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Latin music is expected to reach the billion-dollar mark in revenues by year-end in the United States for the first time, according to the RIAA. That’s a big deal. But at the pace the genre has been growing over the past decade, it’s not surprising.
“I feel every year we’re talking about the Latin boom and we’re certainly not going ‘despacito,’” says Hans Schafer, senior vp of global touring at Live Nation. “I’d say this is the best year for Latin because we see it in streaming, in the number of tickets we’re selling, grosses in those shows and it’s not only Bad Bunny.”
Of course, Bad Bunny and his record-shattering album Un Verano Sin Ti — which became the first all-Spanish album to be ranked No. 1 on the Billboard 200 year-end albums chart — played a major role in giving the genre a boost. But the Puerto Rican hitmaker isn’t the only factor at play in what has been a years-long slow boil for Latin music, which was often seen as a fad in the past but is now regarded as a cornerstone genre in the U.S. music market.
Spanish-language music has been having a moment in the U.S. ever since Daddy Yankee released his breakthrough single “Gasolina” in 2004. After the Latin explosion of the late ‘90s, when Shakira and Ricky Martin were recording in English to achieve mainstream success in the U.S., the euphoric anthem became the first time a Spanish-language hit went global. Then, there was Luis Fonsi‘s “Despacito,” the Billboard Hot 100 chart-topping song — spending a then-record 16 weeks at No. 1 in 2017 — that changed Latin music forever, spearheading a global Latin movement made possible by streaming.
This year, Spanish-language music in the U.S. and other non-Latin markets has reached new heights across multiple metrics, including on the charts, in market share growth and in global reach. In the U.S. alone, market share for the Latin genre — defined as music sung predominantly in Spanish — was 6.6% of the total market in the first half of the year, up from 5.9% last year, according to the RIAA’s mid-year report in October.
On the Hot 100 chart, a total of 45 Latin songs have entered the tally so far this year, way ahead of 2021’s 25 titles. Among this year’s crop, 22 were off Bad Bunny’s genre-hopping set Un Verano Sin Ti, which powered his extraordinary year along with two history-making U.S. tours. Those back-to-back runs grossed a total of $373.5 million from 1.8 million tickets across 65 shows, allowing the superstar to rank as the top act on Billboard’s year-end Top Tours chart.
Newer acts have also seen success on the touring front this year. Colombian reggaeton artist Feid sold out all 14 dates of his first-ever U.S. tour in a span of 24 hours after announcing it in October. So did up-and-coming sad sierreño act Ivan Cornejo, whose first U.S. trek — supported by local promoters and set to kick off in January for a total of 13 shows — sold out “within minutes,” according to his team, of the pre-sale.
The development of new artists, and understanding how the touring component complements their streaming and music video views, has been key to the continued growth of Latin music in the U.S. Emerging artists across Latin genres, notably in regional Mexican, are more diverse and younger, which has led to a new generation of Latin music fans who are bilingual, tech-savvy and more likely to embrace genre-blurring acts. The rise of Latin also coincides with shifting demographics in the U.S., where Latinos now represent nearly 20% of the population.
Mexican music had a banner year. The legacy genre is reaching a wider audience thanks to a new generation of acts such as Grupo Firme, the first banda outfit to perform at Coachella, who followed up that history-making performance with a stadium tour; Eslabon Armado, whose Nostalgia became the first top 10-charting regional Mexican album ever on the Billboard 200; and artists like Ivan Cornejo and Yahritza Y Su Esencia, to name a few. On Billboard’s year-end Hot Latin Songs Artists chart, seven out of the top 20 are regional Mexican acts. What was once considered music by Mexican artists for a Mexican audience has now become big business in the U.S. market.
“[Regional Mexican] music is a lot more relatable now for a Mexican American kid that lives in the U.S. because the sound and lyrics have evolved,” says Brayan Guerra, label manager at Lumbre Music, whose roster includes Yahritza Y Su Esencia. The sibling trio broke earlier this year with “Soy El Único,” which became the fourth regional Mexican song ever to enter the Hot 100. In November, they signed with Columbia Records in partnership with Lumbre and Sony Music Latin, making them the first Mexican music act to join the Columbia roster.
Streaming has played a huge role in the increase in Latin music consumption, with the RIAA’s mid-year Latin revenue report showing that streaming revenues were the biggest growth driver for the genre. Through the first half of 2022, music streaming formats comprised 97% of all Latin music revenues ($510 million), with paid subscriptions the biggest source of sales at 71%. That amounts to 69% of overall Latin revenues, totaling $350 million in paid subscriptions alone.
“Artists were able to build communities during the pandemic because of the time people spent consuming music during lockdown, and we’re seeing the impact now,” says Carlos Abreu, a London-based music agent at UTA. “Like Karol G when she had all her fans wearing blue wigs, Rosalía with the motomamis and motopapis.”
Success in the U.S. reflects the ever-growing popularity of the genre in other non-Latin markets. “Latin America and the U.S. continue to drive the consumption and engagement, but we do see it becoming more global with bigger acts like Rosalía, Karol G and Bad Bunny being consumed in continents like Africa,” says Maykol Sanchez, head of artist & label partnerships, LatAm & US Latin at Spotify, where 10 Latin artists were within the Top 50 global most-streamed artists this year. “The last few years have been an explosion with our friend Bad Bunny leading the way but a lot of other great artists having big moments too.”
To name a few, Anitta reached the No. 1 spot on Spotify’s Top 50 – Global chart with “Envolver” in March, making her the first Brazilian artist to do so. The same day, Paulo Londra landed in the No. 2 position with his song “Plan A.” And in July, Argentine producer Bizarrap and Spanish artist Quevedo reached the No. 1 position on the Spotify Global tally with their smash hit “Bzrp Music Sessions, Vol. 52.”
“It’s more a global business than it ever has been,” says Abreu, whose client Rosalía earned $28.1 million touring on three continents so far this year. Europe is now quicker to embrace Latin music than it did previously, he adds. “I’ve seen the shift in real-time. Especially [when] booking European festivals and tours. Before there was the education that needed to happen, the convincing. Five or six years ago we were trying to convince promoters or buyers that these artists were mainstream. It’s exciting that the world is [finally] catching up and it feels good to say, ‘I told you so.’”
In terms of expanding Latin music’s global reach, the U.S. remains the jackpot market “because it’s the seal of approval” that helps launch Latin artists in other parts of the world, says Bruno Del Granado, head of global Latin music touring at CAA. “When I started working in the label business many years, at the end of the year the U.S. market would generate probably 70% of our revenue and international was 30%. Now it’s the opposite: 30% U.S., 70% international. The U.S. gives you prestige, but you also want China, India and Latin America. It adds into this big puzzle and every artist, the smart ones, always look at the world as their market.”
Carin León and his longtime manager Javier “El Tamarindo” González, CEO and founder of independent regional Mexican label Tamarindo Rekordsz, have mutually agreed to part ways, the pair tells Billboard.
After five years together, González officially announced the end of his professional relationship with his artist and business partner on Wednesday (Dec. 14).
“Carin is an exceptional artist with great versatility and an impressive voice,” González said in a press statement. “It was an honor to have been part of his project. I know he will continue to grow and I will continue to be a fan of his music. For a long time, we shared the same vision regarding the decisions of the project, but now we have agreed to end our collaboration in order to continue flying each on their own. Carin will continue to succeed and I will always be a part of his successes.”
The regional Mexican artist, born Óscar Armando Díaz de León Huez, signed to Tamarindo Rekordsz in 2018 after being the lead vocalist of norteño act Grupo Arranke for four years. He found quick success, scoring his first entry on Billboard‘s Regional Mexican Airplay chart in 2019 with “Me La Aventé” before going on to collect eight top 10 hits, two of which reached No. 1 (“El Tóxico” with Grupo Firme in 2021 and “Ojos Cerrados” featuring Banda MS in March). In November, he nabbed his first Latin Grammy for best regional Mexican song with the Matisse-assisted “Como Lo Hice Yo.”
“I personally think that being independent is the best thing that can happen to any artist because it means developing your art in the freest way possible and not depending on many things,” León, who hopes to expand his independence with the launch of his own label, previously told Billboard.
León and Tamarindo will still fulfill the commitments already established and scheduled for 2023, according to the statement.
Salsa singer Lalo Rodríguez, known for the 1998 hit “Ven devórame otra vez,” has died. He was 64 years old.
Rodríguez was found dead on Tuesday (Dec. 13) at a public housing project in his native Puerto Rico, police said, according to The Associated Press.
Authorities stated that there were no visible signs of violence, and that an autopsy would be performed to determine the cause of death. The singer had struggled for years with drug and alcohol problems and had been charged with cocaine possession, the AP reported.
Born on May 16, 1958, in Carolina, Puerto Rico, the artist — whose legal name was Ubaldo Rodríguez Santos — began singing as a child at festivals and radio and television shows in Puerto Rico. At age 15, in the ’70s, he joined Eddie Palmieri’s band. He recorded Palmieri’s Grammy-winning albums Sun of Latin Music and Unfinished Masterpiece as lead vocalist before launching his solo career in 1980.
“It is with deep sadness that I learn of the death of Lalo Rodríguez,” Palmieri wrote on Twitter along with a photo of the two. “I don’t need to tell you how much he has meant to me, our music and culture, and the global community. He was a giant in so many ways. We will miss him dearly and treasure his memory.”
Es con profunda tristeza me entero del fallecimiento de Lalo Rodriguez. No necesito decirles cuánto ha significado para mi, nuestra musica y cultura, y para la comunidad mundial.Era un gigante en tantos sentidos. Lo extrañaremos mucho y atesoraremos su memoria.🇵🇷 🎙 🎶 🙏🏽 pic.twitter.com/iIG95STsnk— Eddie Palmieri (@EddiePalmieri) December 13, 2022
In 1988, Rodríguez released his biggest hit, “Ven devórame otra vez”, which was part of his album Un Nuevo Despertar. Written by the Dominican Palmer Hernández, the song became a classic of romantic salsa with its famous chorus: “Devórame otra vez, ven, devórame otra vez / Ven, castígame con tus deseos, más / Que el vigor lo guardé para ti, ay, ven / Devórame otra vez, ven, devórame otra vez / Que la boca me sabe a tu cuerpo / Desesperan mis ganas por ti”.
On the Billboard charts, the song reached No. 10 on Hot Latin Tracks. In 1990, a version by Spanish female duo Azúcar Moreno also made the list, peaking at No. 9. And in 2004, the song reappeared in the voice of Charlie Cruz, who reached No. 10 on the Latin Tropical Airplay.
In 2018, “Ven, devórame otra vez” was included among Billboard’s top 15 salsa songs of all time.
Arcangel bags his sixth top 10 on Billboard’s Top Latin Albums chart as Sr. Santos debuts at No. 3 on the Dec. 17-dated list. The set, a tribute to his late brother Justin Santos who died at 21-years-old in 2021, also bows at No. 2 on Latin Rhythm Albums chart.
Sr. Santos starts with 19,000 equivalent album units earned in the U.S. in the tracking week ending Dec. 8, according to Luminate. The album was released Dec. 1 via Rimas Entertainment. Bad Bunny, Bizarrap, Myke Towers, Eladio Carrión, De La Ghetto, are just some of the several collaborators accompanying Arcangel on the 18-track set.
On the multi-metric Top Latin Albums chart as measured in equivalent album units, each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album.
As with most Latin rhythmic albums, streaming powers nearly all of Sr. Santos’ opening week, equaling 27.3 million official on-demand streams of the album’s songs. Album sales and track equivalent album units comprise a little under 1,000 units.
Sr. Santos is Arcangel’s eighth studio album, and all reached Top Latin Albums, including six top 10s. Of those, he hit No. 1 with Sentimiento, Elegancia & Maldad in 2013, and reached No. 2 twice with Los Favoritos, with DJ Luian, in 2016, and Historias de Un Capricornio in 2020. The latter also contains his first entry on the all-genre Billboard Hot 100 songs chart, “Sigues Con El,” peaking at No. 78 in April of 2020.
Elsewhere, Sr. Santos debuts at No. 2 on Latin Rhythm Albums, and gifts Arcangel his highest-charting title on the all-genre Billboard 200 with a No. 37 start.
As Sr. Santos arrives, one of its songs debuts on the multi-metric Hot Latin Songs chart: “La Ruta,” at No. 45.
Meanwhile, two others spend a second week each on the list. “La Jumpa,” with Bad Bunny, which surges 20-3 after its first full tracking week ending Dec. 11. The song was released Nov. 30 and debuted with five days of activity. The team-up is Arcangel’s most streamed song of the week, with 10.3 million in the week ending Dec. 8 and a No. 3 start on Latin Streaming Songs. Plus, it pushes 9-3 on Latin Digital Song Sales with 1,000 downloads sold in the same period.
In between those two, “JS4E,” shortened for Justin Santos 4 ever, holds at No. 23 for a second week.
Whether it was on a red carpet, sold-out concer, or in a music video — rocking her cow-printed vest and miniskirt or bedazzled bustiers — Selena Quintanilla’s fashion-forward style always shined. Now, one of her most emblematic outfits is part of the Smithsonian National Museum of American History’s “Entertainment Nation” exhibition.
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Marking the Smithsonian’s first dedicated exploration of entertainment history, the exhibition features approximately 200 objects that honor theater, television, film, music and sports, including Quintanilla’s leather jacket and satin brassiere combo that she wore at the 1994 Tejano Music Awards in San Antonio, Texas. Quintanilla wore the outfit on display to perform a medley of “Donde Quiera Que Estés” with the Barrio Boyzz and “Bidi Bidi Bom Bom.” That same year, she won female artist of the year, female entertainer of the year, and album of the year for Selena Live!
The rockstar-inspired ‘fit was donated to the museum by the Quintanilla family in 1998.
“This costume is on display on a red carpet, so it’s kind of a spotlight moment to explore Selena, her legacy, the impact that she had,” Ashley Mayor, a curatorial assistant who worked on the exhibition, tells Billboard via email. “It’s important to explore the impact of Selena on a generation of young Latinos who dreamed of being like her. She affected so many people with her music and brought Tejano music to a national and international level. She became a phenomenon.”
Courtesy of the National Museum of American History
In August, the Quintanilla family released Selena’s new posthumous album Moonchild Mixes, home to 10 previously unreleased songs that the Queen of Tejano recorded between the ages of 13 and 16. In an interview with Billboard, her father Abraham Quintanilla Jr. said releasing the album is a way to keep her memory and legacy alive.
The album debuted at No. 1 on Billboard’s Latin Pop Albums chart (dated Sept. 10), as well as at No. 2 on Regional Mexican Albums and No. 8 on the all-Latin-encompassing Top Latin Albums chart. It earned the late icon her seventh No. 1 on Latin Pop Albums, tying Shakira and Thalia for the most among women, and extended her record for the most total weeks spent atop the chart.
Argentina’s last game was a nail-biter. After a nerve-racking penalty shootout over the Netherlands in one of the most exciting matches yet of the 2022 World Cup, Argentina is the last team standing from Latin America.
Now in the semifinals, Argentina — with star player Lionel Messi leading La Albiceleste — will go up against Croatia on Tuesday, Dec. 13. It’s been a wild ride for Argentina, who started the tournament in November losing against Saudi Arabia 2-1. But in a 360, the team won the rest of their matches against Mexico, Poland and Australia.
Ahead of what will probably be an equally thrilling game between Argentina and Croatia, we put together a list of Argentine anthems to help calm the nerves and get you feeling hopeful. Of course, Messi’s now-confirmed favorite song, La Mosca‘s “Muchachos, Ahora Nos Volvimos a Ilusionar,” powered by a blend of ska, rock and pop, laced with tango, is on the playlist. The song not only pumps Messi but also Argentine fans who are just as passionate about the sport.
“The Argentine fan isn’t happy just being a spectator; he wants a starring role, from the stands, from the audience,” La Mosca’s lead singer Guillermo Novellis previously told Billboard. “As far as soccer goes, every single person in Argentina has played soccer at some point in their lives.
From Andrés Calamaro‘s “Maradona” to Fito Paez‘s “Y dale alegría a mi corazón,” stream the playlist of Argentine anthems we’ve put together to get you in the spirit and rooting for Argentina — if that’s the team you’re hoping to win it all.
One year ago on Dec. 12, the iconic Mexican artist Vicente Fernández died at the age of 81 due to complications following surgery for a cervical spine injury after a serious fall. His timeless music, which reflects a more than 50-year prolific trajectory, has stood the test of time through generations.
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His potent vocals and heartfelt rancheras have accompanied fans through every stage of emotions, from tragic heartbreak to life’s happiest celebrations. At karaoke spots, especially, Chente’s music continues to be very high in demand.
“They request his music all the freaking time,” says Maricela Olivas, Nicaraguan singer and karaoke animator at Guacalito Restaurant. “I think that out of all the songs, ‘El Rey’ is the ultimate Latin karaoke song. This song will never fail at a Latin karaoke spot.”
On the first anniversary of his passing, Billboard celebrates “El Ídolo de México” with a fan poll that highlights more than 10 emblematic Chente tracks popular at karaoke.
The list includes the ever-favorite “El Rey,” the passionate “Aca Entre Nos” and “La Diferencia,” the sweet tribute to women “Mujeres Divinas,” and the mariachi classic “Volver, Volver.”
On the Billboard charts, the iconic singer and actor placed 40 entries on Top Latin Albums, including 25 top 10s and six No. 1s. On Hot Latin Songs, he logged a total of 61 entries, from 1987 to 2013, including 20 top 10s and one No. 1. Fernández holds the record for the most entries on Hot Latin Songs for a regional Mexican solo act, with 61.
What’s your favorite Chente song to sing at karaoke? Vote below.
It’s been one years since the death of Mexican legend Vicente Fernández, who passed away on Dec. 12 in his native Guadalajara at 81 years old. With family, fans and fellow musicians remembering and honoring his legacy today, Billboard is remembering the ranchera titan with his biggest Hot Latin Songs hits.
On the Billboard charts, the iconic singer and actor placed 40 entries on Top Latin Albums, including 25 top 10s and six No. 1s. On Hot Latin Songs, he logged a total of 61 entries, from 1987 to 2013, including 20 top 10s and one No. 1.
Fernández holds the record for the most entries on Hot Latin Songs for a regional Mexican solo act, with 61, the record for the most entries on Regional Mexican Albums, with a total of 52, and the record for the most No. 1s for a regional Mexican solo act on Regional Mexican Albums, with a total of 17.
His career totals in the U.S., according to MRC Data (which began in 1991), stand at 23.4 billion in cumulative radio audience for all his songs; 5.5 billion on-demand streams; and 9.2 million albums sold.
Fernández’s cause of death was due to complications following surgery for a cervical spine injury after a serious fall last August. The ranchera singer had remained hospitalized since then in stable but serious condition but in the last 24 hours, his condition deteriorated.
“It was an honor and a great pride to share with everyone a great musical career and to give everything for his audience,” reads a statement on his official Instagram account. “Thank you for continuing to applaud, thank you for continuing to sing.”
Below, see all of Chente’s greatest hits to enter the Top 10 on Hot Latin Songs.
“Dos Corazones” peaked No. 10 on chart dated Feb. 6, 1988
“Aunque Mal Paguen Ellas” peaked at No. 4 on chart dated Aug. 26, 1989
“Por Tu Maldito Amor” peaked at No. 10 on chart dated Dec. 2, 1989
“Que Sepan Todos” peaked at No. 6 on chart dated June 1, 1991
“Yo Quiero” peaked at No. 9 on chart dated July 25, 1992
“Aca Entre Nos” peaked at No. 8 on chart dated Oct. 31, 1992
“La Fiesta” peaked at No. 8 on chart dated Feb. 20, 1993
“Lastima Que Seas Ajena” peaked at No. 3 on chart dated Sept. 25, 1993
“Miseria” peaked at No. 6 on chart dated Sept. 24, 1994
“No, No y No” peaked at No. 8 on chart dated Dec. 17, 1994
“Aunque Me Duela El Alma” peaked at No. 2 on chart dated June 24, 1995
“No Te Vayas” peaked at No. 5 on chart dated July 6, 1996
“Nos Estorbo La Ropa” peaked at No. 4 on chart dated Nov. 1, 1997
“Me Voy a Quitar De En Medio” peaked at No. 4 on chart dated March 27, 1999
“Borracho te Recuerdo” peaked at No. 8 on chart dated Jan. 13, 2001
“El Ayudante” peaked at No. 9 on chart dated Sept. 29, 2001
“Estos Celos” peaked at No. 3 on chart dated Oct. 20, 2007
“La Derrota” peaked at No. 7 on chart dated June 14, 2008
“Para Siempre” peaked at No. 2 on chart dated Aug. 16, 2009
“El Ultimo Beso” peaked at No. 1 on chart dated Feb. 21, 2009
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.”
Penske Media Corporation is the parent company of Billboard.
MEXICO CITY — For some fans, going to Bad Bunny’s Estadio Azteca show Friday night in Mexico City was a dream come true. But for others, it turned into a nightmare after they became victims of a scam, with Ticketmaster Mexico canceling their tickets at the entrance to the show saying they were fake and a throng of angry fans at the door demanding to go inside.
Dozens of people who had arrived hours and some days earlier — coming from different places in Mexico and the U.S. — were not able to get inside Bunny’s fist night in Mexico City, which also marks the end of his tour.
Valeria Carrillo, a young fan who came from the seaside town of Isla Mujeres and said she had paid over 9.000 Mexican pesos (some $455), was one of the unlucky ones. She stood in line since early in the morning to be one of the first to get inside the stadium. She couldn’t.
“I didn’t come all the way from Isla Mujeres to have this happen to me!” she told Billboard Español, in tears.
Some desperate fans climbed over the main gates of the stadium trying to get inside but were blocked by security.
In a press release posted Saturday, Ticketmaster Mexico admitted that “the issues with access were the result of an unprecedented number of fake tickets, which led to a not normal agglomeration of people and an intermittent operation of our system.
“The above generated confusion and complicated the entrance to the stadium, with the unfortunate consequence that people with legitimate tickets were denied access,” added the release.
Mexico’s Federal Attorney for the Mexican Consumer (PROFECO) said it had opened an investigation and asked those who had been affected to present their complaint on a website provided by the institution. By Friday evening, PROFECO said in the same release that only seven people had submitted complaints, but more were expected.
On its end, Ticketmaster said it would refund ticket-holders who hadn’t been able to get into the venue and would also provide additional compensation of “no less than 20% of the price paid for the ticket, in accordance with the terms of article 92 Bis of the Federal Law of Consumer Protection, which states that right when a service is deficient or is not rendered.”
Issues with tickets delayed the show for nearly 60 minutes. Originally scheduled for 9 p.m., it started at 10 p.m. But once the lights went out, it was party time. Benito Ocasio Martínez took the stage in front of 85,000 attendees, with a slew of special guests that included Bomba Estéreo for “Ojitos Lindos,” Chencho Corleone for “Me Porto Bonito,” Mora for “Una vez” and Jowell & Randy, with whom he sang “Safaera.” Bunny finally brought up his friend and fellow hitmaker Jhayco for “Tarot.”
One of the highlights of the evening came when the Puerto Rican star paid homage to the late Mexican music idol Juan Gabriel by sampling his hit “Querida,” and later, when performing “Yo No Me Visto Así,” which also references “Querida” and Juan Gabriel in its lyrics.
For Bunny’s second Mexico City show on Saturday, PROFECO had personnel at the entrance to the stadium beginning early in the afternoon, and there were reports on social media of fans with fake tickets being turned away.