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Nuria Andreu has joined GTS and is appointed manager of Spanish singer-songwriter Aitana, Billboard can report. In her new role, as part of the GTS (Global Talent Services) team in Spain, she will be exclusively dedicated to the growth and further development of Aitana’s career, which was previously managed by Olga Palma at GTS.

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Based in Madrid, Andreu will report directly to Narcís Rebollo, president, Universal Music Iberian Peninsula.

After beginning her career in the pharmaceutical sector with experience in other fields, such as communications and strategy, Andreu founded her own marketing and production agency in 2018. In 2020, she joined Sony Music Spain as head of communications and PR and, in 2023, was appointed communication director of Rosalía’s company, Motomami S.L. Before joining Universal, she was Rosalía’s personal manager.

“I’m grateful for the opportunity to join a company like GTS and the project of an artist with Aitana’s talent and strength,” Andreu said in a statement. “Wishing to contribute and continue adding success hand in hand with the magnificent team that She already has.”

Aitana, who signed with GTS in 2018, added, “looking forward and excited to start a new stage in my career and my artistic development [and] continue growing little by little and learning about music together.”

With more than 11 million monthly listeners on Spotify, the 24-year-old artist wrapped her Alpha Tour in 2023 with a sold-out show at the Santiago Bernabeu Stadium in Madrid, which sold all tickets in a record-breaking 72 hours, becoming the first Spanish artist to do so.

“I am certain that with her experience and skills, Nuria’s incorporation to GTS will be key to Aitana’s continued success, boosting her unstoppable career development and consolidating the GTS strategy of growth and service to our artists, as a leading company in the sector,” expressed Rebollo.

After a decadelong hiatus since her Grammy-nominated Vengo, Ana Tijoux — synonymous with the trailblazing spirit of Latin American hip-hop — returns with Vida, her fifth solo album.

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The 15-track LP stems from a period of intense personal experiences for the legendary Chilean rapper, particularly shaped by the dual forces of loss and motherhood. It’s a profound statement on existence and a celebration of life’s ebbs and flows.

Her introspection in Vida is encapsulated in tracks like “Millonaria,” where she juxtaposes the metaphorical richness of personal relationships against material wealth; the Afrobeats of “Bailando Sola Aquí,” about the importance of returning to the center of oneself; or “Busco Mi Mombre,” which explores identity, memory and resilience — verses like “Rompieron la puerta sin aviso, te arranaron de mí sin permiso” (“They broke the door without warning, tore you away from me without permission”) hint at a personal and collective grief over those unjustly taken.

“Vida is a response, unfortunately, to many people who passed away, people very close to me. It’s also a response to what happened with those departures,” the artist tells Billboard Español.

Motherhood, a recurring influence in Tijoux’s life and art, continues to shape her perspective. In the years between Vengo and Vida, it has influenced her worldview, infusing her music with a nuanced understanding of life’s complexities. This evolution is evident in the way she approaches her craft, learning to navigate emotional landscapes with a renewed sense of gratitude and self-compassion.

From her beginnings with rap group Makiza in the ’90s to her solo success with hits like “1977”, Tijoux has always forged her own path. Vida continues this tradition: it is a tale of resistance, revolution and the unwavering spirit of an artist who continues to redefine the contours of Latin hip-hop. “I think the most beautiful thing is that there are no pioneers here, there is an existing fabric and we build together,” adds Tijoux. “It’s not false humility, the world of hip-hop and rap is community. Therein lies its strength and its construction on its axis, and that makes all the beauty of this genre”.

The wordsmith talks to Billboard Español from Barcelona about her comeback.

Vida is your first album in ten years, what motivated you to go back to the studio?

After a decade, between life and motherhood, an avalanche of things happened. Vida is a response, unfortunately, to many people who passed away, people very close to me. It is also a response to what happened with those departures that sometimes are very hard. I don’t know why humans sometimes need those things that move us to create, or in this case to write or make songs.

Unfortunately, sometimes tragedies inspire that creative side of us to release. “Millionaire,” for example, is joyful and brims with metaphors.

“Millionaire” justly is a way of thanking my family and the people I appreciate, which have been many links woven through the years. They make me feel that I am a very lucky person. Understanding that we live in a very crazy time, of asking “what do you want to have to be lucky?” I feel full of jewels of people around me. That’s why the irony is carats, using this metaphor of bling. It’s ironic but grateful, to pay homage to all those people who for me are more than people — people who mark me and build me and allow me to walk.

You are the mother of two children. How has motherhood influenced your artistic career?

In every sense. Everyone lives motherhood in a very different way. I don’t think there is one way to live it. There’s also a side where you are faced with a lot of fears, trying to do the best you can, with a million mistakes. And within these mistakes, I believe that dialogue with one’s children is also very important. With this career, which is very beautiful but also very demanding, trying to deal with the labor demands, which in the end is a profession. Raising and trying to give tools to help one’s children, I believe that there is an influence in everything that one is. It is evident that this marks and sets the tone of how one perceives the world.

During the creation of Vida, how did you overcome creative challenges and what did you learn about yourself in the process?

I have learned how not to be so hard on myself. I dare say that many artists I have met from different musical genres or different areas, one works with emotions. It’s not a linear thing, it’s not numerical, it’s from emotion, from that swaying, from things that happen; some beautiful and others more complex that have to do with exposure, expectations, both personal and external…and pressure. I am also grateful to a lot of people I don’t know in person, but who make it possible for me to continue working. In that turmoil of emotions, one tries to surf the wave. I think it’s fun to take age, to grow old or to observe how one goes as the years go by. Approaching the work with these learnings, at the point of achievements but also of mistakes.

The album has notable and very diverse collaborations, with Talib Kweli, Plug 1 of De La Soul, iLe, Pablo Chill-E, among others. How do you choose your collaborations?

The collaborations came very naturally. Each one is a universe, each artist is a planet. You go through how you learn through each person you collaborate with. I think that the songs commanded and shouted those specific people, and I love that because they are all very different. It’s nice to be able to discover those planets and to invite them into mine and dialogue.

The production is a mix of hip-hop, jazz and Latin American rhythms, how are these diverse influences fused into a cohesive expression?

Andrés Celis has been in charge of the production, with whom we have made the two previous albums. Andrés comes from the world of jazz, but he is also very curious. He is very open to the richness of the multiplicity of sonorities that exist around the world. I think he translates very well these questions, this desire to explore in the songs.

As a leading figure in the Spanish-language rap scene and a pioneer since Makiza, how do you see the evolution of the genre from your point of view?

It’s nice because now I see a lot of women from different parts, many from Chile, with whom I have a super good vibe or I am very admiring. It gives me a kind of healthy envy to say, “¡Pucha! Why wasn’t I born later?” I would have had more sisters and colleagues, ¿cachai? Yes, there were in my time, but we were few. Now I see a diversity and multiplicity, crossing Chile, Argentina, Colombia, Peru, Bolivia, Venezuela, Mexico, Brazil, in so many other countries. There is a new crop of incredible artists that come with a momentum, with a grit and a hunger. Also to be able to share their flow, their experiences, their sorrows, their joys, and their questions as a woman. I see that there is a lot of richness now. There is a volcano of things that are happening from a new generation that is very eager to express itself, and that is always very healthy. In the end it shows a very vital Latin America, with many very vital women.

In Chile I’m a big fan of Irina Doom, La Mística, La Flor del Rap, 22RUZZ. There’s a girl from the Dominican Republic who is amazing at rapping, and a couple of Mexican girls that I love. They are very precise when it comes to rhyming, flow and meter. There is a girl from the Dominican Republic who is amazing at rapping, and a couple of Mexican girls that I love. They are very precise when it comes to rhyming, flow and meter. Aside from the tone of a woman’s voice, it’s very different from a man’s voice. The fact that it has higher tones allows an exploration in other tonalities that I say, “Wow, that’s cool!” I think the most beautiful thing is that there are no pioneers here, there is an existing fabric and we build together. It’s not false humility; the world of hip-hop and rap is a community. Therein lies its strength and its construction on its axis, and that makes all the beauty of this genre.

In December 2023, Juanes unleashed a track called “Nacimos Solos” (We Were Born Alone) that perfectly laced his signature rock sound with a heavy Western-influenced melody. It was the first cut from the upcoming Zorro series, premiering on Prime Video this Friday (Jan. 19) in the U.S. and Latin America, and on Jan. 25 in Spain.

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A second track called “Si Me Llevas Contigo” (If You Take Me With You) was released last week, joining the powerful forces of Carin Leon, Keith Urban and Rosario Flores. 

Both songs, as well as the full original soundtrack, were helmed by Grammy-winning producer Julio Reyes Copello. 

“This is what I really love. I love film scoring,” he tells Billboard. “I have done quite a few movies and series. In fact, I started my career doing music for television in Colombia and now I feel like it’s a good time to return to that. I have prepared my entire life to have versatility and make relevant pop songs but also film scoring. I think an interesting time is coming for me to continue doing these types of projects.” 

Released exclusively by Universal Music Latino, the soundtrack was also worked hand-in-hand with the label’s president Angel Kaminsky.  

“Although in recent years, UML has been involved in important sync licensing such as J Balvin with ‘Agua’ for SpongeBob Squarepants, Fast & Furious series, as well as Karol G with Puss in Boots, this is the first time Universal Music Latin works on an original project this comprehensive with such a wide array of talent crossing genres, languages and impacting cultural norms on such a large scale,” he notes.

Below, Copello and Kaminsky share with Billboard more about bringing the Zorro soundtrack to life.

How did this opportunity—to produce the “Zorro” soundtrack and release it under UML—happen?

Copello: I was contacted by Secuoya, the Spanish production company that made “Casa de Papel,” they had been working on this project for a while. One of its promoters, Sergio Pizzolante, who is the producer of Secuoya in America, had been talking about this project for some time, and when he finally got the green light and they began filming, he called me.

We began to do what we really dreamed of, to make a soundtrack for this story that would really honor the story of Zorro, which is the only one that unites three cultures: Mexican, Spanish, and American. It’s a perfect setting and the timing couldn’t be better with everything that’s happening in [Latin] music. I think it has been a very special situation.

Kaminsky: When Julio showed me what he was working on, I caught wind of what he was doing I knew exactly where he was going with the fusions of Anglo, Mexican and Spanish sounds. Julio mentioned to me that an old friend of mine of over 20 years and a passionate music lover, Sergio Pizzolante – President of Secuoya, was the brains behind this whole thing and it made me even more motivated to make this happen.

How did you seek inspiration to bring the soundtrack to life?

Copello: I am from the generation that saw the first “Zorro,” so it is a story that has accompanied me for many years. There’s a part that has always seemed exciting to me and that is that it’s a story of bravery. I wanted to take advantage of that to make a soundtrack that condemns that energy of not even being afraid of death. That’s the DNA, when life confronts one with survival and adversity, one has the ability to bend and be very strong. So, I tried to capture that passion in everything.

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Did you produce original songs for the soundtrack?

Copello: All songs are originals. We did a spectacular song camp with new composers very close to my home [recording studio], Art House. We actually dedicated an entire weekend talking about all the stories and characters from the series, and that’s why so much magic came out.

What else can you share about the album’s creative process?

Copello: We have been working on this since March 7, 2023, which was when we recorded the very first track with Carin Leon, Rosario and Keith Urban (“Si Me Llevas Contigo”). The vocal recordings were very complicated because all the artists had to coincide. For example, Morat recorded in Paraguay. Carin had to record from a distance in Mexico. Keith Urban in Nashville. Rosario in Spain. But the core of the instruments was recorded in Miami.

I started with a guitar riff, then I wanted to combine it with sounds from Spain, so I hired a flamenco dancer and we put her in the studio with a tablado (wooden platform). All the percussion heard underneath is a flamenco dancer. Then we recorded guiros, electric guitars, and well, the three [musical] cultures are super marked.

Then we wrote lyrics with Joaquina, and with my engineer named Natalia Schlesinger. We shaped it, we experimented, and it ended up being a multifaceted collaboration.

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The soundtrack features renowned artists, such as Juanes but also emerging acts, such as Joaquina. How did you go about selecting the talent?

Kaminsky: I had the pleasure to work alongside el maestro Julio Reyes Copello and had the crazy idea such as bringing together three icons from completely different worlds such as Carin Leon, Keith Urban and Rosario Flores and bring GRAMMY winning acts including Juanes, Luis Fonsi, Morat, Joaquina and Adriel Favela.

Copello: That was a titanic task because it is difficult for these types of releases not to coincide with the artists’ personal releases but it was possible thanks to the Universal team and Angel Kaminsky who has been fundamental in this and helped me recruit talent. We had a dream list [of artists] and we managed to conquer at least 90 percent of the [wish] list we had.

What do you think this project represents to the talents involved?

Copello: We all adopted this project, not only the creative part, but I feel it’s a very good way to release music nowadays because it’ll have a permanent feedback. The music is going to attract viewers and the viewers are going to listen to the track. And since this is going to live on visual platforms, then it’ll be an eternal feedback. Let’s hope it brings the results that other successful series soundtracks like “Stranger Things” have had. That’s what we all hope with this project, that it becomes something big and very important.

Kaminsky: From a Latin cultural landscape as purveyors of entertainment, to be able to work with a legacy household name that transcends generations in Latin culture such as Zorro to be able to bring artists to do the soundtrack is a fulfilling experience that we are very proud of.

Music executives Ángel del Villar and Javier “El Tamarindo” González have joined forces to launch a new distribution company, DSTRO7. Del Villar’s indie label, DEL Records, will be exclusively distributed by DSTRO7, as will González’s Tamarindo Rekordsz, which he founded in 2012. According to a press release, the company will focus on music streaming, monetization, […]

You know what they say: New year, new music — and Billboard is gearing up for all the Latin albums dropping in 2024. Last year, Latin powerhouses Karol G and Bad Bunny dropped new albums. The Colombian sensation released Mañana Será Bonito in February and its Bichota Season spin-off in August. The former, home to […]

Marc Anthony and Sam Nazarian, founder/CEO of lifestyle and hospitality company SBE Entertainment Group, announced a “landmark alliance” on Wednesday (Jan. 17) that marks the first hospitality venture for the salsa superstar and his entertainment company, Magnus.
Through the deal, Anthony and Magnus are now equity partners in all of SBE’s existing properties, which include culinary brands, restaurants, lounges and nightclubs. According to a press release, SBE’s new multi-vertical business strategy will focus on growing the brand among Latin American audiences.

Additionally, new properties will also be launched in the hospitality space and additional brands will be created together. The alliance also opens new opportunities for Magnus’ roster (record label, management and booking), which includes Luis Figueroa, Mau y Ricky, Fonseca and Gente de Zona.

Aside from his decades-long music career, Anthony is a multi-hyphenate businessman who launched Magnus in 2015 to represent both Latin artists and athletes in the United States. In 2009, he became a minority owner of the Miami Dolphins, and last December, launched the electric powerboating team, E1 Team Miami. In 2012, his work in philanthropy led him to launch the Maestro Cares Foundation, which has built orphanages in various countries in Latin America and the Caribbean.

“It would be an understatement to say that this announcement today is one of the greatest highlights of all of the endeavors I’ve taken on in my life,” Anthony said in a statement. “To have the honor to join forces with my great friend Sam and SBE, is something we have spoken about throughout the years and the time has finally come. My team, alongside the unparalleled expertise of SBE, is poised to contribute significantly to the success of this new journey. With a shared commitment to excellence and a track record of unparalleled vision and execution, we are excited to bring our best-in-class capabilities to elevate SBE’s projects to new heights. Together, we look forward to unveiling a series of remarkable initiatives that showcase the synergy and excellence synonymous with the SBE family.”

“It’s an honor to join forces with long-time friend and international superstar Marc Anthony. I have a tremendous amount of admiration for the career that he has built, and, more importantly, his entrepreneurial instinct,” added Nazarian, who founded SBE in 2002. “It’s been an aspiration of ours to come together to build something special, and I am excited to share all the amazing things we are working on with him as our strategic partner. My sbe team is honored to collaborate with the best-in-class entrepreneurial team Marc has built at Magnus, led by a dynamic team, CEO Michel Vega and COO Felipe Pimiento, to connect with and deliver experiences to an audience that Marc has so carefully cultivated throughout his career. This is just the beginning, and I can’t wait to see what we build together.”

Coachella 2024’s lineup is stacked with Latin and/or Spanish-language acts set to perform in the desert this year. Peso Pluma, who in 2023 was a surprise guest during Becky G’s set, returns to Coachella, and this time he’ll be performing his own set on April 12 and 19. The two Fridays will also feature performances […]

The first time Don Omar went on tour in Spain, nearly 25 years ago, he had to sing his breakout hits two and three times every time he got onstage.
“I had no repertoire!” he admits to Billboard News with a laugh. Back then, Don Omar, real name William Omar Landrón, was a 22-year-old who was hustling. “I came from such a Puerto Rican genre, such a street genre, and then, those songs started to play everywhere.”

What a difference a quarter-century makes. On March 7, Don Omar kicks off his Back to Reggaetón Tour at the Santander Arena in Reading, Pennsylvania, and will go on to play 25 major U.S. cities, ending April 21 at the Kaseya Center in Miami, before heading to Europe and Central America.

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This time, there will be no need for repeat performances.

“I’ve never had the opportunity to sing my entire repertoire because I never have enough time onstage. But this tour demands two full hours of music,” Don Omar told Billboard‘s Leila Cobo during an exclusive interview prior to his tour. Back to Reggaetón, incredibly, is Don Omar’s first major headlining tour in a decade and his first since the Kingdom Tour with Daddy Yankee in 2015.

This time around, there’s also friends knocking at the door.

“Many are demanding, ‘Don’t leave me out of this!’” he says. “And I’m treating that like a privilege. If, after 25 years of career, your colleagues still feel love, happiness and the desire to share with you, you’ve done something right.”

While the specifics still need to be ironed out, expect to see the likes of Tito El Bambino, Zion y Lennox and Wisin and Yandel somewhere on the tour.

For Don Omar, it’s not a comeback; he’s been releasing a steady supply of music for the past two years. But, he says, it’s gratifying to see so many artists who he literally saw grow up to his music as established and still close.

The first one to believe fully in him, he recalls, was Ñengo Flow, who early in his career asked him to “present” him on his debut album. “It was the first time I realized, ‘They’re looking up at me.’ Ñengo was just getting started. But I was just getting started too.”

All these years later, “I have songs Jhay Cortez wrote for me 10 years ago. And those things make me see, I do have a responsibility. To see people like Jhay and Farruko, and everyone I have great respect and admiration for, say they wanted to be like me back in the day […] it’s one of the things I love most.”

Don Omar is also testing new ground. His new EP, Back to Reggaetón, is out on his own label, and he plans to print CD copies to sell as merch on tour, as part of a broader effort to bring his music and himself even closer to fans.

“Independence allows you to put your own ideas into practice,” he says. “I’m the product of a bunch of bad experiences that made me take action and learn the business. Today, I can be independent. Today I have the economic and intellectual capacity to do so.”

Watch the full interview above.

Alvaro Rizo has been named Gaira Música Local’s new MD, the company tells Billboard. Rizo will be based in the record label’s headquarters in Bogotá, Colombia. The label, which was founded in 1993 by Carlos Vives, is rooted in highlighting Colombia’s musical heritage with a roster that includes artists such as Gusi, Estereo Beat and […]

Don Omar connects with Wisin & Yandel for their first top 10 team-up on Billboard’s Latin Airplay chart as “Sandunga” rallies 12-4 on the Jan. 20-dated list. It’s the 21st top 10 for Don Omar and the 29th for Wisin & Yandel. Explore See latest videos, charts and news See latest videos, charts and news […]