Chile
While Karol G, Bad Bunny and Peso Pluma dominate the charts — and elevate Colombia, Puerto Rico and Mexico’s music scenes, respectively, to the world stage — a new wave of artists across other Latin American countries is also seeking, and earning, the spotlight.
Earlier this year, Chilean artists scored their first No. 1 Billboard hit since 1991 when newcomers FloyyMenor and Cris MJ’s viral reggaetón hit, “Gata Only,” spent 14 consecutive weeks atop the Hot Latin Songs chart — a feat that would have seemed impossible for the country’s thriving local urban movement just five years ago.
The new generation of Chilean artists has broken out in part thanks to star-studded linkups: Pablo Chill-E on Bad Bunny’s “Hablamos Mañana” (alongside Duki) in 2020; Paloma Mami on Ricky Martin’s “Que Rico Fuera” in 2021; and Cris MJ enlisting Karol G and Ryan Castro for his “Una Noche en Medellín (Remix)” in 2023. All of those tracks made major inroads on Billboard’s Latin charts.
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“We believe a lot in the Chilean market, as it’s experiencing an extraordinary exploitation of music that’s still very young,” says Emilio Morales, managing director of Rimas Publishing, which this year expanded its services to the country through a strategic agreement with Chilean-based label Wild Company, providing A&R services, artist development and more. “Our interest in signing Chilean artists is not just to sign them. We are looking for new horizons for them and for them to be consumed outside of Chile. We want to boost their music to European and international markets.”
Argentina’s music scene has also stretched beyond the country’s borders. Among the speakers during this year’s Latin Music Week, María Becerra recently recorded with Paris Hilton and Enrique Iglesias, and Luck Ra, an emerging act from Córdoba, teamed with Chayanne for a revamped version of his 2003 hit “Un Siglo Sin Ti,” which peaked at No. 15 on the Tropical Airplay chart in September, Luck Ra’s first entry ever on the chart.
“I love collaborating with artists from abroad,” the Argentine newcomer says. “I feel that everyone in their country grows up with different music, everyone has different rhythms in their blood, but the fact that people from different ages and countries listen to you is the most beautiful thing.”
As Chayanne puts it, the song is proof that collaborations across the Latin world help all the artists involved: “The song’s rhythm, so close to Caribbean beats, once again demonstrates the deep brotherhood of all Latinos, reflected in our cultural expressions, especially in music.”
During Latin Music Week, Morales will appear on the “Role of Music Publishers in Cross-Cultural Collaborations” panel, Luck Ra on Billboard Argentina’s “Entre Amigos” panel and Becerra in a conversation with Thalia on mental health.
This story appears in the Sept. 28, 2024, issue of Billboard.
In April, “Gata Only,” a sly reggaetón number about flirting online, gave Chilean newcomers FloyyMenor and Cris MJ their first No. 1 on a Billboard chart. It dominated Hot Latin Songs for 14 consecutive weeks — but even beyond that impressive achievement, “Gata Only” was historic. The last time a Chilean artist had hit No. 1 on the chart was in 1991, when singer-songwriter Myriam Hernández’s “Te Pareces Tanto a Él” ruled for four weeks.
“Gata Only” also entered the Billboard Hot 100, Latin Airplay and both Billboard Global charts — and, in the process, put Chile’s thriving urban movement on the map. “The song touched different angles,” says Adrian Mainou, artist marketing manager of Latin/U.S. at UnitedMasters, which released the song. “It had a very cool impact on the culture, where the lyrics talk about something that’s relatable to the younger generation, and it was catchy on TikTok. For us on the marketing side, it was about taking the record outside of Chile.”
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Taking advantage of the song’s organic local growth, Mainou began working with a Chilean press team and engaging influencers in countries such as Argentina, Ecuador and Mexico to use the song in lip-syncing and dance challenges on TikTok. It worked: “Gata Only” has been used in over 4 million videos on the platform, and that spurred superstars Ozuna and Anitta to jump on a remix. “Chile felt proud,” Mainou says. “It translated from just being a big song to a cultural representation.”
In the ’90s and early ’00s, Chile’s music scene leaned more alternative, as artists like Mon Laferte, La Ley, Álex Anwandter and rapper Ana Tijoux all had presences on the Billboard charts. Then, in 2004, Puerto Rico’s booming reggaetón scene infiltrated the South American country — but although local artists began to create their own reggaetón music, it took more than a decade for Chile’s urban movement to really gain momentum.
“Everything changed in 2019,” explains Josue Ibañez, who with his brother Oscar is co-CEO of Chile-based label Wild Company. (Both are also A&R executives with Rimas Publishing.) “There are various artists who made the change, like Marcianeke, who made Chilean music start to be heard in clubs, but in a massive way. He got Chileans to start dancing to the music of their own artists, because previously we consumed a lot of music from outside like Puerto Rico and Colombia.”
Oscar Ibañez (who is also a producer under the name David Wild) adds, “If you ask any Chilean artist, they will tell you that our Daddy Yankee, our OG, is Pablo Chill-E. At the same time, we had Paloma Mami, and we started to take big steps outward. That was when the big record labels started to want to invest in Chile.”
Pablo and Paloma both entered the Billboard charts, the former on Hot Latin Songs with 2020’s Bad Bunny and Duki collaboration, “Hablamos Mañana,” the latter on Top Latin Albums with Sueños de Dalí and on Latin Pop Airplay with the Ricky Martin-assisted “Que Rico Fuera,” both released in 2021.
Since, Chilean reggaetón tracks have increasingly appeared on the charts, including Cris MJ’s “Una Noche en Medellín” (2022), Polimá Westcoast & Pailita’s “Ultra Solo” (2022) and Jere Klein’s “Ando” (2024).
“I feel like we created our own sound,” Oscar Ibañez says. “We gave our own reggaetón an identity that we didn’t have before. What we did at first was replicate a sound that was playing elsewhere; it was very neutral. Our ‘Chilenismo’ wasn’t applied to it. We gave reggaetón music a more Chilean twist with our idioms, our phrases, and it often happens that almost nobody understands what we say, but that same cadence became the DNA of Chilean music. Just by the accent, you know when it’s a Chilean artist.”
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And even as the movement has grown beyond Chile, it has done so in large part because of the faithful and loyal audience for its music within the country itself. “The key to Chile today is self-consumption,” Josue Ibañez explains. “We have a lot of fans. I think it was the fandom that made us get onstage and out into the world. That has been the most beautiful thing of all, that our culture through music has been able to expand internationally.”
“It used to be very difficult for that to happen,” Cris MJ says. “So now the fact that Chileans themselves are supporting us is good for the movement. They trust us, the talent. It was hard, but it was achieved. Personally, I’m dedicating myself to creating music that can be heard outside of Chile.”
Now, with the global success of “Gata Only,” Chile is on the wider music industry’s radar. Earlier this year, Rimas Publishing expanded its services to the country, where through a strategic agreement with Wild Company it will provide A&R services, artist development, musical composition creation and more.
“Chile is a market that has impressed us a lot. The growth has been exponential,” Rimas Publishing managing director Emilio Morales says. “It is a phenomenon like what’s happening in Brazil, where they are very proud of their national artists. In Chile, the support for their artists has a lot to do with education and culture. It’s a market where numbers and consumption are very significant.”
“One of our dreams is for Chile to become a musical powerhouse,” Oscar Ibañez says. “We want to educate the industry in Chile so that music is a blessing and not a problem. I believe in giving Chilean culture a healthy and educated music industry.”
Chile’s New Urban Leaders
Meet some of the artists driving the country’s burgeoning music movement.
Clockwise from left: Jere Klein, Pablo Chill-E, Marcianeke, Polimá Westcoast
Illustration by Israel G. Vargas
Cris MJ and FloyyMenor
Though both started as solo acts, Cris MJ and FloyyMenor achieved their greatest chart success thus far collaborating on “Gata Only,” which reached No. 1 on Billboard’s Hot Latin Songs chart, spending 14 consecutive weeks there.
Jere Klein
Known for his distinct, high-pitched voice, Klein made his first Billboard chart appearance in January with “Ando” on the Billboard Global 200 and Billboard Global Excl. U.S. lists; his second entry came on Global Excl. U.S. in February, “Princesita De…” with Chilean acts Nickoog CLK, Lucky Brown and El Bai.
Pablo Chill-E
Another Chilean urban pioneer, the trap artist born Pablo Acevedo has his own label, Shishigang Records. In March 2020, he secured his first entry on Hot Latin Songs, joining Bad Bunny and Duki on “Hablamos Mañana,” which debuted and peaked at No. 22.
Marcianeke
Though he doesn’t have a U.S. chart history, the trap and reggaetón artist revolutionized the urban movement in Chile. Known for his raspy vocals, he was the first Chilean urban act to perform at local nightclubs back in 2019 — which encouraged the country’s listeners to begin embracing their own urban artists.
Polimá Westcoast
The artist with a trap-meets-rock-star attitude got to No. 9 on the Billboard Global Excl. U.S. chart in 2022 with “Ultra Solo” featuring Chilean act Pailita; that same year, Feid, De la Ghetto and Paloma Mami jumped on the remix. He’s now collaborated with J Balvin and Quevedo and in 2023 signed a global deal with Sony Music U.S. Latin.
This story appears in Billboard‘s Rumbazo special issue, dated Sept. 14, 2024.
Billboard Latin Music Week is returning to Miami Beach on Oct. 14-18, with confirmed superstars including Gloria Estefan, Alejandro Sanz and Peso Pluma, among many others. For tickets and more details, visit Billboardlatinmusicweek.com.
Two weeks ago, FloyyMenor and Cris MJ made history as the first Chileans to enter the top 10 on Billboard‘s Hot Latin Songs chart since La Ley and Ednita Nazario’s “Tu Sabes Bien” did so 25 years ago. The only other Chilean artist to have reached similar heights was Myriam Hernández with 1998’s “Huele a Peligro,” which peaked at No. 5. This week, the emerging pair catapulted to No. 1, dethroning Xavi’s months-long reign with “La Diabla.”
The song making waves is “Only Gata,” a sly reggaetón number about online flirtation. According to Luminate, the viral track registered 11.11 million official U.S. streams, a 33% gain from the previous week. That landed them a No. 34 debut on the Streaming Songs chart and gave them a second week atop the Latin Streaming Songs chart. “Gata Only” also occupies No. 48 on the Hot 100. Last week it was at No. 74.
But how did two relatively unknown Chilean artists manage to not only break through on the global music scene but also clinch the top spot on the Hot Latin Songs chart? The success story begins with some strategic planning, innovative marketing and a dash of serendipity.
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Initially, FloyyMenor was a mysterious figure circulating online who had scored a few local hits. His identity was obscured and the art on his early YouTube releases was composed of car imagery, never revealing his face. “You needed to go to the nightclubs to see him,” says Adrian Mainou, artist marketing manager of Latin/U.S. at UnitedMasters.
The Latin team at UnitedMasters had been monitoring the Chilean music scene, having signed Nicko G over two years ago and being fans of Paloma Mami and Polimá Westcast. When the company’s Latin A&R lead, Gerardo Mejía — a music veteran with 30 years of experience and a former rapper/singer originally from Ecuador — began scouting the country’s music scene in the summer of 2023, he encountered FloyyMenor performing live and was captivated by the young artist’s unique appeal and the audience’s enthusiastic response.
“This kid was packing venues [with audiences] singing lyric after lyric,” recalls Mejía. At the time, FloyyMenor’s big local hit was “pa la europa,” while “Gata Only” was just a song people knew from his live shows and online teasers. Eager to sign the promising talent, Mejía had to wait until Floyy turned 18 in December.
After the signing, UnitedMasters released “Gata Only” in December — and the song began gaining traction within the first week and a half of its release. Not long after, Cris MJ — a Chilean act who had gained recognition from Karol G’s remix of “Una Noche en Medellín” featured in Mañana Será Bonito (Bichota Season) — reached out to Floyy, expressing his love for the song and his desire to be part of it.
As Mejía recalls: “When I got back to Chile in January, [Floyy] called me and said, ‘Cris MJ loves the song.’ I said, ‘Cool. We’ll do the remix.’ He said, ‘No. He loves the song so much he wants to be the original.’ I was like, ‘My brother, if Cris MJ calls you, then get on it with their teams and go record.’ We pulled down the original and waited maybe two weeks before we released it [on Feb. 2] with Cris MJ, and the rest is history.”
In a conversation with Billboard, Mejía and Mainou provided an in-depth look at the strategic rise of “Gata Only” to the top of the Hot Latin Songs chart. See below for the full interview.
The accomplishment alone as the first Chilean acts to make the top 10 of the Hot Latin Songs chart in 25 years is already very impressive, then to top the chart at No. 1. How does that happen?
Adrian Mainou: It was a very interesting and entertaining build up. [After we officially released it], we saw social growth and began working with a press team in Chile. It was a no-brainer to see the movement on TikTok and that we needed to lean into this. So I activated the first phase of influencers with Kono Sur [marketing y diseño]. We pushed [the song] in Chile, Argentina, and Ecuador, and we were able to see a lot of reactions on YouTube from those countries. Once we saw that, we had Floyy go to Argentina and do some shows while pushing press and [involving] influencers. For an artist coming out of Chile, having the Argentina push is a very cool look; it’s a very important country to connect with. For Floyy, it was pretty easy. He loves Argentinian culture. He got in on a Monday, did a show that same Tuesday, and by Thursday it was No. 1 on Spotify Argentina.
[Publicist] Cris Nova then joins the team [and he] was able to paint the narrative with press across socials, streaming and [seeing] the bigger perspective. At this point, we activate a second phase of influencers in Mexico, who helped us create more noise. [Mexico is] the third country in his top demographic at the moment.
Activating influencers. Please explain.
Mainou: We looked at lip-synching which fueled social media content. Then we looked into dance challenges. This is where we can start connecting with other countries and going global. We moved from lip-synching to the dance challenge [because] we knew it’s an easier thing for people in other countries to tap into.
We saw a couple of fan [pages] chiming into this. It was key to leverage from this and create new [dance challenges]. We were like, “Let’s take advantage of that and work with them.” We collaborated with fan accounts on TikTok, being like, “Yo, let’s work together. Put this [song] up.” At the end of the day, it’s content that they’re pushing on an organic level.
Once we got into Mexico, it was a no-brainer to start activating DJs for the song. We did that across Colombia, Argentina, Chile, Miami, targeting different demographics. We were able to get data on Spotify, Apple Music and YouTube. That puts us on this new level, and the song started translating into the U.S., and it was going crazy in the U.S.
FloyyMenor is a relatively unknown artist. What is your thought process when attempting to break an unknown act into the U.S.?
Mainou: This is an independent artist, so I don’t have a lot of money. How can we take advantage of what we’re doing? I connected with the digital team to give me Mexico influencers [whose] second-biggest demographic is in the U.S. With that mindset, I can pay for the influencer Mexico fee. Then it caught U.S. growth; [Mexican influencers] have a very strong presence in U.S. Latin culture. That can cover almost every big Latin influencer in the U.S. doing the song without us having to pay. We saw the song growing to almost 20 million streams on Apple, and from that a large portion came from the U.S. That took me into this current new position where I’m starting to push specifically the U.S. The song is already here, and we know it’s [playing] in nightclubs, people doing remixes, and the DSPs are supporting. He’s gotten [on] pretty much every single cover [of official playlists on] DSPs, and social support. We’ve seen artists [using] the audio [on social media], from Kenia Os to Shadi and Malu Trevejo…as well as Trapeton, Trap House Latino, etc.
Why do you think “Gata Only” is resonating with the masses?
Mejía: The lyrics talk about TikTok, about likes, about following. I think that he hit something that resonates with the kids. To top it off, it’s such a great melody. And having Cris MJ never hurts.
Mainou: The sound is very particular. I’ve become a very big fan of the Chilean sound from “Ultra Solo” [by Polimá Westcoast and Paloma Mami] a couple years ago, and from working with Nicko G. I think the production is very Chilean, [combined] with very good vocals and great analogies.
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What is UnitedMasters doing different than other management and agency companies?
Mejía: At UnitedMasters, our mission is to be a tool for the artists and get them wherever they wanna get. We work with independent artists, and that has some challenges around it. Not all of them have managers, nor friends that can make them music videos; not all of them have a studio that they can record music at. We sat down with Floyy, we were able to not only get to know him but make him look at the bigger picture. We told him, “This is what we can do with you if you trust us, if you listen to us. This is where we can take you.” It’s about sitting down with the artists, understanding their needs, and being able to make a plan around it, creating a timeline.
Eight years after his last performance at Viña del Mar, Alejandro Sanz has once again won over the “monster” of Quinta Vergara on Sunday night, when he opened the 63rd edition of Viña’s International Song Festival.
The Spanish singer/songwriter delighted the event’s 15,000 attendees by performing live hits including “No Es Lo Mismo,” “Lo Que Fui Es Lo Que Soy” and “Deja Que Te Bese,” to name a few.
The set began with a video of Sanz, on the large screens at the back of the stage, narrating the beginning of his autobiographical song “Bio” before appearing live — dressed in black, with white sneakers and dark glasses — accompanied by a band that included about a dozen musicians among instrumentalists and backup singers. “Viña roars!” he yelled before starting singing.
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Sanz later greeted the audience in the Chilean coastal city: “How good to see you!” he said to the “monster,” as the festival’s audience at the Quinta Vergara is known as. “What a joy to return to this stage after a few years. This is a very special night for all of us here; I hope it is for you too. We are going to do absolutely everything to make it so.”
And they did not disappoint. For almost an hour and a half, Sanz and his band delivered hit after hit.
One of the most emotional moments came from “Looking for Paradise,” originally recorded with Alicia Keys, which Sanz performed this time with one of his backup singers. The artist dedicated the uplifting bilingual song to the volunteers working to help the victims of the fires that left 120 people dead and more than 15,000 homes affected earlier this month in Viña del Mar. “I want to dedicate it to them with all the love in the world and thank them. It is from those people that we, as humanity, can really nourish ourselves, because they are people who selflessly give everything,” he said. “So this is for you. ¡Viva Chile!”
Some of the songs that inspired a sing-along among the fans were “La Fuerza del Corazón”, “Cuando Nadie Me Ve,” “Quisiera Ser”, “Mi Soledad y Yo”, “Y, ¿Si Fuera Ella?” and, of course, “Corazón Partío,” which the audience belted with Sanz wholeheartedly. Later, they awarded his art and his solidarity with a Silver and Golden Gaviota Awards, the highest honor awarded to the guest artists, as per the intensity of the audience’s ovation.
But Sanz wasn’t the only international star who performed on the opening night of the event. Colombian singer Manuel Turizo followed him with his Viña debut, performing an eclectic, colorful set that included ballads, urbano and tropical music, with songs from “Desconocidos” and “Déjala Que Vuelva” to “Vagabundo” and his biggest hits, “La Bachata” and “El Merengue,” which undoubtedly lit up the crowd. Turizo also received a strong ovation from the “monster,” and went home with his first Silver Gaviota Award.
Manuel Turizo performs during the 63th Viña del Mar International Song Festival in Viña del Mar, Chile on Feb. 26, 2024.
JAVIER TORRES/AFP via Getty Images
The Viña del Mar Festival 2024 takes place all week at the Quinta Vergara Amphitheater and can be seen outside of Chile on the Star+ streaming platform and the festival’s YouTube channel.
The celebration continues Monday (Feb. 26) night with performances by Andrea Bocelli and his son Matteo Bocelli, plus Miranda! as the second act. Maná and Men at Work on Feb. 27; Mora and Anitta on Feb. 29; a night devoted to Chilean artists with Los Bunkers and Young Cister on March 1; and for the finale on Feb. 2, Maria Becerra, who took the place of Peso Pluma after the Mexican artist canceled his Latin American tour last week. Trueno will be the second artist of the night.
If you missed Sunday’s performances by Alejandro Sanz and Manuel Turizo, or want to relive them, you can watch them here below:
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Chilean singer-songwriter Polimá Westcoast signed a global deal with Sony Music U.S. Latin, Billboard has learned. With this agreement, the up-and-coming artist expands his relationship with the label after previously singing with Sony Music Entertainment Chile in 2019.
Born Polimá Ngangu Eduardo Miguel Orellana, the Santiago-born act entered the music industry in 2018 with his edgy “Trap Star,” which captured his trap star-meets-rock star attitude. Polimá Westcoast gradually made a name for himself as a local artist performing at the important Lollapalooza Chile Festival last year and at Viña del Mar International Song Festival in February.
“This is something fundamental for me that not only I worked on, but also along my great team,” the singer said in a statement. “A lot is happening with my career at the international stage. We are ready and determined to take the necessary steps to achieve the next level.”
Although Polimá has been making music for some time now, it was his Pailita-assisted track “Ultra Solo” released last year that really put him on the map. It peaked at No. 9 on the Billboard Excl. U.S. chart (dated July 2, 2022). He later landed a remix alongside Paloma Mami, Feid and De La Ghetto. In the past, he’s also collaborated with J Balvin and Quevedo.
“We are very happy to continue working with Polimá Westcoast, who has proven to be one of the most talented and creative artists of his generation,” added Alex Gallardo, president of Sony Music U.S. Latin. “We are confident that together we can bring his music to new audiences worldwide. Today, we welcome him to Sony U.S. Latin, where we are committed to helping him continue to grow his name internationally and become one of the biggest names in Latin music.”
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.
Tickets for the 62nd edition of the Viña del Mar International Song Festival are on sale. The Chilean event’s organizing committee announced that tickets for the general public can be purchased starting Wednesday (Nov. 30) on the PuntoTicket website.
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The Festival de Viña 2023 is scheduled from Feb. 19 to 24 and will feature big Latin stars, including Karol G, Maná, Alejandro Fernández, Christina Aguilera and Camilo, all of whom are confirmed to perform. Additional artists will be announced soon.
“The tickets will be nominative. This means that each ticket will be assigned a name and rut from February 10, 2023 and until 11:00 am on each day of the festival, and not at the time of purchase,” the festival said in a statement. Prices start at 34,500 Chilean pesos (about $38), plus service fee.
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 awards 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+.
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