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Moombahton was born in a College Park basement, incubated in a D.C. rock club, and globalized on Soundcloud. In 2011, it finally translated into something lots of people really want to dance to. But while Dave Nada’s mid-tempo tropical bass microgenre went global this year—a compilation on tastemaking label Mad Decent, a writeup in Spin, a big presence at international electronic dance music fests—in D.C. it became almost too pervasive. Any notable producer who’d previously expressed an interest in bass music, it seemed, started dropping moombahton edits. Air sirens abounded like D.C. was London during the blitz. One DJ even made “Moombarena”—yes, a moombahton edit of “Macarena.” All in all, it seemed like moombahton’s pandering and bombastic side won out, which was a shame. The genre’s smoother, spacier moments are its most worthwhile. Lesson learned: You can be slow, druggy, and hugely successful, as long as you’re not too weird.