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Police in Brazil said on Sunday (May 4) that two people have been arrested in connection with an alleged plot to detonate explosives at a free Lady Gaga concert in Rio de Janeiro.
The Rio event on Saturday (May 3) was the biggest show of the pop star’s career that attracted more than 2 million fans to Copacabana Beach and had crowds screaming and dancing along.
Even as Brazilian authorities said they arrested suspects in the hours before Gaga’s show, the event went ahead without disruption — leading some to question the seriousness of the threat. Serious security concerns typically lead organizers to cancel such massive events — as happened with Taylor Swift’s concerts in Vienna last year.
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Police said said nothing about the alleged plot at the time to in an effort to “avoid panic” and “the distortion of information.”
On Sunday, a spokesperson for Gaga said the pop star and her team “learned about this alleged threat via media reports this morning. Prior to and during the show, there were no known safety concerns, nor any communication from the police or authorities to Lady Gaga regarding any potential risks.”
The statement added: “Her team worked closely with law enforcement throughout the planning and execution of the concert and all parties were confident in the safety measures in place.”
Security was tight at Saturday’s concert, with 5,200 military and police officers deployed to the beach where fans were reveling in the pop singer’s classic hits like “Born This Way,” which became something of an LGBTQ anthem after its 2011 release.
Rio de Janeiro’s state police and Brazil’s Justice Ministry presented the bare outlines of a plot that they said involved a group that promoted hate speech against the LGBTQ+ community, among others, and had planned to detonate homemade explosive devices at the event.
“The plan was treated as a ‘collective challenge’ with the aim of gaining notoriety on social media,” the police said. The group, it added, disseminated violent content to teenagers online as “a form of belonging.”
Authorities arrested two people in connection with the alleged plot — a man described as the group’s leader in the southern state of Rio Grande do Sul on illegal weapons possession charges, and a teenager in Rio on child pornography charges. Police did not elaborate on their exact roles in the plot or on how the group came to target Gaga’s free concert.
“Those involved were recruiting participants, including teenagers, to carry out integrated attacks using improvised explosives and Molotov cocktails,” police said.
The Justice Ministry said that it determined the group posed a “risk to public order.” It said the group falsely presented themselves online as “Little Monsters” — Gaga’s nickname for her fans — in order to reach teenagers and lure them into “networks with violent and self-destructive content.”
The ministry said there was no impact on those attending the open-air concert.
During a series of raids on the homes of 15 suspects across several Brazilian states, authorities confiscated phones and other electronic devices. Although police said they believed homemade bombs were intended for use in the planned attack, there was no mention of the raids turning up any weapons or explosive material.
Gaga has expressed gratitude for the enormous crowd in an Instagram post that said nothing of the alleged plot.
“Nothing could prepare me for the feeling I had during last night’s show—the absolute pride and joy I felt singing for the people of Brazil,” she wrote. “The sight of the crowd during my opening songs took my breath away. Your heart shines so bright, your culture is so vibrant and special, I hope you know how grateful I am to have shared this historical moment with you.”
Her free beach concert stood out at a time of surging ticket prices for live music around the world as concert-goers pay budget-busting costs to see their favorite artists.
Rio has done this before — last May, superstar Madonna performed the finale to her latest world tower for some 1.6 million fans on the sprawling sands of Copacabana Beach.
Lady Gaga performed to a record-breaking crowd during her free concert at Copacabana Beach in Rio de Janeiro, Brazil, on Saturday (May 3).
“Tonight, we’re making history,” she told the massive audience. “Thank you for making history with me.”
The concert began around 10 p.m. local time, with the 39-year-old pop icon opening with her 2011 track “Bloody Mary.” She followed it with a hit-filled set including fan favorites like “Poker Face” and “Alejandro,” as well as music from her latest Billboard 200-topping album, Mayhem.
Concert organizers estimated that approximately 2.1 million people attended the free Copacabana Beach show, according to Associated Press. The event is now the highest-attended concert by a female artist in history, surpassing Madonna’s 2024 performance at the same venue, which drew 1.6 million.
The largest concert crowd in history is still held by Rod Stewart, who drew 3.5 million fans to a New Year’s Eve performance at Copacabana Beach in 1994, according to the Guinness World Records.
Gaga’s performance drew over 1 million Brazilians and approximately 500,000 Little Monsters who flew in for the show, generating more than $100,000 for Rio’s economy, NPR reports. The city’s tourism department has announced that free concerts will continue to be held at Copacabana Beach at least through 2028.
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The Rio concert marked Gaga’s first performance in Brazil since 2012.
“I’ve missed you so much,” the superstar told the crowd during a soundcheck the night before the show, according to Rolling Stone. “I know that this is not the first show here, I know this is just a rehearsal, it feels like it’s the real show.”
In 2017, Gaga canceled her Rock in Rio performance due to “severe physical pain,” later revealing she had been hospitalized at the time.
From career milestones to new music releases to major announcements and those little important moments, Billboard editors highlight uplifting moments in Latin music. Here’s what happened in the Latin music world this week.
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Honored in Los Angeles
Earlier this week, Natalia Jiménez was honored by the City of Los Angeles with an Official Proclamation presented by District 14 Councilvmember Ysabel Jurado. The tribute took place at City Hall as part of the Fiesta Broadway celebrations, where the Spanish singer-songwriter was also named the 2025 Queen of Fiesta Broadway—she will also headline this year’s event.
“It means so much to me because of my strong ties to Mexico and the entire Latino community,” she said in a press statement. “I’ve lived many years in both Mexico and the United States, and I understand what it means to migrate and seek new opportunities. I’m proud to be part of such a united community, especially in challenging times. Thank you for inviting me, for this recognition, and for allowing me to celebrate our culture and language with all of you.”
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Making History on Tour
In other L.A.-related news, Rauw Alejandro made history at the Intuit Dome as the first Latin artist to perform three consecutive sold out concerts. During his Cali shows—part of his Cosa Nuestra world tour—the Puerto Rican artist invited surprise guests Marconi Impara and Yan Block to perform “Espresso Martini” from his album Cosa Nuestra.
Produced by Live Nation, the Broadway-inspired set — a nod to Rauw’s new musical era that symbolizes elegance, maturity and glamour —includes a live band in tow. The Cosa Nuestra stint wraps May 31 in Miami. The “Todo de Ti” hitmaker will perform a four-day sold-out residency from June 5 to 8 at the Coliseo de Puerto Rico José Miguel Agrelot in San Juan before taking the tour to Europe.
Rauw Alejandro
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Heartfelt Bad Bunny Cover
Laura Pausini has paid a heartfelt tribute to Bad Bunny by releasing her own version of his song “Turista,” part of his chart-topping album Debí Tirar Más Fotos. Produced and arranged alongside her husband and musician, Paolo Carta, Pausini delivers a melancholic cover backed by weeping piano melodies and her potent vocals. “I listened to ‘Turista’ and instantly fell in love with it…so I sang it,” the Italian-born, Spanish-singing artist expressed on Instagram. “Some songs don’t need to be part of a new album or promoted as a single. When a song touches your heart, it’s good in any style, at any time. Bravo Bad Bunny.” Listen to the track below.
Perreo: A Revolution
On the heels of dropping her ultra-personal, ultra-vulnerable, and ultra-experimental album Latinaje, Cazzu presents her first-ever book, Perreo: Una Revolución. “This book tells, vindicates, and denies the urban music industry specifically, about life as a woman in music or in any field. But above all, it aims to be a contribution to continue building equality,” she wrote on Instagram. “I dedicate it to the women who love reggaeton, to those who hate it, to those who want to sing, compose, or produce, to my female colleagues who barely made it and continue to resist […] I also dedicate this to my male colleagues and the artists who inspired me,” she adds, admitting that thoughts of writing her own novel began four years ago. The book is available in all bookstores, as an ebook, and an audiobook (narrated by Cazzu).
This week, Billboard’s New Music Latin roundup and playlist — curated by Billboard Latin and Billboard Español editors — features fresh new music, including new albums by Gloria Trevi (El Vuelo), Adriel Favela (Sueños de la Calle Vol. 1), and Fuerza Regida (111XPANTIA). In the middle of his biggest tour yet, Ivan Cornejo has dropped […]
New Music Latin is a compilation of the best new Latin songs and albums recommended by Billboard Latin and Billboard Español editors. Check out this week’s picks below.
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Gloria Trevi, El Vuelo (Great Talent Records)
Gloria Trevi is entering a new era of sorts, marked by the release of the first album under her new independent label. El Vuelo — all songs co-penned by the Mexican icon herself — serves as a testament to Trevi’s ability to reinvent herself dabbling with new styles and genres without losing her core pop sound. The opening track “Para Querer Como Te Quiero” is a bright cumbia and while that might be an indication that she may be going the regional Mexican route, she doesn’t.
Instead, she takes listeners on sonically varied journey: “Mentí” is a little on the rock side, and opens with gorgeous classical arrangements, while “Q.E.P.D.” fuses mariachi with very subtle reggaetón drums. In a world dominated by collabs, Trevi sticks to just one — featuring fellow pop diva Monica Naranjo on “Para Siempre Triste.” While all songs take on different sounds, one thing is consistent throughout the album, and that is Trevi’s knack for writing heart-wrenching lyrics about love, loss and freedom. — GRISELDA FLORES
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Adriel Favela, Danny Felix, Giovanny Ayala & Octavio Cuadras, Sueños de la Calle (Vol. 1) (Fonovisa Records)
When four of the most exciting acts in música mexicana join forces, their shared roots help fuel a project that pushes the genre forward. On Sueños de la Calle (Vol. 1), Adriel Favela, Danny Felix, Giovanny Ayala, and Octavio Cuadras create a four-track EP that’s personal and political. Rooted in the lived experiences of Mexican and Mexican American communities, the focus track “#SinMexicanos” delivers an unapologetic ode on immigration and identity. The song confronts the realities of labor, pride and resilience, with lines like “el día que falten los mexicanos aquí en el gabacho se van a dar cuenta.”
From the poetic grit of the title track to the heartfelt of “X Ella,” the project blends accordion, tololoche, and storytelling with contemporary borderland perspectives. “Sueños de la Calle (Vol. 1) is our way of telling what we live, what we feel, and what many out there don’t dare to say,” the quartet says in a press release. “Every song is born from the streets, the neighborhood, the border. Coming together was natural because we share the same roots, the same scars, and the same love for this music that gave us a voice.” — ISABELA RAYGOZA
BORJA & Greeicy, “Macarrones con Queso” (Virgin Music/BORJA)
Short and sweet perfectly describes the first collaborative effort between BORJA and Greeicy. In “Macarrones con Queso” (macaroni and cheese), the two Latin Grammy nominees beautifully harmonize together in every verse and chorus, backed by a tender, acoustic ballad produced by BORJA and Joel Iglesias. The conceptual tune revolves around two love birds who can’t be together because they have different destinies. “I found out you will be in town for a few days/ I’ve prepared for this moment since April/ Decorate your skin with kisses/ Cook macaroni and cheese/ And for dessert, maybe an eternity with you,” they kick off the track. “But you have other plans and it’s not me […] I have a feeling this is only another love song without ending,” they continue — in what could be the perfect soundtrack for a romance movie. — JESSICA ROIZ
Alexis y Fido, “Carita Triste” (Wild Dogz)
Alexis y Fido return to the music scene with “Carita Triste,” which showcases a vibrant electronic merengue infused with the distinctive signatures of the duo. The captivating track is a dynamic blend of reggaeton and rich Caribbean rhythms, painting a poignant narrative about young love that faces the challenges of social class divides. It also powerfully conveys the timeless message that love can triumph over societal obstacles. As Alexis y Fido celebrate two decades of their musical journey, this release also serves as a preview of new music they are crafting for 2025. — INGRID FAJARDO
Check out more Latin recommendations this week below:
At 62, Fito Páez maintains “the curiosity and desire” of the early years and an energy that doesn’t allow him to stop creating. Music above all, but also cinema and literature — passions he has been developing in parallel over the decades. And Novela, his latest album, might finally combine them all.
Created as a rock musical, the 25-song project — which Páez spent nearly 40 years writing and was finally released on March 28 under Sony Music Spain — tells the story of Villa Constitución, a town in the province of Santa Fe, Argentina, where a strange circus arrives to revolutionize the lives of its inhabitants. Through songs such as “Universidad Prix,” “Cuando el Circo Llega al Pueblo,” “Superextraño” and “El Triunfo del Amor,” its unique characters are introduced: the school’s dean, Rectitud Martirius; the witches Maldivina and Turbialuz; the young lovers Loka (daughter of the circus owner) and Jimmy (singer of a rock band) and more.
“We’re already speaking with many producers to film the movie once the tour finishes next year,” Páez tells In Conversation with Billboard Español in New York. “And I’m also beginning an adaptation [to] perform Novela live in full, where the audience can go and see a show that isn’t a musical — it’s the band playing the album and everything happening at once.”
The release comes the same year as the 40th anniversary of Giros, the second studio album in his expansive discography and the one that truly launched his career, with classics such as “11 y 6,” “Cable a Tierra” and “Yo Vengo a Ofrecer Mi Corazón.”
“It’s similar to a beach, Giros. It’s like having arrived, after wandering so much in the river or the sea, and saying, ‘Ah, I’ve made it here,’” he reflects on what the 1985 set meant to him. “There are many elements there that define many things about the place where I was raised, where I learned music, where I was loved, and where I was shaped. It’s an album I care for deeply, and I think it was a strong first step in the direction of searching for a more personal voice.”
In this new installment of En Conversación, the singer of hits such as “El Amor Después del Amor,” “Tumbas de la Gloria” and “Mariposa Tecknicolor” also discusses current events such as the immigration policies that have led fans to avoid attending concerts in the U.S. out of fear of deportation (“It’s horrifying,” he says. “It reminds me of when, back in ’78, we were chased out of Serú Girán concerts during the military dictatorship, and they threw us in jail”); and the ban on narcocorridos in some states in Mexico (“It’s a cultural expression born from lived experiences … and now it’s the singers’ fault! No, guys, it doesn’t work that way”).
Watch the full interview in the video above.
Mexican American powerhouse Fuerza Regida has turned their vision into reality with the release of their ninth studio album, 111XPANTIA, released Friday (May 2). Explored through imaginative storytelling exploratory regional Mexican music sounds, the 12-track album captures the group’s hustle, evolution, and deep connection to their roots.
The title — pronounced “ixpantia” and derived from the Náhuatl word, a dialect of the Aztecs meaning “to manifest” — reflects frontman Jesús “JOP” Ortiz Paz’s lifelong belief in the power of the law of attraction and turning dreams into reality. “This is the most important album of my career, the one that brings everything together,” JOP previously told Billboard Español.
Opening with the gritty anthem “GODFATHER,” it sets the tone for an explorative ride beyond Mexican music, free of collaborations for the first time in the band’s history. From nostalgic nods like “Malboro Rojo” that evoke their early norteño-laden sound to inventive risks like the corrido synth-laced “Nocturno” and innovative banjo riffs on “Peliculiando,” Fuerza Regida expertly balances their street-inspired roots with inventiveness.
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Adding another layer of intrigue, the loop of Vicente Fernández’s live version of “Acá Entre Nos” is subtly reimagined throughout “Ansiedad,” while a hypnotic sample of Ellie Goulding’s vocals from “Don’t Say a Word” is seamlessly woven into “Tu Sancho,” adding another surprise element for fans diving into the album’s details.
111XPANTIA arrives during a period of sky-high momentum for the San Bernardino troupe, following the massive success of their No. 1 hit “Me Jalo” with Grupo Frontera — which topped Billboard‘s Latin Airplay and Regional Mexican Airplay charts — and the teaser track “Por Esos Ojos,” which has already surpassed 154 million streams on Spotify alone since its February release.
With ambition woven into every song, the album continues to testifies Fuerza Regida’s ability to dream big, push boundaries, and stay true to their roots along the way.
They are slated to perform at Madison Square Garden and Hollywood Bowl June 20 and 21, respectively. The album is now available across all streaming platforms and physical formats, including CD and vinyl.
Stream 111XPANTIA below.
Sin Suela lit up NPR’s Tiny Desk Concert with a historic and dynamic performance, becoming the first artist to incorporate a sign language interpreter as part of the performance that premiered on Thursday (May 1).
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Clad in vibrant orange — a color aligning with his most recent album, Toda Época Tiene Su Encanto, which dropped September 2024 — the Puerto Rican wordsmith and his 12-member troupe brought a genre-bending set to the stage.
The 24-minute performance opened with the love rap “Tengo Una Nota” and and the bilingual “Duolingo.” The artist showcased his versatility with “Mírame,” delivered in a spoken-word, conscious-rap style that highlighted his lyrical depth and storytelling ability. A blend of funk, rap and hip-hop defined the set’s eclectic sound, punctuated by a laid-back yet pulsating performance of “Amor Artificial” and the high-energy “Top.” He closed with the emotional anti-war song “Mambrú.”
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“This is a dream come true for me,” said PJ Sin Suela in a press release. “I remember being in college playing Tiny Desk sessions and thinking, ‘One day I’ll be there,’ and it happened. To this day, if I’m cooking or having friends over, we put on a Tiny Desk. I have a deep respect and love for the platform, and I treated it that way. We prepared, rehearsed and gave it our all. I was able to bring my favorite musicians from Puerto Rico and people I admire and love dearly. I was able to represent what I do visually, musically, and socially.”
Accompanying PJ was a powerhouse ensemble of Puerto Rican musicians, including Jahaziel García on trumpet, Benson Pagán Jiménez on guitar, Gabo Lugo on percussion and Barba Blanca on piano. Alexssa Hernández made Tiny Desk history as the series’ first sign language interpreter. Backing vocalists Verónica Rolón Acevedo and Jeimy Osorio added soulful harmonies to the show.
PJ Sin Suela also used his Tiny Desk debut as a platform for activism, placing stickers on the set that read “Puerto Rico is NOT for sale.” The message — which he carried as a sign during the 2022 Puerto Rican Day Parade — reflects his opposition to policies such as Act 22, which allows wealthy foreigners to exploit the island’s resources.
Watch PJ Sin Suela’s performance on Tiny Desk below.
Every month, Billboard Latin and Billboard Español editors spotlight a group of rising artists whose music we love. Think “diamantes en bruto,” or “diamonds in the rough.” These are newcomers who have yet to impact the mainstream — but whose music excites us, and who we believe our readers should make a point to discover.
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Our latest edition of On the Radar Latin includes a wave of emerging artists, who we discovered either by networking, or coming across their music at a showcase, or elsewhere. See our recommendations this month below:
Artist: Estevan Plazola
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Country: Mexico
Why They Should Be on Your Radar: The world was introduced to Estevan Plazola on a larger scale through Peso Pluma’s Exodo version of “Hollywood,” written by (and featuring) Plazola, which charted at No. 11 of Hot Latin Songs. A grim, introspective corrido with raw poetry about fame and struggle, the song showcased Plazola’s soul-baring songwriting ability, and turned the spotlight on one of música mexicana’s hidden gems. Though he originally released “Hollywood” under Rancho Humilde in 2020, Plazola has collaborated with multiple independent labels before and after.
His most recent release, “Vibrar +,” comes via Peso Pluma’s own Double P Records — a melancholy sierreño with spine-tingling and even haunting melodic arrangements. An early adopter of música Mexicana’s rise, the singer-songwriter released his debut 25 Años (2019) along the genre’s growing revolution. He followed it up with Archive Music, Vol. 1 (2022), a bilingual rap-corridos fusion. With lyrics exploring resilience, hardship and the bittersweet nature of success, the L.A.-based Mexican-American has emerged as an artist whose authenticity strikes a chord with listeners. — ISABELA RAYGOZA
Song For Your Playlist: “Vibrar +”
Artist: Jombriel
Country: Ecuador
Why They Should Be on Your Radar: Jombriel is a 21-year-old rapper poised to become one of the next breakout stars in the Latin urban genre. Last November, he began gaining widespread attention with the release of his viral hit “Parte & Choke,” in collaboration with Alex Krack and Jøtta. The song later counted with a remix by Colombian sensation Ryan Castro, ultimately reaching No.1 on the Billboard Argentina Hot 100 chart in March. His latest releases include “Vitamina” with DFZM, and “GPS,” which features DFZM alongside legends Jowell and Randy — both showcasing Jombriel’s unique, raspy vocals and hard-hitting perreo sound. As someone who’s putting Ecuador’s urban scene on the map, Jombriel is carving out his own musical identity, blending local sonics with dancehall influences. — INGRID FAJARDO
Song For Your Playlist: “Vitamina” (feat. DFZM)
Artist: Kakalo
Country: Mexico
Why They Should Be on Your Radar: I first became familiar with Kakalo about two years ago when Spotify recommended the captivating track “Mil Maneras de Morir,” his collaboration with Carín León. What struck me immediately was not only his enchanting vocal quality, but also his unique interpretive style that adds depth and emotion to the music. This year he represented Mexico at the renowned Viña del Mar International Song Festival in Chile, where he not only drew attention with his performance but also received the Silver Gaviota. Kakalo has showcased his songwriting abilities through collaborations with well-known figures in the industry, including León, Pepe Aguilar and Spanish pop crooner Pablo Alborán. — I.F.
Song For Your Playlist: “Tierra Trágame” (feat. Carín León)
Artist: Melanie Santiler
Country: Cuba
Why They Should Be on Your Radar: A mesmerizing voice blesses Santiler — one I would have never discovered if it weren’t for the music recommendation on Instagram stories. Searching for the perfect 15-second soundtrack for a selfie, I came across Melanie Santiler’s “Un Momentico +” in collaboration with Cuban hitmaker and artist, Dale Pututi. The song immediately captivated me with its slow-tempo, sensual reparto (a musical genre that derives from the barrios of the Caribbean island) melodies, and it drew me outside of Instagram and into her Spotify.
Born and residing in Havana, the 23-year-old artist is bringing an edgy touch to pop music, fusing it with the traditional sounds that best represent her country. Most notably is her effortless sensuality and dreamy, powerhouse vocals, giving life to her empowering alter ego “La Mami Fina” — and which I dare say gives me Rosalía vibes. Though she’s only been releasing music since 2024, Santiler has also penned songs for important female artists, including Ana Torroja and Gaby Moreno. — JESSICA ROIZ
Song For Your Playlist: “Un Momentico +” (feat. Dale Pututi)
Artist: Pascal
Country: Peru
Why They Should Be on Your Radar: Pascal André Marie Fernand Marchand Lañas, simply known as Pascal, has made his name in his native country, where he’s been releasing music since 2018 —first performing songs for soap operas and more recently achieving massive popularity with romantic ballads and urban pop hits like “Nos Duele Tanto,” certified double platinum in Peru, and “Pa La Luna,” his latest release. The 24-year-old singer-songwriter, who studied at Berklee and plays guitar and piano, opened for Camilo in Lima at the end of March, performing live for the first time in front of such a large audience (10,000 people). Now seeking international recognition, he participated in the Gran Canaria Carnival in March with LOS40 and plans to travel next to Mexico to continue expanding his horizons. — SIGAL RATNER-ARIAS
Song For Your Playlist: “Pa La Luna”
In today’s mainstream Latin music landscape — a space often dominated by música urbana, tropical rhythms, and regional Mexican music — CA7RIEL & Paco Amoroso have carved a lane entirely their own. Armed with flamboyant charisma, virtuosic musicality, and a penchant for genre-defying audacity, the Argentine duo represent a new wave of artistry that refuses to fit neatly into any box. At a time when the mainstream clamors for familiarity, they bring chaos and innovation to the table, pushing the boundaries of what Latin music can sound like.
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Their meteoric rise is nothing short of groundbreaking. Last week, the pair performed two back-to-back sold-out shows at New York’s Bowery Ballroom — as part of their wildly ambitious 60-date world tour, which includes stops in global festivals like Coachella (U.S.), Fuji Rock (Japan), Glastonbury (England), Roskilde (Denmark), and Lollapalooza (Berlin, Paris). Just weeks earlier, the duo made their debut on The Tonight Show Starring Jimmy Fallon, a rare feat for Argentine artists, and a testament to their growing influence on the global stage.
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But for them, fame doesn’t come without complication — a sentiment captured in their latest EP Papota and its opening track, “Impostor.” The song serves as a brutally humorous and raw meditation on their skyrocketing success, grappling with the absurd pressure of becoming icons seemingly overnight. The Tiny Desk concert that launched them to international acclaim six months ago — now one of the most-viewed performances on the channel by a Spanish-language artist, with 33.5 million views — serves both as a badge of honor and a symbol of what they jokingly call “síndrome de impostor” (imposter syndrome) on the aforementioned song.
“Coming all the way from el culo del mundo (the ass of the world), we didn’t expect this,” CA7RIEL tells Billboard Español backstage at the Bowery, referencing their South American roots. “To suddenly appear here, with all these cameras and lights — it’s insane. We’re from way down there; we’re still adjusting to being up here.” Yet their poised combination of rock star energy and mayhem proves they’re more than ready.
CA7RIEL & Paco Amoroso
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Their chemistry isn’t just professional — it’s personal. The duo met when they were just six years old, drawn together by matching surnames (Guerreiro and Guerriero) and the mistaken assumption by their teacher that they were brothers. That fateful connection would snowball into a lifelong friendship and artistic partnership that thrives on curiosity, trust and unabashed eccentricity.
Raised in Buenos Aires, their musical influences stem from both the streets and their homes. CA7RIEL grew up watching his father play guitar, and today he’s an impeccable guitarist who plays jazzy, progressive riffs on his Fender. “I wanted to be Michael Jackson. I wanted to be Queen — the whole band,” he admits. Paco Amoroso, meanwhile, was hooked on pirated compilations of the Argentine rock icons, like Patricio Rey y sus Redonditos de Ricota, whose legacy courses through their veins. “For years it was the only thing I listened to, those 18 tracks,” Paco recalls. He adds, “Argentine rock is more like a way of life, I feel. You wanted to be like those guys, we didn’t want to go to work. We wanted to be drinking champagne. And when you’re a kid, you want that.” He also references the Dutch violinist André Rieu: “I wanted to play the violin, he is a total master.”
Their early inspirations laid the foundation for their ability to mix genres and embrace experimentation. “We go through different phases,” Paco explains, “vicios diferentes” (different vices). “At one point, it was all about rapping, then playing instruments, which was how we started. We even had a phase where we just gamed all the time and did nothing else. Then you keep evolving,” he adds. The duo’s knack for innovation — mixing intricate jazz chords, gospel-style vocals, live instrumentation and electronic rhythms, as they masterfully demonstrated that night at the Bowery — has made them boundary-pushers in their own right.
Though CA7RIEL & Paco Amoroso rose to prominence as a duo, their journey has also been defined by daring forays into solo territory. After their breakthrough collaboration on tracks like 2019’s “Ouke” and “Mi Sombra,” both artists paused their partnership to venture into their individual projects. CA7RIEL’s solo debut featured two EPs before evolving into the eclectic El Disko, a 2022 Latin Grammy-nominated album that fused funky grooves, old-school hip-hop, glowing synths, and lo-fi minimalism. For his part, Paco Amoroso explored bold sonic textures in his brooding 2021 album Saeta, further pushing the boundaries of Argentinian trap and electronic music.
Despite their time apart, their connection remained intact, culminating in a magnetic reunion for 2024’s Baño María and their latest EP, Papota. The new era finds them reuniting as friends and collaborators, carrying with them the richness of their individual experiences and a renewed creative spark.
Their Tiny Desk performance — previously mentioned in connection to the introspection of “Impostor” — stands as a pivotal moment, showcasing their identity as sons of Buenos Aires and bringing their unorthodox artistry to the global stage. The performance became one of the series’ most successful videos, reaching numbers comparable to Latin icons like Natalia Lafourcade’s seven-year-old set, all while introducing viewers to the raw complexity of their sound.
CA7RIEL & Paco Amoroso perform at Bowery Ballroom in New York on April 23, 2025.
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Their taboo-breaking flamboyance — including playful moments on stage, sometimes even kissing each other on screen as a symbol of their camaraderie — adds a theatrical flair to their shows that captivates. It’s this kind of unorthodox, boundary-defying presence that makes them not just stars but leaders of Latin music’s avant-garde.
No moment encapsulated this better than their closing number, where CA7RIEL & Paco Amoroso invited audience interaction, holding out their microphones for fans to belt out the lyrics. “Interacción total,” CA7RIEL called it.
When asked what lies ahead, the duo keeps it grounded, “Seguir estando vivos” — just staying alive. Paco elaborates with a laugh: “For some people, that’s easy. For others, not so much.” It’s an ethos reflective of their unfiltered approach to music. With every new song, stage and daring experiment, they’re proving that their bold vision isn’t just about breaking boundaries — it’s about living fully through the music they create.
Name: Catriel and Ulises
Age: Both 31
Recommended Song: Paco recommends “El Día del Amigo” because “it speaks about friendship” and showcases the essence of their project. CA7RIEL, on the other hand, picks “Mi Sombra,” a track he describes as “something that stayed in the bottom of the drawer,” which makes it an unexpected favorite for him.
Biggest Accomplishment: Both agree on one simple yet deep accomplishment: “Being born and not yet dead,” they say with a wry chuckle.
What’s Next: “Lots of touring,” they reply in the midst of their 60-date tour, which includes stops in the United States, Latin America, Europe and Asia, as well as performances at international festivals like Coachella, Glastonbury, Lollapalooza and Fuji Rock.