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The independent Latin music industry is having a great moment, with acts like Fuerza Regida, Bizarrap and Peso Pluma dominating the charts and selling out arenas from Mexico and Argentina to the US and beyond. And the heads of three of the most successful independent labels on the market would not conceive of any other way of working today.
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“Independence is priceless, it is the best thing that can happen to us,” says Fede Lauria, CEO of Dale Play Records, which represents Argentine stars such as Bizarrap and Nicki Nicole, highlighting the speed with which they can respond to the needs of its artists by not depending on third parties.
Lauria made this statement on Tuesday (October 3) at Latin Music Week 2023, during “The Power Players: Indie Edition” panel moderated by Billboard‘s Leila Cobo and presented by Lexus. The panel also featured Jimmy Humilde, CEO of Rancho Humilde (label of Mexican regional music superstars like Fuerza Regida and Natanael Cano); and George Prajin, CEO of Prajin Parlay and manager and partner of Peso Pluma. They are, in short, the heads of three of the most successful independent labels on the market today.
For Humilde, who began doing flyer parties in California and over the years rose to become one of the most successful Mexican music executives, it’s about doing “what we want… what we feel,” without having to ask permission. It has worked for him, and “coming from very low, it is a very big blessing because we appreciated it more,” he said.
Prajin, meanwhile, compared the current situation with his beginnings in the industry some 40 years ago, when an indie label could not compete with the big ones because there were no streaming services and slots on the radio were limited, as were the resources to promote indie artists. “Today’s artists have direct engagement with the audience through social media and independent companies can compete at all levels. We lead. We don’t follow,” he said.
Each one, in their own style and way, is committed to taking their artists to the top. Humilde, for example, says that he does not sign artists but rather has business agreements with them — as in the case of Legado 7, with which he established Lumbre, the label where Yahritza y Su Esencia began.
Lauria, who helped launch a wave of urban acts from Argentina including DUKI, Nicki Nicole, Rei, WOS, Rels B and others who began in their teens and soon after were filling stadiums and traveling the world, highlighted the importance of accompanying them in their development and ensure their physical and emotional well-being. “Artists also suffer… they are not aliens. This generation Z of artists has to prepare at superhuman speed to meet that pressure,” he declared.
Celebrated for more than 30 years, the 2023 edition of Latin Music Week includes a Superstar Q&A with Shakira; the Legends on Legends chat with Chencho Corleone and Vico C; Making the Hit Live! with Carin León and Pedro Capó; a panel with RBD’s Christian Chávez, Christopher von Uckermann, and Maite Perroni; Superstar Songwriter discussion with Edgar Barrera and Keityn, among many other panels, Q&As and workshops.
See the ultimate Latin Music Week guide here. This year’s Latin Music Week, taking place Oct. 2-6, also includes showcases by Peso Pluma, Mike Bahía and Greeicy, DannyLux and Fonseca, to name a few. Check out the dates and times for the showcases throughout the week here.
Official partners of the 2023 Billboard Latin Music Week include AT&T, Cheetos, CN Bank, Delta Air Lines, Lexus, Netflix, Michelob ULTRA and Smirnoff.
Latin Music Week coincides with the 2023 Billboard Latin Music Awards ceremony, which will broadcast live from the Watsco Center in Coral Gables, Fla., on Thursday (Oct. 5) and will air on Telemundo. It will also broadcast simultaneously on Universo, Peacock, the Telemundo App, and throughout Latin America and the Caribbean on Telemundo Internacional.
Myke Towers claims a third week atop the Billboard Argentina Hot 100 chart as “Lala” crowns the Aug. 26-dated ranking. The song matches his three week-champ “La Jeepeta,” with Nio García, Anuel AA, Brray and Juanka, while “Bandido,” with Juhn, remains his longest-charting title to date, with seven weeks at the summit in 2021. Maria […]
In the new “The Stars Behind the Stars” franchise, Billboard Latin and Billboard Español editors share stories that have yet to be told, directly from those who aren’t often in front of the spotlight. Think “todo lo que no se ve detrás de cámaras” or “everything that happens behind the scenes.” These unsung heroes are essential to an artist’s team and its foundation. Today, we highlight, Rob Trujillo, musical director of Karol G.
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Every night Karol G gets onstage for her Mañana Será Bonito stadium tour, she embarks on a two-hour (approximately) musical journey that takes fans on a rollercoaster of emotions, highlighted by arrangements and sounds that they can’t hear on her recorded songs. It’s part of the magic of a live performance. And in Karol G’s tour, the person in charge of executing her musical vision is her musical director, multi-instrumentalist Rob Trujillo.
A native of Chile with a family musical background (his grandfather is renowned pianist Valentin Trujillo), Trujillo’s duties as musical director include determining the show’s setlist, creating special moments, arranging the music and executing the flow of the show.
Trujillo began his career working 14 years with Myriam Hernández, one of the most beloved voices in Chile and Latin America.
Daniel Portes
In 2016, he moved to the U.S. and began working with Karol G in 2017, when she was invited as the opening act for Luis Fonsi’s Love and Dance US Tour, which marked the beginning of a new chapter in her musical career. Trujillo has played a vital role in numerous Karol G performances, including her appearances at the Grammys and Coachella. He also recently led Karol G’s performance on Good Morning America and was in charge of Karol’s historic headlining set at Lollapalooza, where she was the first Latin female to headline the fest in its more than 30-year history.
Within the world of live music performances, there are many pieces to the puzzle, and endless details are meticulously worked on behind each concert, tour and festival. Talking to Billboard in Miami, Trujillo took us through this fascinating musical creative process behind the scenes.
What are your job responsibilities as music director?
The musical director is the person who is in charge of everything related to the music of a show. In soccer terms — soccer fan that I am — he’s like the technical director.
I am responsible for everything creative in terms of music, the setlist, the versions, the arc of the show… How to manage to [put together] something more intimate that they remember. I call that arc a trip… [the point is to take a fan on] a trip, that when the person goes to that show, they feel something different from what is heard on the digital music platforms.
I watch the videos, the charts, the lyrics. Why? Because by looking at the chart, I can know where to put [the song] in the checklist. I watch the video because I want to know what the artists creatively envisioned, what they wanted at the time. That is what I have to deal with in my version of communicating to you.
Can you take us step-by-step through the preparation before starting a tour with Karol G?
It all starts with the tour’s purpose: if it’s for an album, if it’s for a celebration of something special, etc. It all has to do with the concept of the tour.
We put together a set list and after that, the creative process begins. This involves working on songwriting and live adaptations of said songs. For the new musical arrangements, I make the aesthetic [concept]. I make a demo for each song so that the artist can first listen and tell me if he likes it; let’s change this, I don’t like it.
Once I get the artist’s vision, I turn to creative inventing. In my studio or a hotel, I have two keyboards, a bass and several guitars, and another bass. And according to what they are asking me, I am building. I take the song — for example, I do the drums on the keyboard to show the musician what to play later.
And after that, I am very structured. So, with that mental structure, I know how everything sounds.
At this moment, I am being reflective and creative, both musically and visually. I am envisioning what will resonate with crowds of 25,000 or even 70,000 people.
How much is improvised, or can you improvise in a live show?
In my case, I’m not much for improvising. I am very organized, and like to keep [it that way], because it is also good for the team. In a show, it is not only the music; the music is the matrix of everything. If there are no songs, there is no show, basically. So, everything that emerges — the lights, the stage, the screens, the fireworks, everything — is related to the music, and everything around the music is to enhance that, so there has to be synchrony.
And what is the challenge of leading a tour of stadiums versus the arena?
It’s different starting with the number of people who can live the experience. The infrastructure of an arena differs from that of a stadium and allows for unique creative opportunities based on the specific concepts being developed. I believe the stadium format is the largest format you can get as an artist to work.
It’s different. I like both, but the stadium excites me a lot.
I am excited about the fans; I aim to ensure that every person, whether seated in the front row or the last chair above, enjoys the music equally. My goal is to provide an experience that is fair and accessible to all. For me, they both have to live the same experience, without any difference. That is what helps me. That is my mission.
How is the setlist order determined?
The setlist is defined based on various criteria. There are criteria first that are emotional, which also have to do with the new material coming out, how big the song is, and what we want to give to the people at each show. We can make a hit like “Bichota,” and then we want to transport it to something like “El Barco,” where, for example, we made a bossa nova arrangement with a little bit of bachata. Then comes this very Mexican spectacular; she takes the shots, and the people are with her.
We are putting together the setlist around how we want to move people, and where we want to take them… it is like the script of a movie.
Feid‘s Ferxxo Nitro Jam Underground Tour had an epic first night in Miami Friday, June 16, before he wraps up with his second and final show at the Kaseya Center on Sunday, June 18.
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Produced by Live Nation (which also helmed the artist’s 2022 U.S. tour), Ferxxo (pronounced Fercho) was set for a 29-city tour that kicked off April 20 at the WAMU Theater in Seattle and visited key cities such as Los Angeles, Las Vegas and New York before wrapping in Miami.
Upon entering the Miami show, you were given special glasses for an immersive, 3D experience after scanning your ticket. These glasses gave you full access to the world of El Ferxxo. At 9:40 p.m., the lights dimmed and a video appeared across large screens, displaying the visual for his single “MXFIX G5” and a message to turn your flash off.
Wearing a beige sports jacket, shorts, white shades, his signature green cap and black-green-neon gloves, Feid arrived on stage to perform the opening track “Chorrito Pa Las Animas.” From the start of the show, he warmly greeted his fans and expressed his excitement for this special evening.
“Thank you very much from the bottom of my heart to everyone who came tonight to ‘Parchar con el Ferxxo’ in Miami Mor. A thousand thanks to everyone who came in green tonight, those who came with El Ferxoo’s glasses, with the cap,” he said, and he finished with, “Remember that if you are going through something bad, leave all that out from the theater. Today we came to have a good time.” “Porque el Ferxxo no se le dedica a cualquier mor (because you don’t dedicate El Ferxxo to whoever),” he added.
Below, check out more highlights from Feid’s concert.
Feid’s energy on stage: Feid’s high-energy performance included big smiles and running across the stage while dancing with his DJs and guitarist, creating a fun and lively atmosphere reminiscent of a boys’ night out.
Heartfelt conversations: He took a moment to recognize how difficult it can be and how hard is to live far away from your country and your family, but how all the sacrifice is worth it. “There are only good people here, special people, people who dream, and if you are going through something ‘nea’ (man), all that will pass. Pure blessings are coming for everyone who is here today.”
Daddy Yankee and Yandel’s surprise appearance: The epic moment in which two of the biggest stars in music surprised Miami fans by singing “Yankee 150,” the remix that premiered yesterday featuring the “Big Boss.” It was euphoric, especially since the “Gasolina” hitmaker announced his retirement in 2022.
The lyrics of “Fugitivos,” Mexican trio Camila’s first single in a decade, describe the feeling of its reunited members. “It’s never too late for a new beginning,” says the powerful ballad, serving as a reintroduction of Mario Domm (vocals and piano), Samo Parra (vocals) and Pablo Hurtado (guitar) in the trio’s second wind since they reunited back in January.
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The reunion of these voices — which in the past filled the Foro Sol in Mexico City and won several Latin Grammys and Billboard Latin Music Awards with songs like “Mientes” and “Aléjate De Mí” — arrives two decades after their foundation, and ten years after they went on a hiatus.
“I sent a message to Samo and he answered the way he is. As soon as I saw his reply, I knew that this was going to happen, that we would be together again,” Domm recalls tearfully in an exclusive interview with Billboard Español.
Camila became a duo in 2013 after Samo departed to pursue a solo career after strenuous tours, four studio albums, and the recognition by the music industry as one of the most successful projects of the ’00s. Under the new format, Domm and Hurtado released the album Elypse in 2014, while Samo debuted as a soloist and put out two albums, Inevitable (2013) and Eterno (2017), as well as the live set Me Quito El Sombrero (2015).
But the real magic happens when the three of them are together, regardless of the potential they each have as musicians: Domm is one of the most celebrated Latin songwriters of his generation, with songs recorded by stars like Alejandra Guzmán, Thalia and Paulina Rubio; Samo’s voice stands out for its elegance, and Hurtado’s guitar adds a touch of rock to Camila’s musical offerings.
And fans seem happy and eager to have them back. Released on March 31 through Sony Music Latin, “Fugitivos” put the Mexican trio back in the top 10 on Billboard’s Latin Pop Airplay, jumping 23-9 on the April 22 chart. It is currently on its second week at No. 5 — Camila’s first top 10 since 2014 and also its first since Samo’s return.
“There have been moments by ourselves, separately, that have made us grow as artists and as human beings,” Samo says, adding that “now that it’s happening … it was a process of recognizing each other all over again.”
In total, Camila has amassed 14 top 10s (three of those hitting No. 1) among its 19 Latin Pop Airplay career entries, dating back to its first, the No. 8 high “Abrázame” in 2006. The Mexicans charted their first No. 1 hit with “Mientes,” which topped the ranking for 10 consecutive weeks in February-May 2010.
Their return comes as regional Mexican music and reggaetón have taken the world by storm with millions of views on YouTube, record numbers on Spotify and No. 1s on the Billboard charts, thanks to superstars like Bad Bunny, Rosalía, Peso Pluma and Karol G. But the trio doesn’t feel pressure and opts to flow with its own style.
“It’s very encouraging for us that the music now ruling is the regional Mexican, the urbano music, not necessarily the pop-rock ballads to which we belong. But there’s a fact I wish to underscore: Watching a Mexican band at the world’s top was unthinkable years ago. Music no longer has borders, it has become globalized,” says Hurtado.
Mario Domm says that “Fugitivos” is the first of other singles Camila plans to release, all part of a new album that would drop later this year.
While that happens, the band has announced three concerts in Mexico to celebrate their return to the stage, starting Oct. 14 at the Telmex Auditorium in Guadalajara, and following Oct. 15 at the National Auditorium in Mexico City and Dec. 1 at the Arena Monterrey, in the northern Mexican city.
“With the people’s energy, I feel that this is where we’re going to break,” Domm adds. “That’s where the best part of this all will begin.”
The relevance and recent growth of regional Mexican music has become undeniable, and today, the genre holds a preponderant place within the industry. However, few women have been able to stand out and survive in a mostly male-dominated world.
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The problem is not only onstage, where few women — such as Lola Beltrán, Selena or Jenni Rivera — have made ‘her’story, but also at the level of programmers, entrepreneurs and executives. Fortunately, that reality seems to be improving, thanks in part to the changes that technology has brought to the industry, and the pioneering women who have helped to pave the way.
In celebration of Women’s History Month, five women who have made their way in regional Mexican, including executives, publicists, songwriters and singers, answer five questions about the industry and its future from Billboard.
María de Jesús Lizárraga (Doña Chuyita), CEO of LGA Entertainment
María de Jesús Lizárraga (Doña Chuyita)
Felipe Osuna
After the 1995 death of her husband Don Cruz Lizárraga, founder of Banda El Recodo, María de Jesús Lizárraga, known in the industry as “Doña Chuyita,” took the helm of the pioneering regional Mexican group. She created LGA Entertainment and boosted the achievements of her artists, taking them not only to the top of the charts but also to international stardom. The company run by Doña Chuyita employs around 200 people, and countless artists mention her and her bands (she also has Banda Los Recoditos) as an influence, and inspiration.
How can a woman stand out in a world of mostly men?
First of all, by having lots of discipline to get the job done. Secondly, handling yourself with a lot of respect towards the people you deal with. In the music business, and in particular in the regional Mexican business, keeping and honoring your word is one of the most important things. Lastly, I believe that things should be done with infinite love.
Who was your biggest inspiration to get into regional Mexican?
My husband Don Cruz Lizárraga, of course. He shared with me this love for Banda El Recodo and that passionate way of working. Because he loved his work and his band, he was and continues to be my best example and our greatest inspiration.
What can be done so that more women achieve their dreams within regional Mexican?
I believe that more spaces for women have to be created in all areas of regional Mexican, not only on stage, but also in executive positions. Women are prepared to develop and excel in any area.
What has been your worst experience as a woman in regional Mexican?
Sometimes we weren’t paid what was agreed for a show, but in reality, they have always respected me.
And the best?
Getting Banda El Recodo to be a pioneer since the movement was called grupero. There was a time when we always set the tone in everything, which is an honor but also a commitment that we keep to this day.
Sara Eva Pérez, public relations specialist for Mexico and the U.S.
Sara Eva Pérez
Jorge Pena
A journalist by profession, Sara Eva Pérez has been forging her career as a public relations professional within the regional Mexican music industry in Mexico and the U.S. for three decades. Her foray as an executive with companies like Fonovisa Music, Univison Music and Universal Music led her to work with artists such as Los Tigres del Norte, Marco Antonio Solís, Banda El Recodo and Los Tucanes de Tijuana. Today, she is one of the most respected public relations professionals in the genre due to her mastery of both territories, and for seven years she has been responsible for the image and media liaison of Banda MS, the genre’s most successful group in recent years.
How can a woman stand out in a world of mostly men?
The first thing is to be authentic, the second is to have freshness in the music, to know where you want to go and have very clear objectives of what you want to do. Forget that you are a man or a woman, just do things well. The most important thing, which unfortunately happens to many singers, is that they fall into doing the same thing over. You have to make different proposals, and this applies to everyone in general, not only to women. When a proposal is fresh and different, there are many more opportunities to gain a place in this industry.
Who was your biggest inspiration to get into regional Mexican?
Definitely someone who must be recognized for her work in the genre is María de Jesús Lizárraga, Doña Chuyita. When I got to work with Banda El Recodo, I admired a woman with clear objectives who has managed to run a company that’s comprised mostly of men. Everyone respects her. She has a very important place in the industry and I think she’s an inspiration for any woman who works behind the scenes.
What can be done so that more women achieve their dreams within regional Mexican?
There’s something very important: you must be consistent with who you are and what you sing. You must have principles, you must respect the public. I say this because currently, and it is somewhat sad, there are singers in regional Mexican who go on stage to speak nonsense and use vulgar language and images because they think that’s a part of regional Mexican, and I totally disagree. You need to have a clean image. There’s Ángela Aguilar, who by making different music and being very focused on her objectives has managed to take a big step forward and is proof that women do have a place in regional.
What has been your worst experience as a woman in regional Mexican?
On one occasion, I had to face a group of businessmen because an artist did not show up to their event. At that time they didn’t respect me because I was a woman. However, I asserted myself and did things the way that had to be done, and that resulted in earning the respect not only from them, who are used to dealing with men, but also from their team and from the regional Mexican industry.
And the best?
I definitely think I’m living my best moment in regional Mexican right now. The experience I have gathered over the years has allowed me to work with the most important band today. It’s not because I work with them, but I think they have achieved what very few have, and by that I mean permanence. It’s very easy to get there, staying is what’s hard. I have learned many things that I didn’t know before, my horizons have broadened.
Alhe Romo, vocalist of the group Vilax
Alhe Romo
Pablo Regalado
In 2021, during the Latin Grammy Awards, Vilax, a regional Mexican band led by 24-year-old singer Alhe Romo, attracted attention thanks to a nomination for best Tejano album with their debut, Un Beso es Suficiente. It’s something that had not been seen since Alicia Villarreal debuted with Grupo Límite in the ’90s. Universal Music/Fonovisa recently signed the group from Torreón, Coahuila, which joins the movement that has empowered Grupo Frontera and unites music from northern Mexico and the southern United States.
How can a woman stand out in a world of mostly men?
Never cease to struggle, but above all, be aware that we must work for our dream, and we must do it with values. It is possible if you do it with great perseverance, with lots of passion and with the desire to do it well.
Who was your biggest inspiration to get into regional Mexican?
My greatest inspiration have always been great women and music legends like Selena, Rocío Dúrcal, Alicia Villarreal. When you learn their history, you realize how much they fought to have a place in the industry. Having the support of my family, especially my mother, has been very important; she is a great woman, too. The wave of emotions that comes to me when I’m on stage, getting to touch hearts with my voice, is something that inspires me to continue on this path that isn’t really easy, but a dream can be achieved if you fight and work for it.
What can be done so that more women achieve their dreams within regional Mexican?
Personally, I think that we need to get out of our heads that we have fewer opportunities for being women, because if you believe it, you can make it happen. Sadly, in many aspects of life, we must make ourselves strong alone and not let anything move us from the path in which we are always tracing with constant effort and, above all, self-esteem.
What has been your worst experience as a woman in regional Mexican?
I’ve had a brief career, and fortunately I have not had a bad experience that has marked me yet.
And the best?
In 2021, along with my colleagues from Vilax, we were nominated for the Latin Grammy for best Tejano album, and that year I was the only woman among the finalists. I hope life allows me to do it again.
Erika Vidrio, songwriter
Erika Vidrio
Ernesto Huerta
For 13 years, Erika Vidrio was a well-known broadcaster in the Los Angeles area. In 2018, she decided to focus on her music career, and today she is the most recorded female songwriter within regional Mexican. Now she has a Latin Grammy nomination, several BMI Awards and 350 songs recorded by artists such as Christian Nodal, Banda MS, Julión Álvarez and many more. “Fíjate Que Sí”, “Borracho De Amor”, “Quién Es Usted” and “40 y 21” are just some of the charting hits she has written.
Concerned about the inclusion and exposure of female composers in regional Mexican music, she created Las Compositoras, a space in networks and platforms, including a podcast, in which she shares her knowledge and provides tools for those who are just starting out in this profession.
How can a woman stand out in a world of mostly men?
The same way men excel, by working. I mean, not only working hard but also knowing how the music medium works, bonding, networking, so that you find opportunities; working from all points, not just creating beautiful songs locked in your house. To excel, you need to see well beyond that. In songwriting, equality between women and men is still unbalanced, but I think we are making progress, there are more and more female composers in regional.
Who was your biggest inspiration to get into regional Mexican?
I grew up with deep-rooted ranchero music: my grandparents played José Alfredo Jiménez, Vicente Fernández and Hermanos Záizar, so my influence comes from visceral ranchero music. As a teenager I got to see Selena, Alicia Villarreal with Grupo Límite, and I realized that women could also excel in the genre.
What can be done so that more women achieve their dreams within regional Mexican?
We must support each other and understand that there’s not only one space, that we can all excel in our own styles. We need a history; forget what they say, that a woman’s enemy is another woman. In regional Mexican in particular, I’ve had great female allies who have supported me. So let’s start by turning our backs on those archaic ideas that we are enemies. This way we can generate interest among people in the industry and get them to see women’s projects. It all starts with us.
What has been your worst experience as a woman in regional Mexican?
Certain humiliations, seeing my work discredited just for being a woman, not getting even the opportunity to show my song. Personally, the most difficult thing for me was gaining the respect, the credibility. The fact that at first they said that I didn’t write my own songs was very hard on me, mentally. I think it’s been one of the biggest obstacles I’ve had to overcome.
And the best?
Being able to make a living of what I’m passionate about. That’s a very nice feeling. I think it’s a blessing.
Diana Reyes, singer with 25 years of experience
Diana Reyes
Courtesy of DR Promotions
Diana Reyes is known as the Queen of the Pasito Duranguense. Born in Baja California Sur, the singer marked one of the most splendorous periods of the regional genre with that musical movement in which only she and Los Horóscopos de Durango had a place. For over two decades, she has ventured into ranchera and banda music, becoming a model for many women who enter the genre. Jenni Rivera considered her one of her inspirations, and together, they recorded the song “Ajustando Cuentas” before the Diva de la Banda died in a plane crash in 2012.
Reyes is the creator of Mujeres del Regional, a group of talented singers who have encountered more obstacles than opportunities and who together a first-class show, making their own way.
How can a woman stand out in a world of mostly men?
I believe that the best way to keep moving forward is by not losing track of what we want to achieve and not giving up, because unfortunately we have to continue working to demonstrate our capabilities.
Who was your biggest inspiration to get into regional Mexican?
Without a doubt, my taste for music began with my father; watching him sing encouraged me to sing, too. My inspiration to delve into this music were Mrs. Lola Beltrán, Chayito Valdez and Joan Sebastian.
What can be done so that more women can reach their dreams within regional Mexican?
The music industry is very difficult, even more for a woman, but this should not prevent us from doing what we like. We should not limit ourselves to making use of what we have been accustomed to for so many years, such as radio and television; today, we should take advantage of all the tools that technology offers, such as social media and platforms. In addition to not stopping working, it’s also very important to stick together, as men do.
What has been your worst experience as a woman in regional Mexican?
On one occasion, a businessman assaulted me physically and they had to take me to a hospital.
And the best?
I don’t think this is specifically because I am a woman, but my best experience has been achieving things I did not imagine, despite how difficult it is to reach success in this career. But I have dreamed of them and I have worked to achieve them, so it’s clear to me that even if I’m a woman, nothing is impossible.
Mexican superstar Alejandro Fernández announced Tuesday (Feb. 14) his 21-date Amor Y Patria Tour, which is set to kick off Sept. 8 in Sacramento, Calif. The 2023 stint will follow the prolific touring act’s 2021 Hecho En México trek, which marked his grand return to live shows after the pandemic.
Fernández will be joined by his son Alex Fernández and the Live Nation-produced tour will be an “all new show celebrating” Fernández’s love of music, family and Mexico. “I feel a real sense of pride to see how people are receiving [my son],” Fernández tells Billboard during a phone interview. “It makes me excited because it brings back a lot of memories and brings me a lot of nostalgia.” Fernández also reveals that he will dedicate his shows to God and his father, the legendary Vicente Fernández, who died in December 2021.
For Amor Y Patria, the “Inexperto en Olvidarte” singer will visit major cities such as Chicago, Las Vegas, New York and Atlanta before wrapping up the tour in Miami on Oct. 22. Fernández is also set to perform at Chile’s Viña del Mar Festival on Feb. 21.
“Each show is different, each audience is different, and the reactions are different,” Fernández says about his love for touring. “I always do my job and homework whenever I visit a new city or country. I want to know which songs they are listening to the most in that specific area. I also really like to know the culture and the food. Normally, if I have time and if I go with my girlfriend, I give myself time to get to see the country, to go out to eat at different places,” he adds.
The ranchera singer is also set to release new music and will focus more on releasing singles instead of albums. “We’re going to work a little differently,” he explains. “Physical albums are challenging to sell, and more and more people consume digital. Everyone is adjusting to do more of that format.”
Fernández shares in his own words the five essential romantic songs that are a must on his set list, including his shows for Amor Y Patria. “In other words, none of these songs can be missing from the list because [the crowd] would hang me or throw rocks at me if I don’t sing them,” he explains. “My fans enjoy love [songs] more, but the songs they feel the most are those of heartbreak. The love songs I sing must be excellent songs because some can sound very cheesy.”
“Como Quien Pierde Una Estrella”
In ranchera music, this song was my first hit that I had internationally and proudly, it was with Mexican music.
“Caballero”
This is the song we were opening with for our “Hecho En Mexico” tour and still, it is one of the most popular songs on streaming platforms.
“Me Dediqué a Perderte”
This song is one that fans always sing along to at the top of their lungs at my concerts.
“Inexperto en Olvidarte”
This is my most recent single and it’s had an incredible response so it’ll be a must on the set list.
“Te Olvidé”
This one is not a love song, but it is very good. It’s a heartbreak song, and well, those who are not in love can also have something to listen to.
See the complete list of dates for Amor Y Patria below. Tickets go on sale Friday, Feb. 17 at 10am on Ticketmaster.com.
Karol G and Romeo Santos have come up with a clever way of saying goodbye to an ex lover. “It didn’t work out, we gave it our all, so we’re leaving but before we leave, let’s do it one last time,” they sing in the newly-released “X Si Volvemos.”
Following the announcement of her her highly anticipated fourth studio album Mañana Será Bonito, the Colombian hitmaker dropped the track on Thursday with surprise collaborator Romeo Santos. The Ovy on the Drums-produced song marks the first time the two artists work together.
The sultry reggaeton bop finds the artists lamenting a failed relationship but leaving the door open because, “our relationship didn’t work, but we understand each other in bed.”
How the collaboration came about? According to a statement, Karol had already recorded the song on her own and uploaded a teaser on TikTok. Then she thought Santos would be a good collaborator for this song and called to invite him.
Check out the lyrics translated into English “X Si Volvemos” with Romeo Santos below:
We didn’t work out (We didn’t work out)
We gave it all, but it didn’t work out for us (No)
That’s why we’re leaving (We’re leaving)
But before we go
Let’s do it for the last time, baby (Baby)
Because not in love, but in bed we understand each other (Oh)
It’s porn, I love how we do it
I won’t delete your contact and I’ll be aware in case we make up
But if not (Hey)
The little shore takes care of itself (Ey)
But call when you want me to give you in bed attended
The sex games are not forgotten (Are not forgotten)
No one trustworthy is denied a farewell sex, ey
I’m down to repeat (Repeat)
You put the bed, I put the krippy (Krippy)
Now we hit it at beach in DR, Punta Cana (Ah)
In the window looking at the city
I know that in love we are a disaster (-aster)
I’m a bandit, and you’re a gangster
I don’t know how long you wasted trying something serious
I know I’m not what you thought (Eh-eh)
But since you kissed me
You became addicted with my malice
This is not healthy but
Let’s do it one last time, baby
Because not in love, but in bed we understand each other
It’s porn, I love how we do it
I won’t delete your contact and I’ll be aware in case we make up
But not like this
Our love is f—-d
But what a feeling when the messes end in bed
Could it be that sex with you is my addiction?
Toxic loves only work for —less
We are so explicit, but it came to an end (So nasty)
Say goodbye naked, with my phone I’m recording you
I tell you goodbye inside you
I save this video for when you need it
And you’re wet thinking of me
Let’s do it for the last time, baby (Baby)
Because not in love, but in bed we understand each other (We understand)
It’s porn, I love how we do it (How we f–k, how we f–k)
I won’t delete your contact and I’ll be aware in case we make up
But not like this
Baby, give me one night
That never ends
Today is a night of sex
Are you coming?
Haha, you knew
My Romeo, The King
With La Bichota
O-O-Ovy On The Drums
Twelve songs from countries including Argentina, Chile, Colombia, Ecuador, Guatemala, Mexico, Panama, and Peru will compete next year for the Silver “Gaviota” at the 62nd edition of the Viña del Mar International Song Festival, scheduled from Feb. 19 to 24.
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On Tuesday (Dec. 20), the Chilean festival’s organizers revealed the list of participants, which includes six for the Folkloric competition and six for the International competition. In addition to the Silver “Gaviota,” the winning song in each of the categories will receive a prize of about $15,000.
The list consists mostly of emerging artists like Argentine singer Mila Manes, Mexican Ely Blancarte, and Colombian band Bazurto All Stars, but also includes veteran Panamanian rock band Los Rabanes, which will participate in the Folkloric competition with “La Patineta.”
Co-written by Los Rabanes vocalist Emilio Regueira and Dominican singer Henry G, the song was recorded by Colombian duo 123 Andrés with Los Rabanes, Rubén Blades and Roberto Delgado & Orchestra, and forms part of 123 Andrés’ 2021 Grammy-nominated album Actívate.
“Taking ‘La Patineta’ to Viña del Mar is going to be a unique experience because this song contains roots of the Panamanian cumbia from Santeño, along with the murga from Panama, which was the arrangement that Los Rabanes provided for this song,” Regueira said in a statement published on the Instagram account of his Latin Grammy-winning group. “We are a fusion rock band, but the folklore is the backbone of what we do. We know very well the foundations of Panamanian culture and folklore. We are Chitreanos (Chitré), we are from the interior of Panama, and for this reason, this is not the first time that Los Rabanes bring Panamanian folklore to the world.”
Here is the complete list of songs chosen by the commission of the LXII Viña del Mar Festival, by category, along with the artist or group performing them and their country of origin.
INTERNATIONAL COMPETITION:
“No Me Haces Falta,” Mila Manes, Argentina
“Viento,” Yorka, Chile
“Chocolatico,” Teo, Colombia
“Lo Siento,” Tres Dedos, Ecuador
“Como Puedas,” Zelaya, Guatemala
“After Party,” Ely Blancarte, Mexico
FOLKLORIC COMPETITION:
“De A Poquito,” Camilú, Argentina
“Camino,” Laia, Chile
“La Manguera,” Bazurto All Stars, Colombia
“La Última Gota,” Frank Di, México
“La Patineta,” Los Rabanes, Panamá
“Warmisitay,” Milena Warthon, Perú
Viña del Mar previously announced that renowned Latin stars including Karol G, Maná, Alejandro Fernández, Christina Aguilera and Camilo are confirmed to perform at the festival, with additional artists to be announced.
Launched in 1960, the Viña del Mar International Song Festival is held annually at Quinta Vergara, a 15,000-capacity amphitheater located in the Chilean city of Viña del Mar, in the central coast region of Valparaíso.
Over the course of five days, the event features a mix of superstars, emerging singers and local artists competing for the Silver, Gold and Platinum “Gaviotas,” the name of its awards. These are decided by a jury with the help of viewers from their homes, although the so-called “monster” — the audience present at Quinta Vergara — undoubtedly has a great power of influence with its ovations and occasional boos.
The Viña del Mar Festival reaches millions of viewers around the world. Next year, it will be broadcast in Chile on TVN and channel 13, and will be available throughout Latin America on STAR Channel and its streaming platform Star+.
Tickets to attend in person can be purchased on the PuntoTicket website.
Bad Bunny talks to our Chief Content Officer of Latin Leila Cobo about his current tour, World’s Hottest Tour, his favorite places to tour, how he approaches collaborations, when he wants to take a break from his career, reflects on his journey to the top and more!
