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Christian Nodal and Cazzu have ended their relationship, confirming the unexpected split via social media on Thursday (May 23).
The former couple — who first went public in November 2022 and had their first baby together the following year — shared a joint statement on their Instagram Stories. “The time has come to share that Julieta and I are going our separate ways,” Nodal wrote, which Cazzu reposted on her own account. “Our love and respect for each other remains strong, especially in our role as parents to our wonderful daughter, Inti.”
Following Nodal’s repost, the Argentine singer (born: Julieta Emilia Cazzuchelli) shared in her stories: “We artists are a screen of what happens in real life. You go through love, heartbreak, successes and mistakes with us. Today, as it was many times and as there are still many, you accompany us, some with hate and others with much love. Thank you, everything heals.”
Both Cazzu and Nodal are artists in their own right who have broken barriers in their respective genres.
The former is known as one of the female pioneers of the trap movement in Argentina, and who paved the way for other urban women including Nicki Nicole, Maria Becerra and Emilia. Hailing from Jujuy, a northwestern province of Argentina, Cazzu first dipped her toes in cumbia and rock music before discovering the trap realm, where she’s had the opportunity to collaborate with artists such as Bad Bunny, Rauw Alejandro, Bizarrap and Natti Natasha, to name a few.
At the age of 18, the latter revolutionized regional Mexican music by pioneering mariacheño, a subgenre fusing mariachi’s strings and horns with the norteño accordion. The Latin Grammy-winning artist, who has collabs with Romeo Santos, Ricky Martin, Residente, Alejandro Fernandez and more, made history after the Gera MX-assisted “Botella Tras Botella” became the first Regional Mexican title to enter the Billboard Hot 100 chart in its over 60-year history.
Below, revisit Cazzu and Nodal’s relationship timeline:
June 2022: Rumors Began
Christian Nodal and Cazzu have called it quits, and confirmed on social media that they are going their separate ways. The news comes two years after the couple began dating, and nearly a year after the Mexican mariacheño star and Argentine rapper welcomed their daughter, Inti.
On Thursday (May 23), both artists shared a heartfelt message on Instagram. “The time has come to share that Julieta and I are going our separate ways,” Nodal wrote, which Cazzu reposted on her own account. “Our love and respect for each other remains strong, especially in our role as parents to our wonderful daughter, Inti. I am deeply grateful for the moments we shared and will always carry those memories fondly. I appreciate your support and understanding during this time of change.”
After reposting Nodal’s message, Cazzu shared in her own words: “We artists are a screen of what happens in real life. You go through love, heartbreak, successes and mistakes with us. Today, as it was many times and as there are still many, you accompany us, some with hate and others with much love. Thank you, everything heals.”
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In April 2023, Cazzu revealed she was pregnant during a concert at the Movistar Arena in Buenos Aires when she dropped her white coat, revealing her baby bump. Five months later, she and Nodal shared a sweet photo holding their baby’s tiny hand, captioning it with a date: “14.09.23.” Since then, Nodal had been living in Argentina with Cazzu and their daughter.
In his Billboard cover story published in March, Nodal spoke about touring as a couple with Inti in tow. “I remember those times when I would come down from the stage and feel alone,” he said. “Now I come down to a stroller with my baby in it, and it all seems perfect. She has already been on tour with us, and I thought it would be hard, but she’s a rock star. When she was born, I was feeling exhausted. I don’t know how I managed to change diapers, but she gives me energy, motivation and strength.”
After starting Baja Beach Fest in Rosarito, Mexico in 2018, which captured the ever-growing reggaeton scene with a lineup that included headliners like Bad Bunny, Yandel and Farruko, Aaron Ampudia and Chris Den Uijl were looking to take the concept to a whole new market.
“Chicago was the target,” says Ampudia over the phone from his home in San Diego. The Midwest city is now home to Sueños, which he and Den Uijl launched in 2022 with a lineup that leaned urban with some regional Mexican in the mix. This year, the two-day festival – headlined by Rauw Alejandro, Peso Pluma and Maluma – is sold out for the first time since launching, with 65,000 expected in downtown Grant Park each day (May 25-26). “Chicago has the infrastructure to host festivals like Lollapalooza, one of the biggest in the country, and the Mexican and Latin market, which we consider the second largest after Southern California. It made sense for us to go after Chicago.”
Indeed, Chicago, the third largest city in the country with a population of 2.6 million as of July 1, according to the U.S. Census Bureau, has a massive Latin presence that contributes to the diversity of the city. Chicago’s population is about one-third Latino and one in five Chicagoans identify as Mexican, according to an analysis by WBEZ.
Yet for many years, Chicago residents felt they were snubbed from major Latin music events that took place in other big Hispanic markets like Los Angeles or Miami, which is why smaller, community-driven and grassroots events flourished in the summer in public parks located in predominantly Hispanic neighborhoods around the Chicagoland area.
“I think the country sees Chicago as one thing unfortunately and often its violence, and that comes from a lack of experiencing our culture,” says Mo Mami, local DJ and creative director, who has performed at multiple local festivals since launching her DJ career five years ago.
“Small scale festivals are the kind of festivals that really drive a bigger picture. When you have enough of those showcasing diversity of sounds, the brands that are part of big festivals see that there’s a thirst in the community for something even bigger and it plants the seeds to grow from the block parties to public parks to Grant Park.”
While a community effort, Ruido Fest was the first “big” Latin festival to take place in Chicago. Produced by local-based production company Metronome, its concept was unique as it catered to a fervid Latin alternative, rock en español fanbase with headliners like Los Fabulosos Cadillacs, Panteón Rococó and Café Tacvba, forging its own path in a reggaeton-dominated world. It kicked off in 2015 in Adams Park (then went on to Union Park) but struggled after the pandemic. Last year’s edition was cancelled and there’s no word about it coming back. “Our main goal was to expand opportunities for Latin artists and fans of Spanish-language music in Chicago in the long term,” the festival then said in a statement. “After almost a decade of work we are proud to have a hand in the tremendous growth of the local Latin scene.”
While other festivals were inspired by the success of Ruido Fest, many of the ones that emerged right after were short-lived. Lift Off cancelled the second day of its debut edition in 2018, and Los Dells, while not in Chicago but in Wisconsin, billed as the “first major Latin music festival in the Midwest,” lasted three years (2017-2019).
“Of course, it worries you,” says Ampudia about the risk of launching a Latin festival in Chicago. “But we knew that the Latino culture across the U.S. was underserved of a festival that they could call their own. And there was nothing really that we saw that was in Chicago. That’s where it clicked for us. We need to come out and do it the best way possible, the biggest possible, with the best partners and that’s why we partnered with C3 (who produces Lollapalooza). It’s nerve-wracking but the response has been unbelievable.”
The success of a Latin music festival in Chicago is “contingent on the lineup, concept, and capacity of the festival,” says Henry Cárdenas, founder of Cárdenas Marketing Network, the biggest indie Latin promoter in the world, who is based out of Chicago. “The co-existence of multiple festivals enriches the city’s cultural landscape, offering more choices and opportunities for both attendees and performers. If each festival continues to innovate, adapt, and engage with its audience effectively, there’s ample room for co-existence and success in Chicago’s dynamic festival scene, which is now drawing larger and more diverse audiences, reflecting the growing influence and appreciation of Latin culture in the city,” he adds.
A local favorite event, Miche Fest, is also making waves as it prepares to host its biggest edition since launching six years ago. In partnership with indie promoter Zamora Live, the 6th annual Miche Fest will take place in July for the first time in Chicago’s Oakwood Beach with superstar headliners Kali Uchis, Junior H, Luis R Conriquez and Los Ángeles Azules.
“Honestly, we just listened to feedback from the fans, those buying tickets,” says Fernando Nieto, co-founder of Miche Fest, who adds that the new alliance with Zamora Live is key to the festival’s growth. “Latinos are very vocal, they’re in our DMs telling us what they like and what they don’t like. The number one comment was that they wanted bigger names. Before there was Sueños, obviously, we were already trying to come up and we saw the demand and we were like ok we need to get bigger. It was a natural progression; we started as a street festival with local talent and look where we are now. This is an event organized by black and brown people from the South Side of Chicago and it makes me proud to see how much we’ve grown.”
Chicago’s ever-evolving yet booming Latin music festival landscape reflects what we’re seeing across the country, with a growing market that now includes the nostalgia-inspired Bésame Mucho in L.A., which this year expanded into Austin, and the debut of Bottle Rock’s La Onda in Napa Valley set for June.
“Latin artists deserve top billing and they can get lost in a lineup like Lollapalooza or Coachella,” adds Karina Gonzalez, VP of touring and development at Zamora Live. “But when there’s a local festival where you can exalt them in that way, it’s pretty cool and it was missing in the market. It’s missing in billings of festivals all over the country so it’s nice to be part of that and elevate the talent that gets lost in the weeds at other festivals.”
With Ruido Fest out of the picture (for now) and Sueños and Miche Fest as the leading Latin music festivals in the Midwest, it’s very telling of the Latin market today, says Mo Mami.
“When Ruido was around, it gave an even more expansive look into the diversity of Chicago’s Latin market,” she explains. “Sueños’ lineup features what’s popular on the radio with big names, in Grant Park. And then we have Miche Fest, which is more local, with a mix of banda, reggaeton, cumbia. These are the options we have to experience Spanish music in such a large scale here, which is fine because it’s what’s going to sell, and get the people turned up. It’s nice to have representation one way or another.”
Tokischa will launch her own record label called SOL under a new global partnership with Warner Music Latina, Billboard can exclusively announce today (May 23).
The Dominican artist (born: Tokischa Altagracia Peralta Juárez) will release her own music and sign new artists under the new deal that’s in partnership with her manager (and SOL co-founder) Angelica Piche within WML and supported by Atlantic Records.
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“We are thrilled to launch SOL, a label that will be a home for misunderstood artists,” Piche, who’s in charge of the project’s development, said in a statement. “It’s very important for us to give a voice and a space to people who, like us, started from scratch.”
Both teams at WML and Atlantic are excited to form part of Tokischa’s new career era.
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“She is an artist who takes counterculture to its highest and best expression. It is a privilege to help expand her global impact and support her limitless creative vision,” adds Alejandro Duque, Roberto Andrade Dirak, and Natalie Cotton of the Warner family.
Since kicking off her music career in 2018, the 28-year-old artist has shined with her groundbreaking and unapologetic music, bringing to the forefront the Dominican Republic’s thriving local underground scene, known as “el bajo mundo.”
“For me, when I feel free is when I’m myself,” she previously expressed during the women on the rise panel at the 2022 Billboard Latin Music Week. “For me, freedom is to feel comfortable with what surrounds me, with what I do, to feel unique. To feel special and loved by myself because one of the steps toward freedom is self love, and if I love myself and understand and know myself, and know what I need, I know where I’m going to walk and how I’m going to do it.”
With the new partnership, Warner Music Latina—alongside its international team and record labels—aims to introduce Tokischa’s “music to fresh audiences, bolstering her presence across diverse countries and cultures, and ultimately establishing her as a true global star,” noted the press statement.
Tokischa
Courtesy of Warner Music Latina
“One of the many memories I have with what the word grease evokes in me was when I was a little girl, my old man always had greasy hands because he worked at a gas station,” reflects Nathy Peluso while discussing the title of her upcoming third studio album, set to release on Friday (May 24), with Billboard. “For me it is very poetic and beautiful, as well as the symbol of people who work their backs to the bone.”
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This sense of nostalgia and respect for hard work permeates Grasa. The title, with its gritty connotation, captures the bold and ballsy essence of the Spain-based Argentine star. Known for her gritty rap style, Peluso’s album is a hodgepodge of genres and emotions.
“I wanted a word that had many meanings, something rough and strong that people could take ownership of, even redefine after listening to the album,” she adds. “Something that also seemed ironic to me, with a touch of humor, is that in Argentine slang, grasa means something very concrete and vulgar.”
This vision is evident throughout the album’s 16 tracks, which seamlessly blend elements of rap, salsa, soul and acoustic melodies. Her approach to creating it was driven by intuition and a desire to capture raw emotion. “The collaborations on this album came from the heart,” she explains. “I never strategize these things; it’s always about the connection and the feeling.”
This authenticity shines through in the ballad of “El Día Que Perdí Mi Juventud” featuring Blood Orange, and the glitchy, electronic-driven “Todo Roto” with Ca7triel & Paco Amoroso, where the synergy between artists enhances the impact of the music.
Beyond the collaborative efforts, Grasa holds a deeply personal significance for Peluso, who delves into themes of mental health with unapologetic honesty. “All humans have to take care of our minds,” she insists. “It is our pillar, what anchors us and what makes us be better every day.”
“There is a very important message in the album which is ‘Aprender a Amarse’ (learn to love yourself), which is something we all deserve, because in the end of the day, you have to be your best friend and best companion,” she continues. “For that, you have to be brave and face things that are very difficult. [I wanted to] shed a little light and energy so that people who maybe don’t find that strength in their daily lives, maybe they can put on some music on and feel encouraged. Because music has saved me many times.”
During her chat with Billboard, the artist also shares what it was like to perform with Karol G in during the Mañana Será Bonito Tour in Peluso’s native Argentina. “She is very generous. She invited me to play in Buenos Aires, which meant a lot to me,” she says. “[It was] the first time we sang ‘Gato malo,’ the song we have had together for years. We had never played it together in person, and it was super special.”
Watch the full interview above.
Artists are taking important strides towards changing the narrative around mental health by sharing their personal journeys and launching initiatives that support the emotional well-being of their communities.
Historically, mental health struggles were private battles for many — including performers, who appeared cheerful and undisturbed in public. This trend is shifting, as artists from various musical genres are now using their influence to shed light on mental health, demonstrating their personal struggles and coping mechanisms to normalize and destigmatize such conditions.
Among those making a difference are a bevy of Latin stars — such as Karol G, who, with her Con Cora Foundation, introduced “Rincón de la Calma” (Calm Corner), an initiative aimed at fostering mental health awareness in Latin American schools. J Balvin stepped into the arena with OYE, a bilingual app focused on creative wellness, launched in 2022 to serve the Latin community. The app offers resources on managing anxiety, depression, crisis, grief, and more.
Mexican singer/songwriter Carla Morrison used her platform and music to publicly address her mental health. Having taken a break from the limelight, she returned with a powerful message in her 2022 single, “Ansiedad (Anxiety),” reflecting her lifelong struggle with anxiety. Residente also contributed to the conversation in the Latin urban scene with his introspective song “René,” which delves into his personal mental health experiences.
These artists are just a few examples of those in the Latin music industry leading by example, using their platforms and talents to support and encourage the multitude of fans who admire them. Read our list of 15 such artists below, presented in alphabetical order.
May is Mental Health Awareness Month, and Oct. 10 is World Mental Health Day. If you or anyone you know is struggling with mental health or substance abuse disorders, reach out to the Substance Abuse and Mental Health Services Administration‘s national helpline 24/7 at 1-800-662-HELP (4357) for confidential treatment referrals and information. For those who are experiencing suicidal thoughts and/or distress, the National Suicide Prevention Lifeline is available 24/7 at 1-800-273-8255. You can also call or text 988 to get connected to trained counselors.
Alejandro Sanz
Image Credit: JAVIER TORRES/AFP via Getty Images
Camila Cabello and Kali Uchis will be honored at the 2024 Billboard Latin Women in Music, Billboard and Telemundo announced on Thursday (May 23). The show will air exclusively on Telemundo on Sunday, June 9, at 9 p.m. ET, and will be simultaneously available on the Telemundo app and Peacock.
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This celebration, which highlights the efforts of Latin women musicians who are “proactively working for positive change, inclusion and gender parity in the music industry,” will see the megastar of Cuban and Mexican roots receive the Global Impact award, and the Colombian-American singer the Rising Star award.
“Singer-songwriter Camila Cabello’s success and contributions have earned her the honor of Global Impact, which recognizes female artists who have an exceptional ability to connect with audiences worldwide, not only through their music but also by positively influencing popular culture, as well as serving as ambassadors of Latin culture on a global scale,” reads the official press release, noting that the singer of “Havana” and “Señorita” has used her voice not only to create great hits worldwide, but to promote important issues that she is passionate about such as immigration, diversity, mental health and female empowerment.
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Among other projects, Cabello has partnered with This Is About Humanity and Miami Freedom Project to host community events for new immigrant families in Miami, and has raised half a million dollars with Equality Florida and Lambda Legal to combat harmful legislation in Florida targeting the LGBTQ+ community. She also launched the Healing Justice Project to provide mental health resources to BIPOC organizers across the country advancing racial, immigrant, and environmental justice.
Uchis, meanwhile, “has quickly climbed the charts since releasing her first album in 2018,” the statement continues, “earning her this year’s Rising Star honor, a recognition and celebration of an emerging talent’s success in growing their musical prowess and solidifying their place in the industry.”
The singer, songwriter and record producer has successfully alternated between English and Spanish-language projects, while defying music genres with music that blends elements of R&B, neo-soul, pop, and Latin rhythms. Her smash hit “telepatía” from her debut album Isolation has amassed over 2 billion streams and is the Billboard Hot 100 longest-running Spanish song by a solo act this decade with a 23-week streak.
Cabello and Uchis join a list of previously announced honorees for this year that include Gloria Estefan (Legend award), Ana Bárbara (Lifetime Achievement award), Ángela Aguilar (Musical Dynasty) and Kany García (Spirit of Change).
In the coming weeks, additional honorees and details will be announced for the second annual Billboard Latin Women in Music ceremony, which will be hosted by actress Jacqueline Bracamontes.
On Wednesday night (May 22), Bizarrap electrified Terminal 5 with his debut headlining performance in New York City. Commanding the stage from behind the decks, the Argentine sensation wowed the audience with his dynamic show. Highlighting the momentous night, he surprised attendees by introducing Dominican rapper Lismar to perform their newest collaboration, “Lismar: Bzrp Music Sessions, Vol. 60,” live.
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“I just released a song a few minutes ago. Are you ready to hear it for the first time live or not?!” shouted Biza to the ecstatic crowd. “I brought a special guest. Her name is Lismar from the Dominican Republic. We didn’t just release one song, we released two!” Donning his signature BZRP-emblazoned black cap, his sunglasses and an Adidas windbreaker jacket, he launched into the whirling melody to “Vol. 60.”
The newcomer made her way to the main stage sporting a white strapless crop top paired with black sparkly-net long sleeves and baggy cargo pants. Bizarrap’s Run DMC-esque hip-hop beat filled the air as Lismar spat her rapid-fire rhymes to the roaring crowd. Meanwhile, the song’s music video, illuminated with Biza’s staple blue-hued lighting in his studio, played in the backdrop.
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“She is only 18, she is the future,” the Argentine producer said at the end of their song. Right away, they premiered their second song “Subió La Temperatura,” a funky rap jam with riveting breakbeats accompanied by a quirky video game-styled visual.
Other standout songs performed included “Vol. 53,” famously featuring Shakira, whose lyrics the crowd sang word-for-word. Villano Antillano, Quevedo, Residente, Snow Tha Product, Peso Pluma, and Arcángel where also among the mega hits the Latin Grammy-winning producer also spun.
On Saturday (May 18), Bizarrap unveiled his newest collaboration in the form of a sci-fi-themed seven-minute short film. On May 25, he will also perform at the Sueños Music Festival in Chicago, IL.
Watch Bizarrap and Lismar perform “Vol. 60” at Terminal 5 below:
In the wake of a falling out between RBD and its ex-manager and business partner Guillermo Rosas — a split made public in January when Billboard reported that the two had parted ways — the Mexican band has shared an official statement addressing the ongoing dispute.
In a statement issued Wednesday (May 22), RBD responded to previous claims made by Rosas and his company, T6H, to People En Español that there was “no financial mismanagement” tied to the band’s ultra-successful Soy Rebelde Tour. Hitting back at that characterization, RBD members Anahí, Christopher Von Uckermann, Dulce María, Christian Chávez and Maite Perroni claim that there were in fact “significant irregularities” revealed in a forensic accounting investigation led by Critin Cooperman, alleging that nearly $1 million remains unaccounted for after T6H began receiving funds related to the tour in December 2022.
According to the official statement issued by RBD’s lawyers and shared with Billboard, T6H and Citrin Cooperman — a services firm that acted as a business manager for the tour and also conducted the financial audit — were the “only entities responsible for the tour payments.” None of RBD’s members “had access to manage the money or make payments,” the band claims.
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Furthermore, the band says, T6H has “hindered the process” by not signing “key” documents necessary for the resolution of payments and the tour, which marked RBD’s grand return to touring after splitting in 2008.
Billboard reached out to T6H for comment but did not hear back by press time.
“Given the considerable amount of money involved and the discrepancies found, all our projects are currently on hold. We have had to pause this shared dream with you, including a possible continuation of the tour,” the statement continues. “Our goal has always been to resolve these discrepancies professionally. We remain committed to cooperating with all parties involved to achieve a fair and transparent resolution. Our integrity and the trust of our fans are paramount, and we will not rest until these matters fully resolve.”
In December, RBD wrapped its massive world tour, which, as of Nov. 30, had grossed $197.1 million since launching in August. Rosas also worked with the band as a concert promoter from 2006 to 2008.
Under a new business model designed for RBD’s comeback tour, the five members and Rosas were deemed equal partners in a new joint venture. The deal had the band splitting all new revenue, including for music, with Rosas, who in 2020 helped clear the rights to the group’s catalog. He also brought Live Nation on board as the promoter for the reunion tour and CAA for global representation of the band.
Omar Geles, the Latin Grammy-nominated vallenato singer, songwriter and accordionist who rose to fame in the ’80s with the group Los Diablitos, died on Tuesday (May 21) at Clínica Erasmo in Valledupar, Colombia. He was 57.
On May 18, Geles appeared as a guest artist at Silvestre Dangond‘s concert at El Campín Stadium in Bogotá, where he took the stage alongside Karen Lizarazo, Gusi, Elder Dayan, Rafa Peréz, Penchi Castro, Churo Díaz, and Diego Daza.
The Colombian newspaper El Tiempo noted that Geles had already suffered a “decompensation” on April 27 after a show in Miami, where he was treated at a hospital and successfully recovered.
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“Being grateful is the most precious gift and I have no way to repay you because you were attentive to my health,” Geles tweeted on April 28. “To God be the glory because he is the owner of life and everything. I still have a big handful of songs to give you. I love you. Here I am, strong as an oak!”
The news of his death led stars such as Carlos Vives and Miguel Morales, his former bandmate in Los Diablitos, to express their sorrow on social media.
“It’s not easy to accept that an artist like Omar Geles, with so much talent, so much joy, so many stories to tell, so much love for people has suddenly left,” Vives wrote on X, where he also posted a series of photographs of the many moments they shared, including in the TV series Escalona, in which Geles portrayed Simón Salas. “I could tell you many stories of a truly fraternal, unselfish artist that was loved by all. I will miss you dear Omar. Rest in peace.”
“The paths of life are like this… OMAR GELES, today my heart expresses with my tears of pain your departure. You were my partner, my brother, my friend, colleague, and my source of what I am today,” Morales expressed on his Instagram account, making a reference to their hit “Los Caminos de la Vida,” which means “The Paths of Life.”
The Vallenato Legend Festival highlighted on X that “in his musical career as an accordionist and composer [Geles] achieved great triumphs and knew how to give glory and honor to the music he loved until his last days.”
Geles became known in 1985 when he and Morales created the group Los Diablitos, releasing hits such as “Los Caminos de la Vida” and “Cómo le Pago a mi Dios.” In 2004, after separating from Morales, the artist changed the name of the group to La Gente de Omar Geles and remained active.
In the last decade, he received two Latin Grammy nominations for best cumbia/vallenato album: in 2010 for Prueba Superada, and in 2012 for Histórico – A Dúo Con Los Grandes.
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Watch a snippet shared by El Tiempo of his last performance at Dangond’s show over the weekend below.
@eltiempo Sobre las 8 de la noche de este martes 21 de mayo se conoció que el reconocido compositor y cantante de vallenato Ómar Geles falleció en la Clínica Erasmo de Valledupar. Aunque las causas de su fallecimiento no han sido confirmadas, de manera preliminar se informó que presentó una falla cardiaca. La noticia ha causado sorpresa entre compositores, amigos y fanáticos del artista, pues este fin de semana se estuvo presentando como parte de los invitados al concierto de Silvestre Dangond @Silvestre Dangond en Bogotá. Créditos @Angelica Daza Garrid ♬ sonido original – EL TIEMPO