Latin
Page: 148
Christian Nodal is taking his mariacheño to Europe.
The Mexican singer-songwriter is set to kick off a eight-date European stint, as part of his Paâl Cora Tour, that will begin June 28 in Zurich and visit other major cities including London, Paris, Madrid, Barcelona and Milan. Nodalâs trek in Europe is a significant moment for regional Mexican music in general, and a nod to the globalization of the genre.
âWhen we performed our first concert in Madrid last May, at the WiZink Center, more than a goal a European tour was a dream and you, my fans, with that SOLD OUT ended up making it come true,â the 25-year-old artist said in a statement. âThank you for loving my music as much or more than I do ⊠I love you guys so much, see you soon, I will be visiting you in your city so we can dance, fall in love and also have a shot of Don Julio tequila in the name of heartbreak.â
Nodalâs Paâl Cora Tour in Europe â a mix of theater, arena and festival shows â will follow his Foraji2 Tour, which he wrapped in December 2023. The 31-date arena run in the United States followed his 22-date 2022 Forajido Tour, which grossed $14.5 million and sold 147,000 tickets across 22 shows, according to Billboard Boxscore. In 2023, he grossed $21.6 million and sold 259,000 tickets.
Trending on Billboard
Most recently, Nodal won his sixth Latin Grammy taking home best ranchero/mariachi album for Forajido EP2. To date, Nodal is the soloist with the most No. 1 songs on Billboardâs Regional Mexican Airplay chart, with 15 champs since the list launched in 1994.
The Paâl Cora Tour in Europe is a JG Music production, Nodalâs fatherâs management, label and promotions company, in partnership with Spanish concert promoter Iglesias Entertainment. See the dates below for Nodalâs Paâl Cora Tour dates in Europe:
There are certain qualities that turn a song into a soccer anthem. First, its sense of euphoria to match the gameâs twists, turns and rollercoaster of emotions. Second, the songâs ability to get everyone on their feet. So, it makes sense that âSacĂșdeteâ became the Major League Soccerâs (MLS) pick to soundtrack its latest Our Soccer Is Calling campaign spot.
The hypnotic electrĂłnica track by Afro-Indigenous-Venezuelan producer and songwriter Gotopo alongside producer Don Elektron (of Mexican group Kinky) was an unlikely choice given that the song was released last year and Gotopo is a relatively newer artist. However, it was the song that caught the attention of the MLS.
âWe fell in love with the energy of the song,â says Jesse Perl, MLSâ VP of brand marketing, who worked with indie label Waxploitation Records to license the track for the campaign. âWe think itâs great to use our platform to work not only with an established superstar producer like Don Elektron, but also emerging artists like Gotopo. This year, we wanted to make sure that our commitment to Latin culture came to life through sound, itâs something we really wanted to be intentional about.â
Trending on Billboard
Itâs not the first time that the MLS works with Latin acts for campaigns, Prince Royce and Miguel have been tapped in previous years, but this latest song and campaign captures the zeitgeist of the fĂștbol movement and excitement with the arrival of Argentine soccer icon Lionel Messi to the league.
âSomething really interesting is starting to happen, like it did back with hip-hop and the NBA in the 90s,â explains Perl. âThereâs this marrying of Latin music and soccer in such an organic way. Peso Pluma is coming to games with Dr. Dre. Then you have Bizarrap is going to games in Miami. Thereâs all these people who are fans of the sport and now our league.â
Itâs also a direct reflection of the leagueâs fans. According to data provided by the MLS, the league has the youngest and most diverse fans among the major sports leagues in North America with 30% of the MLSâ fanbase being Hispanic and 69% of the leagueâs fans are Gen-Z and millennial.
âOur soccer is calling is this idea of it being an invitation to bring people who are curious to discover, and weâre fortunate that thereâs more curiosity about our league than ever before.â
Watch the âOur Soccer is Callingâ spot, soundtracked by âSacĂșdete,â below.
[embedded content]
Eight years after his last performance at Viña del Mar, Alejandro Sanz has once again won over the âmonsterâ of Quinta Vergara on Sunday night, when he opened the 63rd edition of Viñaâs International Song Festival.
The Spanish singer/songwriter delighted the eventâs 15,000 attendees by performing live hits including âNo Es Lo Mismo,â âLo Que Fui Es Lo Que Soyâ and âDeja Que Te Bese,â to name a few.
The set began with a video of Sanz, on the large screens at the back of the stage, narrating the beginning of his autobiographical song âBioâ before appearing live â dressed in black, with white sneakers and dark glasses â accompanied by a band that included about a dozen musicians among instrumentalists and backup singers. âViña roars!â he yelled before starting singing.
Trending on Billboard
Sanz later greeted the audience in the Chilean coastal city: âHow good to see you!â he said to the âmonster,â as the festivalâs audience at the Quinta Vergara is known as. âWhat a joy to return to this stage after a few years. This is a very special night for all of us here; I hope it is for you too. We are going to do absolutely everything to make it so.â
And they did not disappoint. For almost an hour and a half, Sanz and his band delivered hit after hit.
One of the most emotional moments came from âLooking for Paradise,â originally recorded with Alicia Keys, which Sanz performed this time with one of his backup singers. The artist dedicated the uplifting bilingual song to the volunteers working to help the victims of the fires that left 120 people dead and more than 15,000 homes affected earlier this month in Viña del Mar. âI want to dedicate it to them with all the love in the world and thank them. It is from those people that we, as humanity, can really nourish ourselves, because they are people who selflessly give everything,â he said. âSo this is for you. ÂĄViva Chile!â
Some of the songs that inspired a sing-along among the fans were âLa Fuerza del CorazĂłnâ, âCuando Nadie Me Ve,â âQuisiera Serâ, âMi Soledad y Yoâ, âY, ÂżSi Fuera Ella?â and, of course, âCorazĂłn PartĂo,â which the audience belted with Sanz wholeheartedly. Later, they awarded his art and his solidarity with a Silver and Golden Gaviota Awards, the highest honor awarded to the guest artists, as per the intensity of the audienceâs ovation.
But Sanz wasnât the only international star who performed on the opening night of the event. Colombian singer Manuel Turizo followed him with his Viña debut, performing an eclectic, colorful set that included ballads, urbano and tropical music, with songs from âDesconocidosâ and âDĂ©jala Que Vuelvaâ to âVagabundoâ and his biggest hits, âLa Bachataâ and âEl Merengue,â which undoubtedly lit up the crowd. Turizo also received a strong ovation from the âmonster,â and went home with his first Silver Gaviota Award.
Manuel Turizo performs during the 63th Viña del Mar International Song Festival in Viña del Mar, Chile on Feb. 26, 2024.
JAVIER TORRES/AFP via Getty Images
The Viña del Mar Festival 2024 takes place all week at the Quinta Vergara Amphitheater and can be seen outside of Chile on the Star+ streaming platform and the festivalâs YouTube channel.
The celebration continues Monday (Feb. 26) night with performances by Andrea Bocelli and his son Matteo Bocelli, plus Miranda! as the second act. ManĂĄ and Men at Work on Feb. 27; Mora and Anitta on Feb. 29; a night devoted to Chilean artists with Los Bunkers and Young Cister on March 1; and for the finale on Feb. 2, Maria Becerra, who took the place of Peso Pluma after the Mexican artist canceled his Latin American tour last week. Trueno will be the second artist of the night.
If you missed Sundayâs performances by Alejandro Sanz and Manuel Turizo, or want to relive them, you can watch them here below:
[embedded content]
[embedded content]
BMG announced on Monday (Feb. 26) an exclusive recordings agreement with the estate of the iconic Spanish flamenco guitarist Paco de LucĂa. In a partnership with the Paco de LucĂa Foundation, BMG is set to release Pepito y Paquito, an album featuring 21 previously unreleased tracks by Paco de LucĂa and his brother Pepe, in May 2024.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
âWe are delighted that these very special recordings, completely unknown until now, will finally be released with BMG on such a special date as the 10th anniversary of Paco de LucĂaâs departure,â representatives of Paco de LucĂaâs Estate said in a statement. âThese recordings are an extraordinary document that reflects the first steps in the career of Paco de LucĂa and Pepe de LucĂa, and they are already part of the history of flamenco.â
According to a press release issued by BMG, the recordings â which date back to 1959 and 1960 â give flamenco fans an insight into the âearly musical endeavorsâ of Pepe and Paco at the ages of 13 and 11, respectively. AI was used to help restore the recordings from a vintage Grundig TK46 tape recorder.
Trending on Billboard
âI never thought these recordings would ever see the light of day, but thanks to the tireless work of the team that has been part of this process, the tapes have finally been restored and are ready to be released,â added Pepe. âWhen I listened to the tapes again, more than 60 years after their original recording, I couldnât believe that those children were my brother Paco and me. It is a wonderful recording that brings back fond memories of the happiest time of our lives and serves as a fitting finale to our careers.â
âIt has been a privilege to work hand in hand with Pepe de LucĂa and the Paco de LucĂa Foundation for more than a year to document, restore, and finally publish these tapes that showcase the genius of these two brothers who changed the history of music in Spain and around the world,â said Javier Doria, BMG director A&R Spain.
The deal comes on the heels of a Paco de LucĂa Legacy Festival, which took place in New York from Feb. 20-24 commemorating the 10th anniversary of Paco de LucĂaâs death. A historical figure in flamenco and a key figure in the globalization of the music, Paco de LucĂa was honored by more than 30 flamenco artists at the four-day event.
L to R: Francisco SĂĄnchez GĂłmez (Paco de LucĂa) and JosĂ© SĂĄnchez GĂłmez (Pepe de LucĂa) with their mother LucĂa Gomes Gonçalves
© Family Photo Archive
Five months after Karol G and Peso Plumaâs âQlonaâ concluded its fifth week at No. 1 on Billboardâs Hot Latin Songs chart, the collab rises 2-1 to lead the Latin Airplay chart dated March 2.
Explore
See latest videos, charts and news
See latest videos, charts and news
âQlonaâ lands at the summit with a 17% gain in audience impressions, to 9.54 million, earned in the U.S. in the week ending Feb. 22, according to Luminate. It ousts Myke Towersâ âLa Faldaâ from the top after one week in charge, dropping 1-2 with a 10% dip in impressions, to 9.5 million.
As âQlonaâ reaches the summit in its 23rd week on the list, it wraps the longest journey to the top spot this decade, passing the 22-week trek that two Towersâ songs needed to their reign in 2020: âBandido,â with Juhn, and âBĂ©same,â with Luis Fonsi. (The last song to take longer to reach No. 1 was Pedro Capo and Farrukoâs âCalma,â which hit the top in its 24th week, on the April 13, 2019 chart.)
Trending on Billboard
With âQlonaâ on top, Karol logs the 17th No. 1 in her Latin Airplay career. The new champ arrives five months after her own âMi Ex TenĂa RazĂłnâ reigned for two weeks last October. Peso Pluma, meanwhile, picks up his third, after âElla Baila Sola,â with Eslabon Armado, ruled for one week last June.
Elsewhere, âQlonaâ wins a first term at No. 1 on Latin Rhythm Airplay, marking a 16th win for Karol. Itâs the second Latin rhythmic crown for Pluma, after the four-week champ âLa Bebe,â with Yng Lvcas, in 2023.
Thanks to its radio haul, âQlonaâ rebounds 5-4 on the multimetric Hot Latin Songs chart â which blends airplay, streaming activity, and digital sales â after five weeks in charge.
[embedded content]
Karol G & Tiesto Enter Upper Region
In more Karol G news, âContigo,â her latest collab with Tiesto, flies 48-3 on Hot Latin Songs in its second week.
The song, released via Bichota/Interscope, debuted Feb. 15 at No. 48 with only one day of activity, the last day of the previous tracking week. In its first full tracking week, âContigoâ rallies to No. 3 on the strength of streaming activity. The song generated 8.2 million during the same period, up 240% in U.S. clicks.
That figure is enough to debut at No. 44 on the overall Streaming Songs chart, and to yield a No. 5 debut on Latin Streaming Songs.
Sales too, assist in its second week at No. 1 on Latin Digital Songs, as the song logged 1,000 downloads after its debut week.
Notably, the new champ also secures a milestone achievement for Tiesto, who captures his first top 10 on Hot Latin Songs among two chart entries. The electronic DJ and record producer earned his first career entry on the multimetric ranking with a No. 36 high for âProvenza (Remix),â with Karol G, in Aug. 2023.
Beyond its No. 3 high on Hot Latin Songs, âContigoâ matches Karolâs previous Tiesto team-ups on the Hot Dance/Electronic Songs ranking, lifting 10-4, and mirroring the No. 4 high of âDonât Be Shyâ and âProvenza (Remix)â in 2021 and 2023, respectively.
[embedded content]
The new, March 2, 2024-dated chart will be posted in full on Billboardâs website on Feb. 27.

Tonight (Sunday, Feb. 25) is the kick-off of Latin musicâs longest-running and most-watched music festival. More than 200 million people are expected to watch the television broadcast of the Viña del Mar Song Festival, which celebrates its 63rd year (uninterrupted, save for two years of Covid-19 shutdown) with performances by global music stars.
Explore
See latest videos, charts and news
See latest videos, charts and news
Alejandro Sanz and Manuel Turizo will open the festival at the Quinta Vergara Amphitheater tonight. Then, the week continues with Andrea Bocelli and his son Matteo Bocelli on Monday, Feb. 26 (with Miranda! as the second act); ManĂĄ and Men at Work on Feb. 27; Mora and Anitta on Feb. 29; a night devoted to Chilean artists with Los Bunkers and Young Cister on March 1; and for the finale on Feb. 2, Maria Becerra, who took the place of Peso Pluma after the Mexican artist canceled his Latin American tour last week. Trueno will be the second artist of the night.
Although the artists, international and folk competitions, and comedy sets are the main attraction of the festival, the backbone is its hosts. Chileans MarĂa Luisa Godoy â who returns for the fourth consecutive year â and Francisco Saavedra, have the titanic task of literally âconductingâ the festival six nights in a row, in marathon six-hour plus evenings. Saavedra and Godoy, both veteran journalists, presenters and commentators, not only host and introduce throughout the evening, but they must navigate the subtleties of many artists (and new artists who come to compete), comedians and the live audience at Quinta Vergara, known as âthe monsterâ for their active involvement in what happens on the stage.
Trending on Billboard
This year, Godoy and Saavedra also have an additional challenge, as the city of Viña del Mar was severely affected at the beginning of the month by fires that left more than 120 people dead and more than 15,000 homes destroyed.
Just hours before they go on stage, we spoke with Godoy and Saavedra about what it takes to prepare to host the largest festival in the world.
The Viña del Mar Song Festival has been celebrated for almost 70 years. What is different this year?
Francisco Saavedra: Itâs different because a tragedy occurred in Viña del Mar, more than 100 people died and there are many places that are badly damaged. Therefore, the festival took on a supportive tone. Throughout our broadcast, a QR code will be displayed from where everyone can donate for the reconstruction of Viña del Mar.
MarĂa Luisa Godoy: Itâs a wounded city, and we want all of Latin America to help us in this reconstruction. Therefore, the more than 200 million people who watch the Viña Festival hope that you will collaborate with us. At the amphitheater we have a booth for donations, and also, we aim to heal with music, with entertainment.
How do these facts change your work as hosts?
Saavedra: Weâd been rehearsing for eight months, and we had to change the tone of what we were going to say. The artist introductions remain the same, but empathy is what changes the tone of the scripts. We had to re-study.
Godoy: The first night is the big challenge, because it sets the tone. So much so, that we even changed the outside [Godoy will wear a white pantsuit, Saavedra will wear all black]. The festival has always started with a party, and the outfits were flashier, but weâre striking a more sober note out of respect.
This is not a normal hosting job. Literally everyone in Chile â nearly 90% of the population âwatches this show at some point. How do you prepare?
Saavedra: There is purely editorial work. We had 18 rehearsals inisde a television studio where the producers gave us all sorts of prompts of what could happen: applause, booing, the teleprompter cutting out, delays. They wanted to see our ability to improvise. You know that the audience in Viña del Mar is very different from other countries. They like to participate, and theyâre very radical. If they donât like something, theyâre ruthless. So one has to be prepared for that.
Godoy: It is the largest festival in the world. There are six nights, where there are two artists who sing, plus the competition, plus the comedian. So it forces us to learn the biography of each person in order to present them in the best possible way. And part of the identity of this festival is that it has the âmonster.â And the monster is very unique. Itâs an audience that can literally eat the artist who is on stage.
In your three years at the Festival, MarĂa Luisa, what moment stands out?
Godoy: There was a particularly difficult festival in 2020, during the countryâs period of social unrest. They even put up barricades around the venue, and it was difficult for artists to get there. The opening artists couldnât come because crowds were setting cars on fire outside the hotel and wouldnât let them pass. And I want to tell you about Ricky Martin who saved the festival in 2020. Every night, we werenât sure if we would have a show or not. When Ricky came to the venue, he had to lie down inside his SUV because protesters were throwing stones at the cars, not even knowing who was inside. Every international artist started calling Ricky to ask what the situation was. And Ricky, such a good and generous person, completely calmed everyone down, put them at ease, and helped the festival take place.
Saavedra: A similar thing that happened with Alejandro Sanz this year. He went to see some of the people who lost their homes in the fires. It was very emotional.
Francisco, itâs your first year. Did you long to do this?
Saavedra: I think it is the most important festival in Latin America, and for any Chilean television host being in Viña is a very important step in your career. You are seen by audiences from all over the world. You cross borders. To live up to this weâve been studying and working. Itâs a dream for me since I was little. Now being able to fulfill it excites me deeply.
MarĂa Luisa, and you? How did the opportunity come to you?
Godoy: It was a surprise because my career was in political journalism, so it was never something I thought I could do. Itâs not the kind of thing you can say no to because it is like wearing the Chilean T-shirt for the world. It has simply been the most important thing that has happened in my professional career.
You are a mother of five children. How do you balance such a complex job with motherhood?
Godoy: As a mother, I canât move without my puppies. I have from 1-year-old to a 10-year-old and they are all here with me. What makes me most happy is being with them and fighting for women. Ever since i hosted Viña while I was pregnant â there had never been a pregnant woman [as a host] â I always said, my dream is to ensure that having children is not an impediment to working, and that working is not an impediment to having children for a woman who wants a child. You have to break down barriers. Motherhood can be made compatible with work.
Pancho, you are also breaking parameters as a gay man with two children. Your little one is just months oldâŠ
Saavedra: Absolutely. My daughter Laura and my son Emilio and my husband are here. It is the first time, I believe, in these 63 years that Viña del Mar has been, [that it] has had [an openly gay host] and it has to do with the evolution of the world and how minds are opening. There is a lot of homophobia in the world. This is a great step forward. And the only thing I have received on the street is affection, love and empathy. Being able to do an interview and talk about my husband and my children, and not raise an eyebrow, is a huge step in the right direction.
The Viña del Mar Song Festival can be seen outside Chile on streaming platform Star+.
â

The 4,300-capacity Grand Ole Opry crowd gave Mexican singer-songwriter Carin LeĂłn a superstarâs welcome as he made his debut at the Nashville venue on Friday night (Feb. 23).
Explore
See latest videos, charts and news
See latest videos, charts and news
LeĂłn had one of Billboardâs top 10 Highest-Grossing Latin Tours of 2023 with his Colmillo de Leche Tour, which played Los Angelesâ Crypto.com Arena and Houstonâs Toyota Center, among other venues. He was one Billboardâs Top Latin Artists on the 2023 year-end chart (based on song and album performance, as well as touring). Last year, Leon notched some of his biggest Billboard Hot Latin Songs chart hits, including âPrimera Cita,â and the Grupo Frontera collaboration âQue Vuelvas.â LeĂłn and Maluma joined forces for âSegĂșn Quien,â which topped both Billboardâs Latin Airplay chart and Regional Mexican Airplay chart in December. This past year, he won a Latin Grammy for best Norteño album (Colmillo de Leche)
Screams of adulation and a sea of cell phone lights greeted the LeĂłn as he took the stage before a crowd that was on their feet and singing along with every (primarily Spanish) lyric he sang. Leon played his 2022 hit âNo Es Por Aca,â followed with a solo version of âThe One (Pero No Como Yo),â his duet with Kane Brown, which the pair debuted earlier in the week at the 2024 Premio Lo Nuestro. He closed with âPrimera Cita,â a song which marked a milestone moment of experimentation for LeĂłn, who blended Mexican and the soulful sounds of Memphis and New Orleans.
Trending on Billboard
At one point, as LeĂłn stood on the Opryâs famed circle of wood, part of the Opry stage that had originally been in the floor of the Opryâs previous location at the Ryman Auditorium, he knelt down and placed a kiss on the floor.
âThis moment is a dream come true,â he said later from the stage. âThis moment is important for my music, for my country. Having all the family here and having country music accepting us, for us to be here, this place is magical. I hope to come back here a thousand times more. Thank you so much for this moment.â
He exited the stage, but only momentarily â as the screams and chants of the crowd quickly demanded that he return to the stage for another song. LeĂłn obliged with an encore, and in the process, became one of the rare artists making their debut Opry performance to make an encore performance â joining a lineage of artists whose debut Opry performances included encores, including Josh Turnerâs 2001 Opry debut, the 2016 Opry debut of rock legend John Fogerty (who had joined Brad Paisley on the Opry stage), and of course, Hank Williams, Sr.âs 1949 debut, when he was brought back onstage for six encores.
Just offstage, his âThe Oneâ collaborator Brown and singer-songwriter Leon Bridges stood among a throng of other supporters witnessing LeĂłnâs Opry debut.
Earlier in the evening, seated backstage in the Little Jimmy Dickens-themed dressing room 3 at the Grand Ole Opry, LeĂłn was filled with gratitude â and maybe a slight bit of nervousness â as he spoke of achieving his dream of playing on the Grand Ole Opry.
âBeing here at the Grand Ole Opry, for every artist, itâs more than realizing a dream,â he told Billboard. âFor me as a Mexican, for me coming from another genre, they are living the dream. We never realized that we would be here, even as an audience member, but now being here playing, it makes me so proud.
âI was walking around earlier, looking at the photos and the [artist] quotes that are on the walls. I cried four times reading what they said, because they felt like I do. It made me feel so humble and reminded me why I started doing music. This place is magical for every musician. The history, itâs a love letter to music and you feel like youâve entered a sacred place.â
Since releasing a slate of live albums in 2018, followed by his full-length debut, El Malo, in 2019, LeĂłnâs music has increasingly enveloped an array of sounds, among them folk, flamenco and country. He previously covered songs by Johnny Cash and Chris Stapleton and teamed with Walker Hayes for an Amazon Music collaboration.
Of his new collaboration with Brown, LeĂłn says, âOne of the first names in country music to collaborate with that somebody put on the table was Kane Brown. It was 2018 or so when I started hearing his music. Heâs like the link for our genre and country music to happen. I met him and his team, and heâs such a humble person and good guy and one of my friends in this game that is music. Iâm very happy that he believed in our music and it is the perfect time for this to happen.â
On April 26, LeĂłn will make his debut performance at country music festival Stagecoach, performing on a bill that also includes Eric Church and Jelly Roll. He will be the first Spanish-language act to perform at both Stagecoach and Coachella.
âItâs unbelievable for me,â he says of those upcoming performances. âIâm kind of nervous about that show because itâs a different audience, but weâre going to enjoy it so much and Iâll get to see some of my idols, too. Itâs a place where Iâm going to celebrate whatâs happening with our music and this musical revival. You can see less limits on every music. People are hungry for good music and artists donât want to fit in a box. If you have a great song, you can upload it with just a guitar and video and you cannot deny whatâs good.â
LeĂłn, as well as his fellow artists including Bad Bunny, Maluma, Karol G and Grupo Frontera, are leading Latin musicâs current global success. Latin and country were two of the genres with the most percentage gains in 2023, according to Luminateâs 2023 Year-End report, with Latin up 21.9% to 75.26 million units in 2023 and country rising 21.8% to 92.19 million units in 2023.
The crux of LeĂłnâs country music-focused moments â the Opry debut, Stagecoach, the collaboration with Brown â is LeĂłnâs in-the-works, full-fledged country album.
âThis is one of my wishes of my life, to do this project,â he says. âI think this is the correct time to do it, and we are working on it. We are on the song selection process, but there are a lot of names weâre looking at.â
Similar themes are woven through the lyrics of both Regional Mexican and country â tales of love, family, and cowboy/vaquero culture. Leonâs upcoming country project could prove a key moment in further uniting the two genres. Historically, country has seen occasional moments of Latin artists finding successes on the country charts, with Johnny Rodriguez and Freddy Fender both earning No. 1 country hits in the 1970s, while in the 1990s, Tejano music star Emilio Navaira, band The Mavericks and Rick Trevino saw country radio successes.
More recently, artists including Frank Ray, Leah Turner, Valerie Ponzio and Veronique Medrano are making their own fusions of Latin and country sounds. Additionally, LeĂłnâs collaboration with Brown extends a lineage of Latin artists collaborating with country artists, from Julio Iglesias and Willie Nelson earning a Country Music Association Award for collaborating and earning a country hit with âTo All the Girls I Loved Beforeâ (they would later also record âSpanish Eyesâ in 1989). David Bisbal, Enrique Iglesias and Becky G are among other Latin artists who have collaborated with country artists in recent years.
âEverybody wants to be a cowboy right now, everybody wants to do country right now,â LeĂłn says. âPeople are doing rap they are getting rap touched by Mexican music or touched by country music. They are wearing the hats, the boots. Louis Vuittonâs last collection, itâs all cowboy stuff. We as Americans, as Mexicans, we want to feel proud of what we are for. We donât want to emulate what everybodyâs doing â these are our roots. Our hat is what we are, our boots are what we are. Iâm very happy that people are looking to our culture in such a big way that is happening right now.â
As one of the most influential and outspoken voices in Latin music, Residente has consistently pushed the boundaries of Spanish-language rap. Whether exploring the depths of human emotion and societal issues through his art, or pissing off mainstream reggaetoneros via hard-hitting tiraderas, thereâs no denying that one canât turn a deaf ear to the artist born RenĂ© PĂ©rez Joglar.Â
With his second full-length solo album, Las Letras Ya No Importan (or Words No Longer Matter) â released via 5020 Records, following his 2017 eponymous debut â Residenteâs evolution from a genre-bending rapper to a multifaceted artist and cultural commentator is unmistakable. This latest work, released Friday (Feb. 23), embarks on an exploratory journey through sound, emotion and critical opinions, featuring a diverse roster of collaborations that span genres and geographies, from SFDK in Spain to Christian Nodal in Mexico and Amal Murkus in Gaza.
Among the standout tracks, â313â emerges as a deeply personal ode to the passage of time and the preciousness of life, inspired by a friendâs passing and Residenteâs own reflections on growing older. âTime is becoming more and more relevant in my life,â he tells Billboard Español.
Trending on Billboard
âBajo Los Escombrosâ offers a poignant look at the Palestinian struggle, crafted amidst the backdrop of conflict with contributions from musicians in Gaza and the voice of Murkus. âJerga Plataneraâ dives into the linguistic intricacies of Puerto Rican and Dominican slang, while âEl malestar en la culturaâ and âArtificial Inteligente,â contemplate the evolution of rap and the intersection of humanity with technology, respectively. This album not only underscores Residenteâs commitment to musical and thematic experimentation but also highlights his role as a visionary in the ever-evolving landscape of the mĂșsica urbana genre and beyond.
During our interview at his home in Lower Manhattan, Residenteâs living space mirrors the diversity and depth of his music. Surrounded by an eclectic collection of books â ranging from Apocalypse Now to JosĂ© Parlaâs Segmented Realities, and The Wes Anderson Collection â and art adorning the walls, his environment is a testament to his wide-ranging influences. The skylight and balcony overlooking the Hudson River offer a glimpse into the serene backdrop of his creative process, while his dozens of Grammy and Latin Grammys on display serve as a testament to his enduring impact on the music industry.Â
Dressed casually in baby blue corduroys, a matching t-shirt, and a baseball cap, accented with a chain and silver whistle, Residenteâs demeanor is as relaxed and approachable as it was thoughtful, as he reflects to Billboard the depth and diversity of his latest album. By the way, today (Feb. 23) is his birthday.
You have a lot to celebrate: your new album, your new music video, your debut as a lead film actor, your birthday. How are you going to spend it?
I think Iâm going to go to a bar with family and friends, quietly. I am happy with the result of the video and the theme of â313.â It is an example of what I want to do more of. Iâm going to celebrate that, the video, the album and whatâs coming in the future as well.
Your video for â313â is visually stunning. It also features Penelope Cruz.
I always think about the visuals when I write songs, regardless of whether I make videos for them or not. Some people make videos for the song; I think I make music for the video. All the time Iâm thinking visually and thatâs where I compose the music. In this case I started to make the music and I was writing the ideas, adjusting to the weather conditions. It was quite difficult to shoot in November in Madrid, there is not much light. It snowed, it rained, everything happened during the shoot. That slows you down and the delay costs money. When youâre directing you have to think as a producer, writer, editor, and actor. Iâm thinking about everything at the same time.
[embedded content]
I have Penelope Cruz also in the video, and Silvia Cruz singing. We connected super well when I met [Penelope]. I also met her husband Javier [Bardem], and Iâm a fan of both of them. I love what they do, theyâre tremendous actors and they have a super nice family. I originally said, âIâd like Penelope to be in it.â I talked to her and she said yes. Little by little she connected with the song.
The inclusion of violins in that track and the guitar strings you use in others are beautiful and show a musical diversity along with some boom-bap beats. How do you decide which instruments or sounds to use in your compositions?
The album has songs that are older, and I had other songs that didnât [end up on] the album because I didnât feel they are connected to this moment now. When âRenĂ©â came out four years ago, I was going to release an album at that time and, well, now Iâm releasing them. Now I do have songs that feel like they are more relevant today, like â313,â âArtificial inteligente,â âQuiero Ser Baladistaâ or âBajo Los Escombros.â All these have cello, double bass, all this musical stuff. It seems to me that it is an album that marks a transition, as it happened with Calle 13âs second album, Residente or Visitante, which marked a moment. After that, everything was different.
[embedded content]
With your second studio album following your acclaimed 2017 debut, how do you feel your music and message has evolved in this latest work?
In this album I feel that the message comes more from my own experience. It is a very personal album, like â313â which is about enjoying this moment. I had a lot of losses last year and the year before. People I love died and everything Iâm talking about enjoying all this comes from that experience in the past. And the last record was world music meets rap. This record is the more vulnerable part, like âRene,â â313â or âRon on the Floor.â Itâs much more open in soul and spirit than before. Iâve always been open, but this time Iâm more with the openness.
Upon entering your home, it is impressive to see the amount of Grammys and Latin Grammys you have won. How do you maintain your passion for music after so much success?
I maintain my passion with therapy, trying to do different, creative things that fulfill me. I feel a little tired as an artist, Iâve been doing this for a long time. I want to dedicate myself more to filmmaking, screen writing, experimenting, acting. Now we have a film out at Sundance, which won the Grand Jury prize. Itâs called In the Summers. Iâm the lead actor, Iâm surrounded by spectacular actors and actresses who taught me a lot. I loved it. And the directing part I always love. I think thatâs what keeps me motivated and inspired to keep working. Itâs moving, doing other things within music as well.
How do you see the current state of Spanish-language rap and its culture, and how does your album contribute to this conversation?
One is a tool, and the other a genre that has rules and a culture that is respected. The discussion that was unleashed based on the list [of essential rappers in Spanish published by Billboard] seemed immature on the part of some of my colleagues. I think rap deserves to evolve as much as possible. I separate rap from hip-hop a lot. For me, [hip-hop] I see it as a genre where the tool of rap is used. Thatâs what I do.
Iâve never pretended to be of any specific musical genre, nor do I care. Never, since Calle 13, and right now, Iâve never wanted to be pigeonholed. Iâm not a singer because I donât sing, I rap, so I use the tool of rap. My album is for all the little kids who want to be rappers, who canât sing but want to say things, and through rhyme is an alternative. And Iâm doing well; Iâm proof that you can do well doing different things, rapping, making music, making it evolve.
[embedded content]
The future of rap, if it continues to be overprotected â is like protecting a child so much that it wonât know what to do when it grows up. So itâs the same with the music genre. You have to feed it new things, get it out there, let it evolve and move. It will continue to evolve, if not, it will stay there and other genres will come along and pass over it. Itâs important, so that it doesnât overtake it, and so that the kids who want to write rap can experience their creativity to the maximum, and take it to the maximum, as high as they can.
Listen to Las Letras Ya No Importan here:
This week, Billboardâs New Music Latin roundup and playlist â curated by Billboard Latin and Billboard Español editors â feature fresh new releases from artists such as Goyo, WOS, Wisin and Gabito Ballesteros, and more. The regional Mexican music takeover continues. This time, itâs reggaeton star Wisin who experiments with the gene in âUn Shot,â a collaboration with emerging mĂșsica mexicana artist Gabito […]
New Music Latin is a compilation of the best new Latin songs and albums recommended by Billboard Latin and Billboard Español editors. Check out this weekâs picks below.
Explore
See latest videos, charts and news
See latest videos, charts and news
Wisin, Gabito Ballesteros, âUn Shotâ (La Base Music Group/WK)
[embedded content]
Who wouldâve ever thought â Wisin tapping into the mĂșsica Mexicana realm? The Puerto Rican hitmaker has swapped his baseball cap for a cowboy hat for his latest single âUn Shot,â in collaboration with Gabito Ballesteros. Lacing the best of both worlds, the track is a corrido tumbado with hard-hitting urban beats that also meshes Ballesteroâs dulcet vocals and Wisinâs raspier tone. âUn Shotâ narrates the story of a man whoâs drinking his sorrows away after a break up.
But beyond that, itâs an homage to the regional Mexican genre, according to Wisin. âFor us urban artists, it was a dream to enter Mexico and receive the support of all Mexicans,â he told Billboard during rehearsals at the 2024 Premio Lo Nuestro. âMore than a fusion and a rich song, musically speaking, it is a tribute to the people of Mexico and a way to enter their world and let them know that we respect what they do, respect their music.â â JESSICA ROIZ
Trending on Billboard
LAGOS & Elena Rose, âBlanco y Negroâ (Warner Music Mexico)
[embedded content]
After sharing the best pop-rock song Latin Grammy award with Lasso for the hit âOjos Marronesâ last November, the duo LAGOS â made up of Venezuelan musicians Luis JimĂ©nez and AgustĂn Zubillaga â joins forces with another compatriot for a new pop anthem: âBlanco y Negro,â with prominent singer-songwriter Elena Rose. The song, which talks about the difficulty of having to say goodbye to a loved one in the midst of complex circumstances, offers an infectious melody and Spanish lyrics sprinkled with English that go straight to the heart. âIf itâs not a yes, itâs a no, I donât want to let you go/ But what do we do if life got in the way?/ If itâs over, put up with it/ Iâm looking for another color in this black and white,â they sing in the chorus, creating beautiful harmonies at times. Itâs a pop track that can take you to moments that you may not even experienced in your own life. â SIGAL RATNER-ARIAS
Goyo, âInsomniaâ (Sony Music Latin)
[embedded content]
The first 20 seconds of Goyoâs âInsomnioâ sound like a total rock anthem, with the strumming of an electric guitar. âEveryone wants to attack, but nothing will get me,â Goyo declares. What starts as a rock jam quickly evolves into a hip-hop beat that only speeds up as the song continues. Soon, Goyoâs rapid-fire lyrics take center stage, matching the songâs intensity. While Goyo has been at the forefront of the Latin hip-hop movement, this song is a slight departure from her signature bright and uplifting anthems, edgier with an almost haunting vibe. âOf all the panthers Iâm the blackest one,â Goyo raps. âI like to hang out with those that respect me.â â GRISELDA FLORES
WOS & Gustavo Santaolalla, âMelancolĂaâ (DOGUITO Records/DALE PLAY Records)
[embedded content]
Bolstered by the strumming of a charango and festive wind arrangements, âMelancolĂaâ delves into themes of mortality, resilience and melancholy against the riveting backdrop of Andean cumbia. With WOSâ energetic delivery and the powerful sonic architecture of Gustavo Santaolalla â also co-produced by Evlay and Francisco Azorai â the chorus âSerĂĄ melancolĂa/ de una vida sin recetaâ encapsulates the songâs theme of navigating a world without instructions. Ultimately, it explores the human experience of finding light amid darkness. â ISABELA RAYGOZA
Gian Marco & Catalina GarcĂa, âTĂșâ (Altafonte/Enjoymusic Studios LLC)
[embedded content]
Peruvian music icon Gian Marco teams up with talented Monsieur PerinĂ© vocalist Catalina GarcĂa on the captivating ballad âTĂș.â The acoustic collaboration, which is the fourth track previewing the Peruvian artistâs upcoming album AĂșn Me Sigo Encontrando, masterfully fuses their voices together in a sublime performance, giving life to a beautiful Andean song â accompanied by the distinctive sound of the charango, a typical instrument of this South American region. âIn âTĂșâ we once again include the colors of Andean folklore. The charango gives it a very special color. It is a song for everyone, for whoever wants to feel it, sing it, and dedicate it,â Gian Marco says in a statement. âI am like this because now you are/ I can love because only you/ You fill me with good things / I give you my whole lifeâ the pair sings in the chorus of the Julio Reyes Copello-produced song. â LUISA CALLE
Sergio George & Jay Wheeler, âLa Puertaâ (Sony Music Latin)
[embedded content]
Sergio George has released âLa Puertaâ in collaboration with Jay Wheeler â the first single off of his new album ATACA SERGIO, URBAN SALSA SESSIONS. The innovative song combines catchy salsa melodies with immersive urban rhythms to tell a cautionary story about the consequences of letting pride interfere with love. âI told you to leave when I wanted you to stay/ Dân the pride that screwed me in its web/ Making me believe that you werenât going to leave, that you wouldnât dare,â Wheeler chants with his high vocals. â INGRID FAJARDO
Listen to more editorâs Latin recommendations in the playlist below: