Latin
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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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J Balvin’s Hitting the Road
After touring Latin America in the fall of 2022, J Balvin is ready to hit the road again in 2024. This week, the Colombian star announced his international tour Que Bueno Volver a Verte (Good to See You Again), set to kick off with a 20-date stint across Europe. Running from April to June, Balvin will visit fans in Germany, Italy, France, Spain, Portugal, and The United Kingdom, to name a few.
“Latino Gang – I can’t wait to see you! We’ve had so much fun together that we have to do it again!” he said in a press statement. “I’m thrilled to take a completely new show, with new music on the road with the Que Bueno Volver a Verte tour abroad next year. We have something very special in store for you and I can’t wait to unveil the next chapter of music we’ve been working on.” Balvin’s tour comes on the heels of his return to music this summer after a nearly 10-month social media break. For ticket information, click here, and see the full list of dates below.
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Karol G Appears in the Griselda Trailer
In early 2022, Billboard reported that Karol G was “taking acting lessons [in Los Angeles] and playing an evolving character in the world of drugs” — and at last, we will see the Colombian singer make her acting debut. This week, Netflix shared the official trailer of Griselda, starring Sofía Vergara as Griselda Blanco, a Colombian drug queen. Karol, who is featured in the trailer, will make her Netflix acting debut as Carla, one of Griselda’s mules who transports drugs to the U.S., when the series debuts on January 25. “It’s a great role because there’s real character development,” she previously told Billboard. Carla, she explains, “is a character that evolves. She sees what she does as a job, but also as a way to maintain her family, and she’s tough! She reaches another level.” Watch the trailer below:
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Maestro Cares Announces Honorees for 10th Annual Gala
Marc Anthony and Henry Cárdenas, co-founders of Maestro Cares Foundation, announced the 2023 honorees for their 10th annual “Changing Lives, Building Dreams” gala. Recognized for their contributions and charitable work in film, television and the corporate world, the three honorees are: American rapper and actress Queen Latifah, who will be honored with the Maestro Cares Courage to Care Award; Mexican actor and comedian Eugenio Derbez, who will receive the Maestro Cares Voice of Change Award; and entrepreneur Sam Nazarian , who will be presented with the Maestro Cares Corporate Responsibility Award.
“Henry Cárdenas and I are very excited to celebrate our foundation’s milestone by honoring the legacy of this group of remarkable individuals, who through their careers have made enormous contributions to their communities and our society,” Anthony said in a statement.
The 2023 Changing Lives, Building Dreams Gala will take place Dec. 5 at Cipriani Wall Street in New York City. Proceeds of the fundraiser, according to the statement, “will provide essential support for the non-profit organization established to improve the quality of life of disadvantaged children and communities in Latin America and the United States.”
Blur Tributes Peso Pluma
During Blur’s return to Latin America, the leader of the British group, Damon Albarn, paid tribute to Mexican superstar Peso Pluma and his Eslabon Armado-assisted hit “Ella Baila Sola.” The presentation, which took place from Nov. 17 to 19 at the Corona Capital Festival in Mexico’s Foro Sol, caused the astonishment of the 80,000 attendees (according to figures from the promoter Ocesa). The famous song reached No. 1 on Billboard’s year-end Hot Latin Songs chart.
Albarn—who was carrying the Mexican flag on his back while he performed a fragment of the popular song on the piano—previously explained to a British magazine why his favorite new artist of the moment was the popular corridos performer. “He’s a young Mexican who won eight Billboards. He plays this kind of music that talks about gang life, but it’s very musical. He has accordions, trumpets, and lovely melodies. He has a great voice. Everyone should listen to it,” he said in the interview. The Briton previously collaborated with Gorillaz and reggaeton super star Bad Bunny on “Tormenta.” Could his next Latin collab be with Peso? Watch the performance below: — NATALIA CANO
A few hours before he was set to take the stage at Oasis this past October, an open air club in Miami, Wisin’s backstage trailer was packed with bold-faced names. There was J Balvin, side by side with fellow Colombian Ryan Castro, Dominican dembow king El Alfa, Colombian rapper Farina, producers Luny, Tunes and DJ Nelson, and a bevvy of young and established artists — all there to pay their respects to one of reggaetón’s legends.
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The thing with Wisin, though, is he’s a legend that continues to churn out hits, on an almost weekly basis. That night at Oasis, he was performing with special guests Luny Tunes and DJ Nelson as part of the official presentation of his label and collective, La Base, presented by Smirnoff as part of Billboard Latin Music Week. On November 30, he released “Señorita,” a new reggaetón single with newcomer Young Miko, who he calls “very talented and full of potential.” It follows “Sandunga,” a single with two other legends: Don Omar and Yandel. On February, he will release Mr. W, an album that he describes as “full of fusions and different collaborations. It’s an album that has been done as a team, and it’s full of the knowledge and energy of many people.”
That thirst for knowledge and for collaboration in music is at the root of Wisin’s long career, and defines La Base — his recording studio, record label and musical co-op. With offices and studios in Puerto Rico, dozens of artists — from Ozuna to Chencho and Don Omar — have gone to La Base to create and record.
Following his participation in Latin Music Week, which included his performance at Oasis, as well as a panel with production legends Luny, Tunes and DJ Nelson (and moderated by radio personality Molusco), we spoke with Wisin about the past and future of the genre, and what comes next for him and La Base.
You were the anchor of a truly historic panel with historic figures during Billboard Latin Music Week in October. Why was it important to participate?
First of all, it was an honor to sit down next to Luny, Tunes and DJ Nelson. Since The Noice [DJ Nelson’s legendary urban music collective], before we [Wisin and Yandel] were even artists, we dreamed of being like them. It’s also an honor for me to talk about our experiences and the knowledge gained for over two decades. Obviously, we’ve cried, we’ve stumbled, and we’ve learned from the blows. When we started out, there were no opportunities, no tools. So, we’re happy to still be relevant, and to have Billboard allow us the opportunity to tell our experiences to new talents and new producers, so they can also learn. I think it was a historic panel, where every speaker has given so much to urban music. I have no words to describe how important it was to be there.
And what was the significance of bringing La Base to Miami for a performance?
An achievement. Not just for me but for this group of dreamers that make up La Base. For Hyde El Químico and all the legendary producers and writers that go to La Base every day to create big things. Flying over the ocean to bring our music and our productions to Miami was incredible. I felt the unconditional support of so many colleagues that were there. And that’s what music is about. It’s about sharing, exchanging ideas and learning from each other.
Why did you invite Luny Tunes? What is their importance for the genre?
Luny Tunes is one of the key pieces of our urban movement. I dreamt of working with them when I first started, and I’ve learned so much from them. I learned to dream, to fuse musical genres and I learned that our urban music works with all different genres of music. It’s also important that people see them and understand they’re pillars of this movement. What an honor that they can be part of my enterprise right now — and what an honor, brother, that they support me.
What is La Base’s role in the future of the genre?
Continue dreaming and giving opportunities and tools to new artists. Continue [providing] a platform in Puerto Rico, from my home town, Cayey, for dreamers, writers and producers. This isn’t only for artists. Being big in music is not just for those who have the microphone and do shows. It’s for everyone who is collaborating in the process, and for different people who go to La Base every day to dream.
How important are collaborations to you?
I believe completely in them. My next album, Mr. W, is going to be full of collabs, of fusions, of different genres and styles. I think that’s where the magic is. I want to collaborate with people who are not like me and who do different things from what I do. That’s the beauty of music and of urban music. Obviously, reggaetón is still our core, and what we do best, but we’re daring to do different things. And I want to thanks the many artists and producers who worked on this album. It’s teamwork, and I believe in teamwork and in learning from others.
You just released “Sandunga” with Don Omar and Yandel. How important is it for you to work with Don Omar?
It’s always an honor to work with Don Omar. He’s the king of reggaetón and one of the most talented artists I’ve worked with, with a vocal prowess like few I’ve ever encountered. We’ve done so many hits, but this is the first time we make a video together. And, we did the reggaetón we all know how to do. We knew millions of people wanted to hear something like that; the sound of the clubs, the barrios, the root of the movement. I want to publicly thank Don for the opportunity.
What’s going to happen to Wisin and Yandel?
WIsin and Yandel is an immortal brand. Not making music with Yandel would [show] a lack of respect to millions of people. In my new album we have a song together called “Reggaetón.” Obviously, Yandel has his company, and I have mine. But we continue to make music together, knowing millions of people love what we do.
And, what’s next for La Base?
From the moment we opened our doors, La Base has been producing every day, not just for us, but for different artists. We did Ozuna’s new album, many of Wisin and Yandel singles, we just finished mixing Jowell and Randy’s new album, and of course, my album Mr. W is being recorded there. We get new talent and new songs every day. That’s what La Base is. A music and talent factory and our doors are always open to talent. We’re honored that so many people have come to the mountains of Puerto Rico to make music with us.
La gira Mañana Será Bonito de Karol G se dirige a Latinoamérica y su primera parada es su ciudad natal, Medellín, Colombia, donde ha preparado algo especial para sus fans. Ofreciendo la mejor experiencia de Mañana Será Bonito, el evento de dos días (1 y 2 de diciembre) con entradas agotadas en el Estadio Atanasio […]
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 week’s picks below.
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Edén Muñoz, Como En Los Viejos Tiempos (Sony Music México)
Singer-songwriter and producer Edén Muñoz has little left to prove at this point of his fruitful career, both as former frontman of Calibre 50 and now as a soloist. But Muñoz isn’t the type to be complacent, and is always looking to one-upping his previous releases. His latest album, Como En Los Viejos Tiempo, is no exception. As a producer, Muñoz is known for being meticulous about his sound — and the first song on the set, “Bye Bye,” is a testament to Muñoz’s broad production skills, melding his signature norteño sound with hints of cumbia, backed by big band instrumentals.
Accompanied by heavy hitters in the música mexicana realm, including Gerardo Ortiz, El Fantasma and Los Dos Carnales, Muñoz zigzags across styles such as quebradita (“La Nena”), corrido (“Alias Jabón”), cumbia (“Que La Dejen Ir al Baile Sola”), huapango (“Peca de Bonita”) and norteño (“El Que Quiere Puede”). Offering a wide-ranging palate of Mexican music sounds, Como En Los Viejos Tiempos is Muñoz’s most eclectic and experimental set to date. The 18-track is the Mexican artist’s first album under Sony Music México, with whom he signed in October as a partnership with Sony Music Latin. — GRISELDA FLORES
Carin Leon & Grupo Frontera, “Alch Si” (Socios Music/ADA Latin)
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A year after their first collaborative effort, “Que Vuelvas“ — which hit the top half of the Hot 100 in January — Carin Leon and Grupo Frontera join forces again on “Alch Si.” On their new track, penned by Leon, Edgar Barrera, Horacio Palencia and Diego Bollela, and produced by Barrera, the two Mexican acts sing about getting over an ex, but not really. “I’m not crying, her memory got in my eye,” chants Frontera’s Payo Solis at the start of the country-tinged norteño track. ”I don’t drink to forget her, nor do I take advice/ To stop loving her, what number do I have to call?/ In a masochistic way, I check her Instagram/ Looking at her stories and how another guy takes her away from me/ I’m not crying, just a little tear came out,” part of the chorus goes. — JESSICA ROIZ
Thalia & Estilo Sin Límite, “Choro” (Sony Music Latin)
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Thalia ventures into the world of corridos tumbados in this fun song with Estilo Sin Límite, which encourages women to free themselves from chatty, arrogant men who seek to woo them. Powered by a tololoche, requinto and brassy instruments, the second single from her upcoming album A Mucha Honra (which the Mexican star previewed exclusively in October at Billboard Latin Music Week,) “Choro” was produced by Edgar Rodríguez from Yellow Room and executive produced by Jimmy Humilde. (It was co-written by Thalia and Dania of Estilo Sin Límite.) Its title, in Mexican slang, refers to an over-the-top person who uses his words to make people fall in love. “Choro, I know he has a very good choro/ But I don’t cry for him anymore/ I’m not like his ex-girlfriend, I do improve,” goes part of the chorus. The colorful music video, directed by Lalo González (a.k.a. Lalo the Giant,) shows both singers in suburban and rural sets alongside mariachis, partying with many, many women. It is, in the best Thalia fashion, pure feminine power. – SIGAL RATNER-ARIAS
Carlos Vives & Ryan Castro, “Los Sabanales 3.0” (Sony Music Latin)
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Carlos Vives and Ryan Castro have released their first collaboration, “Los Sabanales 3.0,” to kick off December and welcome the holiday season. The track features an updated sound and new lyrics, with both artists adding their own spin: Vives’ accordion and Castro’s thumping reggaetón beats. Bringing together two generations, the song celebrates the most popular and beloved song of the great Calixto Ochoa, preserving the original song’s essence and its most memorable verses. Vives aims to put the spotlight on iconic composers of Colombia and breathe new life to their work, making it accessible to new generations. The song is featured on Vives’ remastered and expanded album Clásicos De La Provincia. — INGRID FAJARDO
Miguel Campello, “El Sentir de los Sentimientos” (Chatarrero Records)
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This week, Miguel Campello unveils the introspective ballad, “El Sentir de los Sentimientos.” Adorned with exquisite nylon strings and trumpet riffs, and enveloped in the fervor of rumba guitar strums and his resounding flamenco vocals, the song navigates the ebbs and flows of personal contemplation. In its purest form, the composition exalts our innate human capacity to experience emotions. “[It’s] a song with rumba soul that tells the passing of the days, full of stories that make us laugh and cry because singing is feeling that you feel, ‘the feeling of feelings’“, the singer-composer wrote on his Instagram. The single is part of his upcoming release Amanecer y Anochecer, which will consist of five songs, and is a continuation of 2023’s Noche y Día. — ISABELA RAYGOZA
Milo J, 111 (Dale Play Records)
Following the EP En Dormir Sin Madrid, in collaboration with popular Argentine producer Bizarrap, Milo J showcases his musical prowess on his debut album 111. Infused with a South American bohemian essence reminiscent of tango and bolero, the album seamlessly combines traditional tones with a contemporary flair. The 16-year-old rapper delivers songs like an old soul weaving through the complexities and youth of angst.
The nine-track album highlights a masterful blend of acoustic and electric guitar arrangements, often intertwining the two in unexpected ways that both surprise and captivate the listener. Milo J’s lyrics are medicinal, deep and vulnerable. At strategic moments, the instrumental backdrop fades momentarily, allowing his tenor voice to take center stage and carry the emotional weight of the song. The album boasts diverse collaborations, such as “Carencias de Cordura” with Yami Sadfie, where Milo J ventures into the Andes with a pasillo that resonates across generations. In “Una Bala,” featuring Peso Pluma, he effortlessly delves into regional Mexican sounds, while he opens Pandora’s musical box with “Alumbre” with Nicki Nicole, unveiling a cinematic theme, and joins in unison with Yahritza y Su Esencia on “Te Fui a Seguir.” Romantic songs like “M.A.I” and “Deseo siempre” stand out for their lyrical sensuality, delivered with an elegance rarely found in today’s popular music. 111 demands to be listened to with undivided attention. — LUISA CALLE
Indee, “ORO”
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Immersed in the vibrant, sultry sounds of Afrobeats, Barcelona artist Indee unveils her self-released first single of the year, “Oro,” marked by golden-piano stabs and her seductive vocal delivery. Produced by Jay Kalo, the track is an ode to life and companionship, as Indee explores the quest for genuine friendships that are as valuable as gold. “In these crazy times, where everyone is chasing the spotlight/ Where is the soul of the body I touch?” she croons. The accompanying music video captures the star’s flawless dance moves and takes audiences on a journey through various iconic spots in Barcelona, showcasing the city’s dynamic backdrop. “When I speak about Gold I wanted to convey the idea of the mineral in its purest, unrefined state,” she wrote on her socials. “This song is an acknowledgement of the truly important things in life, for not all that glitters is gold.” — I.R.
Stream the New Music Latin playlist below:
Since Fuerza Regida graced the cover of Billboard Español in June, their ascent has been consistent.
For starters, the quintet made Billboard history by becoming the first Latin band to be No. 1 on the Top Artists – Duo/Group list of Billboard‘s year-end charts, followed by Grupo Frontera and Fleetwood Mac. (Previous No. 1 artists on the list have included Destiny’s Child, Green Day, The Black Eyed Peas, One Direction, Jonas Brothers and BTS.)
“We’ve been working a lot with the whole team, con toda la mafia de la calle, with Mob Street Records to get where we’re at right now,” Jesús Ortiz Paz (aka JOP) tells Billboard Español during an Instagram Live. The frontman was driving in Culiacán, México, accompanied by a few of his label artists and songwriters such as Calle 24 and Miguel Armenta, after performing several shows with Fuerza. “We just sold out a show right now, and we’re happier than ever.”
As for claiming the No. 1 spot on the Top Artists – Duo/Group chart, JOP said, “I’m speechless, really. Coming from where we come from, not many people get out [of the hood], whether they get out alive, are dead, or go to jail. I just have to say that I am grateful to God, and to all my family, my mom, my dad, and all my friends. If it wasn’t for everyone’s help, and also the fans, we wouldn’t be here. Fuerza Regida and I are in charge of continuing to give [fans] great music and, God willing, I will continue to give until the last straw.”
Amid the group’s Otra Peda Tour — which commenced at the BMO Stadium in Los Angeles and made stops in Atlanta, Chicago and Dallas before concluding last week in Anaheim at the Honda Center — the band released its most successful album to date, Pa Las Babys y la Belikeada in October. With said release, Fuerza Regida secured a career-high debut on the Top Latin Albums chart. The group also snagged a fiery polka-driven banda collaboration with Shakira with “El Jefe.”
During the IG Live, fans also asked the San Bernardino native questions, such as what is the group’s favorite taco spot in SB, who’s the grumpiest, what’s their favorite song they’ve created and more. Check it out below.
Warner Music Cono Sur (which covers the Southern Cone of Latin America) and Lotus, the events production company behind Lollapalooza Chile, have launched a new label, booking and management company. Explore Explore See latest videos, charts and news See latest videos, charts and news According to both companies, this new division of Lotus also integrates […]
At 8 years old, Joaquina wrote her first song. She can’t remember the name, only that it was in English and that she felt so embarrassed at the thought that her parents could see it, that she tore the page out of the notebook, crumpled it and threw it away. “I would love to go back in time and not have done that,” she admits today. This month, at 19, she won the coveted Latin Grammy Award for best new artist. She was also nominated for best singer-songwriter album for her debut EP, Los Mejores Años.
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Joaquina was part of the first class of graduates from producer Julio Reyes Copello’s Art House Academy before signing a record deal with Universal Music Latin. A well-rounded artist who writes her own music, she sings primarily about teenage angst in indie pop/rock songs like “Rabia,” “Niñas de Instagram,” “Los Mejores Años” and her most recent single, “Quise Quererte.” She has already opened for well-known stars such as Alejandro Sanz and Fonseca, and Juanes included a song written by her (“La Versión En Mi Cabeza”) on his latest album, Un Día Normal.
Born in Caracas, Venezuela and raised from the age of 6 in Miami, Joaquina Blavia Canabal (her full name) grew up between music, theater and ballet lessons. There were no instrumentalists or singers in her family, but they were all lovers of the arts in general. “I also always loved reading and reciting poetry,” she tells Billboard Español. “I was always very studious — I always loved school, really. I was always very nerdy.”
A nerd with a rock soul, inspired by singer-songwriters like Avril Lavigne, she began posting Instagram videos of herself singing covers of others at 11. At 13, she began writing her own music while playing in bands with school friends. “I did it very much for fun, but I knew I wanted to do this [professionally] one day. I always knew,” she says.
At the age of 15 she looked for a producer to help her record her first songs, and in El Doral she found the small studio of Eduardo Stambury. “He was very nice to me. I didn’t know anything about recording, I didn’t know anything about the music industry,” Joaquina recalls. In 2020, in the middle of the pandemic, she released “Primer Amor,” a song with which she admits she does not relate to today, but which served as a starting point.
The pandemic was a defining moment for Joaquina’s budding career. In times of quarantine, while she was studying high school remotely from home (or even from the recording studio), she dedicated most of her time to writing songs and continued posting on social media, where others began to notice her work. “That’s how I got my first opportunity to go to a session in Miami to write for another artist, [a 12-year-old girl in Venezuela who I don’t know if she ended up recording the song], but I got many more opportunities from there,” she explains. She was only 16 at the time.
When the time to apply to college arrived, she thought she would study music at an institution like Berklee, UM or USC. But then a friend told her about Julio Reyes Copello, and the new program that the renowned Colombian producer was creating in Miami at the time. “It was like, ‘Obviously,’” she says. “My mom, like a mother hen, wrote to Julio — we sent him some demos and some music links — and Julio replied, saying ‘Hey, how nice, I loved it, come to the studio.’”
Joaquina got the last available spot at Reyes Copello’s academy, and took its two programs simultaneously (for sound production and engineering, and as a music artist), while finishing her last year of high school online. At the end of a very intense year, she signed with Universal and made her debut.
Learn more about our November Latin Artist on the Rise below.
Name: Joaquina
Age: 19
Recommended Song: “Los Mejores Años” — “It’s a song I wrote when I was 17, when I was about to graduate from high school. Although I am very extroverted and I love to socialize, I am also very private and it’s difficult for me to talk about my fears, my thoughts, and ‘Los Mejores Años’ was a big relief song for me. It helped me a lot to understand many things I was feeling in a time of normal transition in everyone’s life. It’s a bit that concept of feeling the fear of growing up for the first time in your life. The title has a double meaning: Everyone tells you to enjoy your teenage years, that they are the best years in life, but the truth is I didn’t have such a good time at school 100% of the time — I had many doubts and I would wonder, ‘But why are these the best years of my life?’ This is what the song is about.”
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Major Accomplishment: “The Latin Grammy. It was one of those moments when time stops and you are in front of so much, and you feel like your head is pounding and everything is like in slow motion. Out of nowhere I started seeing everything in slow motion. I felt like I entered an alternate reality (laughs). The truth is that I didn’t expect it. Seriously, honestly, I didn’t expect it.”
Joaquina poses with the award for Best New Artist in the media center for The 24th Annual Latin Grammy Awards at FIBES Conference and Exhibition Centre on Nov. 16, 2023 in Seville, Spain.
Niccolo Guasti/Getty Images
What’s Next: “Right now I’m working on my album, an upcoming project that will be released around mid-next year. There will be new music in about two months.”
In September of 2022, Spain’s Iñigo Quintero independently released his debut single “Si No Estás.” This year, he unleashed three more singles (”Sobredosis,” “Será Por Ti,” and “Sin Tiempo Para Bailar”) — but it was his first song ever that ultimately went viral, reached No. 1 on various global charts, and put the Madrid-born artist on the map, one year after its release.
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“This is the most interesting thing,” Alejandra Olea, Believe America’s Managing Director, tells Billboard. “It’s exactly what’s happening today in music, with streaming, digital, short-form video. and TikTok. This is a viral story.” (Quintero signed with indie record label Acquistic this year in March, and is distributed by the French-based Believe Music.)
“Si No Estás” is a soft piano ballad with thought-provoking lyrics delivered via Quintero’s passionate, raspy vocals. “I don’t know where I’m going/ It’s not real/ A long time ago you became one more/ And I hate how much I am/ Full of this poison, and I hear thunder if you’re not there,” he laments in the nostalgic chorus.
By Oct. 23, 2023, the track was garnering over 5.7 million plays on Spotify a day, pushing it to No. 1 on the service’s daily global chart — marking the first time a solo Spanish artist had achieved this milestone. On Nov. 4, the song topped the Billboard Global Excl. U.S. songs chart, with 54.2 million streams (up 10%) and 1,000 sold (up 37%) outside the U.S. for the period of Oct. 20-26, becoming the Spanish singer-songwriter’s first entry and leader on the chart. What makes it all more impressive is that Quintero was until recently a completely unknown artist.
So, how exactly did a brand new artist achieve global success?
“Believe has a TikTok dashboard where we study the virality of all the songs for each of our business units. In our Spain business unit, we realized that this song was having significant peaks in creations and viralizations, and we began to observe it,” Olea explains. “This was a success by the people. It was mainly driven by the audience who brought it to the top, and it was important for us to catch it on time and really ignite the flame.”
Olea assures that the song’s growth on TikTok was organic, and that there were no media buys or paid influencer campaigns — but that once it began to blow up and landed on Spotify’s Top 50 Spain playlist, the distributor began knocking on doors.
“We reached out to the platforms, mainly Spotify, Meta, TikTok and YouTube, and began to re-pitch it internationally, specifically in the Spanish-speaking regions. We made this possible thanks to the collaboration of two teams: Believe LATAM and Believe International,” she elaborates. She also notes that “Si No Estás” was placed on 180 key playlists across different platforms, 79 alone on Spotify, that have over 95 million combined followers.
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“The most pivotal moment [was] when a slow ballad coming from an unknown artist [became] one of the best performing tracks in all playlist spaces it was added to,” Melanie Parejo, Spotify’s Head of Music for Southern & Eastern Europe, tells Billboard. “Another good sign [came] when our colleagues from other non-Spanish-speaking territories were open to program the track, as we had flagged the seemingly unstoppable pace of the growth in those countries. It feels like the song had a similar path to the one in Spain: starting with viral surfaces and moving on to pop/hits spaces.”
Over on TikTok, the track began making waves in September of this year, where it first made its appearance on the TikTok Spain Viral playlist.
“‘Si No Estas’ resonated so much with our community that multiple versions of it started going viral: the official sound, delivered by the rights holders; uploaded by users (UGC: user-generated content); and also a sped-up version that was officially released afterwards by the artist and delivered to TikTok and all streaming platforms,” Giulia Lizzoli, TiKTok’s Head of Music Operations for Southern Europe, says to Billboard. “To date, the official versions of the song (including sped-up versions) have generated more than five million videos created by our community.”
The song’s global appeal, however, is due to its relatable and melancholic lyrical content.
“It’s a story of the power of music,” Lizzoli says. “The lyrics of this song are very deep. It’s very agnostic to men, women and couples. It talks about when you are missing something that’s essential in your life. It’s a topic that’s very broad. The meaning that a lot of people have given it is love, but it could be a lot of other things that if you don’t have them, you feel lost. I think that he speaks to a reality that we’re having right now, that a lot of Gen Z feel like when there’s no meaning, they feel lost. When the person you love is not there, you feel that life’s not worth it. Iñigo touched a nerve of a collective feeling that people from France, Germany, Spain, all over the world, have connected with it.”
Quintero — who despite his viral success maintains a mysterious personality on social media — is now making the rounds with his new single “Lo Que Queda de Mí,” out today (Nov. 30), and is working on his debut studio album, slated for a 2024 release, while counting on the support and guidance of his teams at Acquistic and Believe. Billboard can confirm that an official music video for “Si No Estás” is also in the works.
From K-pop to Latin and beyond, Billboard’s Boxscore charts are undergoing a facelift, spotlighted by a diverse crop of artists crowding the 2023 year-end report. While pop and rock have long dominated the touring space, the two central genres’ combined market share has dropped from 69% in 2019, to 59% in 2022, and now to 48% in 2023.
Traditionally, the common threshold for a stadium tour is that the artist in question should be generally ubiquitous: recognizable by face and name, with a handful-plus of sing-along hooks, and accessible across generations, genres and cultures. That explains the sustained success of veteran acts such as Elton John, Madonna and The Rolling Stones.
But even without discographies that date back to the 20th century, contemporary acts have infiltrated the stadium space while still operating as current hitmakers. Beyoncé, Ed Sheeran and Taylor Swift have broken ground with record-breaking global tours that eschew past notions that underestimated young audiences. Those acts, though still building their own legendary discographies, pass the various tests mentioned above, with widespread recognition and iconic hits.
In the post-pandemic era, the goal posts have shifted once again. Beyond the slew of mainstream stars that fit the established mold – generally from mainland U.S., Canada or the U.K., performing in English, and catering to pop or an adjacent radio format – stadium stages, and therefore the upper reaches of the year-end Boxscore charts, have some fresh faces.
Rounding out the top 10 of the 2023 Top Tours chart, BLACKPINK grossed $148.3 million and sold 703,000 tickets from 29 reported shows in the eligibility window. Next, Karol G is No. 11 with $146.9 million and 843,000 tickets sold from just 19 dates. Side by side, they lead genre rankings for K-pop and Latin, respectively.
Next to artists such as The Weeknd, P!nk and Luke Combs, BLACKPINK and Karol G stand out as stadium stars and Boxscore chart-toppers. The nine acts that ranked higher on Top Tours have, on average, 12 top 10 hits on the Billboard Hot 100 songs chart. BLACKPINK and Karol G, on the other hand, have spent a combined total of one week in the top 10, when Karol G’s “TQG,” with Shakira, hit No. 7 earlier this year.
This puts both acts at odds with the presumed criteria for stadium acts. Neither artist has conquered the Hot 100, nor have they been nominated for a general-field Grammy award, hosted Saturday Night Live, or made hyped-up cameos or supporting turns in a major film or television series. To boot, their careers are young. Karol G released her first album in 2017 and BLACKPINK did so in 2020. Depeche Mode – the only other act in the top 10 without a No. 1 hit on the Hot 100 – has been building its fan base for more than 40 years.
Both BLACKPINK and Karol G have, however, reached No. 1 on the Billboard 200 albums chart, perhaps signifying a deep, passionate fan base ready to pay top-dollar for concert tickets, even without the wider-spread recognition that often accompanies hit singles.
Notably, neither are the first of their respective genres to hit the jackpot. Bad Bunny broke ground for Latin artists last year when he ruled the 2022 year-end chart. In doing so, he broke BTS’ record for the highest year-end finish for an act that primarily performs in a non-English language, after the K-pop boy band finished 2019 at No. 3.
If there’s a constant with non-English-language acts playing stadiums, it’s that with the minor exceptions of Bad Bunny and BTS, they’ve been outliers with vast fan bases that sometimes aren’t represented in the mainstream. Initially, Karol G’s team booked six stadiums in “safe” markets. Those dates quickly blossomed to nine when Los Angeles, Miami and New York shows sold out and second dates were added. When all was said and done, she played 19 shows in 16 cities.
“She was the one who insisted on playing the stadium, not a 360 arena,” says her sister, Jessica Giraldo, who oversees Karol G’s businesses. “She was the one who wanted to do a stadium tour. She said, ‘Believe in my vision.’”
When reflecting on the growth of regional Mexican music in 2023 at Billboard’s Latin Music Week, Live Nation’s Jorge Garcia noted, “These are the same people that are buying Drake tickets. They’re also the fans buying the Fuerza Regida ticket.” Once impenetrable lines that divided artists by genre and culture are fading away, quickly.
The 2023 achievements by BLACKPINK and Karol G do a few things. For one, their collective triumph means that Bad Bunny and BTS’ banner years were not anomalies. More than that, both genres have deeper benches than ever. K-pop girl-group TWICE also played U.S. stadiums, while BTS member SUGA conquered arenas as a soloist. Both grossed more than $50 million this year.
Further, 14 artists who primarily perform in Spanish find themselves among the year-end top 100, representing a mix of legacy acts and newcomers; reggaeton, pop and regional Mexican; and artists from Colombia, Mexico, Puerto Rico and more. Latin music’s share of the top 100’s total gross dipped from 12.1% in 2022 to 11.5%, but considering the absence of Bad Bunny’s $373.5 million gross from last year, Latin’s steady hold points toward more growth over the coming years.
The Boxscore arrival of BLACKPINK and Karol G is also a win for gender representation. Women doubled their share of the top 100 tours from last year. Of just 12 woman-identifying acts in the top 100, the genres of K-pop and Latin claim four (TWICE and Ana Gabriel, in addition to BLACKPINK and Karol G).
They’re also skewing the Boxscore charts younger. The members of BLACKPNIK range from 26 to 28 years old, and Karol G is 32, all well below the top 100’s average of 46.6. The two youngest acts in the top 100 are both K-pop groups (ENHYPEN averages 20 and TOMORROW X TOGETHER averages 22). The next youngest are Latin acts (the group Fuerza Regida averages 23 and soloist Peso Pluma is 24). Members of Grupo Firme, SEVENTEEN and Bad Bunny himself are all in their 20s, among others from both genres.
In all, genre diversity helps make 2023 one of the youngest years in Boxscore history. It’s the youngest top 100 since 2014, when One Direction (average age of 21 at the time) was No. 1, and the youngest top 10 since 2001, when *NSYNC and the Backstreet Boys paired up in the top five.
Legacy acts from pop, rock and R&B continue to do stellar business at the box office, proven by the presence of Rod Stewart, Lionel Richie and Journey, among many others. But the push of younger artists from diverse genres only points to the touring industry, and specifically the slate of artists capable of selling out stadiums, being able to replenish itself with fresh faces well into the next decade.
With K-pop and Latin genres leading the charge, the reshaping of the U.S. touring circuit continues. Late last year, Belgium’s Stromae — mixing French-language pop, rap and electronic — played a brief North American tour, including two nights at New York’s Madison Square Garden. Hailing from Nigeria, Asake sold out the Barclays Center in Brooklyn on Sept. 8, while Burna Boy launched a full North American arena tour in early November. If Bad Bunny and BTS blew the door open, then BLACKPINK, Karol G and a growing list of international artists are breaking down the wall.
Click here to see the full year-end 2023 Boxscore charts.
Dating back almost 40 years, all Boxscore rankings are based on figures reported to Billboard. Data is reported from a variety of official industry sources, from artist managers and agents to promoters and venue executives.
All reported shows, worldwide, between Nov. 1, 2022 – Sept. 30, 2023, are eligible for year-end 2023 consideration.
Gerardo Coronel “El Jerry” crosses off a new Billboard chart milestone, scoring his first No. 1 without any other acts on the Regional Mexican Airplay chart as “Se Buscan Borrachos” ascends to the top of the Dec. 2-dated ranking.
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Coronel’s second No. 1 overall takes the lead with 8.7 million audience impressions in the U.S. Nov. 17-23, according to Luminate.
The song, whose title roughly translates in English to “drunks wanted,” is a “journey alongside my great team,” Coronel tells Billboard. “It invites us all to get drunk, cure the hangover and become an expert at the subject, because if we were looking for drunks, it was to make them sing about what’s coming next year!”
“Se Buscan Borrachos” was composed by Salvador Aponte and Meño Segovia and is on Coronel’s album CHSM el Hígado!
The track arrives at the Regional Mexican Airplay summit after Coronel notched his first leader on any Billboard chart with “Que Onda Perdida,” with Grupo Firme, for three weeks in July.
The corrido singer-songwriter has since debuted two other tracks on the ranking: “Alguien De Aquí,” with Nathan Galante, up to No. 19 on the latest list, and “Al Menos Indicado,” with Cuisillos, concurrently new at No. 40.
Further, Coronel claims the sixth Regional Mexican Airplay No. 1 of 2023 by a soloist with no billed collaborators. Seven such songs led in 2022, after four did in 2021 and three reigned in 2020, with the genre largely the domain of groups historically.
Here’s the list of such leaders this year:
Artist, Title, Date Song Reached No. 1:Gerardo Coronel “El Jerry,” “Se Buscan Borrachos,” Dec. 2, 2023Alejandro Fernández, “Difícil Tu Caso,” Nov. 18, 2023El Fantasma, “La Vida Cara,” Sept. 9, 2023Carin León, “Indispensable,” Aug. 19, 2023Alejandro Fernández, “No Es Que Me Quiera Ir,” Aug. 5, 2023Christian Nodal, “Un Cumbión Dolido,” June 3, 2023
Beyond its Regional Mexican Airplay coronation, “Borrachos” makes progress on the overall Latin Airplay chart, bounding 10-4, having become Coronel’s third top 10 on the tally.
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