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Although it’s one of her greatest hits, La India was hesitant about recording “Ese Hombre,” the 1994 song that ultimately became a certified anthem for Latin women across generations. “I thought the lyrics were too harsh,” the Puerto Rican-born star says today. “I love men and I didn’t feel anger towards them. I thought, ‘How am I going to sing this?’”
Finding inspiration from one of her favorite artists (Rocío Jurado, who sang the song in the ’70s) and a nudge from renowned hitmaker Sergio George (who produced her breakthrough 1994 album Dicen Que Soy, home to “Ese Hombre,” and assured her the song would be a hit), La India belted the lyrics, about a man who is “a false, vain clown who is also mean and spiteful,” over her signature blend of salsa with an R&B and hip-hop sensibility. Singing with so much conviction, and with her unmatched vocal prowess, she inevitably became the voice of a generation, and a fixture in salsa music.
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The track peaked at No. 1 on Billboard’s Tropical Airplay chart, where it ruled for five weeks. In fact, she has a total of 11 leaders on that tally, most of any woman artist. Over on the Tropical Albums chart, she’s had 15 career entries – also the most for any female act – with six reaching No. 1, including Dicen Que Soy, which also featrures her timeless Marc Anthony duet “Vivir Lo Nuestro.”
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Born Linda Caballero, the 55-year-old artist comes from a musical family. Both her mother and grandmother were singers and took notice of La India’s vocal abilities early on. “My grandma nurtured me with music,” says La India, who grew up in the South Bronx area in New York listening to myriad genres, including hip-hop, salsa, pop and rock. “At five [years old], I could sing songs from beginning to end, a cappella and on key.” In her teen years, she joined freestyle and house music group TKA, and says she’s “very proud” of the dance projects she released in her early 20s.
But salsa was her destiny, she adds.
“When I transitioned into salsa, everyone around me was scared at the beginning — but I wasn’t,” she says. “It was just a matter of me feeling the difference between downbeat and upbeat clave. So, I went in with my style: bringing soul, R&&, hip-hop to salsa music.”
Considered “La Princesa de la Salsa” — a moniker bestowed upon her by the great Celia Cruz, known as “La Reina of Salsa,” who La India humbly calls her godmother — La India’s powerful vocals drew the attention of stars like Eddie Palmieri, who she met in a studio session and who produced her first salsa album in 1991, and the iconic Tito Puente, with whom she went on to record a Latin jazz album. Then she teamed up with Sergio George for Dicen Que Soy, which won tropical/salsa album of the year by a female artist at the second annual Billboard Latin Music Awards.
“It’s the most innovative album of the 90s. It changed my life,” La India says. “It was huge on radio, and from there on we never looked back.” It’s an album that she also “spiritually dedicated” to Cruz, her idol. “Throughout her years of great music and excellence, she never saw me as a rival. She welcomed me into salsa tropical and said, ‘You’re going to hold your own and you’re the princess of salsa’ – she blessed me with that. In a genre dominated by men she opened doors for me. I look upon her for my strength. I continue to celebrate her, and I know she would be proud of me today.”
Set to be honored with the Pioneer Award at Billboard Latin Women in Music 2024, La India has, across four decades, gifted women with anthems that make them feel powerful, something she doesn’t take for granted.
“I knew that through my singing, I was born to make people feel emotions,” she explains. “When I sing, I don’t just sing to sing. We’re here to do music that will last forever, and I’m proud of that.”
Billboard Latin Women in Music 2024 will air exclusively on Telemundo Sunday (June 9) at 9 p.m. ET, and will also be available on the Telemundo app and on Peacock.
Gabito Ballesteros debuts across Billboard’s album charts as The GB launches at No. 3 on the Regional Mexican Albums chart and at No. 5 on Top Latin Albums chart (dated June 8). His debut studio full-length album, released May 23 via Los CT/Instercope/ICLG, marks his first visit to any Billboard albums ranking. The GB concurrent debuts at No. 65 on the all-genre Billboard 200 chart, the 24-year-old’s first foray there.
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The GB opens with 14,000 equivalent album units earned in the U.S. in the tracking week ending May 30, according to Luminate. Streams contribute most of the debut week activity, which equates to 19.6 million official on-demand streams of the album’s songs.
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The 22-track set is Ballesteros’ first entry on the Regional Mexican Albums and Top Latin Albums tallies, after notching previous entries across Billboard‘s songs rankings, including a No. 1 on Hot Latin Songs, and two top 20 performances on the Billboard Global 200 chart.
As The GB launches at No. 3 on Regional Mexican Albums, it joins two other efforts with an equal No. 3 start in 2024 –the highest opening among the five top 10 debuts this year. Further, it gives imprint Los CT its maiden top 10 start since the regional Mexican ranking launched in 1985. Here’s the recap of those 2024 top 10 debuts:
Debut Pos., Artist, Title, Debut Date
No. 5, Oscar Maydon, Distorsión, Jan. 6
No. 3, Luis R Conriquez, Corridos Bélicos, Vol. IV, Jan. 20
No. 3, Fuerza Regida, Dolido, Pero No Arrepentido (EP), Feb. 24
No. 6, Grupo Frontera, Jugando A Que No Pasa Nada, May 25
No. 3, Gabito Ballesteros, The GB, June 8, 2024
On the song realm, “Sin Yolanda,” with Peso Pluma, leads three The GB entries on the multimetric Hot Latin Songs chart, where it opens at No. 20, powered mostly by 3.1 million official U.S. streams. The set’s previously charted song “El Boss,” with Natanael Cano, rises 50-44 (largely from 1.9 million streams), while “Lucky Charms,” with both collaborators, Cano and Pluma, bows at No. 47 (mostly from 1.8 million streams).
The album was also preceded by the No. 19-peaking “A Puro Dolor’ on Regional Mexican Airplay, Ballesteros’ banda-driven take of Son By Four’s ubiquitous pop hit, which dominated both, Hot Latin Songs and the overall Latin Airplay list for 20 weeks in 2000. The song concurrently gifted Ballesteros his third entry on the latter, where it debuted and peaked at No. 41 (chart dated April 27).
Camilo Launches Tropical Albums Era With ‘Cuatro’
Elsewhere on the Latin charts, Latin pop singer-songwriter Camilo makes his debut on the Tropical Albums chart with Cuatro. The 12-song album is the sum of three previously released three-song projects (uno, dos, tres) along with three new songs.
The effort arrives at No. 6 on Tropical Albums with a little over 2,000 equivalent album units, mostly driven by streaming activity. That sum equates to 3.2 million official on-demand audio and video streams for the album’s songs this week, with a negligible amount of activity from track-equivalent units.
As Cuatro debuts, Camilo secures his first entry and top 10 on the list, after placing three top 10 albums on Latin Pop Albums, including the No. 1-peaking Por Primera Vez (two weeks atop in 2020).
Cuatro, released May 23 via Hecho a Mano/Sony Music Latin, was preceded by one song: “Plis,” a collab with wife Eva Luna Montaner, which took the couple to a No. 36 high on Latin Airplay (March 30) and gifted the Colombian soloist his sixth top 10 Tropical Airplay (peaked at No. 4 on March 16).
When Kali Uchis first broke into the American mainstream in the mid ‘10s, listeners were quickly drawn to her warm, languid coo. But what few knew then is that the artist born Karly-Marina Loaiza was already a veritable powerhouse: writing, producing and even directing and editing her music videos.
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Uchis first registered on our radar as an indie sensation with her silky EP Por Vida in 2015, where she cemented her status as a formidable talent. By 2024, she has established herself as a versatile star, seamlessly navigating English and Spanish-language projects, while consistently defying genre with her unique blend of R&B, pop, indie and Latin rhythms. “Having these two different cultures has inspired and influenced so much of everything that I do and make,” the Colombian-American artist tells Billboard Español. Her smash hit “Telepatía” from Sin Miedo (2020) alone has amassed over two billion streams to date, while peaking at a career-best No. 25 on the Billboard Hot 100, and also spending 25 weeks on the chart.
After a trio of Billboard 200-charting releases — 2018’s Isolation (No. 32), 2020’s Sin Miedo (del Amor y Otros Demonios) (No. 52) and 2023’s Red Moon in Venus (No. 4) — Uchis unveiled her fourth studio LP (and second Spanish-language album) Oriquídeas, in January. The album became her highest-charting project to date, achieving remarkable success across both the American and Latin markets — peaking at No. 2 on the Billboard 200, while soaring to the pinnacle of Top Latin Albums, Latin Pop Albums, Top Albums Sales, and Vinyl Albums.
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Recently a new mother, Kali Uchis will be recognized with the Rising Star award at Billboard Latin Women in Music 2024. “As an artist, I have always tried to freely express myself. I think [that] opens a door for other artists to feel free and in expressing themselves when it comes to bilingual music, Spanglish,” she tells Billboard Español. “It’s really special when young women tell me that because of me, they felt empowered to be more free in the way that they create. It’s a beautiful thing to feel that you can inspire the next generation.”
Firstly, congratulations on an eventful 2024 so far. You released a No. 1 album, and you’re a new mother!
I was pretty much working my whole pregnancy. I was touring and getting ready to release this album. I shot a bunch of music videos. I was doing as much work [as I could] — so that when I had my baby, I could just enjoy my new baby, and not have to worry about work too much.
When it comes to my child, everything else can wait. I always told myself, “One day, should God ever give me the opportunity to become a mother, I don’t ever want to be the type of person that’s like, ‘My career comes first.’” There’s a lot more to life than your career. That’s how I look at the world. So it’s been a beautiful thing to put [the album] out and see what happens. I’m now getting back into the swing of working. We’ll see if another song happens to take off from the album. But if not, I’m not really worried about it, I have my next album ready. I’m ready for my next era.
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You’ve navigated between the Latin and U.S. music markets with ease, which had been uncommon after first making it big in English-language music. What challenges and opportunities have you encountered in doing so?
There are so many of us that have grown up in spaces of feeling “other” — especially in the United States as a Latina, feeling like you have to [be in put a] box. Now, it’s different. But when I was growing up, you had to identify yourself on paperwork by checking a box [specifying] if you’re Black, white, Asian, Pacific Islander. I always checked the “other” box. Every day, it felt like people were trying to take away your identity, make you not proud of where you come from, and make you feel like it’s not okay to speak Spanish. Even people coming to this country changed their kids’ names to become more Americanized, so they don’t get discriminated [against]. A lot of that experience was challenging for me.
You also grew up in Colombia.
I went to school in Colombia. We were supposed to live there for the rest of my life. Then we ended up coming back to the United States. I had a tumultuous upbringing when it came to heritage, [asking] where is home and what to call home. When I came back to the United States, our house was the place where family members [stopped in] when crossing to America. It was full of immigrants. As an artist, trying to find my footing not only as a person, but as an artist, your artistic identity. All of it has played a big part in me. Being a dual citizen and having these two different cultures has inspired and influenced so much of everything that I do and make. Finding that balance was probably the most challenging part for me.
With Sin Miedo, the pushback was, “You’re never going to be accepted by the Latin market. You’re always going to be considered a gringa because of your U.S. upbringing.” Then with the English-speaking fans, the pushback was, “She’s making music that I can’t understand.” There was some shame, something out of your control. But I had the privilege of never feeling that pressure of having to be commercially successful. Now there are so many of us that have had that experience, first- and second-generation [Latinos]. It’s this new layer to Latinidad that never existed before. Now that America is becoming so Latin, it’s almost like I found my place in that, as well.
How do you and your partner Don Toliver, who’s also a well-known artist, support each other in your respective endeavors?
Whether it’s your friends, family, or partner, it’s important to support [one another’s] dreams, and ambitions. It’s great being able to be with somebody that supports anything that I choose to do, and he understands. If I want to keep making music, I can do that. He also supports me if I don’t want to keep doing that. As a mom, there’s a lot of shaming if you [either] work or don’t work.
On my end, whatever he feels he needs to do for his career, I’m here for him too. It goes both ways, and it’s important — especially when you have a baby. The relationship becomes even more layered. Both of you become responsible for this whole other human being. So it’s important to take time to still be communicating with each other, and putting energy into the relationship.
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You’ve done dembow (“Muñequita” with El Alfa and JT), reggaetón (“Labios Mordidos” with Karol G), neo soul (“Igual Que Un Angel” with Peso Pluma), boleros (“Te Mata”) — you’ve tapped into many genres very seamlessly.
When I make a Latin album in particular, I’m really trying to play and experiment as much as I can with all of the Latin genres that have influenced me. That’s my opportunity to have as much fun as possible. A lot of times, when [non-Latin] people think about Latin music, they just think of one type of artist or sound — and I tried to just be as free with my expression so I can show the range of Latin music and everything that inspires me.
Sometimes I surprise myself, like, “Oh, I didn’t know that I could do this sound.” For instance, my merengue song (“Dame Beso // Muévete”) on Orquídeas, that’s my first time ever doing that sound. I never thought that I could make a song like this — so it’s cool. The bolero was really fun, too.
What advice would you give to emerging artists who aspire to follow in your footsteps?
Any up-and-coming artists, I would say, “Be yourself.” Don’t ever try to be like anybody else, think about how somebody else would do something, or follow trends. Find your own light, find your own path, and do what feels right for you. That’s how you’re going to do something that’s never been done before. That is something that I’ve always stood for and lived by. I think that’s what sets you apart as the artist — solidifying your own lane, your own identity — and when you make music, that you are ultimately striving to be timeless.
Billboard Latin Women in Music 2024 will air at 9 PM ET (8 PM Central) on Sunday, June 9 via Telemundo, and can also be streamed on the Telemundo app and on Peacock.
When Kany García was a child growing up in Puerto Rico, her father — a former priest who became a social worker — constantly took his three children with him to the many public housing projects where he worked.
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“My dad normalized for us the idea of entering, of participating. There was always that dynamic of service, of conscience, of empathy,” García says today. The ability to listen and connect have been constant elements in García’s music, in songs that are intensely personal, but also intensely empathetic and capable of connecting on many levels. In her 17-year career, García has placed 30 songs on Billboard‘s Latin Pop Airplay chart and eight albums — including five in the top 10 and one No. 1, 2019’s Limonada — on Top Latin Albums. They include her most recent, the self-titled García, released last month.
But at the same time that Garcia, the artist, has gained global success (she just announced a 20-plus date U.S. tour), she has also spread social awareness in many areas — demonstrating sustained and vocal activism, and social commitment that is rare in the world of Latin music. For her action and conviction, García will be recognized with the Spirit of Change award at the 2024 Billboard Latin Women In Music gala, airing June 9 on the Telemundo network.
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Receiving the award, says García, “On the one hand, is like an embrace — and within the effort and struggle, it’s also an opportunity to continue inspiring new generations of women who are vocal[…] how have raised their voices for my generation and for generations before me.”
In addition to helping multiple organizations, García continually promotes gender equality, feminism and LGBQT rights, and speaks often about gender violence, both in interviews and in her own songs.
“I think everyone acts according to what they understand and what their personality is,” she says when asked if artists should speak out. “For me, it’s a necessity. It’s something that goes hand in hand with touring – where you have the opportunity to see firsthand the people who are affected by your music. You’re there, and you witness the reality of each country and say: ‘How can I not speak up? How can I not contribute? How can I not communicate?’”
García actively contributes to many organizations, among them the True Self Foundation in Puerto Rico, which works for the well-being and social mobility of communities of different sexual orientation and gender identity. But García also advocates daily for those things she feels deeply on a personal level. On her Instagram feed, she often raises her voice to comment on topics as diverse as social policy and femicides and constantly engages in social issues. For example, in December, she sang at the Bayamón Women’s Rehabilitation Complex in Puerto Rico — her second visit to the center — and she also visited the headquarters of The Happy Givers, which helps seniors.
But at this moment in her life, she says, what moves her most is “everything that has to do with gender violence and the rate of femicides that exists throughout Latin America. The issue of women has been paramount in recent years.”
And it is a topic that García addresses the best way she knows: with music.
In her song “Se portaba mal” (“She Misbehave,” from the 2020 album Mesa Para Dos), for example — which she recorded with Mon Laferte — she describes in detail the daily life of an abused woman to the strains of tango (“She behaved badly, very bad/ You had to grab her and pull her hair/ Punch her three times before going to bed/ And tomorrow, ‘Forgive me because I love you,’” go the brutal opening lines).
“For me, feminism will always be important in my music — because I live the issue of inequality daily,” she says. “I love that the songs are a bridge that allow people to sit down and talk, to be aware of what we are experiencing. For me it has always been an essential part of what I have done and what has given meaning to my songs and my project.”
Billboard’s 2024 Latin Women In Music airs Sunday, June 9 on the Telemundo network (9 pm ET/8pm Central) and will stream live on the Telemundo app and on Peacock.
Kany García is set to hit the road with her García Tour 2024 in North America, which will kick off Oct. 9 in Dallas’ Majestic Theatre. In support of her latest album, García, the Live Nation-produced trek will visit major U.S. markets including Chicago, New York and Atlanta before wrapping up Dec. 1 in Miami’s […]
La India will be honored with the Pioneer award at the 2024 Billboard Latin Women in Music event, Billboard and Telemundo announced Tuesday (June 4).
The Puerto Rican singer and songwriter, aka the “Princess of Salsa,” will receive an honor that acknowledges those who have pioneered new paths, broken barriers and inspired future generations through their innovative artistry, cultural impact and enduring legacy. The show will air exclusively on Telemundo this Sunday (June 9) at 9 p.m. (ET), and will also be available on the Telemundo app and on Peacock.
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“Since the release of her first album [Dicen Que Soy in 1994], La India ushered in a new era and sound for salsa music representing female empowerment and becoming a voice for Latinas,” says the release. “She achieved remarkable success in a historically male-dominated genre, paving the way for other female artists in salsa. By blending traditional salsa with elements of pop, house, and other genres, La India has contributed to the evolution of salsa music, inspiring future generations of artists and expanding the genre’s reach and appeal.”
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On the Billboard charts, La India has collected 11 No. 1s on Tropical Airplay, the most for a woman in that tally, and has had 15 entries on Tropical Albums, also the most for any female act, including six No. 1s.
On Tuesday, Billboard and Telemundo also announced that GALE, Sergio George, Arthur Hanlon, Elena Rose and Juliana will all take the stage in special performances and collaborations to celebrate this year’s honorees. In addition to La India, Karol G will be celebrated as Woman of the Year, Gloria Estefan will receive the Legend award, Camila Cabello the Global Impact award, Ana Bárbara the Lifetime Achievement award, Ángela Aguilar the Musical Dynasty award, Kali Uchis the Rising Star award, and Kany García the Spirit of Change award.
The show will be hosted by Mexican actress Jacqueline Bracamontes and will have Pedro Capó, Myrka Dellanos, Luis Figueroa, María José, Penélope Menchaca, Andrea Meza and Maripily Rivera among the presenters.
The Billboard Latin Women in Music franchise recognizes the importance of Latin women in the music industry and honors those who have made a positive impact in the previous year. The honors bestowed in 2023 included Shakira as Woman of the Year, Ana Gabriel as Living Legend, Emilia as Rising Star, and Thalia as Global Powerhouse, among others.
Cash Money Records, the storied label known for launching the careers of rap superstars like Lil Wayne, Drake and Nicki Minaj, is making a push into the Latin music market by signing four promising Puerto Rican artists: Jeyyff, Midnvght, DimeWest and El Blxnco, the company tells Billboard Español.
The signings of the four artists — part of a joint venture with Puerto Rican record label Virolgue — represents Cash Money’s strategy to reach new audiences and “create groundbreaking music that transcends boundaries and fosters unity in diversity,” according to a press release. The artists are active in the reggaetón, Latin trap and Spanish-language hip-hop scenes.
“By embracing these Latin artists, we embark on an exhilarating new chapter in our journey,” states Ronald “Slim” Williams, co-CEO of Cash Money Records, in a statement. “We are dedicated to supporting them and to help them realize their potential while introducing them to current and new fans globally. At Cash Money Records, diversity and authenticity have always been our cornerstone and we eagerly anticipate these exceptional artists will propel their music in the Latin market.”
Cash Money Latin A&R Carlos Rivas, A&R marketing and publicity manager Cristina Novo, and vp of digital Matty Bernal are leading the initiative for the label.
“As a Latina in the music industry, it’s an exhilarating moment to see this vision come to fruition,” Novo says. “Growing up with Cash Money as a cultural cornerstone, being part of this epic moment is beyond surreal. It’s not just about music; it’s about bridging cultures, forging connections, and carrying forward the indomitable legacy of Cash Money Records alongside our esteemed partners from Virolgue.”
Cash Money plans to kick off the partnership with a series of exclusive releases and collaborative projects geared towards the Latin audience.
Jeyyff, whose real name is Jesús Figueroa, shared his enthusiasm about joining the label in a statement. “Signing with Cash Money Records is like stepping onto a global stage,” says the singer, who was recently featured on the track “Háblate Claro 2.0.” He added that he sees his signing as a chance to “make history, one verse at a time.”
DimeWest, who made the rounds for his viral hit “Porche Carrera” in 2023, expressed similar excitement about joining the Cash Money family, stating that signing to the label represents “endless possibilities” for his career.
In his own statement, El Blxnco said he views his signing as a major honor, acknowledging the label’s legacy in developing top-tier talent. “It is a great honor to start my career with such a prestigious record label that developed the career of Lil Wayne [and] Hot Boys among other high caliber artists,” he added. Meanwhile, Midnvght described joining the label as a significant “accomplishment” for him.
From singles to diverse music projects, including a special appearance at the Puerto Rican Day Parade in New York, the work of all four newly-signed Cash Money artists will soon be “accessible for fans worldwide to savor and celebrate,” the press release added.
Since its founding in 2001, Cardenas Marketing Network (CMN) has grown into one of the most dominant concert promoters in the world, leading the charge as Latin music continues to assert itself on arena and stadium stages. Case in point: In the midyear Boxscore tracking period, the company is up in every conceivable metric, posting the biggest gross and attendance in its history.
According to figures reported to Billboard Boxscore, CMN grossed $233.3 million and sold 1.9 million tickets from 148 shows between Oct. 1, 2023, and March 31, 2024. That attendance figure marks a 12% increase from the company’s 2023 midyear showing, which was already up by 71% from 2022 — a year that saw a 94% rise in attendance from pre-pandemic 2019.
CMN’s $233 million gross marks the company’s first midyear tracking period that finished north of the $200 million threshold, rising 43% from last year’s $163 million. Its 2024 midyear earnings are notably almost 4.5x higher than its pre-pandemic business. That achievement comes from working both smarter and harder: in essence, by putting on more shows by more artists in bigger venues with maximized potential.
Luis Miguel leads the charge among CMN’s touring artists. The Mexican music icon finished at No. 1 on the midyear Top Latin Tours ranking, grossing $165.6 million and selling 1.2 million tickets during the tracking period — eclipsing the biggest Latin tour of 2023 (Karol G) on both metrics in just six months. That marks the biggest gross for a Latin artist in the history of Billboard Boxscore’s midyear charts.
But as proven by Karol G last year and CMN’s run with Bad Bunny in 2022, the promoter’s reach exceeds genre restrictions. At midyear, Miguel is No. 4 on the all-genre Top Tours chart, behind only U2, P!nk and Madonna. He also ranks third in terms of tickets sold. Elsewhere, Marc Anthony is No. 48 on Top Tours with $23.4 million, while Don Omar and Christian Nodal also pulled in eight-figure earnings with $14.1 million and $11.8 million, respectively.
Notably, CMN is absent from the midyear Top Promoters chart. Having recently entered into a partnership with AEG Presents, the company’s totals were rolled into those of AEG — which ranked No. 2 with grosses of $976.6 million — for midyear chart purposes. AEG’s total is up nearly $300 million from last year thanks to the touring giant’s own promotions and the addition of CMN to its tally. Had CMN been listed individually on Top Promoters, it would have ranked in the top five.
While the midyear tracking period closed on March 31, CMN’s tours have continued rolling. Reported grosses from April and March amount to more than $100 million, outpacing the midyear period thanks to big assists from recently launched treks by Aventura and Victor Manuelle.
CMN’s would-be top five midyear placement tracks, as the company spent the last three years in the upper region of the year-end Top Promoters chart — the culmination of a steady climb since its 2001 inception. CMN volleyed on and off the chart throughout the 2000s before rising from No. 15 in 2018 to No. 10 in 2019 to No. 7 in 2020. It ranked at either No. 3 or No. 4 in 2021, 2022 and 2023.
There’s a tiny space under the staircase of Camilo’s Taller Creativo – his creative workshop — that Camilo calls Refugio de Indigo y Amaranto (Indigo and Amaranto’s Refuge), a kind of makeshift hiding place for his daughter Indigo, and soon-to-be-born Amaranto to play in.
But when Indigo isn’t around, Camilo crawls in there with his guitar, microphone, laptop and a little lamp, and he writes songs. So was born “Canción de amor para la pulga”, or “Love Song for the Flea,” the term of endearment for Evaluna, Camilo’s wife and muse.
“It’s one of the most important songs in the album,” says the Colombian star, referring to Cuatro, his album released late last month, which gathers four EPs released in quick succession in the past three months. Camilo, barefoot, has crouched to roll up the folding door of this little hideaway, one of dozens of unexpected and often wondrous nooks and crannies to explore in the Colombian star’s new creative workshop, simply called El Taller Creativo.
Located in Miami’s Little Haiti neighborhood behind an encircling garden and a small waterfall, the vast hangar-like space has been tailored and arranged to serve many different purposes, all thoughtfully executed to the last detail with homey touches.
In May, Camilo took Billboard on an exclusive tour of the space, where he made us an amazing cortadito, and showed us around like only he can.
There’s the date in which Camilo received the keys to the workshop — Dec. 5, 2023 — carefully written in white chalk on an overhead wooden beam; flowing curtains painted blue and white, like the sky, the color scheme of most of his recent videos; the plexiglass walls behind the curtain, which allow for sound recording to take place here; a manual typewriter that serves as the workshop’s official record-keeper of visitors; a dining room table that works as meeting ground and “operational center” for Camilo’s staff and producers; the studio that houses not only recording equipment, but dozens and dozens of instruments, each with a given name.
Camilo had long dreamt of having his own creative space. “Physical spaces affect creativity,” he says. “Everything intervenes … It’s not so much about having possession of a place, but having autonomy over my things. It’s different.”
Inside Taller Creativo, Camilo does what he wants, when he wants to. He can arrive early and leave late, take a nap on the hammock, work with his headphones while Indigo sleeps, film his videos and record his music. His parents, who live two blocks away, often stop by and bring the Colombian lunch.
As for the creative output? It’s flowing. In just six months since he first opened the door to El Taller, he released his four EPs — Un, Dos, Tres and Cuatro — the “first creative work to come out of the workshop,” he says. “I dreamt with that; with having from the very first spark of an idea to the last close of the master recording and the videos, all done here, by hand, in El Taller Creativo.”
Follow Camilo’s tour with us in the video above.
The highly awaited “Gata Only (Remix)” is dropping this week, Billboard can exclusively announce Monday (June 3).
Currently on its eighth consecutive week at No. 1 on the Billboard Hot Latin Songs chart, FloyyMenor and Cris MJ have reeled in Ozuna and Anitta for the star-studded remix of their infectious reggaetón banger that was released on Feb. 2 via UnitedMasters.
Hoping fans will enjoy the new version, the Puerto Rican artist tells Billboard he’s thrilled to be collaborating with Floyy and Cris, “two Chilean artists who are making their mark on urban music,” he notes, “in addition to working with Anitta again.”
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“‘Gata Only’ has become a worldwide hit and the fact that two artists like Ozuna and Anitta join the remix makes it all bigger and more special,” FloyyMenor adds.
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For Cris, Billboard’s Latin Artist on the Rise in May, he notes it’s also an honor to have two artists that “he admires and who have been uplifting Latin culture for years connect with their musical proposal.”
The “Gata Only (Remix)” drops Friday, June 7, and finds Ozuna and the Brazilian bombshell playfully belting out Chilean slang in their verses. Billboard can confirm an official music video featuring all four artists is also in the works.
“Gata Only” — which also earned both La Serena-based artists their first Billboard Hot 100 entry — made history on the Hot Latin Songs chart, marking the first time any Chilean artist entered the top 10 since La Ley and Ednita Nazario’s “Tu Sabes Bien” peaked at No. 8 in 1999. Prior to that, it was Myriam Hernández’s “Huele a Peligro,” which peaked at No. 5 in 1998.
“The lyrics talk about TikTok, about likes, about following,” Gerardo Mejía, UnitedMasters’ Latin A&R lead and former singer/rapper, previously told Billboard of the song’s success. “I think that he hit something that resonates with the kids. To top it off, it’s such a great melody. And having Cris MJ never hurts.”