Latin
Page: 146
After a decade-long absence, Jumbo, a cornerstone of Latin alternative rock, are making their return to the U.S. stage, joining forces with genre peers División Minúscula. Their much-anticipated comeback follows years of setbacks due to a “critical error” that led to visa complications, preventing them from touring stateside despite the release of three albums brimming with tour-worthy material.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Now, armed with renewed vigor and passion, the Mexican rock band — consisting of frontman Clemente Castillo, guitarist Jorge “Flip” Tamez, bassist Carlos Castro, drummer Alberto Ramos, and producer Iñigo Rizo — are ready to captivate audiences once again as they crisscross the United States, hitting major cities from coast to coast. Promoted by Live Nation, the tour kicks off in Chicago on April 17, followed by a show in New York City the next day. The tour route includes stops in Salt Lake City, San Francisco, Los Angeles, Dallas, and culminates in Houston, Texas on August 14.
Celebrating 25 years since the release of their debut album, Restaurant, in 1999, Jumbo’s significance extends beyond mere longevity. This album not only marked a milestone in the band’s career but also played a pivotal role in shaping the Mexican music scene of its time, particularly the musical boom known as La Avanzada Regia scene of that era in Monterrey.
Trending on Billboard
“The grand merit of that generation was to be able to break [barriers] and show that in a city where there was no music scene suddenly thundered and became so big,” Flip (real name Jorge Tamez Chapa) tells Billboard Español. “Plastilina Mosh was nothing like Zurdok, which was nothing like La Flor de Lingo, or Niña, or Kinky. Unconsciously we valued being original, and I think that created a very rich movement. Thirty years later it is beginning to be romanticized a lot. I feel very proud to be from that generation”.
Jumbo. Photo Credit: Juan Rodrigo Llaguno
Juan Rodrigo Llaguno
“División Minúscula and Jumbo are two bands with different backgrounds but equally important in the alternative rock genre. They belong to an era that defined many fans on both sides of the border,” adds Manuel Moran, vp of Latin touring at Live Nation. “We are proud to be part of this great celebration and we are very grateful for the trust they have placed in us to surprise their fans in the United States with a comeback tour and an unexpected collaboration like this one.”
Jumbo’s latest release, Manual De Viaje A Un Lugar Lejano (En Directo), earned them a Latin Grammy nomination for best pop/rock album in 2019, further solidifying their status as stalwarts of the Latin alternative rock scene.
In this interview, Flip delves into the band’s journey, from the highs of success to the challenges they’ve faced along the way, shedding light on their experiences and aspirations for the future. And yes, he explains why they could not enter the U.S. for over a decade.
What does it mean for you to take the stage again in the United States, and how did the opportunity to collaborate with División Minúscula for this tour come up?
We are very happy to tour the United States and celebrate 25 years of our career. We had an issue, a very serious mistake we made that kept us away from the United States for more than ten years. During the first albums Restaurant (1999), D.D. y Ponle Play (2001), and Teleparque (2003), we had great tours over there. We were building a market early in our career. Saúl Hernández from Jaguares invited us to be openers along with Julieta Venegas and La Gusana Ciega. I remember they were incredible tours, and suddenly there’s this break.
Many years went by — and fortunately we managed to overcome this — and now we have the opportunity to share the stage with División Minúscula. Although they are from Matamoros, most of them have been living here in Monterrey for many years. They are very good friends. It’s the first time we do a tour as such and we are very happy; I think it’s going to be very fun.
Jumbo. Photo Credit: Juan Rodrigo Llaguno
Juan Rodrigo Llaguno
As you celebrate these 25 years, what do you consider has been the key to staying together as a band?
It’s very difficult. The other day I read a report by Sting that said, “I don’t think any grown man can be in a band.” He said it had to do with this youth gang dynamic that gets a little lost as you get older. And you notice that the relationship does change — you change as a person, you are no longer that youth [from before] — but I think we are still united by the desire to make music.
Jumbo is a band that from day one, we set out to make songs that would go beyond the barrier of time. We were never very attached to any fashion — although when we came out, we sounded like what was going on in the early 2000s. In our journey, we have seen many things come and go. We’ve had to change formats, first digital, then streaming. Many things have happened to us that I think the love of making music has brought us back into alignment. Fortunately, we have never fought or disrespected each other, but we have an admiration for each of the members.
And although at times we do have different artistic goals and visions, it always ends up falling in the same place. Many of us in the band are producers of other projects, we have other activities, but all related to music. As long as there are people who lend us their ears, there is no reason to stop. The 25 years was a number that hit us like a motherf–ker. It’s a great reason to celebrate.
Being one of the pioneers of La Avanzada Regia movement in Monterrey, how do you see the impact of this movement on today’s music, and what do you think has been your most significant contribution to this legacy?
I always say that I’m very proud to be from that generation. I grew up playing in many bands, and it didn’t cross my mind to dedicate myself professionally to this, or to be signed by a record label or go on tour. And suddenly the scene was big enough, the Monterrey scene. There were like 10 to 15 bands playing in four or five places, and the rest was the audience. This is before the internet — I mean, we took our flyers to the show and handed them out to perform the following week.
La Avanzada, we were very united as bands; there was the same hunger to go out and dream, to take this to the next level. Monterrey, being the industrial capital of the country, had a very rigid scheme of opportunities. You had to study, work in one of the big companies, and make your life. It was very difficult to dream of a profession outside those schemes. The great merit of that generation was to be able to break [barriers] and demonstrate that in a city where there was no professional music scene it could become so big, and in a few years permeate the Latin market so strongly.
[embedded content]
When Control Machete came out, it a huge boom that the rest of Latin America turned to see what was happening in Monterrey. They were looking for a hip-hop movement, but they found something very different. Plastilina Mosh was nothing like Zurdok, which was nothing like La Flor de Lingo, or Niña, or Kinky. Unconsciously we valued very much being original, not looking like anybody else and I think that created a very rich movement. Thirty years later this scene is beginning to be romanticized a lot.
What’s next after the tour? Any final thoughts?
One goal that we had for many years was to get back to the United States in some way. I think the next thing after this tour is to get into the studio. There are no concrete plans yet.
I’ll tell you the anecdote so that there is no mystery; I think it’s something that new [foreign] bands learn from. We made the very serious mistake of going to a show with a tourist visa. The work visa has a shorter amount of time. It happens to [foreign] bands that the work visa has a short period of time. Suddenly there is an isolated show, and even though we had an arrangement with the promoter that could be for promotion, we got too close to the line and fell into a problem. So, it doesn’t matter if you’re going to play a free show, it doesn’t matter if you’re going to tour very casually. Playing in the U.S. is work, and that cost us to stay away for many years. If it’s any moral for bands, don’t make that mistake. We learned the hard way and fortunately we are back.
We are really excited. We had a hard time having three albums and not being able to tour there. So we bring all that accumulated energy and we are sure you will notice it in the shows.
Check out Jumbo and División Minúscula’s full tour dates below, second slide:
On Thursday night (March 28), Xavi is poised to launch his inaugural headlining tour Poco A Poco, with Mexico City’s Auditorio BlackBerry as his first destination, and Billboard Español can exclusively reveal the complete setlist.
With multiple dates sold-out, including his two Mexico stops and more in California, his tour has emerged as one of the most eagerly awaited events for an artist who was relatively unknown just a year ago.
Performing more than a dozen songs — including his Billboard chart-smashing hits “La Víctima,” “Poco a Poco” and “La Diabla,” the latter song which he’s set to play twice — the 2024 breakout star is expected to captivate audiences with his infectious energy. The setlist also includes his latest release “Corazón de Piedra.”
The 19-year-old will also perform songs from his first EP, endearingly titled My Mom’s Playlist, consisting of classic rock en Español covers, which he released on Mother’s Day 2023. Those include “Rayando El Sol,” originally by Maná, and “Ahora Te Puedes Marchar” by Luis Miguel.
Last month, the Phoenix-born artist performed in his ancestral homeland for the first time as a surprise guest at Karol G’s sold-out Estadio Azteca show. “He told me that he has never sung in his country, in Mexico,” La Bichota said when introducing the new hitmaker in February. “I told him that I was sure that the moment he started singing here, the stadium was going to turn up, and he was going to be proud of who he is.”
Recently, the singer-songwriter was part of a música Mexicana documentary by SoundCloud, alongside an all-star cast: Ivan Cornejo, DannyLux, and Conexión Divina; he was also Billboard‘s January Latin Artist on the Rise.
So without further ado, here is Xavi’s complete setlist for his first tour stop in Mexico City. You can find the rest of his tour dates here.
“Poco a Poco”
Anitta, Danai Gurira, Hugh Jackman, Dakota Johnson and Michelle Yeoh are the co-chairs set for this year’s Global Citizen NOW, a two-day leadership summit planned for May 1-2 at Spring Studios in New York City. The Brazilian star, who will speak at the summit, is set to join political, corporate and philanthropic leaders for the program that is focused on […]
Blxst and Feid linked up for the vibrant cross-cultural collaboration “Rewind,” which dropped Thursday (March 28) via Evgle and Red Bull Records. “Rewind” is the kind of song you want to dance with your significant other to at the club on a warm summer night you wish to relive over and over again. It marks […]
Back in the 1980s and even the 1990s, Spanish artists like Raphael, Julio Iglesias and Camilo Sesto were hugely popular both in Latin America and among U.S. Latin audiences — a situation replicated in the 1990s and 2000s by the likes of global superstars like Mecano and Alejandro Sanz, both of whom hailed from Spain. […]
In a bid to stay attuned to an ever-evolving musical landscape, the Latin Recording Academy has announced two new categories: best contemporary Mexican music album and best Latin electronic music performance. After criticism arose in 2023 for a lack of representation for regional Mexican artists, especially within the top four categories, the Latin Academy is […]
Every month, Billboard Latin and Billboard Español editors spotlight a group of rising artists whose music we love. Think “diamantes en bruto,” or “diamonds in the rough.” These are newcomers who have yet to impact the mainstream — but whose music excites us, and who we believe our readers should make a point to discover.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Our latest edition of On the Radar Latin includes a wave of emerging artists, who we discovered by scrolling on social media, networking, or coming across their music at a showcase, for example. See our March 2024 — in honor of Women’s History Month — recommendations below.
Artist: Alé Araya
Trending on Billboard
Country: U.S. (of Chilean descent)
Why They Should Be on Your Radar: Whether embodying a fairy-like figure in music videos (see below) or channeling the essence of a mythical forest creature, as depicted in her vinyl artwork for in visions, Alé Araya stands out with her captivating imagery. However, it’s her music that truly enchants. As a singer-songwriter and producer, her compositions exude R&B sensuality infused with atmospheric yet jittery productions, reminiscent of artists like Kali Uchis, Ibeyi, or PinkPanthress.
Her latest single, “Bella,” released on International Women’s Day, serves as an homage to “divinity, female ferocity, and female transgression,” as highlighted in her press kit; in just two and a half minutes, the Chilean descendant mesmerizes listeners by layering her serene vocals with the potential to spellbind. Now signed to Rostrum Records, Alé has spent recent years honing her craft, writing and producing for notable figures such as Alice Glass of Crystal Castles fame, Saba, Joseph Chilliams and Lexa Gates. With a classical jazz background and a deep understanding of digital composition, she brings a unique perspective to her work. Born and raised in Los Angeles, Alé is poised to release her next EP this May. — ISABELA RAYGOZA
Song for Your Playlist: “Bella”
[embedded content]
Artist: Greyvi
Country: Honduras
Why They Should Be on Your Radar: I discovered Greyvi while she performed at the renowned Calle Ocho Festival in Miami earlier this month. With such edge and grace, the young artist — who was born in Honduras to Colombian parents and resides between Guatemala and Miami — can easily navigate from Latin pop to urban music with her sweet vocals and fierce dance moves. Further demonstrating her hunger in the music industry and effortless versatility, her latest single “El Luto” is a catchy salsa bop co-produced by Colombian hitmaker Saga WhiteBlack, which narrates the story of a girl who’s over an ex and is not mourning the heartbreak anymore. In 2022, she collaborated with Dominican rapper Mozart La Para on “Nos Fuimos Mundial” and released her debut EP Soy Greyvi in 2023. — JESSICA ROIZ
Song for Your Playlist: “El Luto”
[embedded content]
Artist: Irepelusa
Country: Venezuela
Why They Should Be on Your Radar: Venezuelan singer/songwriter Irepelusa just debuted in Bogota’s Estero Picnic Festival, her latest notch in a career that’s been rising slowly and steadily and surrounded by fine musicians. Now based in Colombia, Irepelusa plays a mix of atmospheric electronica, pop, soul and R&B with frequent touches of Caribbean and urban beats. But she’s also capable of switching to a pure acoustic sound with a beautiful, bell-like voice. Irepelusa (real name Irene Alejandra) is prepping an upcoming album produced by Juan Pablo Vega, with a new single “Los Domingos la Paso Solita,” released February on indie Discos La Piña. — LEILA COBO
Song for Your Playlist: “Nervios de Acero”
[embedded content]
Artist: NXNNI
Country: Mexico
Why They Should Be on Your Radar: I’m always on the hunt for up-and-coming talent in regional Mexican and, not surprisingly, when I do find new names they are almost always men. So, when sierreño artist Ivonne Galaz unleashed “Fumar Beber” earlier this month featuring only emerging women in música mexicana on her track, it made me really excited. One of those featured is NXNNI, a corridos bélicos singer-songwriter from Monterrey, Nuevo León, a Mexican state that borders Texas.
Like most of this generation’s regional acts, NXNNI is also a gifted guitar player, with which she powers her prickly corridos, along with her deep and rich vocals that demand attention. After launching her career in 2021 singing corrido covers and rapping alongside local artists, she scored a record deal with Fonovisa (the Mexican music imprint under Universal) and was part of its 2023 compilation album Bélico Indie (Vol. 1). Most recently, she released a cover of Belanova’s 2000s pop anthem “Rosa Pastel,” giving it a corridos bélico twist. — GRISELDA FLORES
Song for Your Playlist: “Rosa Pastel”
[embedded content]
As the world observes Holy Week 2024, Billboard Español has prepared a special selection of 31 new Christian songs in Spanish for the season. The list is comprised of established and emerging artists, encompassing the diversity of Latin Christian music in sound and message.
Explore
See latest videos, charts and news
See latest videos, charts and news
The lyrics of these songs explore themes such as love, family and everyday life from the perspective of faith, thus providing an enriching experience for those who want to approach faith through music.
Among the highlights are a variety of popular genres, from worship songs such as “40CM” by the singer-songwriter CRYS together with Genock Gabriel, and the ballad “Vuelvo” by Marcela Gándara, produced by Julio Reyes Copello, which invites us to get closer to God in the most challenging moments. In addition, we included “Tu Presencia Me Llamó,” the Spanish version of the popular song “Me Atraiu” by the Brazilian Gabriela Rocha with the Guatemalan band Miel San Marcos. With this anthem, Rocha became the first woman in gospel music worldwide to reach 3.3 billion views on YouTube, according to Billboard Brazil.
Within the field of Christian urban music, songs such as “Flow Celeste” by Barajas and Alex Zurdo, “Te Siento” by Indiomar and “Locura” by Jay Kalyl stand out. While in Latin pop, there are gems such as Gilberto Daza’s pop vallenato “Seguir Vale la Pena,” and “Capulí”, which united the Ecuadorian Vaes with the Colombian band Alkilados.
Trending on Billboard
In addition, the list includes “Confía” by Farruko and Dalex, “Who Who” by Nino Freestyle and Emanuel Lara, and “Chica de Altar” by the latter, all part of the compilation album Transition, from Puerto Rican Farruko’s Carbon Fiber label, which took a new faith-based direction this year and features diverse emerging artists both Christian and non-Christian. This project also supports Billboard‘s forecast that 2024 could see more secular artists break into Latin Christian music.
Listen to our playlist of new Latin Christian songs for Easter 2024 below:
Santiago de Cali or simply Cali — the third-most populous city in Colombia after Bogotá and Medellín — is known as “La capital mundial de la salsa” (the salsa capital of the world) given the city’s love for the genre and more so, it’s talented artists. Among them is Grupo Niche, which was formed in Bogotá, but settled in Cali in 1982.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Known for classic salsa tunes such as “Una Aventura,” “Gotas de Lluvia” and “Mi Pueblo,” Niche was founded 44 years ago by the late Jairo Varela. One the group’s most notable songs, however, is “Cali Pachanguero,” one that resonates with proud Colombians everywhere and is a must-play at any Latin party.
In celebration of the latter track’s 40th anniversary, the Latin Grammy-winning ensemble is on the road with its Pachanguero Tour, which has already made stops in Australia, Los Angeles, Panama, Peru and Miami.
Trending on Billboard
“It’s the new performance by Grupo Niche, with a new proposal and a new show on stage,” vocalist Alejandro Iñigo tells Billboard. “We’re going to perform at a jazz festival in New Orleans and we’re doing the Auditorio Nacional in Mexico, where we will take the legacy of the group to a new audience and a different market. The tour is full of surprises and big things.”
Niche, along with the National Symphony Orchestra of Colombia, won the 2023 Latin Grammy for best salsa album with Niche Sinfónico. Now, the group is working on a new album that fans will love, according to vocalist Alex Torres.
“It will be a wonderful album that will surely reach a bigger audience,” he notes. “It will be with new songs and very modern, conserving the parameters and musical concept of the group.”
[embedded content]
Below, group members break down how “Cali Pachanguero” was created.
The Song’s Backstory
“This is a song that was composed by the maestro Jairo Varela,” José Aguirre, musical director and trumpet player of Niche says. “He composed it in a hotel in New York after talking to a friend at the time who felt an absence and lots of nostalgia [being away] from Cali. Talking to him, he got inspired to create this song. After that came the recording stage.”
The Lyrics & the Sound
The lyrics in “Cali Pachanguero” describe the city of Cali, Colombia — with its bustling carnivals, lively atmosphere and beautiful people — narrated by someone who’s far away and yearns to go back home.
“The rhythm, which had a very big boom in the ’70s in salsa and in the world, is a rhythm called ‘pachanga,’ and for that reason he titled the song ‘Cali Pachanguero,’” Aguirre explains. “It’s a very commercial melody that’s under the roof of the rhythms that make up salsa music. It was recorded in 1984 and not only was it an immediate success at the Cali fair, but also a success throughout Colombia, and abroad with such great force that today has become an icon of Latin music.”
The Song’s Impact
Aguirre continues: “This song was already born big. It came out at a very important time for Grupo Niche. Just by the success it had at the fair that year [1984], it began to move masses. It’s a work that has been gaining popularity. In fact, at the beginning of those years, the song was only played in Cali because it was from that city. But today, the song has to be played everywhere. It’s a must-play song [at our concert]. Everywhere [in the world], people assume it as their own.”
Its Legacy
“Maestro Jairo Varela left very strong foundations with his determination and discipline,” vocalist Luis Araque notes. “He’s always worked with that order of ideas. Respecting the music, respecting his concept and respecting what he’s done, I think everything with the group has gone very well. All of us in the group know that we have to arrive early, that we cannot get drunk, that we have to give a status to that discipline.”
Don Omar‘s 2011 smash hit “Taboo” has just earned him a new milestone. According to YouTube, the song’s music video, which includes footage from the blockbuster action film Fast Five, has surpassed one billion views, making it his second video in the Billion Views Club as a lead, featured artist or collaborator. Currently, Don Omar comes in at No. 87 on YouTube’s Global Top Artists.
Shot in Brazil and directed by Marlon P, the music video not only includes scenes from Fast Five, but also includes a storyline in which Don Omar is a waiter at a very fancy event, where he crosses paths with a childhood crush. Drama ensues when both leave the party and eventually reunite to rekindle their relationship.
“Taboo” peaked at No. 1 on Billboard‘s Hot Latin Songs chart in March 2011, where it sat atop the summit for five weeks. The samba-inspired track also ruled the Latin Airplay tally for five weeks.
Trending on Billboard
Currently, the Puerto Rican hitmaker is on his Back to Reggaetón U.S. Tour. The stint, produced by CMN, marks his much-awaited return to the stage, celebrating two decades of influential hits that have cemented his status as a global superstar. The tour, which launched in Reading, Penn., on March 7, includes stops in major cities such as Los Angeles, Chicago, Miami, Las Vegas and Houston.
In February, Don Omar accepted the Ícono Global Award at the 2024 Premio Lo Nuestro. After a riveting medley — which featured special guests Machine Gun Kelly, Anitta and Wisin & Yandel — he gave a heartfelt speech honoring urban artists. “This is for those who made urban music before me, for those who made urban music at the time I made it, for those who make urban music in the future and for all the countries where there is not even a single urban music artist,” he said.
Revisit his “Taboo” music video above.