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Chilean newcomers FloyyMenor and Cris MJ are behind “Gata Only”— the latest trend on TikTok with two official sounds collectively garnering more than two million video creations on the app. Its viral success has also skyrocketed the track to No. 6 on the Billboard Hot Latin Songs chart, becoming the first time a Chilean artist enters the top 10 in 25 years.
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This week’s biggest gains in performance (jumping 10 to 6 after five weeks on the chart) and also placing No. 98 on the all-genre Hot 100 chart, the punchy reggaeton finds the two rising acts, originally from La Serena (located on the coast of Chile), singing about all the things they will do to the girl they like.
“I was performing some shows in another region of the country when I wrote this song,” FloyyMenor tells Billboard of the track he released on his own eight months ago. “I knew it was going to be a hit, and it feels amazing that people are supporting it.”
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In February, Cris MJ—who comes on the heels of his massive banger “Una Noche en Medellín,” which also counts with a Karol G and Ryan Castro-assisted remix—was captivated by the local boom “Gata Only” was having that he decided to jump on the track.
“His flow was similar to mine,” he notes. “I decided to support him and do the song with him. I worked on [a new version of] the track in my house. Gave it all my love. We did a new music video, we mixed it. I added second voices. He was very excited.”
“Gata Only” marks the first time any Chilean artist enters the Top 10 on the Hot Latin Songs chart since La Ley and Ednita Nazario’s “Tu Sabes Bien” peaked at No. 8 in 1999. Prior, it was Myriam Hernández’s “Huele a Peligro,” which peaked at No. 5 in 1998.
“For us, this is very important. It’s a pride for all Latinos to be on that chart,” Cris MJ expresses. “In fact, before we released the song, I knew it was going to be a global hit. I’m proud because it’s not only helping my career but also the one of my colleague.”
Below, learn more about FloyyMenor and Cris MJ:
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Meet Cris MJ
In 2018, the artist born Christopher Andres Alvarez Garcia began uploading Spanish covers of some of his favorite English rap and trap songs on social media. A self-taught artist, he filmed his own music videos on his iPhone and uploaded his own music on the platforms, but it wasn’t until 2020 that he moved from La Serena to the capital, Santiago, to pursue his music career. A fan of artists such as Lil’ Baby, Travis Scott, The Weeknd, Daddy Yankee, Anuel AA, Ñengo Flow, and Jory Boy, Cris MJ can navigate from rap to reggaeton with ease. In the past four years, the now 22-year-old artist has won the respect of the streets and the barrio, and of renowned acts such as Karol G and Ryan Castro, who jumped on the remix of his hit “Una Noche en Medellín.” Cris first performed the song live with Karol during her Viña del Mar set last year. He’s currently making the rounds with his sophomore studio album Partyson.
Meet FloyyMenor
Also inspired by the trap movement and artists such as Anuel AA, Travis Scott, and Bryant Myers, Floyy—whose artistic name is inspired by boxing legend Floyd Mayweather—is an 18-year-old artist who began making his own music when he was only 15. As a teen, he doubted releasing his tracks for the fear of what others might think and say. But it wasn’t until 2023 that he unleashed all his creations including songs such as “Por Ti Jalo Gatillo,” “gabanna,” “pa la europa,” “un star,” and “Llegamos,” to name a few. His dream is to one day attend (and be a finalist) at the Billboard Latin Music Awards, but for now, he’s working on a lot of new music and an album to, primarily, support his family. “The urban movement in Chile right now is very strong, and we have to pay attention. There is a lot of talent,” he says.
Jesús López, chairman/CEO of Universal Music Latin America and Iberian Peninsula, has received a special honor from the King and Queen of Spain. On Wednesday (April 3), the music executive received the Gold Medal for Merit in the Fine Arts — an award that recognizes individuals and entities who have “excelled” in the field of […]
Expectations are growing as the 68th edition of the Eurovision Song Contest, scheduled for May 11, approaches. This year, Spain will be represented by the duo Nebulossa, formed by singer María “Mery” Bas, 55, and keyboardist and producer Mark Dasousa, 47.
Owners of an electro-pop project with an ’80s touch, Nebulossa has stood out from the start for its unique style, releasing several singles and an album, Poliédrica De Mí — home to songs such as “Anoche,” “Glam” and “Armada Roja” — with which they have been able to tour stages all over Spain.
Although their music career began in 2018, their union as a couple goes back more than two decades, during which time they have formed a solid family with two children and have undertaken other business projects. Specifically, Mark stands out as a recognized producer in the Valencian alternative scene through his company Atomic Studio, while Mery runs an aesthetic beauty clinic that she inherited from her mother.
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Since their victory at Benidorm Fest 2024, where they won over the audience with their song “Zorra,” Nebulossa’s rise has been meteoric. The duo never expected to find themselves representing Spain at Eurovision when they started out. However, fate had other plans for them. In fact, Mery submitted the candidacy to Benidorm Fest without telling Mark: “I thought it was a good opportunity, a way to make ourselves known, but I didn’t think that everything that has happened would happen,” she tells Billboard Español.
After their victory at the Benidorm Fest, an unexpected controversy arose around the title of “Zorra,” as many felt that it was inappropriate for Eurovision (zorra in Spanish slang roughly translates to slut). However, María Eizaguirre, director of communication of RTVE (the Spanish radio and television corporation), counters that the song is in accordance with the current regulations — and, in addition, the European Broadcasting Union (EBU) has given it its approval.
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The success of “Zorra” speaks for itself. In a period of almost three months since its release on December 15, 2023, it reached more than 10 million plays on Spotify. “It is very big what is happening with ‘Zorra’ and the controversy is behind us. We are slightly on the margins with the networks and we have been focused on what we had to be; we have not been affected almost at all by the controversy around the song,” adds Mery.
“The song comes from an experience, it’s an emotion that Mery had inside that she wanted to get out, so people got the message and liked it,” adds Mark. “Our intention was simply that, there was no premeditation. When we were selected we decided to go with it and have fun; we still have the same attitude. We are enjoying this, we are of an age now, which is something the song also talks about, ageism, and we take things differently. Everyone is free to have their own opinion.”
Thanks to the success of “Zorra,” Nebulossa teamed up with Gloria Trevi for a new remix of the song that they recorded in Miami and premiered on March 15 at Radio City Music Hall in New York City, in front of 6,000 people, closing the Mexican artist’s show. “The anecdote is incredible, because María tells us: ‘I have managed to get Gloria Trevi to come and record the song tomorrow,’” Mark recalls. “So from one day to the next we set to work to find a studio, Gloria lent herself to this and came, something that was very cosmic, very magical; everything aligned. And so one thing led to another. Then, when we were proposed to go to Radio City Music Hall, we didn’t have to think about it for more than two seconds, obviously.”
Gloria Trevi and Nebulossa perform at New York’s Radio City Music Hall on March 15, 2024.
Great Talent Entertainment
As the Eurovision 2024 date approaches, Nebulossa is preparing to face its biggest challenge yet. With “Zorra” as its introduction letter, the duo is ready to conquer the stage in Malmö, Sweden, and bring their music to international audiences. Throughout April, the pair will travel to London, Amsterdam, Stockholm and Rome as part of the official pre-Eurovision festivities, to which they are eager to see the public’s response. But first, they will pass through Madrid and Barcelona, aware that “it is a tour that many emerging artists would like to live, especially with the people’s acceptance,” says Mark.
Regardless of the competition’s outcome, the duo from Alicante, Spain is grateful for the experience. “We already feel like the winners of hearts of so many people who have told us that they identify with our message. I think the song itself is already a winner,” Mery reflects. Mark adds, “Whatever position we finish in, we would like it to be the best, especially for all the people who are putting their enthusiasm in this, both from RTVE and the audience. We are happy. If we land in a good position, even better, if not, nothing will tarnish us.”
With a steadily growing fan base, they are both ready to continue captivating audiences with their music and unmistakable style. While they have concerts and festivals already booked for the upcoming months, Nebulossa is also poised to drop their EP, Virturrosismo, containing new songs that they had planned to release before Benidorm Fest. But for now, all the focus is on the May 11th date in Malmö.
Shakira has earned yet another No. 1 hit on the Latin Pop Airplay chart after her Cardi B-assisted “Puntería” debuted at the top of the tally this week. Part of Shak’s latest album, Las Mujeres Ya No Lloran, the feel-good pop song with flirty lyrics finds the two artists singing about a man who’s not […]
It was a sultry Miami evening at the Premio ASCAP 2024 on Tuesday night (April 2), which celebrated top composers and publishers at Vizcaya Palace at the seashore in Miami.
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Among the winners on site were Keityn, who won Composer of the year for the second consecutive year; Feid, who won composer/artist of the year; Yng Lvcas, who co-wrote “La Bebé,” the track he performs with Peso Pluma and which won Song of the year; and Carlos Vives, who received the coveted ASCAP Founders Award.
Keityn’s win came as a result of working on some of the biggest hits of the past year, including “Monotonía” and “Acróstico” by Shakira and “Amargura”, “Cairo” and “Mi Ex Tenía Razón” by Karol G among many others.
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When asked by Billboard which in the list of 10 of hits was his favorite, Keityn — who recently had a baby boy — paused for moment.
“I’d have to say ‘Acróstico,” he finally said. “It’s an extremely personal song, and I feel it’s so important that it’s a song where everything she wanted to say felt genuine. Plus, when I was little, my mom used to make acrostics with our names. And ‘Acróstico’ is literally an acrostic with Sasha and Milan’s names. So, to be able to contribute such a personal song to Shakira is really a gem in my career.”
Keityn’s countryman, and friend, Feid, spoke to Billboard about his soon to be released album with Yandel, which he says came together in a mere two months, after the two of them met at a radio show in Los Angeles.
“I told him, ‘Let’s do an old-school album of five songs. I don’t want filler tracks,” Feid says. Despite the fact that he was on the road in the middle of his tour, the Colombian star found the time to finish. “I love to be inside the studio. It’s the first thing I do when I get up in the morning,” he explains.
Picking up his award, Feid reinforced the team mentality that has been part of his success.
“I may be the face of this project, but we’re a team behind this musical project,” he says.
Vives was the last winner to pick up his award, given for his career trajectory.
When he started as a singer in Colombia, Vives said, “Commercial music had pop music and tropical music. 30 years ago, we started to electrify the percussive patterns of that music, not Cuban style – which is a music we admire and with which we have many similarities, but also many differences. They called it tropipop, and it became the new Colombian pop.”
On his end, 24-year-old Yng Lvcas picked up his award for one of the biggest bangers of the year. “La Bebe” topped Billboard’s Latin Airplay chart, reached No. 2 on the Billboard Global 200 and No. 11 on the Hot 100.
The American Society of Composers, Authors and Publishers (ASCAP) unveiled its 2024 ASCAP Latin Music Awards winners during an invite-only ceremony hosted Tuesday night (April 2) in Miami. Explore See latest videos, charts and news See latest videos, charts and news For a second consecutive year, Colombian hitmaker Keityn was named songwriter of the year […]
Feid has revealed that his upcoming musical project is a joint album with Yandel, marking their first collaborative album together. The Colombian artist shared the news on his Instagram account Tuesday (April 2), alongside a set of photos that showed him and the Puerto Rican star at a carwash. “We can change your oil, mami, […]
Hunter Schafer has confirmed that while she and Rosalía are currently good friends, they were definitely more than that a few years ago.
In a GQ interview published Tuesday (April 2), the Euphoria star revealed that she dated the “Beso” singer for about five months starting in the fall of 2019. According to Schafer, it took her a few hangouts to realize that she and the musician shared more than just platonic feelings for one another; as of now, though, they’re just good friends.
“I have really beautiful friendships with people that I was once romantically involved with,” Schafer told the publication. “She’s family no matter what.”
Schafer also noted the two-time Grammy winner gave her blessing to confirm their history in the new interview. “It’s been so much speculation for so long,” the Hunger Games actress continued. “Part of us just wants to get it over with, and then another part is like, ‘It’s none of anybody’s f–king business!’ … It’s something I’m happy to share. And I think she feels that way too.”
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Billboard has reached out to Rosalía’s rep for comment.
A couple years after dating Schafer, the “Despechá” artist got engaged to fellow Latin music superstar Rauw Alejandro; the pair split in July 2023. Recently, rumors have linked her to The Bear‘s Jeremy Allen White.
Meanwhile, Schafer says she’s still recovering from her breakup with her Euphoria season 2 co-star, singer-songwriter Dominic Fike. “I had a really beautiful relationship with [Fike], and it really opened me up in that way,” she said of the “Babydoll” artist, whom she dated on and off in 2022.
The Cuckoo star also touched on the death of another Euphoria cohort — Angus Cloud, who passed away last year of an accidental overdose. He was 25 years old.
“I’ve never had a friend that I was that close to and that was my age pass before,” Schafer told the publication. “It’s really surreal. It doesn’t make sense. And yeah, it’s new. It’s a new kind of grieving.
“People really fell in love with Angus,” she added. “He was really one of the heartbeats of Euphoria. It’s always the people that are just kind of a little too good for the world and a little too pure. He was a f–king angel. He was sunshine.”
From Dónde Están Los Ladrones? to Las Mujeres Ya No Lloran, here’s where each Shakira studio album ranks in her discography.
As the 18,000 fans gathered at Mexico City’s Arena Ciudad de México on Feb. 14 screamed at deafening levels, the duo Los Temerarios ran onstage — Adolfo Ángel from the left, Gustavo Ángel from the right — and embraced briefly but fiercely upon meeting in the middle of the vast platform.
Then, Adolfo, 60 — dressed in black pants and shirt and light blue jacket — took his customary place behind an array of keyboards while frontman Gustavo, 55, dressed in a shining black and red embroidered jacket, picked up his microphone.
Without preamble, he sang the first notes of the first song of the brothers’ last tour, Hasta Siempre (Until Forever).
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After more than four decades together, 41 entries on Billboard’s Hot Latin Songs chart and an astounding 46 entries on Top Latin Albums — more than any other Latin act in history — Los Temerarios is calling it quits.
“Tomorrow is the beginning of the end of an era for Temerarios,” Adolfo says over a bottle of wine in Mexico City the night before the tour opens, his eyes welling up with tears, in his first and only interview since the group’s announcement of this finale. “I’m a little sensitive,” he adds with a soft, embarrassed laugh.
Adolfo, the “big” Temerario, is over 6 feet tall and brooding. It’s not unusual to see him get emotional. After all, this is a group whose career has quite literally been built on love songs, all penned and produced by Adolfo since he was a teenager doing music with younger brother Gustavo, the dashing, charismatic singer with the high, expressive tenor.
But during a U.S. tour in August, Los Temerarios made a surprise announcement on social media:
“With the love that has united us since we were kids, the same that we feel for the vocation that we’ve had the privilege of working in for more than 46 years, we want to share that we’ve made the difficult decision of separating, closing one of the most important and gratifying cycles of our lives,” the brothers wrote. “Everything we express from this moment on will be in the form of music and in our next shows where we’ll be giving you the best of us.”
Los Temerarios’ Hasta Siempre tour played CDMX Arena in Mexico City on Feb. 16.
Virtus Music
On the eve of their farewell tour, Adolfo stayed true to his statement, refusing to further explain the group’s split except to say they were ending Los Temerarios at Gustavo’s request and that things were not just amicable, but brotherly.
“My brother and I were clear that [beyond the statement] we were keeping things between him and me, and I want to respect that, and I’m sure he does, too,” Adolfo says. “We will finish this tour, each of us will go our own [professional] way, and I will always wish my brother the very best.”
For now, they’re making good on their promise to fans by bringing their best to the stage. On Feb. 14, backed by their longtime five-piece band, Adolfo and Gustavo performed for well over two hours as the crowd sang along. The brothers sold out five consecutive nights, a record for the venue.
“Having a single artist play five consecutive sold-out [shows] goes beyond anything we’d done before,” says Alejandro Arce, general director of tour promoter Zignia Live, which also owns Arena Ciudad de México. The promoter initially announced nine tour dates across Mexico for Los Temerarios, “and sales were extraordinary,” Arce says. The group hadn’t toured the country in over a decade, and the response has been phenomenal, spurring the addition of three more dates at the Mexico City arena (for a total of over 120,000 tickets sold), as well as three sold-out dates (30,000 tickets) at the Arena Monterrey. Not that any of this was a surprise. Last year, the group grossed $12.3 million and sold 125,000 tickets to 14 shows, according to figures reported to Billboard Boxscore.
All told, in 2024, Los Temerarios will play over 50 arena and stadium dates across Mexico, Central America and the United States — including Madison Square Garden in New York and two nights apiece at Houston’s Toyota Center and Chicago’s Allstate Arena, with more cities expected to be announced. The U.S. leg of the tour is promoted by Zamora Entertainment and, for West Coast dates, in partnership with Frias Entertainment.
“Los Temerarios is a group that has transcended generations,” Arce says. “Very few groups in this genre can fill stadiums. It opens this kind of music, which is completely different and with a completely different message, to new generations.”
The duo won the top Latin albums artist of the year honor at the 2005 Billboard Latin Music Awards.
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The duo performs wistful and passionate love songs with arrangements that veer from very traditional Mexican — cumbia, ranchera and the keyboard-heavy sound associated with Mexican romantic groups — to sophisticated pop, a duality the band uniquely achieved in its sphere.
Originally launched along with a cousin in the late 1970s as Grupo la Brisa, the group was always spearheaded by Adolfo, the budding keyboardist-composer who penned songs for his brother. Their romantic grupera musica was beginning to surge in Mexico, with dozens of romantic groups, including Los Bukis and Bronco, gaining traction. Los Temerarios had an additional asset: the entreprenurial Adolfo’s keen business sense.
He eventually changed the duo’s name to Los Temerarios and started releasing music on his own label, AFG Sigma Records, in 1989 while also promoting the band’s shows. That DIY approach served the group well. Save for a brief moment at the very beginning of Los Temerarios’ career, the brothers have always licensed albums as opposed to signing with a label, keeping the rights and control over their masters. As for Adolfo’s publishing catalog of hundreds of songs, it has always been administered by their own publisher, Virtus, the successor to an earlier company, ADF, set up in 1989. This year, the group is signing its first publishing administration deal, with Kobalt.
Twelve years ago, the brothers went completely independent, launching their own label, also named Virtus, and taking over their own promotion and marketing. Their cousin Mayra Alba, who has a master’s in music management from the University of California, Berkeley, has managed them since 1996.
“Their music doesn’t stop evolving,” Alba says. “As artists, they’ve done what they want yet have continued to be authentic, connecting with a multigenerational audience and reaching every possible milestone.”
The results speak for themselves. In addition to its record number of entries on Top Latin Albums, the band has placed 41 tracks on Hot Latin Songs since 1990. Of those, 17 went top 10 and four hit No. 1.
On Latin Airplay, the group has 15 top 10s and four No. 1s, and on Regional Mexican Albums, its 47 entries best those of any group. Los Temerarios is one of only five acts to have achieved eight No. 1s on Top Latin Albums. Only two acts, Marco Antonio Solís and Luis Miguel, have achieved more (12 and nine, respectively).
The steadiness of the group, which has been performing since 1980, made the news of its split even more surprising. And yet, so far, Los Temerarios’ farewell tour has been joyous — and has garnered an overwhelming response.
For these shows, Los Temerarios upgraded the production, adding sophisticated visuals, courtesy of longtime collaborator and video director Carlos Pérez. And aside from Gustavo’s vocals, Adolfo, for the first time, is also singing a short set of songs. It may be a harbinger of what’s to come.
“I’ve never been afraid of experimenting. Then all these energies come in and try to say no to you, but I never listen to that,” Adolfo tells Billboard. “I listen to my heart. I’ve discovered that’s the key: Listen to your heart.”
I would love to hear the story of how you got your first record deal as a teen.
Yes. It was a time of dreams. A time when you saw a lot of artists and groups that inspired and motivated you and you wanted to get to those same stages and take a positive message to the hearts of those who heard you. I went to every single label at the time, and they all said no. I would take our little demos, and they would all say, “This is all very good. Come back in February.”
And then it was March. So, since no one wanted us, we decided to make our own albums, using our gig money. I’d take [our own records] to the radio stations and say I was the radio promoter. I was a teenager. I’d sit there for hours, and sometimes they would see me, sometimes they wouldn’t. I’m not complaining. It’s part of something that now I understand had to happen.
I also took the records to the record store, on consignment. If they sold them, they paid me; if not, I had to pick them up. And when we started to sell 5,000 copies and I had to say, “Hey, send me another thousand,” the people from Sony — CBS then — came over and we signed a contract. Didn’t even look at it. Just said “Órale” [“OK”] and signed. That was around 1983.
You began your career by hustling and doing everything on your own, and now, as a superstar, you’re still independent.
Yes, and that has been important, positive for our career. It made us learn and took us down a road that has been a great gift. Because in the beginning, we knocked on doors and they’d say, “Come back next year.” Until I realized that we had to do it ourselves. And I did it.
Adolfo Ángel of Los Temerarios perform during their Hasta Siempre Tour at CDMX Arena in Mexico City on Feb. 17.
Virtus Music
Did you have a mentor?
No. It was always the desire to make it [that motivated me]. And I would look for the way. I’d pick up the phone and find the label, find the radio station. Then I would get in the pickup truck and drive wherever I had to go. And finally, it would happen. Little by little we became known, at least in our area.
But my dad was a very important example in my life. He still supports me. Without my dad, it would have been much harder, because he loves music. For example, when we had to work the fields and I didn’t want to go, I would pretend I was asleep. And when they were all gone, I’d go look for my music teacher in Fresnillo, Zacatecas, and the next day, my dad wouldn’t say anything. He allowed me those peccadillos. He bought me my first keyboard, a red organ. And then, when I outgrew it, he bought me the new model.
Early in your career you launched your own publishing company, and now you’re signing your first administration deal, with Kobalt. Have you considered selling your catalog?
No. My songs have a very special value. It’s not just the money. If I can take them by the hand the way I think is best — these songs that came from my heart — well, I’d rather do that than give them to someone in exchange for a check. That’s not what I want to do. At least not now.
A decade ago, you were on top of the world with chart success. You last released an album in 2015, then the pandemic interrupted your cycle. What did you do?
We were always doing something. Even though we haven’t released a full album of new songs since 2015, we have a few singles. I’ve always been patient in recording. We usually put out new albums every four, five years. I always thought the quicker you recorded, the quicker your fans got tired. I still think that, even in the era of TikTok. That’s why there’s so much space between albums. And resisting that pressure has given us results, even when people start to say things like, “Hey, I don’t hear your songs.”
The industry has changed, and now the cycle of releases is very fast. Did that worry you?
Some artists release songs every week, every two weeks, but I don’t think those songs transcend. They’re very ephemeral successes. I believe that if you give [the process] respect, if you take the time and make a great production and you feel satisfied with it, very great things can happen. Maybe something works on TikTok with the chorus for a little bit, but I don’t think that’s the path. I like things the old-fashioned way, where you go to the studio, you have a great console, you record a great production with the best engineers and the best musicians and not only with a computer. That’s the music I like to make, that lifts my soul.
Gustavo Ángel of Los Temerarios perform during their Hasta Siempre tour at Arena Monterrey in Monterrey on March 1.
Virtus Music
Your music is romantic by definition. Are you dismayed at how some artists today portray love in their lyrics?
Not dismayed, but I was surprised to hear how music is being used to denigrate women. That had a big impact on me because I do the opposite. I try to say beautiful things about the most beautiful being in the universe; or at least, in my universe. But I respect everyone, and every artist will do their own thing. Me, I’ll continue writing my love songs, and I prefer to make a woman feel like a queen or a princess rather than something else. Maybe I’m being cheesy, but I like that. But I’m not criticizing anyone. Everyone does their own thing.
You wrote a lot during the pandemic, and most of the songs haven’t been released. Now that you’re splitting up, what do you plan to do with them?
I wrote them for us, thinking of my brother, of course. Even when I write on the piano or guitar, I do so in my brother’s tone, which is a higher range than mine. Then, when my brother decided he no longer wanted to be in Temerarios, the songs were put on pause. I don’t know what I’ll do with them. But now, we’re going to finish this tour, everyone will go their own way, and I will always wish my brother the best in life. I think my brother is a very talented man, he has a lot of charisma, people love him a lot, we have had a great career together, and we have the affection of the audience, both of us. He’s going to do very well in whatever he decides to do, and I’ll continue making my songs as long as I can.
Are you working on a solo album?
I am not. I love to sing, but I never used to do so onstage. Because I always felt very comfortable behind my keyboards, with my brother in front. Behind the keyboards I can tell you a story, talk with you; it’s like a protective cape where you feel very comfortable. That’s the way it was, for decades. Then, on this tour, I said, “OK, I have to do it.” And I sing a set of three songs. The only intent is to respond to the audience’s love. And I liked it. A lot. Now I feel very comfortable. But, right now, I’m always writing. I feel most happy and comfortable writing for Temerarios. And if my brother isn’t there anymore, I’ll think about doing it for myself.
What would you like your legacy to be for Mexican music and Latin music overall?
I feel we’re leaving behind a beautiful message for everyone who has ever listened to us, and that’s enough for me.
This story originally appeared in the March 30, 2024, issue of Billboard.