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After starting Baja Beach Fest in Rosarito, Mexico in 2018, which captured the ever-growing reggaeton scene with a lineup that included headliners like Bad Bunny, Yandel and Farruko, Aaron Ampudia and Chris Den Uijl were looking to take the concept to a whole new market.
“Chicago was the target,” says Ampudia over the phone from his home in San Diego. The Midwest city is now home to Sueños, which he and Den Uijl launched in 2022 with a lineup that leaned urban with some regional Mexican in the mix. This year, the two-day festival – headlined by Rauw Alejandro, Peso Pluma and Maluma – is sold out for the first time since launching, with 65,000 expected in downtown Grant Park each day (May 25-26). “Chicago has the infrastructure to host festivals like Lollapalooza, one of the biggest in the country, and the Mexican and Latin market, which we consider the second largest after Southern California. It made sense for us to go after Chicago.”
Indeed, Chicago, the third largest city in the country with a population of 2.6 million as of July 1, according to the U.S. Census Bureau, has a massive Latin presence that contributes to the diversity of the city. Chicago’s population is about one-third Latino and one in five Chicagoans identify as Mexican, according to an analysis by WBEZ.
Yet for many years, Chicago residents felt they were snubbed from major Latin music events that took place in other big Hispanic markets like Los Angeles or Miami, which is why smaller, community-driven and grassroots events flourished in the summer in public parks located in predominantly Hispanic neighborhoods around the Chicagoland area.
“I think the country sees Chicago as one thing unfortunately and often its violence, and that comes from a lack of experiencing our culture,” says Mo Mami, local DJ and creative director, who has performed at multiple local festivals since launching her DJ career five years ago.
“Small scale festivals are the kind of festivals that really drive a bigger picture. When you have enough of those showcasing diversity of sounds, the brands that are part of big festivals see that there’s a thirst in the community for something even bigger and it plants the seeds to grow from the block parties to public parks to Grant Park.”
While a community effort, Ruido Fest was the first “big” Latin festival to take place in Chicago. Produced by local-based production company Metronome, its concept was unique as it catered to a fervid Latin alternative, rock en español fanbase with headliners like Los Fabulosos Cadillacs, Panteón Rococó and Café Tacvba, forging its own path in a reggaeton-dominated world. It kicked off in 2015 in Adams Park (then went on to Union Park) but struggled after the pandemic. Last year’s edition was cancelled and there’s no word about it coming back. “Our main goal was to expand opportunities for Latin artists and fans of Spanish-language music in Chicago in the long term,” the festival then said in a statement. “After almost a decade of work we are proud to have a hand in the tremendous growth of the local Latin scene.”
While other festivals were inspired by the success of Ruido Fest, many of the ones that emerged right after were short-lived. Lift Off cancelled the second day of its debut edition in 2018, and Los Dells, while not in Chicago but in Wisconsin, billed as the “first major Latin music festival in the Midwest,” lasted three years (2017-2019).
“Of course, it worries you,” says Ampudia about the risk of launching a Latin festival in Chicago. “But we knew that the Latino culture across the U.S. was underserved of a festival that they could call their own. And there was nothing really that we saw that was in Chicago. That’s where it clicked for us. We need to come out and do it the best way possible, the biggest possible, with the best partners and that’s why we partnered with C3 (who produces Lollapalooza). It’s nerve-wracking but the response has been unbelievable.”
The success of a Latin music festival in Chicago is “contingent on the lineup, concept, and capacity of the festival,” says Henry Cárdenas, founder of Cárdenas Marketing Network, the biggest indie Latin promoter in the world, who is based out of Chicago. “The co-existence of multiple festivals enriches the city’s cultural landscape, offering more choices and opportunities for both attendees and performers. If each festival continues to innovate, adapt, and engage with its audience effectively, there’s ample room for co-existence and success in Chicago’s dynamic festival scene, which is now drawing larger and more diverse audiences, reflecting the growing influence and appreciation of Latin culture in the city,” he adds.
A local favorite event, Miche Fest, is also making waves as it prepares to host its biggest edition since launching six years ago. In partnership with indie promoter Zamora Live, the 6th annual Miche Fest will take place in July for the first time in Chicago’s Oakwood Beach with superstar headliners Kali Uchis, Junior H, Luis R Conriquez and Los Ángeles Azules.
“Honestly, we just listened to feedback from the fans, those buying tickets,” says Fernando Nieto, co-founder of Miche Fest, who adds that the new alliance with Zamora Live is key to the festival’s growth. “Latinos are very vocal, they’re in our DMs telling us what they like and what they don’t like. The number one comment was that they wanted bigger names. Before there was Sueños, obviously, we were already trying to come up and we saw the demand and we were like ok we need to get bigger. It was a natural progression; we started as a street festival with local talent and look where we are now. This is an event organized by black and brown people from the South Side of Chicago and it makes me proud to see how much we’ve grown.”
Chicago’s ever-evolving yet booming Latin music festival landscape reflects what we’re seeing across the country, with a growing market that now includes the nostalgia-inspired Bésame Mucho in L.A., which this year expanded into Austin, and the debut of Bottle Rock’s La Onda in Napa Valley set for June.
“Latin artists deserve top billing and they can get lost in a lineup like Lollapalooza or Coachella,” adds Karina Gonzalez, VP of touring and development at Zamora Live. “But when there’s a local festival where you can exalt them in that way, it’s pretty cool and it was missing in the market. It’s missing in billings of festivals all over the country so it’s nice to be part of that and elevate the talent that gets lost in the weeds at other festivals.”
With Ruido Fest out of the picture (for now) and Sueños and Miche Fest as the leading Latin music festivals in the Midwest, it’s very telling of the Latin market today, says Mo Mami.
“When Ruido was around, it gave an even more expansive look into the diversity of Chicago’s Latin market,” she explains. “Sueños’ lineup features what’s popular on the radio with big names, in Grant Park. And then we have Miche Fest, which is more local, with a mix of banda, reggaeton, cumbia. These are the options we have to experience Spanish music in such a large scale here, which is fine because it’s what’s going to sell, and get the people turned up. It’s nice to have representation one way or another.”
Warner Chappell Music has announced Delia Orjuela as its new head of creative Mexican music/música mexicana. Based out of Los Angeles, the veteran executive will report to Gustavo Menéndez, WCM’s president, U.S. Latin & Latin America.
In 2021, Orjuela joined Warner Music Latina to lead the label’s Mexican music division where she guided the careers of artists like DannyLux, who is among the new generation of música mexicana hitmakers. Last year, her and Ruben Abraham were appointed co-leaders as the label doubled down on their commitment to música mexicana.
According to a press release, in her new position, Orjuela will continue to “collaborate closely” with the recorded music team and look for cross-collaboration opportunities between the label and publisher.
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“I have spent most of my career advocating and championing songwriters, and they’ve remained my true passion,” Orjuela said in a statement. “Music is incredibly powerful, and I love how a great song with meaningful lyrics can impact people’s lives. I’m so glad to once again be a part of the songwriting process from the beginning, helping to set up collaborations and nurture creative connections. This next step in my career brings everything full circle, and I can’t wait to hit the ground running with Gustavo and the incredible team at WCM.”
Prior to joining Warner, Orjuela was the longtime vp of Latin creative for BMI, where she worked for 22 years. She left in 2019 to start “a new chapter” in her life. That same year, she was appointed president of Latin Songwriters Hall of Fame.
“Delia and I have known each other for years, and what started as professional respect has grown into a deep and genuine friendship,” Menéndez added in a statement. “She’s fiercely passionate about empowering music creators and providing them with the right tools to amplify their voices on a global scale. We’ve already started to pull together exciting plans with [Warner Music Latin America president] Alejandro [Duque], and her natural instinct will drive remarkable success in one of today’s fastest-growing genres.”
In a joint statement, WCM co-chairs Guy Moot (CEO) and Carianne Marshall (COO) expressed: “Delia has supported countless songwriters and established a reputation for energizing teams and elevating music. We see huge potential to create timeless songs in the Mexican music market, and her leadership will help us continue to develop songwriters who shape culture.”
Nuria Andreu has joined GTS and is appointed manager of Spanish singer-songwriter Aitana, Billboard can report. In her new role, as part of the GTS (Global Talent Services) team in Spain, she will be exclusively dedicated to the growth and further development of Aitana’s career, which was previously managed by Olga Palma at GTS.
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Based in Madrid, Andreu will report directly to Narcís Rebollo, president, Universal Music Iberian Peninsula.
After beginning her career in the pharmaceutical sector with experience in other fields, such as communications and strategy, Andreu founded her own marketing and production agency in 2018. In 2020, she joined Sony Music Spain as head of communications and PR and, in 2023, was appointed communication director of Rosalía’s company, Motomami S.L. Before joining Universal, she was Rosalía’s personal manager.
“I’m grateful for the opportunity to join a company like GTS and the project of an artist with Aitana’s talent and strength,” Andreu said in a statement. “Wishing to contribute and continue adding success hand in hand with the magnificent team that She already has.”
Aitana, who signed with GTS in 2018, added, “looking forward and excited to start a new stage in my career and my artistic development [and] continue growing little by little and learning about music together.”
With more than 11 million monthly listeners on Spotify, the 24-year-old artist wrapped her Alpha Tour in 2023 with a sold-out show at the Santiago Bernabeu Stadium in Madrid, which sold all tickets in a record-breaking 72 hours, becoming the first Spanish artist to do so.
“I am certain that with her experience and skills, Nuria’s incorporation to GTS will be key to Aitana’s continued success, boosting her unstoppable career development and consolidating the GTS strategy of growth and service to our artists, as a leading company in the sector,” expressed Rebollo.
Argentine singer-songwriter Abel Pintos has signed an exclusive global publishing agreement with Universal Music Publishing Group (UMPG), the company announced on Thursday (Sept. 7). Known for his folk-tinged intimate heartfelt songs, Pintos’ career spans over nearly three decades. Since debuting at age 13, the Gardel Award-winning artist has released 14 albums (12 studio albums and two live albums). […]
The Jenni Rivera Estate has signed a global deal with Universal Music Publishing Group to administer the publishing rights for Jenni Rivera’s global catalog, Billboard has learned. “I’m so excited about this new partnership with Universal Music Publishing. It’ll bring great achievements for my mom’s legacy and for Jenni Rivera Enterprises,” said Jacqie Rivera, CEO of Jenni […]
Myke Towers has signed a management deal with Brandon Silverstein’s S10 Entertainment, Billboard has learned. The signing — which is in partnership with Orlando “Jova” Cepeda (One World Music) and Jose “Tito” Reyes (Casablanca Records) — comes on the heels of Myke’s viral hit song “LALA,” which topped Spotify’s Top 50 Global chart and entered at […]
There’s much to be said about the deep lineage connecting the symbiotic worlds of basketball and hip-hop. Former NBA star Zach Randolph is looking to write a chapter in that book and add to his own decorated legacy with his NLess Entertainment record label.
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Going on his fourth team in as many seasons, the power forward affectionately known as Z-Bo arrived in Memphis in 2009 as a polarizing 28-year-old with a chip on his shoulder. The blue-collared city wrapped its arms around the burly Randolph, who became the face of Memphis’ Grit N’ Grind era.
After stops in Portland, New York and Los Angeles, Randolph helped lead the Grizzlies to seven straight playoff appearances in the 2010s. His jersey now hangs in the FedEx Forum rafters after the franchise retired his famous No. 50 last year.
A few years before closing the book on his NBA career, Randolph already had his next endeavor lined up with the launch of NLess Entertainment in early 2016. The Michigan State alum co-founded the independent label alongside Marcus “Head” Howell, and made Memphis rap staple Moneybagg Yo its inaugural signee.
Z-Bo and Head bonded over their love for exotic cars, and they now own a used car dealership together in Memphis. They initially met through a mutual friend and Memphis native by the name of Qyntel Woods, who was drafted in the first round by the Portland Trail Blazers in 2002, a year after Randolph joined the West Coast team as a heralded rookie out of Michigan State.
Moneybagg Yo was creating a buzz for himself around Memphis in the mid-2010s, and a local DJ by the name of Larry brought the neophyte to Z-Bo and Head’s car dealership in late 2015 to gauge their interest in potentially signing him.
The NLess heads weren’t completely sold, until heading to a Thanksgiving weekend concert where Moneybagg rocked the stage opening for Young Jeezy and had the entire crowd shouting every lyric to his Relentless mixtape trap anthem “I Need A Plugg.”
“When I came to the show, everyone in the whole club was singing his ‘I Need A Plugg’ song word-for-word,” Head recalls. “I got back in the car and told Zach, ‘We need to sign this kid tonight.’ He’s like, ‘You sure?’ I’m like, ‘Yeah, we need to.’ I had him come back to the [car] lot the next morning and we drew up the paperwork. Moneybagg pulled back up, and we got the business part done and we was a family.”
There wasn’t much hesitation on Bagg’s part in putting pen to paper on a deal with Z-Bo and Head to run the three-man weave at the top, as he felt the spirit was “genuine” from the start since their initial meeting at the car lot office.
“I felt the vibe,” Moneybagg states on Zoom. “I’m good with people’s intentions, and they had nothing but the best for me. Even before teaming up with Gotti, this situation happened off mutual relationships with each other.”
With the label finally taking shape, the NLess Ent. execs suddenly had to deal with a pair of devastating losses. Bagg’s right-hand man Muhammad “ELO” El-Amin, along with Z-Bo and Head’s close friend John “King Fish” Jones, were both murdered within weeks of each other in December 2015. The tragedies only made the bond between the NLess bosses that much stronger to power ahead.
Moneybagg Yo kept his foot on the gas, and he continued his ascent in 2016 by flooding the streets with another four mixtapes, and pledged his allegiance to the Collective Music Group family by year’s end when Yo Gotti planted $200,000 in cash in front of him.
Head, Z-Bo and Moneybagg Yo were all complimentary of Gotti sharing his secrets to success when it comes to navigating the cutthroat music business. “[Yo] Gotti took me all around the world and under his wing and showed me a lot about the music business,” Howells adds. “I understood the game through Yo Gotti.”
Of course, Zach Randolph wanted to show off having one of the hottest rappers in the city signed to his label, so he’d often bump Moneybagg Yo’s music before games on the team’s speaker system — but not all of his Memphis Grizzlies teammates were impressed. Some (like defensive stalwart Tony Allen) were non-believers, and often tried to turn off the hometown rhymer’s tunes. (“Ay Z-Bo, did you tell ‘em when you used to bump me in the locker room they would turn that off?” Bagg reminds Randolph matter-of-factly on the video call.)
While he’s now a proven commodity and pre-game playlist favorite for plenty of hoopers league-wide, the trio can laugh off the early doubters filling the Grizzlies’ locker room. “I used to put it in their face, and a couple of the guys like [Tony Allen] and a few more [didn’t like him],” Z-Bo remembers about trying to put his teammates on. “They wouldn’t get out of line with me, so whatever I wanted to do, I did. I knew he was so talented listening to him. The sky’s the limit for him — and you see what he’s doing [now].”
Moneybagg Yo has developed into a bonafide rap titan, and has played an integral role in Memphis’ streaming era renaissance over the last five years or so. Bagg’s even bossed up in his own right, with the creation of his Bread Gang label imprint, in addition to his NLess and CMG affiliations.
The 31-year-old cemented his star status with 2021’s Billboard 200 chart-topping set A Gangsta’s Pain, powered by hits such as the platinum-certified “Time Today” and “Wockesha.” Both records are produced by Tennessee-bred beatmaker Turn Me Up YC, who signed to NLess and Warner Chappell Music in a joint partnership in late 2021.
“My brothers Marcus ‘Head’ Howell and YC along with the whole NLess Entertainment crew have been incredible partners, and we look forward to continuing to rack up the hits with this incredible team,” Warner Chappell Music President Ryan Press relays in a statement.
The budding label has continued to add a mix of talent with a roster that currently consists of BIG30, who signed in partnership with Interscope Records, Big Homiie G, Dee Mula, Lonely Girl, SouljaaOnGo, Leebo, and Mud. Randolph and Head have also beefed up the NLess staff, with a pair of new hires in executive roles. Kemario Brown will serve as the General Manager/Senior Vice President of Business Operations while publicity wizard Breon Robinson joins the team as the Senior Vice President of Branding.
Being a fan of Jay-Z and signed to his Roc Nation Sports agency, Z-Bo is looking to manifest a business meeting with Hov in 2023, where he can soak up endless gems to apply back home at NLess.
“I’m supposed to be having a meeting with Hov next year to pick his brain and get to chop it up with him,” he says. “I’ll take some gems and some advice. I want to grow this thing internationally and do it big like a Roc-A-Fella.”
Randolph chuckles when the “dinner with JAY-Z or $500,000” debate is brought up. “I’m sitting at the dinner, I don’t need the $500,000,” Z-Bo confidently answers, as someone who made nearly $200,000,000 in on-court earnings throughout his 17-year NBA career.
All three of the NLess honchos tease a banner year in store as Randolph hopes to eventually get the sports agency branch of the business off the ground in 2023 too. The low-post bruiser believes his reputation and relationships around the NBA will allow him to build a strong client list and compete with the premier agencies.
“Just having a relationship with all these young guys and being a guy in the league that treated everyone with respect, I get a lot of respect back,” Z-Bo explains. “Just knowing I’m a man of my word and 100 percent genuine, so we hang our hat on loyalty and integrity.” (Moneybagg Yo saluted Randolph last year for his being a man of his word, gifting Z-Bo’s daughter a Mercedes-AMG for her sweet 16.)
The Memphis rapper is readying a new album as well, which he has penciled in to arrive in “January or February,” after setting the tone with his Outkast-sampling “Quickie” single earlier this month. “We gon’ be the biggest for sure,” he boldly predicts of his label ventures. “All of our labels. 2023 gonna be the year that I really see this.”
Going back two decades, when a young Randolph suited up for Portland’s “Jail Blazers” era, it would be tough to predict he’d evolve into the ultimate selfless teammate and a beloved franchise player, but he did just that — so he shouldn’t be doubted in his second career here.
“Memphis is on top,” he proclaims. “Teamwork makes the dream work, and the sky’s the limit for us.”
Banda MS‘ new corrido, titled “141,” will become the first regional Mexican song to appear in a Call of Duty video game series. The track is set to be integrated into Call of Duty: Modern Warfare II, with “several” versions of the song heard throughout different parts of the game. “141” is inspired by the members of the Task Force 141 and soldier Alejandro Vargas from the Mexican Special Forces, and ties in with the narrative of the newest installment of the first-person shooter game.
While Call of Duty has collaborated with Latin musicians in the past, most recently Ozuna, it’s the first time the video game franchise — developed by Infinity Ward and published by Activision — taps a regional Mexican act to collaborate on a new song for one of its series. “It’s a huge step for the game and the community,” says Rodrigo Pérez, Call of Duty‘s senior franchise manager, Latin America. “We wanted to tell the story of Task Force 141 in a unique way, and we believe the song goes to the very essence of the characters and the story we are telling with Modern Warfare II.”
For the chart-topping supergroup, not only does “141” mark the first corrido they’ve released in 10 years, but it becomes an opportunity to showcase their traditional banda music on a global level, while also bringing in a new source of revenue.
“The franchise’s team in Latin America is mainly composed of Mexicans who love and respect our culture so, along with their team, we made sure that the song made sense for the game,” says Oswaldo Silvas, one of Banda MS’ vocalists. “We’re really proud to be part of the game’s DNA, and we would be honored to keep doing more of these collaborations because all eyes are on video games and for us, it’s a great opportunity to capture a new audience.”
The opportunity is for both sides with Call of Duty also strategically tapping and catering to the Hispanic market across Latin America. “Mexico and the Hispanic market have had a very strong passion towards the Call of Duty franchise for a long time, and with Modern Warfare II we had an amazing opportunity to celebrate the rich cultural legacy,” adds Pérez.
For a Mexican music song to be featured on Call of Duty, it only reinforces the genre’s newfound popularity across the U.S. and beyond. Once a niche genre, regional Mexican has gained an international following in recent years thanks to artists such as Banda MS, who have stayed true to their traditional Sinaloan banda roots but has also embraced the fusion of regional with genres from around the world.
Call of Duty: Modern Warfare II will become available for purchase on Oct. 28 on PS5, PS4, Xbox Series X | S, PC and Xbox One.
Months after breaking into Stateside consciousness as the first-ever champion of American Song Contest, AleXa has connected with new team members as well as new music.
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Billboard can exclusively reveal that the U.S.-raised K-pop star has signed with United Talent Agency (UTA) for representation in all aspects, including areas beyond music like TV, film and licensing. Billboard had previously broken the news that the starlet had previously teamed with ICM Partners in 2020, just months after her debut onto the K-pop scene.
AleXa will continue under ZB Label, the subsidiary recording company under long-running Korean video and film production company Zanybros. “I’m looking forward to a new history of K-pop as AleXa works with one of the world’s best agencies,” says Kim Junhong, CEO of ZB Label. “I’m confident that this relationship between UTA and AleXa will grow into a new Hallyu axis in the global music market.”
Janet Kim, music agent at UTA, and David Zenek, partner and co-head of worldwide music at UTA, add to the excitement, saying: “AleXa is a multi-talented artist whose ability to engage her audience is unparalleled. We are excited to collaborate with her and the team at Zanybros to create innovative ideas across multiple platforms to help take AleXa to the next level.”
Meanwhile, Max Michael, head of Asian business development at UTA, sees the deal as a way for more Korean content to reach larger audiences.
“We are thrilled to grow our relationship with Korea’s leading music and entertainment company, Zanybros, and begin working with the wildly talented AleXa in expanding her global reach,” he says. “K-content is setting the pace for global content the world over, and both AleXa and the Zanybros are at the forefront of pioneering that impact.”
The signing comes ahead of AleXa’s first new music after winning NBC’s latest singing competition in American Singing Contest and landing herself a radio hit in the U.S.
As part of a new EP slated for November, AleXa will release new single “Back in Vogue” with some of the same creative team that crafted the winning formula behind “Wonderland,” which won her ASC and scored AleXa her first entry on Billboard‘s Pop Songs airplay chart. Credits on “Back in Vogue” include Sunshine of EKKO Music co-writing and producing on the track, while Paul and Jeri of the Los Angeles–based House of Sam helmed the choreography.
“I hope to showcase a new, fierce image through this concept,” AleXa says of her upcoming release. “With its musical-like elements, I feel right at home and in my comfort zone. ‘Back in Vogue’ is an exciting step forward and I can’t wait for my fans to enjoy the show.”
AleXa gave fans the first preview of her upcoming EP by performing unreleased tracks from the project during the opening stop of her First Meet & Live Tour in the U.S. that kicked off in Jersey City, NJ on Oct. 18. The seven-stop trek hits San Juan next, on Oct. 20, before wrapping in Los Angeles on Oct. 30.
Fans can look out for AleXa’s new EP on Nov. 10 with more details, including a comeback trailer previewing the record, coming very soon.
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