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Penske Media Corporation’s music, art and food festival LA3C closed its inaugural edition on Sunday (Dec. 11) with a Latin music-centered lineup, a nod to Los Angeles County’s’ Hispanic population, where more than 4.8 million Hispanics live, accounting for almost half of the county’s population.
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The second day of LA3C — which started off gloomy and rainy — included performances by Colombian hitmaker Maluma, regional Mexican star Gerardo Ortiz and Mexican-American rapper Snow tha Product.
Check out Sunday’s best moments below.
El Pana Con Más Flow Just as the sun peeked through the clouds for some much needed sunshine, Panamanian artist Chicocurlyhead marked his first main stage performance at a festival in the U.S. Wearing a monochromatic military green outfit and black sunglasses, Chico effortlessly zigzagged through R&B, trap and rock showcasing his versatility. “For those that don’t know me, I’m Chicocurlyhead. I was born in Panama and raised in Atlanta,” he told a small but mighty crowd. “That’s what you hear in my music. Spanglish. The real deal. I’m ‘El Pana con Flow.’”
Welcome to my paradiseMexican-American singer-songwriter Monogem delivered a soulful performance. With a set that began 50 minutes late, the crowd was forgiving offering her a warm L.A. welcome. One fan ran towards the stage holding a vinyl of the artist’s Gardenia, her first Spanish-language album. “I see you,” Monogem acknowledged the fan. “I’m so happy to be here. Soy mitad mexicana (I’m half Mexican) and it’s an honor to celebrate my Latin roots.” Mid-set, she welcomed fans to her paraíso and proceded to ask fans: “Is it ok if I get high with you guys? I mean we’re in L.A. My hometown.” However, she couldn’t light her joint due to the wind.
Os prometo que hemos ensayadoFrom Spain to L.A.! Marc Seguí and his band — who all wore bright colored t-shirts (red, yellow, blue and pink — one that had “we promise we rehearsed” written across it) — delivered a breezy performance paired with groovy visuals from outer space, the ocean and flowers. In the middle of his 30-minute set, the Spaniard brought a friend out to join him onstage. “I haven’t come alone. A big round of applause for Xavibo.” The pair were like best friends onstage enjoying every second of the performance — which included Segui’s “360” and his and Xavibo’s “Contigo Loca” — jumping up and down to pump up the crowd.
PR In the House“Hace un frío cabron aquí afuera,” Chesca said at the top of her performance,acknowledging the colder temperatures. The Puerto Rican artist delivered a high-energy performance with a troupe of dancers. “I feel so proud to be here with all of you,” she said just minutes before introducing her special guest, who flew in from Mexico just to join her onstage. It was none other than her fellow Puerto Rican hitmaker Villano Antillano, marking the first time she performs in L.A. “Thank you LA3C for having me. Latinos to the top. You should all feel so proud.”
Music of todayColombian singer-songwriter Fonseca got everyone dancing with his vallenato anthems. He kicked off with “Vine a Buscarte” and then got emotional with a heartfelt speech. “We’re very happy to be here tonight. It feels amazing to be back in L.A. We’re proud to be part of a festival that is featuring so many genres from all over the world. It represents the music of today.” The artist, who’s celebrating 20 years in music, went on to sing “Volvámonos a Enamorar” and of course the highly-anticipated “Te Mando Flores.” “Thank you for being part of this dream. Cheers to 2023, I hope it’s filled with good health, friends and family.”
Long live regional Mexican musicRegional Mexican star Gerardo Ortiz, who was born in Pasadena, Calif., enjoyed a homecoming with a set that proved to be a highlight of the night. Transforming the stage into a Mexican party — with a banda and norteño group in tow — Ortiz didn’t waste any minute belting out anthems such as “Quién Se Anima,” “Tranquilito,” “Por Qué Terminamos” and “Recordando a Manuel.” Wearing black jeans, a leather jacket with blue patches and silver studs styled with a cowboy hat and pointy boots, Ortiz, a much-experienced artist whose dynamic and interaction with his fans throughout proved to pull in not only fans who were there to see him, but also new ones who were just discovering him. Never too late to join the Gerardo Ortiz club.
“My favorite thing is women supporting women”Snow Tha Product meant business when she took the stage at LA3C. The Mexican-American rapper performed a riveting one-hour set where she showed off her slick verses and rapping skills. Her performance also included shots straight from a tequila and champagne bottle, a sea of women twerking onstage and Snow’s proud mom. She started off with a quick homage to Vicente Fernandez, who passed away one year ago. She took a shot in his memory. She then brought her mom onstage to take a shot with her and celebrate her success. “I didn’t go to college and I’m doing pretty good,” Snow said. “I told my mom I’d be the most famous lesbian Mexican rapper that ever existed. Mom, say a few things while I take a shot.” Her mom took the mic and started with, “Cómo estan todos (how is everyone doing)? I love you all so much for loving and respecting my daughter. God bless you all.”
She also invited multiple women to join her onstage and dance up there for the remainder of her show. “My favorite thing is women supporting women,” she declared. During her performance, she made sure she got what she paid for and give fans the best performance she could. After production wouldn’t light the fire effect onstage because the dancers “weren’t behind an orange line,” she protested. “I paid $5,000 to have the fire, I should have the fire. The apply rules to a woman that they wouldn’t to a man. If I don’t get fire in this next song, return my money.” She left her fans with advice: “In 2023, go where you’re loved and appreciated.”
Maluma BabyBefore the Colombian hitmaker took the stage, a short video played in front of a crowd that gathered to see Maluma front and center. “Today, my heart stops like if it was the first time [performing],” he said in the video. “Now, I give you my heart.” Then, the man of the hour appeared. Wearing black leather pants, a Supreme biker jacket and red leather gloves, he kicked off his one-hour set with the smash hit “Hawái.” “Good night, L.A. I’m Papi Juancho,” he greeted the audience. In a span of 60 minutes, Maluma delivered a show-stopping performance powered by fireworks and back-to-back hits including “Borró Cassette,” “Felices Los 4,” “Sobrio,” “Chantaje,” “Vente Pa’ Acá,” “11PM” and “Corazón.”
“Where are my Latinos?” he asked. “Los Angeles are you ready? It’s good to be back in one of my favorite cities.” Toward the end of his set, he reflected on his trajectory. “How cool that we’re all here. Is everyone drinking here because I am definitely drinking tonight. We’re ending the year and I want to thank you for the love you give me every single day. Without it, I wouldn’t be anyone. It’s been 11 years since I began my career but we’re just starting. There’s Maluma for many more years. Cheers.”
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Jenni Rivera‘s untimely passing left a void in Latin music. At the time of her death in a plane crash in Mexico on December 9, 2012, Rivera, 43, was at the peak of her career and the single most successful woman in regional Mexican and on the Billboard Latin charts.
With anthems such as “Inolvidable,” “De Contrabando,” “Basta Ya” and “Resulta,” Rivera was able to create a blueprint for herself in a male-dominated genre, and was on the verge of a major crossover, with a residency in Las Vegas in the works and her very own television series. Still, the regional Mexican icon may no longer be here but her presence on and off the Billboard charts looms larger than life.
Ten years after her tragic death, Rivera’s legacy is very much alive thanks to her five children — Chiquis, Jacqie, Michael, Jenicka and Johnny who spoke at length about their mother at this year’s Billboard Latin Music Week — and her empowering anthems sang by a strong yet vulnerable woman for women from all walks of life. She’s also been an inspiration for the new generation of regional Mexican acts such as Grupo Firme, who’s frontman Eduin Caz told Billboard of her influence on him.
With more than 30 entries on the tally on the Regional Mexican Airplay, fourteen of those hit the top 10, and 25 songs on the Hot Latin Songs chart, Billboard‘s Latin editors have chosen Rivera’s 10 best songs (in no particular order). From “Ovarios” to “La Gran Señora” and “Las Malandrinas,” check out the list below.
‘Tis the season to start listening to Christmas songs on repeat without thinking: Is it too soon? As if on cue, like many other artists across genres, Latin acts have begun releasing back-to-back bilingual (Spanish and English) holiday songs — whether original or covers — to get in the spirit navideño.
Among those who recently released a cover of their favorite Christmas song is Kenia Os, who dropped her version of “Blanca Navidad.” “It’s a classic that’s never missing in my house when Christmas begins,” the influencer and singer says in a statement about the recording. “When they asked me to choose a song that represented that magical moment of being close to our loved ones, the first one that came to my mind was ‘Blanca Navidad.’”
José Feliciano — of course known for his anthemic “Feliz Navidad,” which celebrated its 50th anniversary in 2020 and it remains one of the top 10-performing hits in the decade-plus history of Billboard‘s Holiday 100 chart — is now back with a whole new Christmas-inspired album, Love & Christmas, which includes his new up-tempo track “Viva La Navidad.”
There’s also Chiquis, who unleashed her rendition of “Jingle Bells (Vamos All the Way)” with a twist on the lyrics, marking the first time she’s released a holiday-themed song. The Mexican-American artist’s version is a catchy urban-tinged cumbia track that will get anyone on their feet and singing along to her Spanglish lyrics.
Ahead of the holidays, here’s a list of new Navidad-themed or inspired Latin songs released this year, to add to your Christmas music playlist.
Ten. That’s the total months fans had waited for the highly-anticipated Bésame Mucho festival, which took place Saturday (Dec. 3) at Los Angeles’ Dodger Stadium. The Live Nation-produced, one-day event — which sold out in just 12 minutes when the 2000s-inspired lineup was announced in February — as promised showcased the best of the ’90s-’00s Latin pop, rock, banda, norteño, cumbia and merengue acts.
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The multigenerational (both in terms of performers and its attendees) event opened its doors at 10 a.m. local time with the first band, Los Cadetes de Linares, kicking it all off at 11:25 a.m. Featuring four stages — Rockero, Las Clásicas, Te Gusta El Pop? and Beso spread across the stadium’s parking lot — fans literally had to sprint across to catch whichever act was on their must-see list.
Some even having to watch an artist for the first 15 minutes to be able to make it to another artist’s set that was on the complete opposite side. The earlier acts, which included Kinky, Raymix, Panteón Rococó Caló and Los Freddy’s, got only around 35-40 minutes. Headliners, which included Juanes, Los Tigres del Norte, Paulina Rubio, Alejandra Guzmán, Bronco, Caifanes, Oro Solido and Elvis Crespo, secured a few more minutes with their sets lasting about 50 minutes to an hour.
Catch up on Bésame Mucho’s seven best moments below.
Short and sweet
Artists acknowledged onstage how short (timewise) their sets were — some embraced the quickness of the process while others wish they would’ve had more time. “Cortito pero seguro (short but you can count on us),” Kinky’s frontman Gil told a sweaty crowd who showed up early for the group’s noon set at the Rockero Stage. Meanwhile, La Oreja de Van Gogh’s lead singer Leire Martínez didn’t seem to want to leave the stage after her time was up. “What a shame that these festivals are like this: everything has to be quick and rushed.”
Turnaround…
With four stages featuring back-to-back sets, initially it wasn’t clear how the transitions would work or how efficiently production would be when it came to changing sets. In hopes of helping speed up the process, they set up revolving stages. When one band or act had wrapped up their set, the next artist was already setting up in the back part of the stage. When ready to perform, the stage would revolve and place the new artist in front of the crowd. “Let’s go, vamos,” you’d hear artists like Julieta Venegas rushing the production team to turn the stage.
Pick your fighter
You could tell by the person’s outfit which stage they were heading to. The typical outfit for Las Clasicas Stage, where mostly all regional Mexican acts performed, included the cowboy hat and the pointy boots. If you were mainly there for pop artists, you were wearing a pop of color, 2000s fashion such as overalls, berets, a polo with the popped collar for men, and sparkly blazers. Those two stages out of the four were most represented in terms of fashion.
Primer Fest Sin Marciano
Hands down the most emotional moment at the festival was when Los Enanitos Verdes took the Rockero Stage. Marking the Argentine band’s first live performance since the untimely passing of their frontman, Marciano Cantero, they dedicated their performance to their member who “left us too soon,” Enanitos’ Felipe Staiti, who took on the role of frontman for the first few songs such as “La Muralla Verde,” told the crowd. “We’re here. Hurt but alive.”
For the second half portion of the set, Staiti welcomed special surprise guests who joined them onstage to help them sing the rest of the songs. The first guest was Hombres G’s lead singer David Summers who sang “Mi Primer Día Sin Ti” and “Lamento Boliviano.” At the end of his performance, he blew a kiss to the sky and said “Marciano, I love you.”
Los Enanitos Verdes’ first performance without Marciano 🫶🏼 The band was joined by David Summers (Hombres G), Ruben Albarran (Café Tacvba) and Noel Schajris (Sin Bandera) at Bésame Mucho to help sing a few songs. pic.twitter.com/2zzmbsbL8n— Griselda Flores (@grissyflrs) December 4, 2022
Then, Café Tacvba’s Ruben Albarran joined the band to sing “Por El Resto.” Following his performance, Albarran said: “We’re honoring Marciano. Sending him all the joy of this festival to wherever he’s at right now.” For the last guest, Staiti introduced Sin Bandera’s Noel Schajris to sing “Luz De Día.”
Staiti ended the set with a special message and a special song. “I was 16 years old when we started this band. I want to dedicate this performance to Marciano and the time we spent together. You all, the fans, are the reason we kept recording songs. I want to honor Marciano’s memory with this song.” And he went on to sing “Mariposas.”
Battle of the bands
The Rockero and Las Clasicas stage were closer to each other. While the Te Gusta El Pop? and Beso Stages were nearby. So, sometimes, you’d hear the other artist’s music cross-pollinate with another artists set. Most times, fans and artists were cool with that. For example, right before Enanitos Verdes hit the stage, fans patiently waited while singing along to Ramon Ayala’s “Tragos Amargos” anthem. At other times, it got a bit awkward. Such was the case when Sin Bandera was about to wrap their set, Oro Solido kicked off their own blasting merengue across the stadium. “The pachanga (party) started next to us. Can you lower down the volume?” the duo’s Noel Schajris asked jokingly.
Technical difficulties
Perhaps in every stage there were technical difficulties with the sound. Safe to say that all artists dealt with some sort issue and at times complained to production while onstage and in front of all their fans. From microphones not working for half of the song to the sound being off or distorted, not everything was perfect at the festival. But, to its credit, it was their first year and they were ambitious. It could have been worse.
OG regional Mexican
Mexican music is going through a renaissance with a new generation of mostly Mexican-American teen kids leading the new era without having to stick to the traditional instruments and outfits, and core sound of the legacy genre. But today at Bésame Mucho, norteño and banda fans showed up for the artists that made them fall with the genre initially. From Banda Machos to Ramon Ayala, Banda El Recodo and Los Tigres del Norte, all artists wore their traditional vaquero outfits and played the OG regional Mexican anthems that opened doors for the new generation of Gen Z artists that are taking the genre to the next level.
First Stream Latin is a compilation of the best new Latin songs, albums and videos recommended by the Billboard Latin editors. Check out this week’s picks below.
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Tommy Torres, “Mi Secreto” (Rimas Entertainment)
Tommy Torres is on a hot streak of experimenting with sounds. After releasing El Playlist de Anoche, his 2021 alt-rock album produced by Bad Bunny, the Puerto Rican singer-songwriter — known for his sentimental pop ballads — is now venturing into the bachata world, gifting fans “Mi Secreto.” While the sound may be different, the track is a quintessential Torres song, with mature and poetic lyrics that narrate a love story. “Love me here and now, don’t ask about the past,” he croons.
Moreno IFT, Gangoso World (Interface Music/Gangoso World / Good Partners)
Bursting into the scene with grim ominous beats and an intoxicating flow arrives Moreno ITF, a Bronx-dwelling, Dominican-born rapper who is helping lead the relentless rise of New York’s Latin drill scene. With his hard-hitting debut EP, Gangoso World, the artist takes the drill sound to the next level, infusing the style with an irresistible Afro-Caribbean edge on the clubby “Pull Up.” On “Cobain,” the rapper slows down the vibe for an R&B-tinged reverie. At times, his potent quips and vocal delivery are reminiscent of Brooklyn drill artists like Pop Smoke. Yet, Moreno’s unmistakable approach highlights the teteo life in the hood, and navigating it as a mercurial Latin living in a gangoso world.
MAR, “Más Que Tu Amiga”(Marbella Music)
Emerging singer MAR, daughter of the iconic Marco Antonio Solís, is paying homage to one of her father’s anthems with her new single “Más Que Tu Amiga.” Delivering a new take on the Hot Latin Songs chart-topping track “Más Que Tu Amigo,” MAR makes the song her own with her dulcet vocals but maintains its tropical and rhythmic essence. “My dream is to be, explore and explore,” MAR previously told Billboard. “It’s intimidating to see all that [my father] has accomplished and want to pursue the same line of work, and he noticed I was insecure at one point. He just told me to believe in myself.”
Junior H, Contingente (Warner Music Latina/Rancho Humilde)
Without a doubt, Junior H has become a one-to-watch in the Mexican music space, after delivering back-to-back sad sierreño and corridos tumbados albums packed with emotional gems powered by acoustic guitars. But for his new album, he did an about-face. The Mexican singer-songwriter is showcasing his versatility with his new trap-leaning album Contingente.
Equally emotional and lyrically striking as the rest of his sierreño albums, the 12-track set finds Junior H delivers hard-hitting, brutally honest songs about fame, love and heartbreak. “I’ve been working on this project for two years,” he says in the set’s opening song “Índice.” “While I was working on it, I wondered if I was really going to release it. That’s why it’s called Contingente, because I made it for myself, for you — and it may be the last time,” a reflective Junior H says. A standout track is “Veneno,” where Junior H trades cheeky verses with Chilean artist Paloma Mami over a reggaetón beat. The album includes other collaborations with Snow Tha Product, Aleman and Big Soto, among others — and make sure to stick around till the end of the album for a surprise dance track.
Ryan Castro, “El Plan de Estefania” (Sony Music Colombia)
If after “Mujeriego,” you were hoping to hear more merengue from Ryan Castro, today is your lucky day. The Colombian newcomer, known for his street-style trap anthems, is blessing fans with another “merenguito.” The hip-swiveling “El Plan de Estefania,” produced by SOG (who also produced “Mujeriego”) is part of Castro’s new EP Los Piratas, which marks his second EP this year after Regggaetonea. The remainder of Piratas sticks to Castro’s signature urbano beats with back-to-back reggaeton bops.
When GALE wrote her first song at age seven, she thought she might be a superhero.
Titled “Amor Sincero,” the salsa track was dedicated to a boy who didn’t like her back. “When I finished writing it, I was like, ‘Wait, did I just create something that didn’t exist just by using a melody and chords?’” she recalls. “I thought I had a superpower. Since then, I’ve just kept going.”
Expressing herself through music came easily to the Puerto Rican singer-songwriter, who grew up surrounded by artistic minds. Her father is also a musician — who, along with his band, performs at local events. Her grandfather was a professional cuatro player. Meanwhile, her mother was an actress who performed theater. “I was always free to experiment,” says the 29-year-old, who’s written songs for artists such as Fanny Lu, Juanes and Manuel Turizo, and is currently working on her first album.
Even before learning to perform professionally at Escuela Libre de Música, her father had been preparing her for the big stage since she was a little girl. “He used to make me perform every single time at every family reunion,” GALE says. “He would tell me, ‘If this is what you want to do your whole life, you need to practice.’ I was like, ‘I just want to go play hide and seek with my cousins!’ But then I’d sing 10 songs and I’d enjoy it.”
Now, GALE has become a go-to songwriter for a handful of artists — and on Nov. 17, she won her first Latin Grammy, thanks for songwriting credits on Christina Aguilera’s Aguilera, which scored best traditional pop vocal album, and is also nominated for best Latin pop album at February’s Grammys. “If you work hard and you manifest it, it happens. It’s grounding.”
Creating a path for herself is what GALE — who grew up listening to Shakira, Avril Lavigne and Selena Quintanilla — focused on since moving to Miami from Puerto Rico after Hurricane Maria. “First, I knew had to work my ass off to make things happen,” she explains. “What I always wanted was to have my own project as an artist and that’s what I was going to do no matter what. But how would I get there? I figured I’d start writing with other artists and build those relationships. Then get a publishing deal and get signed by a label.”
So, she started door-knocking and visited publishing companies to show them the catalog of songs she had recorded in her closet. Her first big break came in 2019, when peermusic invited her to a session with Colombian artist Fanny Lu, which is when they co-wrote “En Mis Tacones.” Since then, she says, doors opened thanks to “word of mouth because producers started recommending me, Fanny Lu wanted to work with me again.”
She eventually got a publishing deal with Warner Chappell Music and a record deal with Sony Music Latin. Then, she landed on Aguilera’s project — co-writing (along with DallasK and Josh Berrios) the Ozuna-assisted “Santo,” which peaked at No. 12 on Billboard‘s Latin Airplay chart in February.
She remembers meeting Aguilera during a writing session for “Brujería.” “She sat next to me and asks, ‘Is that you singing [on the demo]?’ I was like, ‘Yeah,’ and she said, ‘What a beautiful voice.’ In my mind I was like, ‘Oh my God, I’ve practiced singing Mi Reflejo every single day, I know the album from top to bottom. I’ve practiced performing all your songs…’ But what I really said was, ‘Thanks, you have a beautiful voice as well.’ It was a moment,” she says laughing.
Thankful that songwriting for other artists has opened doors, she’s now also focused on her own project, with plans to drop her debut album in 2023 — which would include her three singles, “Inmadura,” “Prolemas” and “D-Pic.” Describing her style as “Bad Bunny meets Dua Lipa meets Avril Lavigne,” her first songs showcase her raw, edgy songwriting skills and her pop-punk and rock influences. And, instead of going the collaborations route, she decided her first wouldn’t feature other artists. “It’s me saying, ‘This is who I am and this is it, I hope you like it,’” she says. “Collaborations will come because they’re also important and valuable. But for now, it’s just me.”
Below, learn more about this month’s Latin Artist on the Rise, in her own words:
Name: Carolina Isabel Colón Juarbe
Age: 29
Recommended Song: Oh snap, that’s hard. Because my three singles are all different, but they’re similar in that they’re raw and honest. I guess if someone is more into the romantic, nostalgic vibe, then listen to “Inmadura.” But if someone is like in their badass era, then they have to listen to “D-Pic.” And “Problemas” is like the perfect mix musically of what I do: pop, rock and urban. But if I had to pick, I’d say “D-Pic,” because it’s a statement. You’ll get a real representation of who I am as an artist.
Biggest Achievement: Starting to take my songs that are born from a vulnerable and intimate place and perform in front of a live audience. One of my favorite performances was the one I did at Latin Music Week in September. It felt magical. The connection with the people was amazing. I thought, “D–n, I am ready for this.” I will share that before going onstage, I called my dad and he said, “Mi amor, don’t worry, from the stage you can’t see anyone because of the spotlight. You just do your thing.” First thing when I go up on the stage, I see everyone’s faces.
What’s Next: I am working on my debut album, which is almost done. It’s very special, because it’s born after a breakup, the exact moment when I decided to end things with this person that I knew, since the very beginning, that this person was not my person. But I wanted to make it work. When I broke up with them, all these songs started coming to me and they represent different stages. Because it hurts to hurt someone, it’s a roller coaster of feelings.
I’m very excited for the album. It’s coming early to mid-next year. And I’m definitely doing more shows next year. In fact, I’m performing at Fiestas de la Calle San Sebastián in Puerto Rico in January, which is a huge event. It’s legendary in my country.
Nicki Minaj, Maluma and Myriam Fares have dropped their infectious and celebratory new World Cup song “Tukoh Taka.” Thriving on a jittery hook and a throbbing beat, the track — produced by Gordo, Play-N-Skillz and Massari — makes history as the first FIFA World Cup song featuring English, Spanish and Arabic lyrics.
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“I am so happy to be part of this FIFA World Cup anthem! I always dreamt of an opportunity like this,” Maluma said in a statement. “Representing Latin music on this global track alongside amazing artists that sing in English and Arabic, takes our culture to another level.”
Fares added: “‘Tukoh Taka’, the song that I was honored to participate in its composition, arrangement, and choreography, made me more passionate about it, in addition to working alongside two of my favorite international artists, Nicki Minaj and Maluma. I truly wish that ‘Tukoh Taka’ will be transmitting the Eastern culture and Arabian music to the whole world.”
On Saturday (Nov. 19), Maluma and Fares will perform the song together live for the first time at the opening of Doha’s FIFA Fan Festival.
This year, FIFA has released a handful of official songs for the 2022 World Cup. The first song was the uplifting track “Hayya Hayya (Better Together)” by Trinidad Cardona, Davido and Aisha, which fuses R&B and reggae influences. The tournament’s soundtrack will feature a multi-song collection, with international artists “showcasing diverse musical genres that span the world, setting the tone for a truly global celebration,” according to FIFA.
The 2022 FIFA World Cup kicks off on Nov. 20 with host nation Qatar’s tournament opener against Ecuador. A total of 32 teams representing different countries will participate. One team will be crowned the World Cup champion on Dec. 18.
Romeo Santos was as vulnerable as ever during his 2022 Latin Grammys performance where he took the stage, with bottle in hand, to perform “Bebo.”
The bachata anthem is a sorrowful and emotional heartbreak track. Santos was playing into the song, by drinking his sorrows away onstage. “I know I’m a bit drunk but a drunk person always tells the truth,” he said in the middle of his performance. Of course, pretending to be drunk was part of his performance but the bachatero proved to be a great actor and stuck to the role to the very end when he fell onstage.
The track is part of art of the “King of Bachata’s” newest album Fórmula, Vol. 3, which was released in September and is home to 21 tracks. The new set flaunts the ever-experimental Santos taps into hip-hop, trap, tango, merengue and regional Mexican without losing touch of his bachata essence.
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Bad Bunny leads this year’s list of nominees with 10 nods. Mexican songwriter and producer Edgar Barrera followed closely with nine nominations. Other top nominees include Rosalía and Rauw Alejandro with eight; and Christina Aguilera, Jorge Drexler and Tainy with seven.
The Latin Grammy Awards — which “promise to honor the legacy, celebrate the present and embrace the future of Latin music, with deliberate consciousness, paying-it-forward to the next generations of music creators,” according to a press statement — were held Thursday (Nov. 17) at the Michelob Ultra Arena at the Mandalay Bay Resort and Casino in Las Vegas, and aired live on Univision.
Karol G brought her star power to the 2022 Latin Grammys. The Colombian star delivered a standout performance, which had the entire crowd on their toes for nearly the entirety of her set.
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Karol kicked off her five-minute-plus set singing the reggaeton anthem “Gatubela” surrounded by her fierce dancers who adored her equally fierce leader. She then lit-up the crowd with her Afrobeat-powered “Provenza,” which is up for both record and song of the year. With this track, she became the first woman to replace herself at No. 1 on the Hot Latin Songs chart in May when it traded places with “Mamiii,” with Becky G.
Karol, who won best new artist at the Latin Grammys in 2018, ended her performance with a high-energy rendition of her latest single “Cairo” with her go-to producer Ovy on the Drums taking the stage with her for the song, released Nov. 13.
Bad Bunny leads this year’s list of nominees with 10 nods. Mexican songwriter and producer Edgar Barrera followed closely with nine nominations. Other top nominees include Rosalía and Rauw Alejandro with eight; and Christina Aguilera, Jorge Drexler and Tainy with seven.
The Latin Grammy Awards — which “promise to honor the legacy, celebrate the present and embrace the future of Latin music, with deliberate consciousness, paying-it-forward to the next generations of music creators,” according to a press statement — were held Thursday (Nov. 17) at the Michelob Ultra Arena at the Mandalay Bay Resort and Casino in Las Vegas, and aired live on Univision.
One of the best performances of the night at Thursday’s (Nov. 17) Latin Grammys included four artists onstage: Carlos Vives, Camilo, best new artist nominee Nicole Zignago and one of the best new artist winners, Silvana Estrada.
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The four artists took the stage to sing a gorgeous version of Vives and Camilo’s “Baloncito Viejo.” In a soulful performance that united two generations of musicians, Vives, Camilo, Zignago and Estrada — who shared the best new artist win with Ángela Álvarez — gave the audience a new, more instrumental version of the song that marked Vives’ and Camilo’s first-ever collaboration.
Over the summer, the tropo-pop track peaked at No. 1 on Billboard‘s Latin Airplay chart and is up for record of the year, song of the year and best pop song at the awards show.
Bad Bunny leads this year’s list of nominees with 10 nods. Mexican songwriter and producer Edgar Barrera followed closely with nine nominations. Other top nominees include Rosalía and Rauw Alejandro with eight; and Christina Aguilera, Jorge Drexler and Tainy with seven.
The Latin Grammy Awards — which “promise to honor the legacy, celebrate the present and embrace the future of Latin music, with deliberate consciousness, paying-it-forward to the next generations of music creators,” according to a press statement — were held Nov. 17 at the Michelob Ultra Arena at the Mandalay Bay Resort and Casino in Las Vegas, and aired live on Univision.