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Earlier this year, Mexican hitmaker Carin León made his Grand Ole Opry debut performing “Primera Cita” and “The One (Pero No Como Yo)” (his recorded collaboration with Kane Brown) on the revered Nashville stage, to an audience filled with adoring fans.
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The moment highlighted a convergence between two of the U.S.’s fastest-growing musical genres. According to Luminate’s 2023 year-end report, Latin music rose 24.1% year over year in U.S. on-demand audio streams, while country music rose 23.7% year over year.
The surge is happening with live music as well. Through Nov. 7, 24 tours in 2024 have grossed more than $100 million, according to figures reported to Billboard Boxscore. Of those, four are by country artists and four are by Latin artists. At this point last year, only two country tours and one Latin tour had met those benchmarks.
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“Everybody wants to be a cowboy right now, everybody wants to do country right now,” León told Billboard earlier this year, noting how much of the roots of country music and cowboy culture are embedded in Latino culture. “We as Americans, as Mexicans, we want to feel proud of what we are for. We don’t want to emulate what everybody’s doing — these are our roots. Our hat is what we are, our boots are what we are. I’m very happy that people are looking to our culture in such a big way that is happening right now.”
Crossover collaborations between the two styles of music have always dotted the soundscape, but recently León, known for Billboard Latin Airplay hits including the four-week chart-topper “Segun Quien” with Maluma, saw his duet with Brown reach No. 48 on the Hot Country Songs chart. Country singer Carrie Underwood previously collaborated with David Bisbal on the bilingual “Tears of Gold,” and country singer Scotty McCreery, who is of Puerto Rican heritage, teamed with Gusi for “Why She Gotta Be Like That.” Brown also teamed with Camila Cabello teamed for “Never Be the Same.”
According to a preview of the Country Music Association’s upcoming fall 2024 Diverse Audience study, country music listenership has increased in the Latino community: 58% of Latino music listeners consume country music at least monthly, compared to 50% when the last study was conducted in 2021. The growth of weekly country music listenership among the Latino audience experienced an even greater jump, rising from 25% in 2021 to 36% in 2024, signifying a 44% growth.
Major country labels have also taken notice. Universal Music Group Nashville signed Louie TheSinger, while Warner Music Nashville inked William Beckmann, who told Billboard he chose from “six or seven different record deals on the table.” Singer-songwriter Kat Luna (formerly of the Latin-country duo Kat and Alex) is signed to Sony Music Nashville. BBR Music Group/BMG Nashville’s roster includes “Country’d Look Good on You” hitmaker Frank Ray.
“We all know that there’s a Hispanic audience that loves country music,” UMG Nashville chair/CEO Cindy Mabe recently told Billboard. “Leaning into it starts to change that and having intentionality about what we’re signing to bring to the table… For me, it’s about bringing in those people that actually can help me change that. That may be through joint ventures, or they may be partners. Whatever that looks like, I’m looking to bring it in so that we’re just widening.”
Other Latino artists who have launched country music careers in recent years include independent acts Angie K, former Sony Music Nashville-turned-indie artist Sammy Arriaga (who in addition to releasing country songs such as “Boat,” has found success online through performing Spanish-language versions of country hits from Chris Stapleton, Morgan Wallen and others), Andrea Vasquez, Valerie Ponzio and Stephanie Urbina Jones. Texan Matt Castillo recently released his album Pushing Borders and has already made inroads on the Texas Regional Radio Report country chart — earning four No. 1s, including the bilingual songs “Te Necesito” and “Corazon.”
However, like many women, Black and LGBTQ+ acts in country music, Latino artists continue to face an uphill battle, especially when it comes to finding chart-topping success at radio. As noted in the 2021 Redlining Country Music report from researcher Jada Watson, Hispanic/Latinx artists represented .4% of artists with songs played on country radio (Mediabase reporting) from 2002-2020. Overall, songs by BIPOC country artists represented 1.5% of songs played on country radio during that same period, while songs by white artists represented 98% of songs played on country radio during that period.
Ray broke through in 2022 with his top 20 Country Airplay hit “Country’d Look Good on You,” and also charted with “Somebody Else’s Whiskey.” In March 2023, Ray was part of Country Radio Seminar’s New Faces of Country Showcase, performing alongside Jelly Roll, Priscilla Block, Jackson Dean and Nate Smith.
However, when Ray followed up at country radio with “Uh Huh (Ajá),” a song that incorporated more Latin music-influenced guitar and percussion, as well as Spanish-language lyrics, he admits candidly, “It flopped. I appreciate country radio for giving it a shot, and that, to me, kind of lets me know that maybe the country music fanbase isn’t quite ready for that much of an infusion. So, there’s a lot of different reasons why I think it’s important to continue to create music like that. Obviously, from a career standpoint, you’ve got to be very strategic about it. We need inclusivity to happen, and it’s got to be socially acceptable all the way around.”
With streaming, playlists such as Spotify’s Latino Country have offered platforms for artists, while a range of other initiatives have spotlighted Latino artists, such as CMT’s Next Women of Country and an ongoing Nashville songwriters round featuring several Latina songwriters and hosted by celebrated Nashville Songwriters Hall of Famer Pat Alger. Meanwhile, music publishers including Sony Music Publishing and Warner Music Publishing have held songwriting camps for country and Latin music songwriters.
“Growing up in Texas, I was often exposed to Tejano and Mexican music, and I have always believed there are similarities between country music and Mexican music,” Rusty Gaston, CEO of Sony Music Publishing Nashville, tells Billboard in a statement. “Our Nashville office recently coordinated two Mexican/Nashville writing camps over the past 18 months and we’ve seen amazing cuts and releases come from each of them already. We’ve only scratched the surface of what is possible.”
“They wouldn’t be pushing for it if they didn’t feel like there was an audience out there that would appreciate it,” Ray says. “I’m proud of what the country music industry‘s doing on the industry side where they’re seeing that the potential for the representation here, and more and more Hispanic artists are getting signed, getting songwriting deals or getting producer credits. So, Nashville is certainly trying [its] d–ndest to be as inclusive as possible.”
According to Luminate, one driver behind Latin music’s surge is Regional Mexican music, which encompasses a range of subgenres, among them banda, mariachi and Norteño — styles that have long been intertwined with country music.
“If you peel it back from a historical standpoint, regional Mexican music, especially corridos, are basically ballads,” says Del Rio, Texas native Beckmann. “A lot of them were these murder ballads specifically about drug cartel and that world. What I would compare it to is the murder ballad ‘El Paso’ by Marty Robbins, where it’s almost like a movie playing through song. Regional Mexican music and country music, a common thread between those two is the story and the storytelling aspect of it, how a lot of it is centered around lyricism.”
MŌRIAH, a Mexican-American musician, actress and producer who has worked on projects including the film Unsung Hero, and previously earned a top 10 hit on the Billboard’s Top Christian Albums chart with her project Brave, just released the new single “Hasta Manana,” which is geared toward a country audience.
“We brought a mariachi band in from Juarez, Mexico, to record this, and I’m so glad they were a part of it,” she says. “My music director said at one point, ‘Mariachi is the folk music of Mexico, and country is the folk of America.’ So, it’s really, it’s not a long bridge to cross once you start kind of finding those connections.”
Much of cowboy culture in the United States comes from Spanish vaquero traditions, including cattle drives, cowboy hats, ranching, lassos and rodeos.
“Vaqueros were the first cowboys and a lot of the American cowboys’ traditions came from them,” says country singer-songwriter and California native Leah Turner, the daughter of a rodeo champion father and a first-generation Mexican-American mother. Turner released This Is Mi, which features bilingual songs, on Oct. 4. “I feel like country music has had such a love affair with the Mexicana culture, and they’ve been dancing for a really long time.”
“At quinceañeras, you’ll have a Tejano song, you have a country song, you have a Norteño song, you have a country song,” says singer-songwriter, journalist and historian Veronique Medrano, who released MexiAmericana in 2023. “We here in deep south Texas have always had a very close relationship to country music. That community that I have at these shows really brings everyone together. I do that very purposefully. I have English and Spanish and bilingual [songs], and I blend those in a set because that is how I walk through the world.”
Throughout the decades, artists with Latin roots have had success on Billboard’s country charts, including Sabinal, Texas native Johnny Rodriguez, who in the 1970s earned multiple Hot Country Songs chart-toppers including “Ridin’ My Thumb to Mexico” and “You Always Come Back (to Hurting Me),” and was nominated for the Academy of Country Music’s entertainer of the year award in 1974.
Long before Ray, Rodriguez was also featured as part of the Country Radio Seminar’s New Faces of Country Music show, in 1973. Freddy Fender, who is the subject of an exhibit curated by Medrano at the San Benito (Texas) Cultural Heritage Museum, topped the all-genre Billboard Hot 100 with “Before the Next Teardrop Falls,” which incorporated verses in Spanish. The song was named the CMA Awards’ single of the year in 1975, while Fender was nominated for male vocalist of the year (his album also earned a nomination for album of the year).
“Teardrop” also topped the Hot Country Singles chart, as did “Wasted Days and Wasted Nights,” “Secret Love” and “You’ll Lose a Good Thing.” Mexican-American singer-songwriter Linda Ronstadt paid homage to her heritage with albums including Canciones de mi Padre and Mas Canciones. In the 1980s, Rosie Flores charted with songs including “Crying Over You” and “He Cares,” and was nominated for the Academy of Country Music’s top new female vocalist accolade.
In the 1990s, Capitol Nashville artist Emilio Navaira, known as the “King of Tejano,” placed songs on both the Country Songs chart (including his top 30 song “It’s Not the End of the World”) and the Hot Latin Tracks chart. That same decade, Rick Trevino saw his songs including “Learning as you Go” and “Running Out of Reasons to Run” become Country Songs chart hits, while The Mavericks broke through on the mainstream country charts with “What a Cryin’ Shame,” “O What a Thrill” and “All You Ever Do Is Bring Me Down,” the latter featuring Flaco Jiménez.
Beckmann hopes he and his fellow artists signal the beginning of a new wave of hitmakers of Latin heritage in country music. “You can probably count on one hand the Johnny Rodriguezes and Freddy Fenders and Rick Trevinos of the world, but it is one of those things where maybe it’s taken this long for it to be the right place at the right time,” he says. “I’m just excited that I’ve got an opportunity to not only put myself out there and showcase my songs, but also help represent the culture of where I’m from and how I was raised.”
Mexican singer Pancho Barraza begins a new stage in his career with Fonovisa Records, the label he signed with earlier this month. The banda sinaloense singer’s story has been peculiar: After spending time as a vocalist of Banda Los Recoditos in the early ’90s, he began a solo career achieving fame and glory. However, issues with substance abuse kept him away from music for a decade and he hit rock bottom.
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It wasn’t until an invitation from Julión Álvarez to his Mis Ídolos Hoy Mis Amigos Tour in 2016 gave him the motivation to return to what he was once passionate about, and with the help of RB Music, an independent management and booking company, he began playing live shows again and released new music. Barraza even returned to the Billboard charts, most recently with “Me Voy a Alejar,” which entered the Regional Mexican Airplay this year.
“I was always a fan of Mr. Pancho Barraza so, in 2015, I invited him to receive an award at the Premios de la Calle,” says Ricardo Bobadilla, CEO of RB Music. “There, he told me that he had no record label or team, so I put myself at his service and, almost ten years later, we continue working with great enthusiasm.”
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The resurgence of Barraza, whose hits include “Mi Enemigo el Amor,” “Música Romántica,” “Yo Estaba Solo” and “Nunca Cambies,” made Fonovisa pay attention.
“Pancho Barraza is without a doubt an artist who is leaving a very important legacy to Mexican music,” says Antonio Silva, managing director of Fonovisa Disa US/Mexico. Adding Barraza to the roster, he adds, made sense. “Fonovisa Records has artists with great careers and who have left their mark, such as Los Tigres del Norte, Banda El Recodo and many more. That is how important we consider him to be.”
On Nov. 21, he will release “Mi Otro Yo,” a collaboration with Colombian artist Charlie Zaa in a banda version that will show another facet of Zaa. Speaking exclusively with Billboard Español, Barraza, 63, talks about this new chapter in his career.
You are a clear example that age doesn’t matter when you want to move forward.
As long as you have a voice to sing and something to offer the audience, you are in the competition. It has a lot to do with what you put in your head, what you believe about yourself, what you want for yourself. Definitely attitude is a key piece.
How did the alliance with Fonovisa come about?
There came a time when I felt like we — RB Music and my label Pachy Music — had reached a limit. Ricardo [Bobadilla] told me that he had very good results with Universal Music as a publisher and I liked the idea of including my compositions, but also my music. I called Antonio [Silva], with whom I had not had contact for a long time, and he answered me almost immediately. That was a sign, that’s how the conversations began.
What does this new chapter in your career consist of?
Fonovisa will be entirely in charge of the distribution of Pancho Barraza. The machinery that a company like this has will allow us to go even further, like being present at awards ceremonies, for example. If I want to become like the great artists who remain for posterity, I need to advance to another level.
The catalog you have recorded with Balboa Records and Musart is from Universal, so this is like the continuation.
That’s right, that is already there and will move, but now we will focus on the new, on Pancho Barraza’s music reaching many more places.
Your first release with Fonovisa is “Mi Otro Yo.” How was it doing it in banda with Charlie Zaa?
First it was recorded in his style, in response to his invitation, and it was a pleasant experience. The video is a reflection of how well we got along and enjoyed it. I’m sure you’ll like the banda version as well and you’ll enjoy hearing Charlie in a very different facet. When I sent it to him he loved it and he went to Guadalajara to record the video. Everything happened very quickly.
Musically, what can we expect from Pancho Barraza in 2025 in this new stage?
Several things are coming: the album Barraza Dinasty, with unreleased songs; another album with impressive collaborations. I can’t reveal the names at this point, but I went all the way. As for touring, we will go to conquer other markets, such as Central America and Colombia.
You have made a difference with your musical style. Are you aware of it?
I swear it was out of ignorance. I started recording romantic songs in different tones, in different harmonies, the banda musicians told me I was crazy. They got upset and I got upset with them, but in the end they agreed to do it and it sounded totally different from what banda sinaloense was.
With your more than 30 years of career, what can you say about regional Mexican music today?
That there is no difference between the music that the [new] guys are making and ours — it is just the language. Because, at the end of the day, as long as they use a charcheta, a tuba and a trombone, it still sounds like banda.
Panamanian singer-songwriter Rubén Blades has signed a global partnership with Virgin Music Group, Billboard has learned. The indie artist, who releases music under his own label Rubén Blades Production, was previously with AWAL. This new deal with Virgin sets him up for the “next chapter in his legendary career,” states a press release. One of […]
Regional Mexican music star Julión Álvarez announced on Monday (Nov. 11) the first date of his long-awaited return to the United States, which will take place next year on April 19 at SoFi Stadium in Los Angeles.
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The concert and the rest of the tour — which will be titled 4218 Tour USA 2025 and whose dates will be announced at a later date — will be presented by CMN (Cardenas Marketing Network), the promoter behind Luis Miguel’s historic tour, and Copar Music, Julión Álvarez’s management and booking company.
“We are putting together the tour right now, because there are two possibilities: to do some stadiums or several arenas,” said Ricardo Álvarez, CEO of Copar Music and Julión’s brother, in an exclusive interview with Billboard Español. “For the moment, this is the only date we have for sure; next week we will announce the complete tour.”
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After receiving several proposals for a tour, Ricardo Alvarez said they decided on CMN because “the commercial agreements they presented to us were the best option.”
The 4218 Tour USA 2025 comes eight years after a legal process that began on Aug. 10, 2017, when the U.S. Treasury Department singled out Julio Álvarez for alleged money laundering and links to drug trafficking. This caused the closure of his social media accounts, the veto on platforms and the rejection of U.S. companies to work with the Chiapas-born singer, and kept him away from the stages in this country.
In May 2022, the charges were dropped and Julión Álvarez announced in a press conference: “In 2013, I wanted to diversify and I partnered with a real estate company to build houses. I did not know that these people were being followed by the U.S. government and for that reason I was linked to them. Fortunately everything has been cleared up and now we will begin the process to reestablish the social networks, to be able to upload our music to platforms and give the fans what they have been asking for almost five years.”
During that time, the 41 year old singer toured Mexico with his show, recording sold-out shows and earning the nickname “El Rey de la Taquilla” (The Box Office King). On the music side, he never stopped recording; first he did it in collaborations and later launched his production De Hoy En Adelante Que Te Vaya Bien, via Fonovisa Records, winner of the Latin Grammy 2023 in the best banda music album category.
For the 25th anniversary of the Latin Grammys, he is nominated for the second time in the same category, now with his album Presente (also released under Fonovisa Records). A few weeks ago, he finalized the work visa process for him and his entire team.
“I learned in all aspects,” he added at the press conference in 2022. “Personally today I am more patient and calm. We can say that there is a Julión before and another one after what happened. Now I have the strength and wisdom to have a healthy financial life and I know how to manage what I have. I have gone through many tests, many investigations and much discrimination. Today I can say with my head held high that we are victorious and stronger.”
A few days ago, Julión Álvarez took to social media to hint at a potential tour announcement, and on Sunday (Nov. 10) he posted a video in which he showed his passport and a suitcase with the text “Los tiempos de Dios son perfectos” (God’s timing is perfect), setting off alarms among his followers and the press.
The pre-sale of tickets for the concert in Los Angeles will take place on Nov. 14, and the following day, the general sale will begin through ticketmaster.com. Below, check out the official announcement of their comeback.
Just a month after Eden Muñoz ruled Billboard’s Regional Mexican Airplay chart with “Mi Eterno Amor Secreto,” the singer, songwriter and producer is back at the summit with “Traigo Saldo y Ganas de Rogar,” as the single jumps 3-1 to lead the Nov. 16-dated ranking. It’s the second song to enter the tally from his second-studio album, Eden.
“Extremely happy to land, once again, atop the chart with a song as important as ‘Traigo Saldo,’” Muñoz tells Billboard. “Not only for representing my roots; I’m talking about banda music. Congratulations to the entire team and of course, grateful for all who continue to trust my music.”
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“Traigo Saldo y Ganas de Rogar” takes the lead on Regional Mexican Airplay with a 38% increase in audience impressions, to 8.1 million, earned on U.S. monitored stations during the Nov. 1-7 tracking week, according to Luminate. With the gain, Muñoz sends Joss Favela and Luis R. Conriquez’s “Con Todo Respetillo” to No. 2, after the latter’s one week in charge.
Thanks to “Traigo Saldo y Ganas de Rogar,” Muñoz picks up his sixth No. 1 on Regional Mexican Airplay since “ Chale!” his longest-leading song, ruled for three weeks in 2022. Plus, Muñoz secures his third champ of the year, along with Alejandro Fernández, the most for any solo singer in 2024.
Here’s a recap of Muñoz’s collection of No. 1 hits, dating to his first as a soloist, in 2022:
Peak, Title, Artist, Weeks at No. 1May 21, 2022, “Chale!” threeJuly 2, 2022, “Hay Que Hacer Dinero,” with Banda Ms, twoNov. 11, 2023, “Amor Clandestino,” with Mana, oneJan. 27, “Como En Los Viejos Tiempos,” oneOct. 12, “Mi Eterno Amor Secreto,” with Yuridia, oneNov. 16, “Traigo Saldo Y Ganas De Rogar”
Elsewhere, “Traigo Saldo” impresses one other main Billboard chart: it moves 9-3 on the overall Latin Airplay ranking, with 8.2 million audience impressions.
The song, released Aug. 19 on EMC/Sony Music Latin, was composed by Muñoz and Michelle Maciel.
All charts (dated Nov. 16, 2024) will update on Billboard.com tomorrow, Nov. 12). For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
When Luis Jiménez arrives at the 2024 Latin Grammy Awards ceremony on Thursday (Nov. 14), he will have to play a doubleheader: He will walk the red carpet twice, speak to the same media outlets twice, and perhaps have to split up for the celebrations. The reason? The Venezuelan singer and musician’s two bands, LAGOS and Los Mesoneros, are both nominated this year — and in the same category!
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Both are up for best pop/rock song: LAGOS for “Blanco y Negro” with Elena Rose, and Los Mesoneros for “Diciembre.”
LAGOS is also nominated for best pop song for “Dime Quién.” The pop duo, formed in 2019 by Jiménez and Agustín Zubillaga, already won best pop/rock song last year with Lasso’s “Ojos Marrones,” which they co-wrote. But this time they compete as performers for two songs from their sophomore album Alta Fidelidad, released in May under Warner Music México.
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As for Los Mesoneros, the rock band, active since 2006, had already received a handful of nominations in the past, including for best new artist (2012), best rock album (in 2012 for Indeleble, 2020 for Pangea, and 2021 for Los Mesoneros Live Desde Pangea), as well as best pop/rock song (in 2020 for “Últimas Palabras”). Now they compete with a song from their album Nuestro Año, released in April independently.
“It’s the first time that the bands’ times were synchronized,” Jiménez tells Billboard Español. “When Pangea, Mesoneros’ third album, and Clásico, LAGOS’s debut album, came out, it’s not that it wasn’t challenging — but compared to the size of the projects today, it was too easy.”
He adds: “Now, without a doubt, the challenge is to find the time and the mental state to be able to work creatively and also be able to have those editorial lines separated. It is becoming more and more complicated. But I like a challenge.”
In its 25th anniversary, the Latin Grammys will be broadcast live from the Kaseya Center in Miami on Univision, Galavisión and ViX starting at 8 p.m. (Eastern Time). A few days later, on Nov. 21, Jiménez will perform with Los Mesoneros for the first time at the iconic National Auditorium in Mexico City, where he lives.
Luis, how did you feel when you found out that you were nominated with your two bands in the same category?
A very strange, very particular sensation. Obviously, first and foremost it’s double the joy — “Oh, how crazy, they nominated us!” Then, this was a possible scenario and I didn’t really think much about what I would do if it happened; it was simply: “Well, let’s send all these songs, these albums, and whatever has to happen happens.” Receiving that news was really very nice, it is certainly special for me because for the first time they nominated Los Mesoneros and LAGOS simultaneously, and having that honor of being with all of them in that category is something wonderful.
The two albums came out only a month apart. How has this year been for you?
It’s been a titanic challenge. It really is difficult. I understand why no one does it, because it is very complicated to manage the time, and also to do things with excellence like this, in this format. But I think I’m very lucky and fortunate to have colleagues in each of the projects who support me in everything and who are incredible partners and who have also known how to handle this and help me make everything work out and turn out well, and do it with the standard that we have, and help me survive in the attempt.
Did you record with both bands in parallel? What was this process like?
Actually, thank God it wasn’t parallel, because that would have been very rough. Yes, there was a lot at times in the composition process, like sometimes I was writing with LAGOS and suddenly I went into a lock-out with Mesoneros, but it wasn’t so much that I was one day here and one day there, but rather taking a couple of weeks or a month with LAGOS, and then doing the same with Mesoneros. But the recording was appart. LAGOS recorded Alta Fidelidad about seven months before the Mesoneros album, or at least the second half. Although there were singles there that were sneaking in.
Any particular anecdotes trying to balance things with both groups?
Man, all the time, all the multitasking is crazy. I remember, for example, two or three years ago at the Latin Grammys, I also had to be there both with Mesoneros and LAGOS. LAGOS was there because we were going to play at a Warner party, and Mesoneros was nominated, and I had to go around all over Las Vegas even repeating some interviews — “Ah, is you again!?” And I was like, “Yes, but no.” And well, what’s going to happen now in Miami is going to be quite funny too, because even in the dressing room it’s a challenge. It’s a game of trying to be in two places at the same time. It’s challenging, it’s fun, and well, we’re now talking about that — doing the red carpet twice. It is quite particular.
You started doing rock with Los Mesoneros and then pop with LAGOS. Which genre do you identify with most today?
It’s very difficult to answer that — because it’s as if they’d ask you, “Who do you love more, your mom or your dad?” or “Which child do you love more?” Each one has its own thing and they fulfill me in different ways. Obviously I have always had a rock soul, but even since I was little I have also always been a pop lover. People who know me starting with Los Mesoneros never knew that I had that pop side, but it has always been there, actually. And now with LAGOS, I managed to [get to] that output and place where I can also show that side — but both satisfy me and make me happy in different ways.
As a performer, when you started with LAGOS, how difficult was it to find your own pop sound after years doing rock with Los Mesoneros?
It’s always a challenge and I think that’s the challenge, finding yourself within those scenarios. But I think that LAGOS is very interesting because when it came to light, in 2019, Agustín and I had actually been writing songs for other artists for a while, and making more pop music. And I enjoyed it a lot, it’s just that people didn’t picture it. For me, it was also an adventure to get involved in something that had nothing to do with what I had been doing, but also to discover other facets of myself.
Then, when we launched our LAGOS project, it was time to [ask ourselves], “What is our voice, what is our sound, how do we do it?” And that entailed some research, and a bit of trial and error — but luckily Agustín and I already had that very advanced work chemistry. And in some very crazy way — from Agustín with his set of influences, and me with my more alternative, more rock side — on paper it didn’t have to work, but it worked amazingly. I think that’s what gave LAGOS its identity.
What do your colleagues from both bands say? You’ve said they support you, but now with the nominations, is there any rivalry? Pride? Both?
I truly believe it’s been a miracle. I think that many project colleagues perhaps wouldn’t be able to tolerate such a dynamic — because it’s one thing to do it perhaps alternatingly, but doing it in parallel is a level further. That simultaneity has been the interesting thing, and I think I am seriously too lucky — because they have truly been a great source of support for me. I think they also see the level of dedication and effort and sacrifice that I make to give my 100% to both projects, and in reality they have been allies and are a crucial part of making it work. They are even accomplices.
Now that you have experienced this in parallel this year, is it feasible for you to maintain both bands in the future?
I think we have had to change a lot over time. Like, I have also had to learn to give up many things. I am so neurotic producing, writing, arranging, editing… I have also learned to adapt to growth, and increasingly see where I add more value [by giving] up roles. Yes, I want to continue doing this in parallel. Perhaps obviously now, after this year that has been so intense, we must adapt to delegating more… I think that now the challenge is going to be to get a schedule that’s a little less synchronized, but I do see it as a project that can continue and last longer.
If you win, who do you want to go on stage with to receive the award?
Look, I can leave happy with a scenario in which LAGOS wins in the category that is alone, and Mesoneros wins in the one that includes both. I think everyone ends up happy there. But in reality, whatever has to happen happens. I feel that with so many albums and so much music that comes out every week these days, it’s crazy to be on a list so short, that the Academy considers it one of the five best songs of the genre — and that those five include both bands — for me it’s quite an incredible achievement.
Who will win the top prize at the 2024 Latin Grammys? Every year, Billboard Latin and Billboard Español editors dissect the top categories — song of the year, record of the year, album of the year, and best new artist — to forecast the winners and spotlight the most deserving artists.
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As we approach the Latin Grammys on Thursday (Nov. 14), our Latin/Español editorial team has engaged in a spirited analysis, weighing market trends and historical voting behaviors to make educated predictions. This discussion includes insights from Billboard Español‘s deputy editor Sigal Ratner-Arias and associate editor Isabela Raygoza; as well as the Latin team, assistant editor, Jessica Roiz; senior editor, Griselda Flores; and social media manager/staff writer, Ingrid Fajardo.
On its 25th anniversary, the Latin Grammy Awards ceremony will broadcast live from the Kaseya Center in Miami. Produced by TelevisaUnivision, the three-hour event will air on Univision, Galavisión, and ViX starting at 8 p.m. ET/PT (7 p.m. CT).
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Here are our predictions:
Record of the year
“Mil Veces,” Anitta
“Monaco,” Bad Bunny
“Una Vida Pasada,” Camilo & Carín León
“Catalina,” Cimafunk & Monsieur Periné
“Derrumbe,” Jorge Drexler
“Con Dinero y Sin Dinero,” Fonseca & Grupo Niche
“Mi Ex Tenía Razón,” Karol G
“Mambo 23,” Juan Luis Guerra y 4.40
“Tenochtitlán,” Mon Laferte
“Igual Que Un Ángel,” Kali Uchis & Peso Pluma
Sigal Ratner-Arias: I feel strongly about “Igual Que Un Ángel.” I think it’s pun-intended, a heavenly pop song that is so pleasant to the ear with Kali’s vocal style and breathy tones, and Peso shows a softer side that we’ve never heard before. To me, it’s already a winner. I also love Camilo and Carín León’s salsa “Una Vida Pasada,” and I think that would be the runner-up.
Isabela Raygoza: I agree with that. That [“Igual Que Un Ángel”] was my pick, but I quickly want to highlight “Monaco.” I love its moodiness, Charles Aznavour’s references, and the menacing violin riffs; the lyrics are really elegant too. But definitely “Igual que un Ángel.” Not only did it perform extraordinarily well on many Billboard charts, peaking at No. 1, but what Sigal said, hearing Peso sing in an entirely new style really works for him, and Kali’s voice is so angelic and sultry. The production is so supreme that it drips with opulent sensuality. It’s a song you can dance and get frisky to.
Griselda Flores: I think it could be “Mi Ex Tenía Razón,” because it has Edgar Barrera, and it’s a nicely produced song. We’ve already heard Karol G do a more regional Mexican style but this norteño is a side that we haven’t seen from Karol. It softens her. And then there’s Barrera, who’s a [Latin] Grammy darling, and obviously that gives her an extra push. But I also think “Monaco” is very strong, because it’s arranged very nicely. It’s a strong contender because it was so catchy. I just hear it and it takes me back to a moment.
Ingrid Fajardo: For me, I would like “Monaco” to win. It’s such a special song on his album and the whole concept that Bad Bunny created. It’s so elegant in the way the intro with the violins, the lyrics, the concept of what he’s talking about and I would like Bad Bunny to win, he deserves it. I feel like he’s the only one who really experiments. He surprises us more and more.
Jessica Roiz: I agree with Ingrid, because we’re seeing Bad Bunny in a new light. He’s very experimental with everything he does, but just the whole classical aspect of it is beautiful. The first time I heard this song, it immediately set the tone for his album and this new era of maturity and evolution. The lyrics were a look inside of what he was going through professionally and personally. Musically, it also made me feel like I was in one of those Golden Age of Hollywood movies. The route he took with this song makes me feel like it’s worthy of a record of the year.
BAD BUNNY “MONACO”
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Album of the year
Bolero, Ángela Aguilar
Cuatro, Camilo
Xande Canta Caetano, Xande De Pilares
Mañana Será Bonito (Bichota Season), Karol G
García, Kany García
Radio Güira, Juan Luis Guerra 4.40
Autopoiética, Mon Laferte
Boca Chueca, Vol. 1, Carín León
Las Letras Ya No Importan, Residente
Las Mujeres Ya No Lloran, Shakira
Flores: I would want Carín León to win because he showcased how versatile he can be. Obviously, we know his palette is diverse but he cemented who he could be outside of regional Mexican without losing his essence. I want him to win because I think it’s a beautiful album, but I think Shakira could possibly take this one because of the momentum around her, the tour and her comeback album. I think she’s the strongest contender here.
Fajardo: It’s the same for me because Carín experimented and took us into his genre, but it also has a little bit of rock and country. It’s like Carín’s world, musically, but it also takes us into what he listens to and what he identifies with. The runner-up for me would be “Cuatro” by Camilo.
Ratner-Arias: I agree with Carín, he is my runner-up — but I feel that the competition is really going to be between Residente, who is a darling of the Latin Academy and who presented another innovative masterpiece with his album, and Shakira for her comeback and her heartfelt and personal songs. I would give my vote to her but I think Residente would be deserving and could take it.
Raygoza: I agree that Residente made a masterpiece. He presented himself as a more well-rounded artist, a songwriter who thinks outside the box with production and concept. But I also agree that Carín León could possibly take this one. I love that there is a regional Mexican song in this category; I think he’s the most-fitting darling-esque act for La Academia; however, my actual pick is Mon Laferte. The album opens up with “Tenochtitlán,” singing of the fallen ancient civilizations but the trip-hop-meets-bolero beat, à la Portishead. Then she switches to cumbia rebajada [on “Te Juro Que Volveré”]. I think her sound and voice are so haunting. She’s so poetic. I would love for her to win but I think Carín could win this one.
Roiz: I would like Carín to win as well because I feel that it would make a huge statement for música mexicana music. Yes, he’s experimenting but with what he likes and he’s consuming not with what’s trending. Notably, there’s that song he did with the gospel choir and it’s so passionate. Everything he sings comes out beautiful. I do hope he wins but it could also go to Residente or Kany García — I think those would be my runner-ups.
Carín León.
Jesus Fernando Espinoza
Song of the year
“A Fuego Lento,” Daymé Arocena & Vicente García, songwriters (Daymé Arocena & Vicente García)
“A La Mitad” (Banda Sonora Original De La Serie “Zorro”), Julio Reyes Copello & Mariana Vega, songwriters (Maura Nava)
“Aún Me Sigo Encontrando”, Rubén Blades, Gian Marco & Julio Reyes Copello, songwriters (Gian Marco & Rubén Blades)
“Caracas En El 2000,” Marvin Hawkins Rodriguez, Jerry Di, La Pichu, Danny Ocean & Elena Rose, songwriters (Elena Rose, Danny Ocean & Jerry Di)
“Derrumbe,” Jorge Drexler, songwriters (Jorge Drexler)
“(Entre Paréntesis),” Edgar Barrera, Kevyn Mauricio Cruz, Manuel Lorente Freire, Lenin Yorney Palacios & Shakira, songwriters (Shakira, Grupo Frontera)
“Mi Ex Tenía Razón,” Edgar Barrera, Andres Jael Correa Rios, Kevyn Mauricio Cruz Moreno, Karol G & MAG, songwriters (Karol G)
“Según Quién,” Edgar Barrera, Kevyn Mauricio Cruz, Luís Miguel Gómez Castaño, Maluma, Lenin Yorney Palacios & Juan Camilo Vargas, songwriters (Maluma & Carín León)
“Te Lo Agradezco,” Rafa Arcaute, Kany García, Carín León & Richi López, songwriters (Kany García & Carín León)
“313,” Leo Genovese, Residente & Silvia Pérez Cruz, songwriters (Residente, Silvia Pérez Cruz & Penélope Cruz)
Ratner-Arias: As a good Venezuelan I would like to see “Caracas en el 2000” win. It is a happy song, contagious, full of feelings, and nostalgia. It takes you back to a time in your life — it doesn’t matter that you’re not Venezuelan, but it takes you back to your homeland in those teenage years in a way that makes you smile and the chorus is super catchy. However, Residente’s song is very powerful and I think it’s very likely to win.
Flores: I don’t see a clear winner but I think that Jorge Drexler might have more of a chance here because it’s a beautiful song. It’s a spoken word and super poetic. Other than that, “Según Quién” was really catchy and resonated with listeners. Also, Elena Rose and Danny Ocean are beautiful songwriters, so I would like to see them get this recognition as composers.
Fajardo: I would like “Te Lo Agradezco” to win. I feel the lyrics are different. It’s a reminder of self-love from someone else’s point of view. I feel the same way that Jorge Drexler or Rubén Blades could win.
Roiz: I would like to see “Caracas en el 2000” win because it would be one of those statement-making moments. I love what the song represents — especially for Venezuela and for what all these artists have done for their country this year. I also think “Te Lo Agradezco” is a beautifully crafted song and it definitely has song-of-the-year potential. A strong runner-up for me would be “A La Mitad.” Maura Nava is a brand-new artist, coming from Julio Reyes Copello’s ArtHouse Academy, and it’s just surprising to see her in this category. It’s a very haunting and captivating song.
Raygoza: I’m gonna go with “Caracas en el 2000” because Venezuela had a huge year with its artists, and this song beautifully encapsulates that. It’s a powerful Venezuelan trio and the song is a youth nostalgia to their years living in Venezuela. I like the songwriting, enjoying a “cheese empanada,” it’s really cute! It reflects their life amid the country’s dramatic political shift. For my runner-up, I’m also going to go with Residente. I think it’s a very vulnerable song, especially after dedicating the song to a friend of his who passed away. The song navigates between mourning and remembrance, the nature of life, and how we cherish connections. I think it’s a beautiful orchestral ballad that touches on existence.
Jerry Di, Elena Rose & Danny Ocean
Warner Music Latina
Best new artist
Agris
Kevin Aguilar
Darumas
Nicolle Horbath
Latin Mafia
Cacá Magalhães
Os Garotin
Iñigo Quintero
Sofi Saar
Ela Taubert
Flores: Latin Mafia. I think they’re everywhere and everyone is talking about them. During Billboard Latin Music Week, I heard an executive say that they are the future of Latin music, and I kind of agree. They come with a different proposal, very unique, very real. They are brothers from Mexico doing avant-garde pop music, and it’s something refreshing for me. They excite me a lot, and I think they should and could win. A runner-up for me could be either Inigo Quintero or Ela Taubert — I think they have a good chance.
Raygoza: I want to echo what Griselda said because I feel similarly about Latin Mafia. They are groundbreaking in terms of their sonic configurations. Their sound is nostalgic but noisy. The production in their debut album is impeccable, they have rock, grunge, trip-hop, and skater punk, and it’s so unpredictable. Obviously, they had a huge year because they debuted at Coachella, and they signed to Rimas. They’re so unique in their presentation and it’s refreshing to see a group like them because it adds more versatility. They’re not pop nor urbano, they’re producers and they’re rockers, and I love that about them.
Fajardo: I agree. I feel that Latin Mafia represents an indie, conceptual, and creative side of music that we don’t hear a lot of in the United States. For me, they are super creative and I’m glad there is a space for them. My runner-up would be Ela, we have seen her very active this year and she has a lot of support.
Ratner-Arias: Each nominee in this category has their charm but my favorites here are Ela and Darumas. In fact, I would love for Darumas to win! Ela has a lot of beautiful pop songs that are relatable lyrics but I feel like we’ve seen a lot of singers like that already. Darumas represents something exciting and special by bringing funk, R&B, and Latin flavor. My vote is for Darumas, but the runner-up could be Latin Mafia.
Roiz: Personally, I would have loved to see Noreh in this category, but I agree with Sigal. I would love to see one of the girls win again. I was shocked when I saw Darumas here. They just kicked off their career this year, so this is pretty exciting. Their concept is super cool and they are very talented. I would love to see either Darumas or Ela Taubert win this one. Ela is a very well-rounded pop star.
Latin Mafia
@directony
Karol G gave a lengthy response Monday (Nov. 11) to the criticism her new song “+57” — featuring J Balvin, Feid, Maluma and other Colombian acts — as it faces backlash over lyrics that some have construed as sexualizing minors.
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Her post comes four days after dropping the reggaetón track, which brought together Colombia’s biggest hitmakers, also including Ryan Castro, Blessd and newcomer DFZM. Produced by Ovy on the Drums — Karol’s longtime producer — and co-written by Keityn, the song, even before it dropped, was being labeled as a new anthem for Colombia.
But shortly after it was released on Thursday (Nov. 7), the song’s lyrics received criticism online, with some people pointing out its over sexualization of minors. (In one line, they mention a woman who’s been a “mamacita,” or “hot mama,” since she was 14 years old.) Rolling Stone En Español published a column titled “The Disaster of +’57′” and the Instituto Colombiano de Bienestar Familiar (ICBF) issued a statement saying that the song “reinforces the sexualization of children in our country” and that it “does not contribute to our fight against commercial sexual exploitation of children and adolescents.”
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Karol wrote in her Instagram Stories that as artists, they are exposed to public opinion and that the song’s lyrics were taken out of context. She began her message by pointing out that she has always been grateful for her fans’ support and those who “know my project, the intentions of my work and the causes close to my heart, those that move me, that I am passionate about and for which I work every day with love and responsibility,” she continued. “I do care about my people and I am a person that every day I look for ways to get involved in projects where I myself can extend my blessing and impact in a positive way the lives of many people.
“As artists, we are exposed to public opinion, and to the individual interpretations of people who like us and people who differ with what we do. I feel a lot of frustration for the misinformation that has been given, about the false posts that I have supposedly made and deleted from twitter, an account that I have not used for more than six months. In this case, unfortunately, the lyrics of a song, with which I sought to celebrate the union between artists and put to shine my people … were taken out of context. None of the things said in the song have the direction they have been given, nor was it said from that perspective but I listen, I take responsibility and I realize that I still have a lot to learn. I feel very affected and I apologize from the bottom of my heart,” she added. It’s worth noting that Karol doesn’t sing the line about the “14 year old,” but rather some of the men on the track, yet she’s the one apologizing.
Feid, Balvin and Ovy on the Drums have all reposted Karol’s post in solidarity. “Queen, we are with you,” Balvin wrote. “You have given us so many wins that this doesn’t take away from your greatness, we’re here unconditionally.”
Karol ended her post once again thanking her fans for “their unconditional love and support.” She concluded, “I value it very much, and the artists who participated with me in the song, I keep in my heart the beautiful energy with which we worked that day.”
The Latin Grammys festivities officially kicked off with The Latin Recording Academy’s Special Awards gala held Sunday (Nov. 10) at the Adrienne Arsht Center in Miami, Fla.
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Hosted by Gloria Estefan, the intimate ceremony gathered industry leaders and artists celebrating this year’s Trustees and Lifetime Achievement honorees. The former award is voted on by The Latin Recording Academy’s Board of Trustees and merited to individuals who have made significant contributions, other than in performance, to music during their careers. The latter is presented to performers who have made unprecedented contributions of outstanding artistic significance to Latin music.
Trustees honorees were prolific hitmakers Ángel “Cucco” Peña and Chucho Rincón; while Albita, Alejandro Lerner, Draco Rosa, Lolita Flores, Los Ángeles Azules and Lulu Santos were honored with this year’s Lifetime Achievement titles. Other artists present at the coveted Special Awards gala included Carlos Vives, Maria Becerra, and Edgar Barrera.
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See some of the evening’s memorable highlights below:
Gloria Estefan speaks onstage during the Special Awards Presentation during the 25th Latin GRAMMY Awards on November 10, 2024 in Miami, Florida.
John Parra/Getty Images for The Latin Recording Academy
Ángel “Cucco” Peña
Reflecting on his more than 60-year career, the Puerto Rican composer and artist talked about the impact of music in his life and the desire to continue in the industry. “Music has been universal, connecting me with different generations and cultures,” he said during his speech. “This award is a reflection of the collective efforts of those who have believed in me. It motivates me to continue creating music. My passion for art never fades. I hope to continue contributing to Latin music and inspiring the new generation.”
Chucho Rincón
Credited for discovering Joan Sebastian and helming some of Vicente Fernandez’s biggest hits, Rincón, 87, highlighted how a career in music “changes lives, creates magic, and has made me feel loved and special,” he stated. Notably, he shared an anecdote about working with the late Mexican icon José Alfredo Jiménez. “You were the start of my career when I was 20. You gave me access to the industry. Being able to sing with you was my first path. With you, I met our country and the roots of our music. You showed me the concept of loyalty and bohemianism. I am your only living musician… a witness of your greatness,” he said.
Albita
Cuban singer-songwriter Albita dedicated her award to Emilio Estefan Jr. for opening her the doors in the music industry; her loved ones in heaven and on earth; her entire work team; as well as her fans for “dancing, getting married, and getting drunk with my music.” During her speech, she honored her native Cuba, saying: “My beautiful island, my sad island — and with all the faith that one day I can say, it’s my free island.” She also thanked herself for never quitting, for falling and always getting up.
Alejandro Lerner
Carlos Vives had the honor to present the award to Argentinean singer-songwriter, Alejandro Lerner, who has worked with music giants such as Celine Dion, Luis Miguel, and Santana. Deeply moved by the presentation, Lerner thanked those who forged his path in music, including the late Armando Manzanero as well as Claudia Brant and Luis Enrique, who were in the audience. Topping off his speech, Lerner crooned the room with a powerful a cappella performance of 1983’s “Todo A Pulmón.” “I composed this song when I couldn’t even buy my own place,” he said. “It represents effort and being honest with our heart and language.”
Draco Rosa accepts an award onstage during the Special Awards Presentation during the 25th Latin GRAMMY Awards on November 10, 2024 in Miami, Florida.
Rodrigo Varela/Getty Images for The Latin Recording Academy
Draco Rosa
Ahead of Draco Rosa receiving his award, his longtime colleague and friend Desmond Child got on stage to share a nostalgic audio of the day they created Ricky Martin’s “Living La Vida Loca.” A cancer survivor, Draco’s heartfelt speech included anecdotes of his beginnings in Menudo but mainly about having another chance at life. “I’m grateful for waking up today. I’m on the winning side of life,” he expressed. “This award is beautiful, being alive… so many times I asked God for one more album. Music has been my travel companion, a friend, and I owe a lot to my colleagues, to my fans, and my father’s passion for good salsa and classical music. Everything has shaped my musical career. Music is felt in the soul beyond. Thank you for making my music part of your journey. Here is a man with a joy for living.”
Los Ángeles Azules
With their cumbia sonidera revolutionizing the music industry since the ‘80s, Los Ángeles Azules reminisced about the days we would travel up to 48 hours by car to do shows in various towns in Mexico. “It was important for us to be with our people,” they said during their speech. The Mexican group has had 32 different vocalists and collaborated with artists such as Natalia Lafourcade, Maria Becerra, and Belinda. “We are renovating songs, making music, and we’re thankful to the academy for recognizing the 44 years of Los Ángeles Azules,” they added.
Lolita Flores
Spanish singer and actress Lolita Flores — sister of Rosario Flores — admitted that altough she captivated with her music, worked with big artists, and filled stadiums, she felt really small. She explained that she made the decision to retire from music because many doors were closed for her, and instead, she created a fruitful career in theater, where she was able to grow. “Even if I stopped singing, I still have music inside me,” she elaborated. “This Grammy gave me back the desire to keep singing. Get ready, I don’t need a record label, I’m going to produce it myself, and I want to record with all of you here. Rosario, I have a Grammy!”
Lulu Santos
“It’s a huge honor to be part of the community and one of the honorees,” Santos, a Brazilian LGBTQ singer, said during his speech. The artist and guitarist born Luiz Maurício Pragana dos Santos is the founder of progressive rock band Vímana, and has carved a path in Brazilian music for the past five decades. To wrap the night, Santos made a clever joke after the fire alarm went off at the venue earlier in the event. “The alarm went off because when all of these great honorees come together in one room, fire comes out,” he said.
The Special Awards Presentation during the 25th Latin GRAMMY Awards on November 10, 2024 in Miami, Florida.
John Parra/Getty Images for The Latin Recording Academy
Argentine trap star Duki, widely recognized as a major pioneer of Argentina’s global urban music movement, is adding a 10-city U.S. leg to his global Ameri World Tour.
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The tour kicks off March with previously announced stops in Bolivia, Argentina, Uruguay, Paraguay, Colombia, Peru, Ecuador, Mexico, Spain, Portugal, Germany and Italy, with more locations to be revealed soon.
Duki’s U.S. leg, produced by Live Nation, kicks off April 26 at SOMA in San Diego, Calif., and will stop in Los Angeles, New York and Miami, among other cities, before wrapping up at San Juan’s Coca Cola Music Hall in Puerto Rico May 18. Tickets will be available for presale Nov. 12 and for general sale Nov. 13 on Live Nation’s website.
This is Duki’s first major foray in the U.S., following huge touring success in other markets.
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Last December, Duki became the first urban artist ever to sell out Argentina’s biggest stadium — the fabled River Stadium in Buenos Aires — not once, but twice, selling 140,000 tickets across both nights. Earlier this year, he became the first urban artist to ever play and sell out Spain’s Bernabéu stadium in Madrid.
The Ameri World Tour follows the release of Ameri, the album, on indie Dale Play Records. The set garnered 13.5 million streams on its first day of release and premiered as a pre-listening event in front of over 15,000 people at the Movistar Arena in Argentina.
Here are all of Duki’s Ameri World Tour U.S. dates:
April 26 – San Diego – SOMA
April 27 – Los Angeles – Hollywood Palladium
April 30 – Philadelphia – Theatre of the Living Arts
May 1 – Boston – Citizens House of Blues
May 3 – New York – Theatre at Madison Square Garden
May 6 – Charlotte, N.C. – The Fillmore Charlotte
May 8 – Silver Spring, Md. – The Fillmore Silver Spring
May 10 – Chiago – Byline Bank Aragon Ballroom
May 14 – Atlanta – Tabernacle
May 17 – Miamia – Kaseya Center
May 18 – San Juan, Puerto Rico – Coca Cola Music Hall