Latin
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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.”
Billboard and the Community of Madrid announced on Wednesday (March 13) the first major Encuentro de la Música en Español, an event scheduled for March 19 that will feature a performance by Nicki Nicole and celebrate the global rise of Spanish music.
Set to take place at the WiZink Center, the inaugural Encuentro de la Música en Español, powered by Billboard and Billboard Español, will bring together artists such as Raphael, Ana Mena, Luis Cobos, La Mala Rodríguez, Maikel Delacalle and Paula Cendejas, in addition to managers and executives from major record labels.
In the words of Leila Cobo, Billboard‘s chief content officer for Latin/Español, Spain is, “in addition to being one of the largest and most important music markets in the world, an indispensable pillar of Spanish music and one of the main axes of its growth in the last decade,” Cobo said in a statement. “For Billboard — the world’s most recognized music brand — and for Billboard Español, it is an honor to bring our brand to the Spanish capital, hand in hand with the Comunidad de Madrid, with an avant-garde event that celebrates the industry and the artists from both sides of the Atlantic.”
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During the event , which can only be accessed by invitation, music industry professionals will have the opportunity to attend various panels that put into context the current state of Spanish music through the testimonies of musicians, managers, and executives from large record labels. In the first panel of the day, titled Entre Dos Aguas (Between Two Waters), will feature Jorge Ferradas of FPM Entertainment, Alex Gallardo of Sony Music US Latin, Walter Kolm of WK Entertainment/WK Records, Rosa Lagarrigue of RLM and Federico Lauria of Dale Play Records.
This will be followed by a tribute to one of the icons of Spanish music of the last half-century, Raphael, who will be interviewed by Cobo; the panel The New Face of Spanish Music, with the participation of stars from the current pop and urban scene (Ana Mena, La Mala Rodríguez, Maikel Delacalle and Paula Cendejas); and a talk from the president of the Academia de la Música de España (Academy of Music of Spain), Luis Cobos, titled La Academia de la Música Española y un capítulo para la música en España (The Spanish Music Academy and a chapter for music in Spain).
The event will conclude with one of the pioneers of the current female urban movement: Argentine rapper and singer Nicki Nicole, who will offer a Q&A followed by an exclusive showcase. In addition to a cocktail courtesy of Enrique Tomás, which will also feature other collaborators such as Hard Rock, the Society of Performing Artists or Performers of Spain and Magusa Global Cargo.
“This important professional event allows the Madrid region to contribute to the development of the music industry and build bridges between Latin America and Spain around our language,” added the minister of culture, tourism and sports of Comunidad de Madrid, Mariano de Paco Serrano. “We want to expand the connection between culture and Comunidad de Madrid hand in hand with the sector, and contribute so that the public and tourists identify our region as an indisputable reference of international music. The strategy is completed by involving major artists and professionals in such emblematic spaces as the WiZink Center, the great musical jewel of our community.”
Music monitoring company MonitorLATINO has expanded its services to Spain, giving the music community in the country “access to a platform with advice, data and accurate song playback information on radio and digital platforms,” according to a press release. Founded more than 20 years ago in the United States, the reputable music industry firm — […]
Spain‘s recorded music industry enjoyed revenue of nearly 520 million euros ($567 million) in 2023, marking the third consecutive year of double-digit growth. The industry witnessed a notable 12.33% increase from the previous year, with music sales contributing 465 million euros ($507 million), according to the latest report from PROMUSICAE, an association representing over 95% of the Spanish recording sector.
The growth is attributed to a robust digital market, which now accounts for 86% of music consumption in Spain, with streaming services leading the charge. Remarkably, nearly 99% of digital sales, amounting to 398.6 million euros ($435 million), came from streaming, with audio platforms generating 330 million euros ($360 million) and video accounting for the remainder. This trend underscores the continuing shift towards digital consumption, with physical sales also seeing an uptick, particularly in the vinyl segment, which experienced a 19% revenue increase and commanded over 56% of the physical market’s turnover.
The report highlights the increasing embrace of premium subscription models, with over 6 million Spaniards opting for such services in 2023, a 15% jump from the previous year. This reflects a growing willingness among consumers to pay for enhanced music experiences, although Spain still lags behind other markets in terms of premium subscriber shares.
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PROMUSICAE’s president, Antonio Guisasola, reflected positively on the industry’s achievements in 2023, underscoring the pivotal role of the streaming model in providing consumers access to a vast array of recorded music at a modest price. He credited this success to the collective talent of artists and the concerted efforts and investments of the recording industry. “We make a very positive assessment of the 2023 year’s closure, with big hopes in the reasonable advance of the streaming model that brings to the consumer at a modest price all recorded music created thanks to the sum of artists’ talent and the work, effort, and investment of all the recording industry of our country,” he said in a press release. However, he acknowledged the industry’s ongoing journey to recover and reach the pre-piracy-crisis levels of 2001 when revenue was 37% higher than it was last year.
Guisasola advocates for comprehensive support from the public sector and continued investment in artist development to reach and surpass the revenue levels seen before the piracy crisis, with the aim of Spanish music having a stronger presence on the international stage. “These aids, combined with the recording industry’s enormous commitment — investing over 30% of its benefits in marketing and developing its artists, and with worldwide investments exceeding 7.1 billion dollars as per IFPI details, spanning all facets of phonographic production and the commercialization and promotion of works — shall allow us to take the definite plunge and overcome,” said Guisasola. He claims this will allow the Spanish recording industry to surpass all-time revenue highs, as has been achieved in other countries.
Top 10 albums in Spain by revenue in 2023:
Quevedo, Donde Quiero Estar
Karol G, Mañana Será Bonito
Bad Bunny, Un Verano Sin Ti
Bad Bunny, Nadie Sabe Lo Que Va a Pasar Mañana
Aitana, Alpha
C. Tangana, El Madrileño
Rauw Alejandro, Saturno
Taylor Swift, 1989 (Taylor’s Version)
Feid, Feliz Cumpleaños Ferxxo Te Pirateamos el Álbum
Mora, Paraiso
Top 10 songs in Spain by revenue in 2023:
Bizarrap x Shakira, “Shakira: BZRP Music Sessions, Vol. 53”
Marshmello x Manuel Turizo, “El Merengue”
Vicco, “Nochenterai”
Manuel Turizo, “La Bachata”
Yandel x Feid, “Yandel 150”
Karol G x Shakira, “TQG”
Quevedo x Myke Towers, “Playa Del Inglés”
Quevedo, “Columbia”
Rosalía x Rauw Alejandro, “Beso”
Myke Towers, “Lala”