genre latin

A few blocks from Provenza, in Medellín, is the studio where some of the biggest hits of Ovy on the Drums have been made. In a modest apartment, located on a sixth floor and guarded by a ferocious sand-colored stuffed dog named Cairo, we are welcomed by the man who became a frequent musical companion of artists like Blessd, Beéle and Karol G. On one wrist he has tattooed the T, Q and G, a reference to his greatest feat: having been able to get Shakira and her friend Karol G, a.k.a. “La Bichota,” the two Latin women with the greatest impact on music in recent years, both on a song.

“I have it tattooed here, because it’s the first song produced by Ovy on the Drums that is No. 1 in the world,” notes Daniel Echavarría (his real name). “For one to be a producer on that collaboration, it’s a dream come true.”

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Currently, “TQG” has more than 1.2 billion streams on Spotify and 1.3 billion views on YouTube, after debuting at No. 1 on multiple Billboard charts, including Hot Latin Songs, Latin Pop Airplay, Billboard Global 200 and Billboard Global Excl. U.S. On the all-genre Billboard Hot 100, it started at No. 7 and spent 20 weeks on the chart.

While the interview is going on, we are located in a secondary studio — smaller than the main one, but with all the necessary tools so that the emerging artists he works with can record there. He mentions up-and-comers like Tury and Young Fatty, and other not-so-emerging artists like Kris R, as probable guests for the W Sound — the artist sessions series he launched last year with Westcol, one of the most impactful influencers in Colombia, who also has worldwide reach.

Creator of the “Tusa” sound, Ovy has an eye for rising artists in the urban genre. A little over five years ago, he discovered a kid who was making waves named Beéle, who had just signed with Hear This Music, then Bad Bunny’s label. Together they made “Inolvidable,” which he acknowledges as the most special of the songs they’ve created since they’ve known each other. It became one of the biggest hits of 2020, remembered for its emotional piano, and showing the two stars were ready for new challenges.

However, it was impossible to imagine all that was to come. Not only for Beéle, who is now one of the most important Colombian artists, but also for Ovy, the neighborhood man who learned to produce by playing with Fruity Loops in his room. The logo of this music production program is also tattooed on his arm, according to a Billboard article.

Ovy is now the producer of many of the biggest hits for Karol G, Blessd and plenty other urban Latin music stars. He won a Latin Grammy for Karol’s album Mañana Será Bonito, whose success took him to No. 1 on Billboard‘s Latin Producers chart for 25 weeks. And a few days ago, he was ranked as the Latin producer with the most listeners on Spotify: almost 29 million followers on this music platform, ahead of Bizarrap, Tainy, Rvssian and DJ Nelson.

In the studio, he shows me an old microphone that he uses to record the new talents who come to his house. He also tells me that it’s the same one he used for Unstoppable, Karol G’s first album, which we now remember for songs like “Ahora Me Llama,” which featured Bad Bunny on its remix — — a detail that is now probably inspiring many of them to pursue similar success stories.

Below, Ovy talks with Billboard about his legacy and some of his upcoming projects.

You just released an EP with Puerto Rican and Chilean artists, you are working on the W Sound sessions. What else can you share about your 2025 plans?

Cassette, the EP that a few days ago had its second volume, is a very nice project that my team and I saw a lot of potential in. Last year, we did the first version of the project — which was with Myke Towers — and there, we brought together artists like La Joaqui from Argentina, Saiko from Spain, also Ryan Castro, Blessd.

I wanted to bring the cassette to the present day, because I feel that there are 15-or-16-year-olds who do not know this format, so that they know the history and adapt it to the present time. That’s the nicest thing we have done. For the second EP, I left a lot out, but I am grateful to the talents of Chile, and artists like Jory Boy, Dalmata and Darell, because without them I wouldn’t have had that flow.

What about the W Sound? It’s easy to predict a great future for that, even though it’s just starting out, both because of your impact and that of Westcol. Who would you dream of inviting to the series?

It’s a genius project, together with Westcol, and we have the No. 23 song in the world [with the session with Beéle in the Top 50 on Spotify]. In addition, we already have four W Sounds on the street. One wants very big artists to be in the W Sound, but we also dream of new talents, and we bet on growth.

And what is happening with session number three, which has not yet appeared and is highly demanded by fans?

Right now we are working on music, projects like Ovy on the Drums, Micro TDH, Bad Milk [a promising artist of Big Ligas featured in the Estéreo Picnic 2025 lineup], the W Sound … Apart from that, I am also at a stage where I think not only in music, but in separate projects, where we are making investments and getting into other fields of which I will tell you later.

It is possible that what your followers know the least about this side of the business is the 360 marketing area you develop or the work you do with content creators. How has this part of Big Ligas been working?

With Big Ligas we always have that part — with my partner Kristo [Cristian Salazar], who has a lot of experience and a lot of knowledge of how a song works — about how the timing works when a new song comes out, or the fact that it is not always necessary to use influencers, but that other types of strategies may be necessary.

When Beéle had released “Loco,” his first big hit, you immediately called him to do “Inolvidable.” How does that vision thing work, of being able to realize early on that an artist is going to be very big?

I’ve been a fan of Beéle since I met him, and although I didn’t know when, I always knew he was going to be great as an artist. We have a lot of songs — but for me the big song is “Inolvidable.” It’s like epic, a [huge moment] for him, for me, for Big Ligas. And now we have “Mi Refe”, “La Plena,” just blessings.

There has always been talk of the greatness of reggaetón paisa, but at one time there were more producers than artists — and with the arrival of Blessd or Ryan Castro, Medellín has returned to the top. What do you think could be the reason?

Before, there were these great exponents, such as J Balvin, Karol G, Maluma, [Sebastián] Yatra and those I can’t remember… But the way I see it is that many artists have an easier way to show themselves through social media and reach more and more people. That is the case with Ryan Castro and Blessd.

For example, I met Blessd through social media. He was rapping, and in the videos he uploaded he asked to tag me, and after appearing a bunch of times in one of his videos I saw him and said, “That’s cool.” He came to my house, then we did songs like “Medallo,” which was No. 1 on Billboard [Latin Airplay]. And a lot more: “Soltera,” “Mírame.” Now it’s not only Ryan Castro and Blessd, but there is also a Kris R — and behind him there is a Tury, a Young Fatty, artists who are here today breaking out on the street.

You mentioned “Mírame,” which has had a lot of versions, and has been sent to Mexican music producers, Argentine cumbia producers — and many of these songs also feature Ovy on the Drums. How has all this happened?

I feel that when a song starts to be successful and other countries adapt it to their musical roots, it has already reached the next level. It’s good that a song of yours is charting on Billboard and in more spaces, but I feel that success comes thanks to those versions as well. That’s a blessing. It’s a nice thing to have producers work on what you produce. Sometimes I’ve even heard better versions, where I say, “Why didn’t I do it like that?”

You have just become the Latin producer with the most listeners in the world on Spotify. What does that mean in terms of opening doors and facing new challenges?

I feel very happy, because I know it has cost me, I have worked for it. It wasn’t that I arrived and released a song that became No. 1 worldwide the next day. It was a step-by-step process, starting with 305 listeners and [growing] over the years; it has been almost seven years of hard work to get to where I am now. I am also very grateful to my team, to the artists who have participated in this process. In addition, the songs that I have charting on my Spotify are with Beéle, Karol G, Blessd, with my colleagues, with my brothers.

So I’m celebrating — because today it’s Ovy on the Drums, but tomorrow it’s another producer. This is an up-and-down [field], moments like that are short — but when you are there, you can only have happiness, gratitude and desire to move forward.

This story was originally published on Billboard Colombia.