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The Conga Room — the nightclub that for years defined Latin entertainment in Los Angeles and featured artists like Celia Cruz, Carlos Santana, Fito Páez and Alejandro Sanz — is closing its doors after 25 years. Its final concert will be a private show March 27 featuring Puerto Rican salsa star Gilberto Santa Rosa and an array of friends, hosted by actor and producer Jimmy Smits and MC’d by comedian Paul Rodriguez, both co-owners.
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Established in 1999 by entrepreneur Brad Gluckstein, the Conga was — and still is — an anomaly in Los Angeles: an upscale, celebrity-studded nightclub devoted to Latin music and entertainment. Gluckstein’s co-owners at opening were luminaries Smits, Rodriguez, Jennifer Lopez and Sheila E., all representing different sides of entertainment. In contrast with New York, which for decades boasted legendary nightclubs devoted to Latin music, Los Angeles didn’t have a Latin venue backed by star power and that sought to highlight a broad swath of Latin music.
Maluma performing at the Conga Room in 2016
The Conga Room
From the onset, the Conga did just that.
When it opened in its original Wilshire Boulevard location, it featured Celia Cruz as its first headliner, and artists who performed there included Buena Vista Social Club and Tito Puente, but also Carlos Santana and Alejandro Fernández. In 2008, the Conga Room moved to its current, ritzier location at L.A. LIVE, where it continued to expand its programming, bringing in reggaetón and Mexican acts; Maluma and Bad Bunny, for example, played there in the early days.
In 2013, Billboard hosted a show by norteño band Calibre 50, as part of its Mexican Music Awards. While the room also featured other genres, with shows by artists like Lenny Kravitz, Ed Sheeran and Avicii, its core remained Latin music. All told, the venue hosted more than 500 performances in both locations, in addition to special events.
Gilberto Santa Rosa performing at the Conga Room in 2021
The Conga Room
“The Conga Room brought Latin music to the forefront, presenting both international and local artists in an intimate and upscale setting,” said Gluckstein in a statement. “It also became part of the cultural fabric of Los Angeles, hosting cultural, political and community events for a quarter of a century.”
However, offered Gluckstein, “Unfortunately, with the pandemic, the lack of events at the convention center, and the difficulty in booking national acts with AEG and Live Nation controlling national routing, our business model was changed. Coupled with an inflammatory economy and high interest rates, [it changed] consumer behavior significantly.”
Although the venue is shuttering, the nonprofit organization Conga Kids will continue to operate. Founded in 2016, the program reaches roughly 50,000 elementary school children per year in largely under-resourced communities in LA County, offering a curriculum of dance and music of the Afro-Diaspora.
Eladio Carrión shines bright with the highest debut of the week on Billboard’s Top Latin Albums and Latin Rhythm Albums charts, as Sol María, his sixth studio set, launches at No. 6 and No. 3, respectively, on the Feb. 3-dated rankings.
Sol María, a tribute to his mother, starts with 18,000 equivalent album units earned in the U.S. in the week ending Jan. 25, according to Luminate. The 17-track set blends trap, Afrobeats, reggae and ’90s pop, all genres that resonate with his mother. The set was originally set for a Dec. 23 release, but finally dropped Jan. 19, the first day of the chart’s tracking week.
Of Sol María’s 18,000-unit sum, 17,000 stem from streaming activity, which equals to 23.6 million official on-demand U.S. clicks of the album’s songs in its opening week. Album sales comprise 1,000 units, while a negligible amount of activity derived from track-equivalent units.
On Top Latin Albums, one unit equals to one album sale, 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams for a song on the album.
With Sol María’s No. 6 entrance on Top Latin Albums, the new father of twins Carrión captures his fifth top 10, out of seven visits, on the Top Latin Albums tally and bests his album debut Sauce Boyz’s No. 8 debut and peak in 2020. Three other sets have peaked in the list’s upper region: Sauce Boyz 2 at No. 2 (2021), SEN2 KBRN, Vol. 2 at No. 4 (2022), and 3MEN2 KBRN at No. 3 (2023).
Beyond its top 10 debut on Top Latin Albums, Sol María gifts Carrión his fourth entry on the overall Billboard 200 chart, at No. 37. Plus, with Sol María, the Puerto Rican-American rapper notches his sixth top 10 on Latin Rhythm Albums, as it bows at No. 3 – matching the debut and peak of his last entry, 3MEN2 KBRN in April 2023.
As Sol María arrives, three of its tracks launch on the Hot Latin Songs chart –which blends streaming data, sales, and airplay– led by “Hey Lil Mama,” with Rauw Alejandro, at No. 36. The song is mostly powered by streaming activity, with 2.52 million clicks in its first week.
“TQMQA” follows at No. 39 1.7 million streams, and make progress in the radio realm. It rallies 41-31 on Latin Airplay with 4 million audience impressions (up 20%).
Meanwhile, the last of the album’s three debuting cuts on Hot Latin Songs, “Bendecido,” opens at No. 49, largely from its 2.1 million streams logged in the tracking week.
Carrión’s fresh chart achievements arrive on the heels of his first Latin Grammy win for “Coco Channel,” his Bad Bunny collab named best rap/hip-hop song at the awards in November.
Broadway legend Chita Rivera has died. She was 91. According to The New York Times, Rivera’s death was confirmed via a statement issued by her daughter Lisa Mordente. The iconic singer, dancer and actress graced the Broadway stage for nearly seven decades, originating iconic roles like Anita in West Side Story (1957), Rose in Bye […]
“These are real life situations,” Xavi tells Billboard Español, reflecting on the inspiration behind his gut-wrenching and fiery chart-topper “La Victima.” “I feel like we all go through obstacles or things like that in life. Sometimes you have to make songs out of that.”
In the booming landscape of música mexicana, Xavi, a 19-year-old Phoenix native, has rapidly emerged as a force to be reckoned with. His 2024 breakout, with the viral hits “La Diabla” and “La Víctima,” marks not just a high point in his career, but also a redefinition of genre boundaries.
Yet his story is one of triumph over adversity, marked by a life-altering accident and a bicultural upbringing that has influenced his musical craft.
His musical journey began in the church pews, watching his grandfather sing with a passion that ignited his own love for music. “Since we were little, we used to go to church with my grandparents,” he says. “Just seeing my grandpa playing with so much passion — and the truth is that when he sang, he sang with feeling, he sang with love and he did it for God. I remember that day I fell in love with music.”
This early exposure, coupled with influences from Mexican crooner bands like Camila and Sin Bandera and global pop icons like Justin Bieber, shaped his diverse musical palette. Despite a challenging childhood marked by his parents’ separation and living between Phoenix and Sonora, Mexico, Xavi found solace and expression in music.
A pivotal moment in Xavi’s life came with a near-fatal car accident at the age of 16. This harrowing experience, which resulted in a cracked skull and changed facial structure, could have been a setback. Instead, it became a source of inspiration.
“God gave me a second chance to go on and try harder,” he shares. “I saw it initially as a negative, but it ultimately changed my mindset. Now, I’m grateful for every moment I have.”
Videos of Xavi, bandaged and playing guitar while recovering, went viral on TikTok, deepening his connection with fans and marking the beginning of his rise as a tumbados románticos pioneer, inspired by Natanael Cano’s groundbreaking corridos tumbados which Xavi discovered on SoundCloud a few years ago. With his riveting blend of rebellious guitar-driven corridos infused with romantic lyrics, Xavi is not just riding the wave of Latin music; he is crafting his own niche.
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The teen signed with Interscope Records in 2021 and began releasing a string of singles that showcase his unique subgenre that blends corridos tumbados with a poignant emotional depth.
His 2023 summer EP, My Mom’s Playlist — a tribute to his mother which features renditions of Latin pop and rock en español classics she loved — reflects his deep-rooted family values, and the support he receives from the. Meanwhile, his chart-topping singles testify to his no-holds-barred lyrical prowess and bewitching vocals, leading to his Billboard chart breakthrough.
At the end of December, Xavi debuted on the Billboard Hot 100 with not one but two entries: “La Diabla” and “La Víctima,” which have since reached peaks of No. 22 and No. 55, respectively. His global appeal is further evidenced by his presence on the Billboard Global 200 and Global Excl. U.S. charts, with “La Diabla” reaching the top five on both.
Backed by management that aligns with his vision, Xavi’s future in the industry looks bright. As he gears up for an upcoming tour and continues to release new music, his philosophy remains grounded: “I live each day as if it’s my last, as tomorrow is never promised,” he asserts.
An extended version of this interview was published Jan. 29.
Name: Joshua Xavier Gutiérrez
Age: 19
Recommended Song: “Right now I like them all. But the one you really have to listen to is “La Diabla” because we made it with a lot of love for you.”
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Major Accomplishment: “Since we were kids, my brother [Fabio Capri] and I used to make music. There came a time when we stopped and thank God music reconnected us.”
What’s Next? “We’re going to be releasing surprises on our platform soon. There will be a lot of new stuff coming out for you to listen to.”
Eladio Carrión has taken a heartfelt turn with his latest album Sol María, a deeply personal homage to the most important woman in his life — his mother.
“I want to make the world know who my mom is because she deserves it and she’s the best mom in the world,” Carrión tells Billboard Español in a new interview on TalkShopLive, where he also revealed exclusive merch for his fans to shop.
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“It’s different from the albums I usually drop, [which are] usually urban, like 80% trap, and maybe a few dancehall and reggaetón [songs],” he points out. “But with this one, I went more commercial, not worrying about getting songs to pop up in the club; doing what I wanted to do and getting my mother her flowers.”
Carrión spent an entire day at his parents’ house searching for the perfect photo for the artwork and found a picture of a young Sol María, his mother. “When I saw that pic, it just spoke to me,” he reveals. This week, the album debuts at No. 6 on Top Latin Albums and No. 3 on Latin Rhythm Albums.
The album’s uplifting sentiment echoes throughout all 17 songs, a reflection of Carrión’s current state of happiness. “It was a challenge to get in that [head] space. But it wasn’t that hard either, because right now life is good. I’m in a very happy place in my life,” he says. “I didn’t think about anyone else except her, but it’s cool because my fans get to experience it. I could have just made a mixtape and given it to her, and just kept on putting out the albums I usually put out.”
His positive outlook is palpable in tracks like opener “Bendecido,” where the 29-year-old manages to blend gratefulness with his signature sense of cool, or with the gut-wrenching ballad “Mama’s Boy,” featuring Spanish wordsmith Nach. In the latter song, Carrión delves into a well of raw, candid emotion that transcends mere words. “It was the intro [track] but I didn’t want people bawling out in the first song,” he reveals with a chuckle.
The idea for Sol María emerged about a year ago. Carrión had initially planned to take a break from music until 2025, but felt compelled to create something special for his mother. “I wanted to give her something to look forward to, something to be happy about,” he says.
Carrión chose the Afrobeats-laden “TQMQA” as the first single to prepare his hardcore trap fans for the album’s different style, while still maintaining elements familiar to his audience.
On “Sonrisa,” Carrión weaves a narrative about a captivating smile that leaves him utterly smitten, set against an invigorating Jersey club and dembow mix. “Sigo Enamorau’,” featuring Yandel, reinvents Sean Paul and Sasha’s “dutty rock” classic “I’m Still In Love With You,” and he turns up the vibe on “Todo Lit,” merging more raucous lyrics with a subdued trap beat alongside featured guest Duki. “I wanted to keep it more Latino,” he added about the collaborations, pointing out that his last album, 3MEN2 KBRN, had mostly brought American rappers as guests. Panamanian star Sech, Puerto Rican trailblazers Arcángel and De La Ghetto, and Rauw Alejandro also make appearances.
Reflecting on the journey from his first album, 2020’s Sauce Boyz to Sol María, the US-born star recognizes the growth and synergy in his team. “We’ve gotten better and better. Me and my producers, we understand each other better and better every day,” he boasts.
Watch the full Billboard TalkShop Live interview above.
Los Bukis has announced a headlining residency in Las Vegas, set to kick off Friday, May 3, at the Dolby Live at Park MGM. According to a press release, the 15-date stint will make history as the first-ever full Spanish-language residency on the Las Vegas Strip. Presented in partnership with Live Nation and MGM Resorts International, Los Bukis: The […]
The first time Ana Bárbara was nominated for a Grammy was in 2006, for No Es Brujería in the Best Mexican/Mexico-American Album category. Although she did not win (the award went to Pepe Aguilar), Ana Bárbara, signed at that time to Fonovisa, represented one of the few successful women in grupera and ranchera music — an artist who, beyond having a powerful voice and bringing sex appeal to the stage, also wrote her own songs.
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Now, almost 20 years later, Ana Bárbara (real name: Altagracia Ugalde Motta) has earned her second nod. Her exquisite Bordado a mano (Embroidered by hand) — which includes duets with Vicente Fernández, Christian Nodal, Paquita la del Barrio, Bronco and Christian Castro — is nominated for Best Mexican Music Album (Including Tejano) at the Grammys, competing at the ceremony on Sunday (Feb. 4) against Peso Pluma and three female artists: Lila Downs, Lupita Infante and Flor de Toloache.
In the group of nominees, Ana Bárbara is the pioneer, but she is still at the forefront. Bordado a mano is a work of art, but also of love and tenacity, recorded, produced and released by Ana Bárbara herself on her own label (Solos Music) with distribution by ONErpm. It took years to record, in part because it was logistically challenging to lock artists like Vicente Fernández (in his final collaboration before his death), and because Ana Bárbara paid for everything out of her own pocket.
The Mexican singer-songwriter — who this year celebrates the 30th anniversary of her first album, and who will be honored at Premio lo Nuestro on February 22 — spoke with Billboard about the meaning of the nomination at this stage of her life.
Your last Grammy nomination was 18 years ago. What are you most excited about this time?
Unlike the previous album, this one is completely independent. The last one included my songs but this one is also my production. And I am very proud of the work that was done, both with the songs and the teamwork, because it finally got to where it had to go, with a small, indie label. Solos Music is my label, and we are only five people. We’re small but we come through! [laughs]
ONErpm supports you with distribution and marketing, but this has been an independent job, and that’s difficult. Was it scary?
I can’t deny I was a little scared, because I didn’t know. I have to be honest. When Rose [manager Rosela Zavala] told me let’s go independent … she had a clear idea. But she was very honest and she told me, it’s a very difficult road, and it is. It is very expensive. I can tell you that it has cost me my life. If you ask me, was this a good deal, I’d say, “It’s a job that has given us something to eat.” We all have a family to support. But ultimately, as women, it was really about pride and strength and let’s go for it.
I’m not going to deny that it scared me at first, and it still scares me. Because although our goal was not to make the great business of our lives, we did say, “At what point are we going to start making money?” I tell you with great pride, I had to sell some of my assets at the beginning. I thought, if we’re going to do it, I’m putting everything into it.
It’s an album that took a long time…
Yes, and then came the pandemic. No no no. I was pulling my hair out. We were going crazy. But I believed. We already had the duet with Nodal, the duet with Paquita. It was already a reality. But all the promotion, the work, the album, the videos… doing all that as an independent [artist] is uphill, and for a woman, ten times more. Or twenty, to be honest.
Exactly how long ago was this album in the making?
I started working on it 11 years ago. The last album I released was Yo Soy La Mujer [in 2013]. The songs were written 11 years, 12 years ago. For example, the duet with Don Vicente, I dreamed it, I saw it, 11 years ago. He recorded it five years ago and the video was recorded before the pandemic. It’s been a long road.
Did you lose faith?
Actually, no. There were friends who told me, just record covers. But I wanted to leave my own legacy of my own songs. Yes, there were moments when I wanted to throw in the towel. For example, the duet with Christian Castro, he said yes, then six months went by. It was all very complex, because there is art in each of [the guest artists], but they also lead complicated lives.
All your guests have long careers and legacy, except Christian Nodal. Why him?
Nodal is a great artist. I call him an old soul. But all the others are classics: Bronco is classic. Christian Castro is the romantic balladeer, and he is one of my favorite balladeers. So I knew it was complex. When they’re established it takes a little more work to convince them.
You’re celebrating your anniversary this year, and you’re being honored at Premio Lo Nuestro. What else is coming?
I am celebrating 30 years of [my] recording career, which is easy to say, but the road has certainly been very difficult. We are preparing a symphonic album, basically the hits, with arrangements by maestro Eduardo Magallanes, who is one of my inspirations and did so much work for Juan Gabriel and Don Vicente. I also have duet and solo projects. It was hard enough to reach this milestone, so I’m going to celebrate with something special!
In the opening days of 2024, a pioneering new sound vibrated throughout the industry, capturing the top spot on Billboard’s Hot Latin Songs chart. The electrifying corridos track “La Diabla” (“She Devil”) was by newcomer Xavi, a relatively unknown 19-year-old Mexican American artist delivering an equally unknown sound.
The tumbados románticos single — which tells the tale of a bad boy’s romance with a bad girl — is crafted with the crisp strains of a requinto guitar — a signature instrument in regional Mexican music. But it’s Xavi’s combination of the rebellious corridos tumbados spirit with the tenderness of romance that sets him apart.
However, “La Diabla” almost never came to be. “I DM’ed him and he wouldn’t answer me,” recalls Interscope executive vp Nir Seroussi. He discovered Xavi in early 2021 thanks to the label’s A&R executive, Emerson Redd, who shared the soul-stirring guitar ballad “Te Quiero” with him. Intrigued by the artist’s raw emotion, Seroussi was determined to meet the young star — and his persistence paid off.
After two months, Xavi arrived at the Interscope offices in Miami, guitar in hand, and performed for nearly an hour. “It was love at first sight,” says Seroussi, who saw in Xavi not just a musician but an “old soul,” with a profound ability to connect. “He has all those qualities that differentiate a hobbyist from someone who could be a real artist, a career artist. It wasn’t about numbers. I fell in love with Xavi, the artist.” Seroussi signed him to a record deal later that year.
Raised in Phoenix and Sonora, Mexico, the artist born Joshua Xavier Gutiérrez says that his bicultural upbringing deeply influenced his own music, which blends Mexican corridos traditions with modern rhythms. “We are the first generation to move here, to give [ourselves] a better life,” Xavi says in Spanish.
Xavi photographed on January 11, 2024 in Los Angeles.
Daniel Prakopcyk
He drew early inspiration from his grandfather’s church singing — “when he sang, he did so with so much feeling, he sang with love for God” — as well as the emotive voices of Mexican crooners in bands like Camila and Sin Bandera. Still, the first song he learned to play on guitar was “Baby” by Justin Bieber. At just 12 years old, Xavi wrote his first original song; by 16, he started releasing his music to streaming platforms under Baga Music.
Around the same time, the corridos tumbados movement, led by Natanael Cano, had taken the internet by storm, paving the way for hit-makers like Peso Pluma, Fuerza Regida and Luis R Conriquez to break through. In parallel, the moving and melancholic melodies of sad sierreño emerged, led by a new cast of Mexican American Gen Z acts such as Ivan Cornejo, DannyLux and Yahritza y Su Esencia. Xavi navigates between the two with his own strain of tumbados románticos, a subgenre he coined as a musician raised on both sides of the U.S.-Mexico border. (His striking ruby, pearl and diamond necklace, a quintessential symbol of urbano culture, also symbolizes his fusion of eclectic sounds.)
However, his path to success was anything but smooth. A near-fatal car accident in 2021 that resulted in a cracked skull and an altered facial structure drastically changed his perspective. “It was a bad hit,” Xavi says, “but it changed my life.” Rather than deterring him, it inspired him: In the aftermath of the accident, videos of Xavi, bandaged and playing the guitar while recovering, began circulating on TikTok, fostering a deeper bond between fans and the rising artist.
In early 2022, after his recovery, Xavi channeled his experience into his music, emerging as a tumbados románticos pioneer. Within five months, he released a string of singles under Interscope, each marked by poetic lyrics and haunting acoustic riffs. These solo efforts, interspersed with a few collaborations with Los Primos del Este and Eduardo Soto, culminated in the release of his My Mom’s Playlist EP in May 2023. The seven-track set, an homage to his mother, featured renditions of beloved Latin songs like Maná’s “Rayando el Sol” and Luis Miguel’s “Ahora Te Puedes Marchar” reimagined in his sierreño style. “She’d always ask me to sing these songs she’d play while cleaning in the morning,” he recalls.
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Xavi’s manager, Raczon López, who came on board at the same time, then helped leverage his social presence and shape his biggest hits to date. At the end of December, Xavi debuted on the Billboard Hot 100 with not one but two entries: “La Diabla” and “La Víctima,” which have since reached peaks of No. 22 and No. 55, respectively. His global appeal is further evidenced by his presence on the Billboard Global 200 and Global Excl. U.S. charts, with “La Diabla” reaching the top five on both.
“If you notice, Xavi is a kid who is not on social media much, so there is this mystery in [his] career,” López says. “People are eager to hear what’s next.” He adds that what Xavi has already released is only a preview of his potential: “This kid sings pop, mariachi, R&B — I mean, everything fits him… People will gradually see the different facets of Xavi.”
Having recently signed with WME, Xavi is already preparing for an upcoming tour. But as Seroussi sees it, there’s no rush. He compares Xavi’s development to that of award-winning superstar (and labelmate) Billie Eilish, emphasizing personal growth alongside musical evolution.
“When [Interscope CEO] John Janick signed Billie, she was 14. It took three years to develop her, not just as an artist, but as a person,” Seroussi says. “It’s about the experiences, the life lived that feeds into the maturity of songs and songwriting. That’s what we see in Xavi — a star who was always destined to shine.”
Xavi photographed on January 11, 2024 in Los Angeles.
Daniel Prakopcyk
This story will appear in the Jan. 27, 2024, issue of Billboard.
From career milestones to new music releases to major announcements and those little important moments, Billboard editors highlight uplifting moments in Latin music. Here’s what happened in the Latin music world this week.
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Bad Bunny Crashes University
Early this week, Bad Bunny crashed a class of about 400 students at Miami’s Florida International University (FIU). The Puerto Rican artist was a guest speaker at David Grutman’s one-hour-long course called “The David Grutman Experience: The Class at Florida International University.” During the conversation, Grutman, the Miami-based entrepreneur who’s known for his professional relationships with A-list celebrities, talked about Groot Hospitality and his evolution in the hospitality industry; while the “Monaco” singer talked about achieving his goals whether it be in music, fashion, or the restaurant industry with the launch of his own Gekko.
World Red Eye
Luis Fonsi’s Own Airplane
In celebration of the 25 years of his career, Luis Fonsi was honored with his own personalized airplane. This week, Air Europe surprised the Puerto Rican crooner by baptizing one of their Dreamliners planes with his name and the lyric “yo quiero un mundo contigo” (I want a world with you), part of his timeless track “Yo No Me Doy Por Vencido.” Air Europe is the official airline of Fonsi’s upcoming tour, which includes a sold-out date in Madrid’s WiZink Center on Feb. 16. The sweet gesture also ties perfectly with the name of Fonsi’s upcoming album called El Viaje.
Luis Fonsi
@nabscab
Pancho Barraza Day
January 25 has been established as ‘Pancho Barraza Day’ in Las Vegas. That’s the way Clark County Commissioner Jim Gibson proclaimed it when he presented a plaque and a replica of the star that has been placed outside the Paris Hotel on the Las Vegas Strip. The 119th star is another achievement in the singer’s more than three decades career, who has made history within the Mexican region first as the vocalist of Banda Los Recoditos during the 90s and later as a solo artist.
“There are still many dreams to fulfill, but this is definitely one of them, and it is also a great pride to carry the name of Mexico high with these types of distinctions,” the “poet of love” exclusively tells Billboard Español. Barraza will also be celebrated on the “National Banda Day” held annually at the T-Mobile Arena in Vegas. See Barraza’s post here. — TERE AGUILERA
Blessd’s Celebrity Soccer Match
In celebration of his third studio album, Blessd got together some of his close celebrity friends for the “Si Sabe Fest” held Thursday (Jan. 25) in Miami. The festival, named after his new 14-track set, combined the world of music and soccer in a friendly match: Blessd versus soccer icon Ronaldinho. Showcasing their best fútbol skills, the teams were made up of special guests such as Ryan Castro, Ovy on the Drums, Argentina’s La Brujita Verón, Colombia’s Víctor Hugo Aristizábal, and Brazilian goalkeeper Dida. “I always wanted to be a soccer player ever since I was kid,” the Colombian singer tells Billboard after the match. “For me it’s a dream. I couldn’t believe it.” See the complete interview below:
Lupita Infante Receives Special Honor
Lupita Infante was honored with the Mayor’s Excellence Award by The City of Downey’s Mayor Mario Trujillo, recognizing her contributions in the Latin music industry and her pivotal role in carrying on her family’s musical legacy. The special award, which Infante received in person on Tuesday (Jan. 23) at the City Hall in Downey, Calif., is “awarded to those whose heartfelt contributions and notable accomplishments have proven invaluable to the community, playing a vital role in advancing the shared goal of making the city a better place for all,” according to a press release. Trujillo is also Infante’s former kindergarten teacher.
“It’s a full circle moment because I first met Mayor Mario Trujillo when he was my teacher in elementary school,” Infante said in the statement. I’m dedicating this award to my mother, who first came to Downey looking for a brighter future, and to this beautiful city that has helped shape my path in life and music.”
When Bad Gyal (born Alba Farelo Solé) saw her grandma — her dad’s mom — supporting her at one of her shows, nothing else mattered. “I thought, ‘I can relax now,’” the Spanish hitmaker says in a one-on-one candid conversation with Billboard‘s Leila Cobo. “If she approves it, if she is looking at me with eyes of hope and understanding it’s me, then everything is fine.”
It’s safe to say that today, it’s not just her grandma that approves of Bad Gyal’s music, which is often a blend of dembow, reggaetón and dancehall. In fact, Bad Gyal, who first got on people’s radar with her own take on Rihanna’s “Work,” was most recently an opening act on Karol G‘s massive Mañana Será Bonito U.S. Tour, and has now collaborated with the likes of Ñengo Flow, Anitta, Nicki Nicole and Ovy on the Drums. Boasting more than 13 million listeners on Spotify, Bad Gyal hustled to carve a lane for herself thanks to a commanding stage presence, her infectious beats and cheeky (often explicit) lyrics.
Which makes sense that she’d drop her debut album, La Joia (via Universal Music Latino/Interscope), at this point in her career. “I felt it was [the right] time when I had more experience in songwriting, in the studio, in choosing the producers, in the material that has been made, what’s better, what’s less important,” the 26-year-old singer-songwriter explains. “Over the years, you gain experience and you know yourself better.”
Knowing herself is also what allows her to exude confidence knowing exactly what she wants and doesn’t want. “I have always been certain that I’m going to do what I want to do,” Bad Gyal says categorically. “I have earned my position and people respect me a lot.”
So, when Rauw Alejandro wanted to twerk with her onstage at one of his shows in Puerto Rico last month, she respectfully declined. And, as expected, that specific moment vent viral on TikTok, with some praising her reaction as a girl-power move. “For starters, I think it was a culture shock. Usually, if I’m going to perform with a man, I do some rehearsal. But that wasn’t the case there so it caught me by surprise,” she says. “Secondly, I have never twerked with a man on stage. In the future, I might.”
Watch Bad Gyal’s interview above where she also talks about how “Chulo Pt. 2,” in collaboration with Tokischa and Young Miko, came about, juggling multiple jobs to earn a living (while also studying fashion) and all the details about her new album, which released Friday (Jan. 26).