Latin
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Pedro Capó and Carin León have dropped their first collaborative effort called “Existo” — the song they created in only 30 minutes at the 2023 Billboard Latin Music Week, and which Billboard can exclusively premiere Friday (March 15). Explore See latest videos, charts and news See latest videos, charts and news A captivating track that […]
Emilia and Tini combine forces for their first collaborative top 10 on Billboard’s Latin Pop Airplay chart as “La_Original.mp3” rises 12-8 on the March 16-dated list. Explore See latest videos, charts and news See latest videos, charts and news “La_Original.mp3,” released Nov. 2, 2023, via Sony Music Latin, is part of Emilia’s .mp3 album, released […]
Playing for the first time at Miami’s Kaseya Center last month was a once in a lifetime experience for Morat. “It is very surreal because it feels like singing to all of Latin America at once,” said frontman Juan Pablo Isaza of the experience of performing to a largely Latin audience in the United States.
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Upon completion of its fourth U.S. tour, the band will begin its first international stadium tour, Antes De Que Amanezca, this summer, starting in Madrid on June 21, and making stops in Caracas, Quito, Santo Domingo, and concluding in Mexico City on December 13.
In their Billboard News interview, with Billboard‘s Leila Cobo, chief content officer of Latin/Español, the Colombian pop rock band delved into the nuances of their musical journey, marked by their first-ever stadium tour, their reflections on Latin identity stateside, singing with Grupo Frontera and the impact of their music across borders.
Isaza highlighted the magnitude of their tour in the group’s chat with Billboard. “Fortunately, [the music] has been climbing [up the charts], and the truth is that we have been very surprised by what happened this year,” he pointed out.
The conversation also touched upon the band’s role in the evolving landscape of Latin music, which has expanded beyond urbano to include more traditional sounds. This was highlighted by their 2018 song “No Se Va” getting covered by Tejano band Grupo Frontera last year on the latter’s debut album El Comienzo, becoming a viral sensation that introduced Morat to audiences in a new light. “Our song was a grain of sand in everything that is happening with the expansion of genres in Latin music,” added Isaza. The two bands also recently teamed up to sing the song together.
“The first time we experienced that [kind of success] was through Grupo Frontera with their version of the song. So for us it was crazy because it hasn’t always been [like that], and from here on it will obviously continue to be a very important song for us,” Isaza noted.
Bassist Simón Vargas Morales offered his thoughts on the unique connection Morat feels with the Latin community in the United States. “The feeling of the Latin community is different,” he shared. “In the end, we all become part of a migrant community, which creates a bond that is beautiful and unlike anything we experience when touring through Latin America.”
Additionally, drummer Martín Vargas Morales shared his excitement about the band’s impact and the reception of their music in stadiums, particularly their sold-out show in Bogotá at El Campín: “I feel that especially the one in Bogota, that one in particularly hits differently.”
Check out Morat’s 2024 tour dates here, and watch their Billboard News interview above.
As the first Latina to ever embark on a global stadium tour, Karol G has broken records along the way with her Mañana Será Bonito World Tour. The stint, which is currently making is way through Latin America, takes its title after Karol’s history-making album, which, in February 2023, became the first Spanish-language album by […]
Domelipa is ready to launch her music career under her new signing with Westwood Entertainment, Billboard can exclusively announce today (March 14). She will be managed by Jorge Juárez, who currently also manages Carin León. Explore See latest videos, charts and news See latest videos, charts and news The Mexican influencer — who boasts more […]
Edgar Barrera, Eslabon Armado, MAG and Horacio Palencia were among the big winners at the 2024 BMI Latin Awards Wednesday night (March 13) at the Beverly Wilshire Hotel in Los Angeles.
During the ceremony, Palencia was honored with the BMI President’s Award for his contributions as a songwriter in the música mexicana genre throughout his career, which spans over two decades. The singer-songwriter also performed some of his biggest hits such as “A Través Del Vaso,” “2 VECES” and “Ya Es Muy Tarde.”
BMI also saluted the top Latin songwriters, publishers and administrators of the past year’s most-performed Spanish-language songs in the U.S. at the private event hosted by BMI president & CEO Mike O’Neill, BMI chief revenue & creative officer Mike Steinberg and BMI vice president of creative Latin, Jesus Gonzalez.
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Mexican-American songwriter and producer Edgar Barrera was named regional Mexican songwriter of the year for the second year in a row for writing seven of BMI’s most performed regional Mexican songs of the past year, including “Bebe Dame”(Fuerza Regida and Grupo Frontera), “CHANEL” (Becky G and Peso Pluma) “Frágil” (Grupo Frontera and Yahritza y Su Esencia), “UN X100TO” (Grupo Frontera and Bad Bunny) and “Ya No Somos Ni Seremos” (Christian Nodal).
Meanwhile, Puerto Rican-Dominican hitmaker MAG received the contemporary Latin songwriter of the year award for his work on 10 of the most-performed BMI Latin songs of 2023, including “Andrea,” “Después de la Playa,” “El Apagón,” “La Jumpa” and “Otro Atardecer” — all recorded by Bad Bunny.
Eslabon Armado not only performed their global smash hit “Ella Baila Sola” during the ceremony, but also took home regional Mexican song of the year for their track with Peso Pluma. Bad Bunny’s “Efecto” — penned and produced by MAG, La Paciencia and Cesar Americo, Feli Ciano, Harissis Tsakmaklis and Luzian Gregor Tuetsch of Bass Charity — was named contemporary Latin song of the year.
For a second year in a row, Sony Music Publishing took home the award for contemporary Latin publisher of the year. The regional Mexican publisher of the year award went to Prajin Music Publishing and Downtown DMP Songs.
The road to success in regional Mexican music, a genre historically dominated by men, has been difficult for women. But their constant struggle over the years has led them to have a greater presence at the forefront, although they are still a minority and much remains to be done to achieve equality. Even those who […]
In February 2022, Farruko turned his La 167 Tour into a religious experience when he opened up to fans about his beliefs during his Miami concert.
“God loves you just the way you are. We’re all sinners, none of us are perfect,” he told the packed venue. At the show, he didn’t perform his biggest hit to date, “Pepas,” and in fact, asked fans to forgive him for the lyrics, which are about drugs and partying.
Since then, the Puerto Rican artist has steered away from the sultry and provocative lyrics that made him a household name and changed his words to more feel-good ones, as heard in singles like “Nazareno” and “Pasa_je_ro.” The latter is part of the latest Transition album, a 20-track project that highlights his personal journey as well as a new era for his label, Carbon Fiber Music.
“What we are currently living and experiencing with Carbon Fiber, with my life, with Farruko’s life, with the life of Raymond Guevara (formerly and artistically known as Lary Over) and other artists in the company is simply that God has called us to serve him,” Franklin Martinez, the label’s president and Farruko’s longtime manager, tells Billboard. “I can’t tell you what made this change, but I can tell you how it came into my life.”
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In the fall of 2021, and in the midst of “Pepas” having major success (it scored Farruko his first No. 1 hit on the Billboard Hot Latin Songs chart on the Aug. 28, 2021-dated tally, where it crowned for 26 weeks), Martinez admits he was going through a deep depression that made him feel “empty, completely unhappy, and feeling dead.”
“I made the decision [to change my life] about seven months before Farruko did,” he elaborates. “I tried not to throw it in his face, but instead I told him that I was going through a personal situation and over time I would tell him, but I didn’t even have time to explain to him because God collided with him. That explanation, that trying to convince him, did not come from me, it came from Jesus directly.”
Though Carbon Fiber Music launched in 2014, Martinez had no explanation as to why the label’s literal transition is occurring a decade later, only saying that “God’s timing is perfect.”
Transition is packed with optimistic and motivational messages about relationships, life and praise —backed by hard-hitting hip-hop beats, mid-tempo reggaeton, infectious Afrobeats and dance melodies. In addition to Farruko, it includes Carbon Fiber artists such as Akim and Menor Menor as well as renowned Christian acts like Christian Ponce, Indiomar and Lirios.
Without naming names, Martinez says that some Carbon Fiber artists have left the label since the change in direction while others are supporting it, though he calls it “a constant battle and not easy.”
“We can no longer and don’t want to continue carrying a message of destruction to humanity,” he says. “I don’t want to continue sending messages of violence and sex, I think that God has given us a talent to be able to transmit a message that fills and not a message that destroys.”
He concludes: “‘Transition’ is just that. We are going through a process and this album is a stage that represents what’s happening with the label.”
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Stepping into Terminal 5 on Friday (Mar. 8) located in Hell’s Kitchen, New York City, the atmosphere was instantly electric. The venue transformed into the vibrant microcosm of Bresh, dubbed the “Most Beautiful Party in the World,” was adorned with gigantic pink flowers hanging from the balcony levels and equally stunning Japanese cherry blossom trees, heralding the imminent arrival of spring.
Navigating through the sea of faces, illuminated by the glow of lit garlands around their necks and the sparkle of the disco ball, the sense of community was palpable. The night pulsed with the sounds of reggaetón, pop, and rock en español, with hits from Bad Bunny, Lady Gaga and Soda Stereo.
From its New York City beginnings at S.O.B.’s in 2021, growing from 500 to 1,500 attendees at Webster Hall last year, and now selling out Terminal 5 with 3,000 enthusiasts, Bresh has evolved significantly. Originating from an underground party in Buenos Aires in 2016, it has transformed into a global powerhouse, marking its presence in 16 countries and over 141 cities across more than 110 venues.
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This remarkable journey is a testament to the vision and relentless drive of its founders, including DJ and graphic designer Alejandro “Bröder” Saporiti. Bresh has evolved into a movement focused on “dreaming bigger” and “creating community” through Latin culture. “Imagine how all great things start, a group of misfits with a dream and almost by accident,” Bröder tells Billboard Español. Yet, the meticulously curated experience of Bresh today is anything but accidental.
Celebrity appearances on Friday, from Lit Killah to Tuli Acosta and Paloma Mami, alongside past guests like Leonardo Messi and the World Cup champions, and artists like Rosalía, Young Miko, Duki and Emilia, underscore Bresh’s appeal. Its inclusive vibe warmly welcomes everyone, blurring the lines between celebrity and the common folk.
“We are all on the same level. The artists come down and they are just regular human beings,” adds Bröder. “The general public comes to the party and you are hanging with Rauw Alejandro or another big artist. We are all in the same place and that generates something beautiful.”
Bröder sheds light on how Bresh continues to captivate and redefine the nightlife experience: “Through this deep respect and appreciation we have for the people who join us, we’ve been able to forge a community,” he explains. “Those who attend Bresh feel part of something bigger — a global community that brings them into contact with people from all corners of the world.”
Here are five takeaways from the Bresh experience.
A quantum leap in the night
From its humble beginnings in 2016 in Buenos Aires, Bresh has charted a spectacular path, transforming from a gathering of friends to a global phenomenon. “Bresh’s growth was three-year catapult … a company run by young people,” reflects Bröder. The evolution from intimate parties to conquering stages such as Terminal 5 shows their tireless ambition: “We as a project will always dream of bigger things, of being able to reach new places, of being able to connect with more people, of being able to do shows of greater magnitude, and taking it to a more global terrain.”
Cultural relevance
Bresh has not only grown in size, but has cultivated a deep cultural resonance, creating a space where “people who go to Bresh feel part of something bigger,” says Bröder. “Today, it’s a global community.” In spaces often noted for their divisiveness, Bresh emerges as an inclusive haven, rejecting conventional barriers that oftentimes alienate.
“Sometimes I feel like I get to [other] places and the security says, ‘Yo, give me your ID!’ ‘I came to your place to enjoy it.’ And then, they say, ‘Yo, you on the list?!’ ‘Whoa, stop, crazy. I just wanted to come and enjoy myself,’” he describes. “It seems to me that we’re at a time in society and culture where there’s no place for that kind of separation anymore.” This ethos translates into an experience where each attendee finds “a sense of belonging, and being able to generate a sense of comfort.”
Stars among us
Bresh’s influence has attracted celebrities and artists looking for freedom and authenticity, claims the cofounder: “Many artists found in Bresh a space of union, a space where they can come and have fun,” he says. This phenomenon is reciprocal, with artists not only enjoying the party but also connecting with the public on a human level: “Artists come to our party to enjoy it, but of course, they see the people, they see the excitement with which they drive and they feel like sharing with them,” he adds.
“Bresh has become a place where you go to meet your peers, your colleagues, people in the industry, people who value who you are. Whether it’s Rosalía or someone from the new generation of Puerto Rico, [who attends],” says Bröder. “I remember when Young Miko came to Bresh, when she was relatively unknown — but she felt part of it, and today she is one of the most impressive figures of the new wave of música urbana.”
Global expansion
With offices in major cities around the world — like Madrid, Buenos Aires, Miami, and Mexico — and more than 200 employees, Bresh is firmly rooted both locally and internationally. “We dream of a tour, of a residency in Las Vegas… globally, continuing to deepen our reach everywhere,” Bröder stresses. This multifaceted approach ensures that no matter where it’s held, Bresh carries with it a spark of diversity and global connection.
“This year we’re going to be in Baja Beach Fest, as well as Tomorrowland for the first time for [the latter festival’s] 20th anniversary,” he notes.
The Latin pulse
“To understand the Bresh phenomenon you have to understand it as a platform, as a place where young and Latin American talent [mingle],” he explains. “I don’t like to enclose Bresh inside the box of a Latin party, because it seems to me that it can be much more than that: It’s a party with a Latin pulse. With that which characterizes us Latinos — the hospitality, the dancing, the expression, the fun, the affection, the touching, the sexy and the sensual. Many attendees understood that energy and made it their own.”
AEG Presents, the second biggest live events company in the world, and powerful Latin entertainment company Cárdenas Marketing Network (CMN), have partnered in a deal that will combine both companies under one roof. The partnership, in which AEG acquired an undisclosed stake in CMN and which AEG Presents chairman and CEO Jay Marciano describes as a “full partnership,” will explosively boost AEG’s Latin music business and is AEG’s first Latin partnership of this scope.
CMN ended 2023 at No. 4 on Billboard’s Top Promoter chart, and in 2022, it was No. 3, an enormous achievement for an independent company that CMN founder and CEO Henry Cárdenas self-describes as a “boutique concert promoter.” But it’s a very powerful boutique operation, with a slate that included Bad Bunny’s stadium tour in 2022 and currently Luis Miguel, Marc Anthony and Don Omar, among many other.
On its end, AEG is of course the powerhouse company behind Taylor Swift’s global tour and culturally-defining events like Coachella. Latin, however, was not its strong suit, although it promoted Karol G’s arena tour in in 2023. Now, AEG will have the Latin clout while CMN while have the global reach, and both companies will work together to create elevated and expanded experiences for artists and fans, with each benefitting from the complementary strategic alliance.
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“We are excited to partner with AEG Presents, one of the most powerful global forces in live entertainment. Together we look forward to making an even greater impact on the explosive growth in the Latin market,” said Cárdenas in a statement.
In an exclusive interview with Billboard, Cárdenas added: “We wanted to be bigger and more global. AEG is a giant company that also has venues and I’ve known Jay Marciano for 40 years, since he was president of Radio City Music Hall and Madison Square Garden. Jay knows who I am, and I know who he is.”
Marciano added: “Henry is a true entrepreneur and visionary, and what he and his team have built is simply awe-inspiring. We have been looking to expand our presence in Latin music and concerts for quite some time, and it was important that we took the time to find the right partner; we found it in Henry and CMN.”
The partnership between AEG and CMN has been actively in the works for approximately six months, but it was in both Cárdenas’ and Marcianos’ minds long before then.
“I feel like I’ve been chasing Henry for 40 years,” laughs Marciano. “It’s like the girl I’ve been chasing forever, and she finally said yes […] Henry was in Latin music way before any of us figured out it was an industry. Timing is everything. And I think the timing for us and for him finally, after all these years, aligned perfectly.”
Cárdenas has been in Latin music promotion for 44 years. In 2001, he sold CFA (Cardenas, Fernandez & Associates) — which at one point was the biggest Hispanic-owned event-promotion company in the U.S. — to Clear Channel Entertainment and Grupo Televisa. In 2004, he launched CMN on his own and quickly grew it all over again, eventually becoming the top Latin promoter in the country. In all his years of operation, he says, he has never lost money, save for during the pandemic.
“I’m a boutique concert promoter. I take care of my business. My tours have to be profitable, and we take care of each tour,” he says, emphasizing that his is not a cookie cutter approach to concert promotion.
However, Cárdenas also wanted to grow and become more global and in 2019, he acquired Arena Bogotá in Colombia. At this point, merging made sense, especially with a company like AEG, which has assets and artists that Cárdenas can work with in Latin America, and likewise, offers Cárdenas’ artists an entree into other markets.
The key, however, was the relationship with Marciano.
“It’s about people in this business,” says Marciano. “If you don’t have the right people, chances are you won’t be successful. With Henry we knew he had the foundation for decades and he could teach us a lot that we were missing.”
Cárdenas and Marciano had initial conversations several years back, at which time Marciano said: “Henry, I’m not going to hound you. But come the day you feel we’re better together than apart, give me a call.”
Last year he did, and conversations began in earnest.
“I think Henry believes Latin music is not just becoming big in North America but has the potential to become big in Europe and Asia and Australia and he can use our expertise and local offices,” said Marciano. “And we can also use his help because he understands the part of Latin music we’re just getting familiar with.”
Cárdenas will now take over AEG’s Latin activity and touring roster, which includes Carin León. In the spirit of AEG’s existing partnerships, such as the Messina Group or Golden Voice, Cárdenas will run the business, and make decisions on which artists and tours to bring to the business.
“I told Jay, ‘This needs to be fun. If it’s not going to be fun, it’s not interesting.’ I want to run CMN like I’ve always done,” says Cárdenas.
The AEG-CMN merger follows the 2021 acquisition of Mexican concert promoter OCESA Entertenimiento by Live Nation for $416 million for a 51% interest in the company.
No amount or stake percentage was disclosed for AEG’s purchase of CMN. But, says Marciano, “I think I have the Latin partner That I always wanted.”