's more romantic material.
listen forJuan Gabriel's 1990 live "Amor Eterno" is pure unguarded balada — the melody carries the ache, with mariachi strings swelling behind an open, conversational vocal. "Poema," Maydon's 2026 duet with J Balvin, reaches for that same vulnerability inside a corrido-pop arrangement: a plain, melodic vocal line built to be sung along to rather than rapped through. No direct cover or sample ties the two — it's the melodic openness that carries over.