Latin
Page: 200
Even if you don’t know the name or the backstory, you probably know the sound: Boom-ch-boom-chick, boom-ch-boom-chick, boom-ch-boom-chick. Listen to pretty much any reggaetón song, and you’ll hear that infectious percussion — dubbed the dembow rhythm — playing underneath. That single key element, a historian of the genre once wrote, “underpins the vast majority of reggaetón tracks as an almost required sonic signpost.”
There was nothing controversial about that fact until 2021, when lawyers for the Jamaican duo Steely & Clevie — Cleveland “Clevie” Browne and the estate of the late Wycliffe “Steely” Johnson — filed a copyright lawsuit over the origins of dembow. In it, they argued that the rhythm was ultimately derived from a single song, called “Fish Market,” that the pair wrote in 1989.
[embedded content]
When it was first filed, the lawsuit targeted only two tracks and a few artists. But the implication was clear: if their argument was valid, hundreds of artists across reggaetón — a genre that has risen from an underground fusion of rap, dancehall and reggae in the clubs of San Juan, Puerto, Rico, to the very apex of the music industry in the past decade — would also have infringed Steely & Clevie’s intellectual property.
Now, two years later, those stakes are no longer theoretical. The duo’s lawyers are suing more than 150 different artists, including Bad Bunny, Karol G, Pitbull, Drake, Daddy Yankee, Luis Fonsi and Justin Bieber, plus units of all three major music companies. They claim that over 1,800 reggaetón songs featuring iterations of the dembow rhythm were, at root, illegally copied from “Fish Market” — and that their clients deserve monetary compensation for them.
If that sounds both unusual and potentially disruptive to you, music law experts would agree.
“This case is jaw-dropping — the plaintiffs are suing over a hundred artists for over a thousand songs, 30 years after the release of their song,” says Jennifer Jenkins, a professor at Duke University School of Law who has written a history of musical borrowing and regulation. “If they win, this would confer a monopoly over an entire genre, something unprecedented in music copyright litigation.”
Musical pioneers
Legal claims aside, nobody really disputes that the genealogy of dembow leads back to Steely & Clevie, a legendary duo who are widely credited with playing an influential role in the evolution of Jamaican music. When Steely died in 2009, The New York Times said he had perhaps “participated in more sessions than anyone else in the history of reggae.”
According to most experts, the story goes like this: Aspects of Steely & Clevie’s “Fish Market” were incorporated into a 1990 song called “Dem Bow” by the artist Shabba Ranks, which itself was then re-used by producer Dennis “The Menace” Thompson in another 1990 song called “Dub Mix II.” It was this track that was then heavily sampled and interpolated in the early days of reggaetón, providing an essential rhythmic element to the nascent genre. According to an article by Wayne Marshall, a historian of Caribbean music and a professor at Berklee College of Music, that portion from “Dub Mix II” has since “provided the basis for hundreds if not thousands of other tracks.”
Over the decades that followed, reggaetón blossomed into a global sensation. With roots in the Panamanian “reggae en espanol” movement and then evolving with Puerto Rican trailblazers like Ivy Queen and DJ Nelson, reggaetón exploded onto the world stage with Daddy Yankee’s 2004 breakout single, “Gasolina,” which spent 20 weeks on the Hot 100. The genre then rose to new heights in 2017 with Luis Fonsi’s mega-hit “Despacito,” which topped the Hot 100 for a record-tying 16 weeks. And last year, Bad Bunny’s Un Verano Sin Ti became the first Latin album to finish as the No. 1 Billboard 200 album of the year after ruling the chart for 13 nonconsecutive weeks. According to Billboard Boxscore, he also grossed a record-setting $435 million across two tours — El Último Tour del Mundo and World’s Hottest Tour — cementing his place as one of pop’s biggest stars.
All of it, according to Steely & Clevie’s lawsuit, on the backs of their intellectual property.
A growing case
The duo first headed to federal court April 2021, accusing Panamanian reggaetón artist and producer El Chombo of infringing “Fish Market” with his “Dame tu Cosita,” a 2018 hit that reached No. 36 on the Hot 100. The suit also named Karol G and Pitbull, who later released a remix of the track.
In their complaint, the lawyers for Steely & Clevie said the “primary rhythm and drum sections” of “Dame tu Cosita” were pulled directly from the earlier song: “At no point did defendants seek or obtain authorization from plaintiffs to use ‘Fish Market’ in connection with the infringing works.”
When the case was first filed, few people took notice. But the lawsuit quickly grew. In October 2021, Steely & Clevie added 10 more songs to the case, including Fonsi’s “Despacito.” In May 2022, they alleged that an additional 44 songs had infringed “Fish Market,” including Daddy Yankee’s “Gasolina.” By September 2022, the lawsuit had ballooned: More than 150 total defendant-artists, including Bad Bunny, accused of releasing a staggering 1,800 infringing songs.
The newer versions of the lawsuit also claimed broader intellectual property rights. In the original, Steely & Clevie claimed only to own a copyright to “Fish Market” itself; as the case evolved, they claimed they also owned rights to “Dem Bow” and “Dub Mix II,” the later songs that utilized “Fish Market.”
In the most recent version of the complaint, filed in April, it takes a full 25 pages to list out all of the defendants, which also include units of Universal Music Group, Warner Music Group and Sony Music Entertainment. Other notable defendants include Anitta, Becky G, Maluma, Tainy, Rauw Alejandro, and Enrique Iglesias, as well as companies BMG Rights Management, Hipgnosis and Kobalt.
Over a whopping 228 pages, the document lays out how each song, like “Despacito,” allegedly infringed what it calls “groundbreaking” drum and bass patterns in the earlier songs.
“The rhythm section of ‘Despacito’ and the ‘Despacito Remix’ copies original elements of the ‘Fish Market’ rhythm section,” Steely & Clevie’s lawyers wrote. “The musical backbones of ‘Despacito’ and the ‘Despacito Remix’ are substantially similar, if not virtually identical, to ‘Fish Market.’”
“Monopolistic”? Or “sensationalist”?
A trial on all those allegations is still years away, even in the fastest scenario. But this past summer, the attorneys representing the artists and labels have been trying to make sure it never gets there.
In a motion filed in June, Bad Bunny’s lawyer Kenneth D. Freundlich demanded that the case be dismissed immediately, calling it a “transparent” attempt by Steely & Clevie to “stake monopolistic control over the reggaetón genre.”
“Plaintiffs’ [lawsuit] impermissibly seeks to monopolize practically the entire reggaetón musical genre for themselves by claiming copyright ownership of certain legally irrelevant and/or unprotectable, purported musical composition elements,” Freundlich wrote for his superstar client.
When the lawsuit’s allegations are “defrocked” of their “façade,” Bad Bunny’s lawyer wrote, all that is left is a simple rhythm itself — and “courts have been consistent in finding rhythm to be unprotectable.”
The majority of the other defendants named in Steely & Clevie’s lawsuit (including Anitta, Pitbull, Karol G, Ricky Martin, Daddy Yankee, Fonsi, Bieber, units of all three majors and more than 70 other defendants) are represented by a single team of lawyers from the law firm Pryor Cashman. That’s the same firm, and some of the same lawyers, that won Ed Sheeran’s big copyright trial in May.
In their motion, the Pryor lawyers echoed Bad Bunny’s genre-monopoly arguments, but they also claimed that the size of the case had turned it into a procedural disaster — a confusing mess in which nobody knows exactly what they’re accused of doing wrong. They said Steely & Clevie had failed to satisfy “the fundamental elements of a copyright infringement claim.”
“The [complaint] is a ‘shotgun pleading’ filled with conclusory allegations that lump defendants together, making it impossible for defendants to determine what each is alleged to have done, what works are at issue and what in those works is allegedly infringing,” the attorneys wrote.
In their own response filings, Steely & Clevie remained undeterred. In an August filing, they argued that the gripes about the size and complexity of the case were unfounded — and that the scale of the lawsuit actually underscored the central point of their allegations.
“While the copyists are legion here, they certainly did copy, and the sheer amount of copying proves the creative and original nature of plaintiffs’ work,” wrote the duo’s lawyers from the Los Angeles-based law firm Doniger/Burroughs. “Defendants want to exploit plaintiffs’ creativity to build careers and reap financial success while denying plaintiffs their just credit and compensation.”
And in a separate response to Bad Bunny’s filing, Steely & Clevie’s attorneys blasted the accusation that they were aiming to own an entire genre of music.
“In the end, Bad Bunny’s motion boils down to a sensationalist, unsupported suggestion that this case somehow ties up the reggaetón genre. Not so,” the duo’s lawyers wrote. “To be sure, the unauthorized copying of the Fish Market pattern now is widespread — copying that necessitated this case. But Bad Bunny cites no authority for the proposition that widespread copying of an original work somehow renders that work unprotectable.”
A hearing before a federal judge, where those arguments will be tested in open court, is set for Friday. Attorneys for both sides declined to comment.
“A pretty wild claim”
With just about every artist in one of the industry’s hottest genres now facing the possibility of copyright liability over a core part of their music, Steely & Clevie’s case could pose something of an existential problem for reggaetón. Artists who want to make songs in the future featuring a similar rhythm would need to ask (and pay for) permission to do so for decades to come — that is, if the case is ultimately successful.
Some copyright experts are skeptical. “This is a case that zeros in on a particular beat that characterizes an entire genre, and they’re basically saying, you can trace it all back to our song, and a piece of everything that flows from that belongs to us,” says Peter DiCola, a professor at Northwestern Pritzker School of Law who has written extensively about music sampling. “I think that’s a pretty wild claim.”
Part of what makes the “Fish Market” case unusual is the long delay. Steely & Clevie waited 30 years to sue, as an entire world of music built up around a rhythm that they now claim to own — no doubt leading some reggaetón artists to think, perhaps reasonably, that dembow was fair game.
But even if that delay seems vaguely unfair, it’s probably not a great defense. In a 2014 case over the movie Raging Bull, the U.S. Supreme Court ruled that there are essentially no time limits to bringing a copyright suit. That decision directly sparked a battle over Led Zeppelin’s “Stairway to Heaven” decades after it was released, as well as many other lawsuits over years-old allegations of infringement.
Instead, the harder questions posed by Steely & Clevie’s case concern the dividing line between historical acknowledgment and exclusive legal ownership. Music historians don’t doubt that Steely & Clevie played a key role in reggaetón’s evolution, but does that entitle them, decades later, to control a crucial part of an entire genre? Put another way, the real question — and it’s potentially a multi-billion-dollar question — is whether they can claim a copyright on the dembow rhythm.
In the abstract, sure. Rhythms are just collections of sounds arranged creatively, like the melodies and lyrics that are clearly covered by copyrights. But in reality, U.S. courts have been hesitant to extend protection to musical elements like rhythms, chord progressions and song structures. Earlier cases have declared them either simply too unoriginal for copyright coverage, or ruled they are “scènes à faire” — a copyright law term for stock elements of a given genre that anyone is entitled to use.
Recent legal battles over music have been dismissed with rulings that the accuser could not claim a monopoly on basic “building blocks” of songs. Led Zeppelin won a case involving “Stairway to Heaven” in 2020, followed by a similar decision in 2022 on Katy Perry’s “Dark Horse.” In May, a federal judge dismissed a lawsuit that accused Ed Sheeran’s “Thinking Out Loud” of infringing Marvin Gaye’s “Let’s Get It On” saying the case — over a chord progression and harmonic rhythm – was seeking an “impermissible monopoly over a basic musical building block.”
Legal experts wonder if the claims about dembow may face similar limitations.
“All credit to them for being really talented musicians,” DiCola says. “But this thing that they’ve created, this common element that runs through as kind of the DNA of these reggaetón tracks — is that really something anyone can own? To me, it seems very much like a basic building block.”
Shakira steps into new territory with “El Jefe,” the Colombian superstar’s collaboration with Fuerza Regida, which dropped Wednesday (Sept. 20).
The chart-topping artist first teased the collab last week when she shared a short clip of an interview with ET, in which she said, “I”m not the boss in this song, but wait and see.” Then, she shared a snippet of “El Jefe (The Boss),” which is about someone who has the mentality of a millionaire but doesn’t actually have money.
Although previous songs of Shakira’s have included elements of regional Mexican music, such as the mariachi trumpet on “Ciega, Sordomuda” and the country-tinged “Te Espero Sentada,” this is her first full-blown Mexican music song.
In the catchy corrido, Shakira and Fuerza’s frontman JOP sing about being tired of their 9-to-5 jobs, especially their arrogant boss, and the desire to quit and become their own bosses. The music video features the global superstar and regional urban act performing the track together.
Shakira Will Speak at Billboard’s 2023 Latin Music Week in Miami
09/20/2023
Shakira’s collab with Fuerza Regida is a reflection of Mexican music’s dominance and influence on Latin music today. With acts like Fuerza at the forefront, the genre is having a record year, growing in popularity in the United States and beyond. In May, Billboard reported that regional Mexican music consumption in the U.S. jumped 42.1% year to date through May 25, outpacing gains in the Latin genre overall, as well as country, dance/electronic, rock and pop, according to Luminate.
Both Shakira and JOP are set to be part of Billboard‘s Latin Music Week, taking place Oct. 2-6 in Miami. The former will participate in an exclusive superstar Q&A moderated by Leila Cobo, Billboard’s Chief Content Officer for Latin/Español, and the latter in a panel on Música Mexicana touring. Purchase tickets to the 2023 Billboard Latin Music Week here.
Stream “El Jefe” or watch the music video below:
[embedded content]
The concert that Peso Pluma had scheduled for Oct. 14 in Tijuana, Mexico, has been canceled, Prajin Music announced Wednesday (Sept. 20) on social media — days after the artist was threatened in a series of banners that appeared in the border city. “Our goal is to protect the fans and the team. For the safety […]
Myke Towers’ “Lala” takes the Puerto Rican artist to No. 1 on Billboard’s Latin Airplay chart as the viral hit jumps 2-1 on the overall Latin tally dated Sept. 16. The new champ follows a double win, as the song commanded the Billboard Global Excl. U.S. and Latin Rhythm Airplay charts each for at least one week.
“Lala” is one of 23 tracks on Towers’ latest album La Vida Es Una, which granted him a third straight top 10 on Top Latin Albums (No. 9 high in April). The single blew up on TikTok after the music video dropped July 28, with over 5 million clips pouring into the platform to ignite a successful radio campaign. (Activity directly on the TikTok platform does not currently count toward the Billboard charts.)
“Lala” pushes to No. 1 on Latin Airplay in its eighth week despite a 1% dip in audience impressions, with 8.7 million, earned in the U.S. during the Sept. 8-14 tracking week, according to Luminate.
The new champ arrives just five months after Towers’ “Ulala,” with Daddy Yankee, took over the overall ranking for one week (April 8-dated list). With the new hit, Towers nabs his ninth No. 1, dating back to “Caramelo,” with Ozuna and Karol G, his first and longest-leading entry, three weeks atop in 2020.
In addition to its new Latin Airplay domination, “Lala” previously ruled Global Excl. U.S. and Latin Rhythm Airplay: On the former, it vaulted from No. 13 to No. 1 in July with 70.4 million streams outside the U.S. (drops 3-4 on the current tally); on the latter, it rebounds to its No. 1 peak for a second week in charge.
Further, the viral activity for “Lala” fueled a rise in streams, peaking at No. 4 on the multimetric Hot Latin Songs on the Aug. 12-dated list, which blends airplay, digital sales, and streams. There, the song dips 5-6 with 7.94 million U.S. streams, that’s a 7% decline from the week prior.
[embedded content]
Chencho Corleone Smokes His Way into The Top 10: Elsewhere on Latin Airplay, Chencho Corleone’s “Un Cigarrillo” checks into the top 10 at its new No. 3 peak. The single flies from No. 18 as the Greatest Gainer of the week powered by a 56% gain in audience impressions, to 8.1 million.
With “Un Cigarrilo,” Corleone acquires his fourth top 10. He visited the upper region three times prior through a trio of rulers, starting with his first No. 1, “Desesperados,” with Rauw Alejandro, in 2022. “Me Porto Bonito,” with Bad Bunny, followed for one week in command in Aug. 2022, while “Podemos Repetirlo,” with Don Omar, crowned the Sept. 16-dated chart. It falls 1-7 on the current tally.
Beyond its top 10 entry on Latin Airplay, “Un Cigarrilo” pushes 8-2 for its new peak on Latin Rhythm Airplay.
Wisin was interested in music at an early age. That early passion helped him achieve long-running success as part of the iconic reggaeton duo Wisin y Yandel. In our new episode of Growing Up, the superstar reflects on his almost three-decade career, his La Base Music Group record label and his upcoming album. Related Images:
Billboard unveiled the final round of confirmed artists and full schedule of the 2023 Billboard Latin Music Week, returning to Miami Beach the week of Oct. 2 to 6, on Wednesday (Sept. 20).
Explore
See latest videos, charts and news
See latest videos, charts and news
Joining the Latin music’s biggest event are Beatriz Luengo, Carin León, DannyLux, DJ Nelson, Hyde, Ivy Queen, Fuerza Regida’s Jesús Ortiz Paz “JOP”, Lasso, Luny Tunes, Pedro Capó, Thalia and Wisin.
The final talent additions and full event schedule (see below) were presented during a press conference at the Faena Forum in Miami Beach, where Leila Cobo, chief content officer of Billboard Latin and Billboard Español, was joined by Miami Beach mayor Dan Gelber, Valentina Bueno (director of Karol G’s Con Cora Foundation), as well as artists Fonseca, Mike Bahía and Venesti.
“Our city and community has discovered the best version of itself,” Gelber said. “We want to be the center of Latin music world every year and will be the center of Latin Music Week.”
“We’re so very happy to be here again,” added Cobo. “A lot of people are discovering Latin music for the first time in the past year, but at Billboard, we’ve been part of its growth for over 30 years. We can’t imagine anywhere in the world but [Miami Beach] to bring this fabulous event.”
Previously confirmed acts for the 2023 edition of LMW include Shakira, Arcángel, RBD’s Christian Chávez, Christopher von Uckermann, and Maite Perroni, Chencho Corleone, DJ Alex Sensation, Edgar Barrera, Eladio Carrión, Feid, Fonseca, GALE, Gonza, Greeicy, Grupo Frontera, Keityn, Maffio, Manuel Turizo, Maria Becerra, Mike Bahía, Myke Towers, Nacho, Natanael Cano, Nathy Peluso, Nicki Nicole, Peso Pluma, Santa Fe Klan, Sebastián Yatra, Venesti, Vico C, Yng Lvcas, and Young Miko, to name a few.
“I want to thank Billboard on behalf of myself and Greeicy for allowing us to open Latin Music Week. We have a spectacular show,” Bahía said of his scheduled Oct. 2 performance alongside Greeicy titled “One Day, One Love,” which will be part of the Billboard En Vivo concert series.
Fonseca added: “I am honored with this invitation. We will be having a conversation with Leila on Oct. 4 about my 20 years of career and the tour, and on the 6th, a private concert at Oasis. It is a luxury to be here with you at Latin Music Week.”
Colombian newcomer Venesti, who will form part of the official Latin Music Week kickoff party presented by AP Global, also expressed his excitement. “It is a pleasure for me to be here for the first time at Latin Music Week. I will be performing all the songs from my new album De La Nada, and we will be sharing stage with Maffio, Nacho, Alejo, Joonti and Alex Sensation as the DJ of the night.”
Official partners of the 2023 Billboard Latin Music Week include AT&T, Cheetos, CN Bank, Delta Air Lines, Lexus, Netflix, Michelob ULTRA and Smirnoff.
Celebrated for more than 30 years, Billboard Latin Music Week is the longest running and biggest Latin music industry gathering in the world, and coincides with the 2023 Billboard Latin Music Awards, which will be broadcast live on Telemundo on Thursday, Oct. 5, from the Watsco Center in Miami.
Registration for the 2023 Billboard Latin Music Week is now open at BillboardLatinMusicWeek.com.
Monday, Oct. 2, 2023
Everything You Want To Know About Billboard, But Were Afraid To Ask
How To Manage Your First Big Paycheck: Step 1, Don’t Buy That Exotic Car Presented by CN Bank
Exactly Who Is Listening To Latin Music? Everyone! Luminate Unveils New Latin Music Report
The Rise Of Mexican Music Touring with Fuerza Regida’s JOP Presented by Live Nation
Millions Of Streams, Hundreds Of Dollars? Presented by RIMAS Publishing
The Power of Latin Catalog Presented by Harbourview
The Art of the Festival Presented by Viña Del Mar
Networking: The Industry Roundtables
Billboard En Vivo ft. Greeicy & Mike Bahía Presented by Michelob Ultra 21+
Official Billboard Latin Music Week Kickoff Party Presented by AP Global 21+
Tuesday, Oct. 3, 2023
Making The Hit Live ft. Carin León & Pedro Capó
The Power Players: The Indie Edition with Jimmy Humilde, Federico Lauria and George Prajin Presented by Lexus
Star Q+A with Sebastián Yatra, moderated by Lasso
The New Mexican Revolution with Grupo Frontera, Natanael Cano, Peso Pluma, Santa Fe Klan and Yng Lucas Presented by BMI
Legends On Legends with Chencho Corleone and Vico C
Boys Club No More! The Women’s Panel ft. Kany García, Maria Becerra, Nathy Peluso, Nicki Nicole, and Young Miko
The Marketing Of Ferxxo: Featuring Feid
Premiere Party featuring Thalia
Billboard En Vivo Ft. Peso Pluma 21+
Billboard En Vivo Ft. La Base and Wisin, Presented by Smirnoff with special guests Luny Tunes & DJ Nelson 21+
Wednesday, Oct. 4, 2023
The Superstar Songwriter Panel ft. Edgar Barrera & Keityn Presented by Sony Music Publishing
The Icon Q&A with Fonseca Presented by Michelob Ultra
Artist Showcase: Dr. Tania Medina Presented by Bridger Communications
The Latin Swing: From Music to Sports with Arcángel, Eladio Carrión & More Presented by RIMAS Sports
The Rising Star Q&A With Manuel Turizo Presented by Delta Air Lines
Wisin & La Base: Eye Of The Tiger with Luny Tunes, DJ Nelson, and Hyde Presented by Smirnoff
Deja Tu Huella with Myke Towers Presented by Cheetos
Reviving RBD with Maite Perroni, Christian Chávez, Christopher Von Uckermann & Guillermo Rosas Presented by At&T
Hits Don’t Lie: The Superstar Q+A with Shakira
Netflix Advanced Screening Party of Neon
The Mexican Music Revolution: DannyLux’s Showcase
A Night of Mexican Music ft. La Maquina Norteña, Carlos Sarabia, Los Cuates de Sinaloa & Sebastián Esquivel
Billboard En Vivo ft. Nathy Peluso with special guest Young Miko 21+
Thursday, Oct. 5, 2023
Watch The 2023 Billboard Latin Music Awards on Telemundo
Sorry Papi X Billboard Latin Music Week 21+
Friday, Oct. 6, 2023
Cheetos Block Party ft. Myke Towers at Latin Music Week
Billboard En Vivo ft. Fonseca presented by Michelob Ultra 21+
The nominees for the 2023 Latin Grammys were announced on Tuesday (Sept. 19) with Mexican producer-songwriter Edgar Barrera as the most nominated person with a total of 13 nominations. Barrera is followed by Colombian stars Camilo, Karol G, Shakira and composer Kevyn Mauricio Cruz (also known as Keityn), each with seven nominations. Argentine producer and DJ […]
Mexican hitmaker Edgar Barrera leads the list of nominees for the 2023 Latin Grammy Awards with 13 nods, including songwriter of the year, producer of the year and song of the year — this as co-writer of both “NASA” by Camilo & Alejandro Sanz and “un X100to” by Grupo Frontera with Bad Bunny. In addition, he has three nods each in the best tropical song and best regional Mexican song categories, and one for best pop song.
Barrera is followed by Colombian stars Camilo, Karol G, Shakira and composer Kevyn Mauricio Cruz (also known as Keityn), each with seven nominations. Argentine producer and DJ Bizarrap received six.
On Tuesday morning (Sept. 19), the Latin Recording Academy announced the nominations for the 24th annual Latin Grammys, which for the first time will take place outside the U.S., in Seville, Spain, on Nov. 16.
“After evaluating more than 19,000 entries, we are pleased to share the nominees for the 24th edition of the Latin Grammys,” said Manuel Abud, CEO of the Latin Recording Academy. “This group of creators reflects musical excellence and the richness of Latin music, and I look forward to celebrating them during Latin Grammy Week in Sevilla which will be a truly historic moment for our organization.”
While new música Mexicana sensations such as Peso Pluma and Grupo Frontera surprisingly did not make the cut in the best new artist category, two regional Mexican songs compete for the Latin Grammy for song of the year for the first time in history, the Latin Recording Academy confirmed to Billboard Español: “Ella Baila Sola” by Eslabon Armado and Peso Pluma, and “un X100to.”
Other big contenders this year: Pablo Alborán, Bad Bunny, Maria Becerra, Feid, Dave Cutch and Natalia Lafourcade, with five nominations each; and Santiago Alvarado, Paula Arenas, Juanes and Ovy on the Drums, with four each.
Check out the complete list of nominees for the 24th annual Latin Grammy Awards below.
General Field
Record of the year
“No Es Que Te Extrañe,” Christina Aguilera
“Carretera y Manta,” Pablo Alborán
“Déjame Llorarte,” Paula Arenas Featuring Jesús Navarro
“Shakira: Bzrp Music Sessions, Vol. 53,” Bizarrap Featuring Shakira
“Si Tú Me Quieres,” Fonseca & Juan Luis Guerra
“Mientras Me Curo Del Cora,” Karol G
“De Todas Las Flores,” Natalia Lafourcade
“Ojos Marrones,” Lasso
“La Fórmula,” Maluma & Marc Anthony
“Despechá,” Rosalía
“Correcaminos,” Alejandro Sanz Featuring Danny Ocean
Album of the year
La Cu4rta Hoja, Pablo Alborán
A Ciegas, Paula Arenas
De Adentro Pa Afuera, Camilo
Décimo Cuarto, Andrés Cepeda
Vida Cotidiana, Juanes
Mañana Será Bonito, Karol G
De Todas Las Flores, Natalia Lafourcade
Play, Ricky Martin
EADDA9223, Fito Paez
Escalona Nunca Se Había Grabado Así, Carlos Vives
Song of the year
“Acróstico,” Kevyn Mauricio Cruz Moreno, L.E.X.U.Z, Luis Fernando Ochoa & Shakira, songwriters (Shakira)
“Amigos,” Pablo Alborán & Maria Becerra, songwriters (Pablo Alborán Featuring Maria Becerra)
“De Todas Las Flores,” Natalia Lafourcade, songwriter (Natalia Lafourcade)
“Ella Baila Sola,” Pedro Julian Tovar Oceguera, songwriter (Eslabon Armado, Peso Pluma)
“NASA,” Edgar Barrera, Camilo & Alejandro Sanz, songwriters (Camilo & Alejandro Sanz)
“Ojos Marrones,” Luis Jiménez, Lasso & Agustín Zubillaga, songwriters (Lasso)
“Shakira: Bzrp Music Sessions, Vol. 53,” Santiago Alvarado, Bizarrap, Kevyn Mauricio Cruz &
Shakira, songwriters (Bizarrap Featuring Shakira)
“Si Tú Me Quieres,” Fonseca, Yadam González & Yoel Henríquez, songwriters (Fonseca & Juan Luis Guerra)
“TQG,” Kevyn Mauricio Cruz, Karol G, Ovy On The Drums & Shakira, songwriters (Karol G Featuring Shakira)
“un X100to,” Bad Bunny, Edgar Barrera, Marco Daniel Borrero & Andres Jael Correa Rios, songwriters (Grupo Frontera Featuring Bad Bunny)
Best new artist
Borja
Conexión Divina
Ana Del Castillo
Natascha Falcão
Gale
Paola Guanche
Joaquina
Leon Leiden
Maréh
Timø
Field 1: Pop
Best pop vocal album
La Cu4arta Hoja, Pablo Alborán
Beautiful Humans Vol. 1, Alemor
De Adentro Pa Afuera, Camilo
La Neta, Pedro Capó
Tu Historia, Julieta Venegas
Best traditional pop vocal album
A Ciegas, Paula Arenas
Que Me Duela, Camilú
Corazón y Flecha, Manuel Carrasco
Décimo Cuarto, Andrés Cepeda
Placeres y Pecados, Vanesa Martín
Best pop song
“5:24,” Edgar Barrera & Camilo, songwriters (Camilo)
“Bailo Pa Ti,” Natalia Hernández Morales, Monsieur Periné, Santiago Prieto Sarabia, Julio Reyes Copello & Mitchie Rivera, songwriters (Monsieur Periné)
“Contigo,” Pablo Alborán, Mauricio Rengifo, Andrés Torres & Sebastián Yatra, songwriters (Sebastián Yatra Featuring Pablo Alborán)
“Déjame Llorarte,” Paula Arenas & Manuel Ramos, songwriters (Paula Arenas & Jesús Navarro)
“Shakira: Bzrp Music Sessions, Vol. 53,” Santiago Alvarado, Bizarrap, Kevyn Mauricio Cruz Moreno & Shakira, songwriters (Bizarrap Featuring Shakira)
Field 2: Urban
Best urban/fusion performance
“La Jumpa,” Arcángel Featuring Bad Bunny
“Ojalá,” Maria Becerra
“Quevedo: Bzrp Music Sessions, Vol. 52,” Bizarrap Featuring Quevedo
“TQG,” Karol G Featuring Shakira
“Yandel 150,” Yandel & Feid
Best reggaeton performance
“Automático,” Maria Becerra
“La Receta,” Tego Calderón
“Feliz Cumpleaños Ferxxo,” Feid
“Gatúbela,” Karol G Featuring Maldy
“Hey Mor,” Ozuna & Feid
Best urban music album
Xtassy, Akapellah
Saturno, Rauw Alejandro
3Men2 Kbrn, Eladio Carrión
Feliz Cumpleaños Ferxxo Te Pirateamos El Álbum, Feid
Mañana Será Bonito, Karol G
Alma, Nicki Nicole
Best rap/hip hop song
“Autodidacta,” Mauro De Tommaso & Nohelys Jimenez, songwriters (J Noa)
“Coco Chanel,” Bad Bunny & Eladio Carrión, songwriters (Eladio Carrión Featuring Bad Bunny)
“Dispara ***,” Santiago Alvarado, Milo J, Nicki Nicole & Santiago Ruiz, songwriters (Nicki Nicole Featuring Milo J)
“Le Pido A Dios,” Martin Chris E, Feid & Esteban Higuita Estrada, songwriters (Feid Featuring Dj Premier)
“Pá Ganá,” Akapellah, songwriter (Akapellah)
“Pregúntale A Tu Papá Por Mí,” Vico C, songwriter (Vico C)
Best urban song
“Automático,” Maria Becerra, songwriter (Maria Becerra)
“La Jumpa,” Bad Bunny & Austin Santos, songwriters (Arcángel Featuring Bad Bunny)
“Mi Mejor Canción,” Nelson Onell Diaz, Farruko, Gocho, Franklin Jovani Martinez & Eric Perez Rovira, songwriters (Gocho Featuring Farruko)
“Quevedo: Bzrp Music Sessions, Vol. 52,” Santiago Alvarado, Bizarrap & Quevedo, songwriters (Bizarrap Featuring Quevedo)
“TQG,” Kevyn Mauricio Cruz, Karol G, Ovy On The Drums & Shakira, songwriters (Karol G Featuring Shakira)
“Yandel 150,” Jowan, Andrés David Restrepo, Joan Manuel Ubinas Jiménez & Yandel, songwriters (Yandel & Feid)
Field 3: Rock
Best rock album
Íntimo Extremo – 30 Años, A.N.I.M.A.L
Cowboys De La A3, Arde Bogotá
De La Tierra III, De La Tierra
Dopelganga, Eruca Sativa
Sólo D’ Lira, Molotov
Best rock song
“Depredadores,” Andrés Giménez & Andreas Kisser, songwriters (De La Tierra)
“El Piso Es Lava,” Todo Aparenta Normal, songwriter (Todo Aparenta Normal Featuring An Espil & Evlay)
“Gris,” Juanes, songwriter (Juanes)
“Leche De Tigre,” Juan Galeano, songwriter (Diamante Eléctrico Featuring Adrián Quesada)
“Los Perros,” Arde Bogotá, songwriters (Arde Bogotá)
Best pop/rock album
El Diablo En El Cuerpo, Alex Anwandter
Trinchera Avanzada, Babasónicos
El Hombrecito Del Mar, León Gieco
Vida Cotidiana, Juanes
Tripolar, Usted Señalemelo
Despídeme De Todxs, Juan Pablo Vega
Best pop/rock song
“Alaska,” Bunbury, songwriter (Bunbury)
“Amantes,” León Larregui, songwriter (León Larregui)
“Caminar Sola,” Alex Anwandter & Julieta Venegas, songwriters (Julieta Venegas)
“¿Dónde Se Llora Cuando Se Llora?,” Francisca Valenzuela & Francisco Victoria, songwriters (Francisca Valenzuela)
“Ojos Marrones,” Luis Jiménez, Lasso & Agustín Zubillaga, songwriters (Lasso)
“Señorita Revolución,” Bruses & Ali Stone, songwriters (Bruses)
Field 4: Alternative
Best alternative music album
Martínez, Cabra
Nacarile, iLe
Bolero Apocalíptico, Monsieur Periné
Mesa Dulce, Dante Spinetta
Reputa, Zahara
Best alternative song
“Aleros/Pompeii,” Sebastian Ayala, Daniel Briceño, Henry D ́Arthenay, Rodolfo Pagliuca & Hector Tosta, songwriters (La Vida Boheme)
“ANASTASIA,” Cami & Jonathan Julca, songwriters (Cami)
“Cicatriz Radiante,” El David Aguilar, songwriter (El David Aguilar)
“El Lado Oscuro Del Corazón,” Dante Spinetta, songwriter (Dante Spinetta)
“Traguito,” Ismael Cancel, iLe & Mon Laferte, songwriters (iLe & Mon Laferte)
Field 5: Tropical
Best salsa album
Catarsis, Daniela Darcourt
Voy A Ti, Luis Figueroa
Cambios, Willy García
Niche Sinfónico, Grupo Niche y Orquesta Sinfónica Nacional de Colombia
Tierra y Libertad, Plena79 Salsa Orchestra Featuring Alain Pérez y Jeremy Bosch
Debut y Segunda Tanda (Deluxe), Gilberto Santa Rosa
Best cumbia/vallenato album
Leandro Díaz Special Edition, Silvestre Dangond
El Favor De Dios, Ana Del Castillo
Cumbia Del Corazón, Los Ángeles Azules
Hombre Absurdo, Gregorio Uribe
Escalona Nunca Se Había Grabado Así, Carlos Vives
Best merengue/bachata album
Cuatro26, Manny Cruz
Road Trip, Manny Manuel
Trópico, Vol. 2, Pavel Núñez
Fórmula, Vol. 3, Romeo Santos
A Mi Manera, Sergio Vargas
Best traditional tropical album
Tierra, Songs By Cuban Women, Estrella Acosta
Y Sigo Pa’lante, El Septeto Santiaguero
Tour Sinfónico En Vivo Auditorio Nacional, La Sonora Santanera
Danzoneando (En Vivo Desde Matanzas), Orquesta Failde
Vida, Omara Portuondo
En Tiempo De Son… Homenaje A Las Canciones De: Jorge Luis Piloto, Septeto Acarey De Reynier Pérez
Best contemporary tropical album
Contigo, Mike Bahía
5:10 am, Luis Fernando Borjas
Intruso, Silvestre Dangond
24/7, Gusi
Otro Color, Ilegales
Best tropical song
“Ambulancia,” Édgar Barrera, Camila Cabello, Camilo & Juan Morelli, songwriters (Camilo & Camila Cabello)
“Día De Luz [80 Aniversario],” Pablo Milanés, songwriter (Pablo Milanés Featuring Juanes)
“El Merengue,” Edgar Barrera, Nico Cotton, Gale, Marshmello, Miguel Andres Martinez Perea, Juan Diego Medina Vélez, Julián Turizo Zapata & Manuel Turizo, songwriters (Marshmello & Manuel Turizo)
“La Fórmula,” Marc Anthony, Edgar Barrera, René David Cano Ríos, Sergio George, Kevin Mauricio Jiménez Londoño, Bryan Snaider Lezcano Chaverra, Maluma & Justin Rafael Quiles, songwriters (Maluma & Marc Anthony)
“Que Me Quedes Tú,” Techy Fatule, songwriter (Techy Fatule)
“Si Tú Me Quieres,” Fonseca, Yadam González & Yoel Henríquez, songwriters (Fonseca & Juan Luis Guerra)
Field 6: Singer-Songwriter
Best singer-songwriter album
Nueve, Santiago Cruz
Los Mejores Años, Joaquina
De Todas Las Flores, Natalia Lafourcade
Tierra De Promesas, Maréh
El Equilibrista, Juan Carlos Pérez Soto
Best singer-songwriter song
“De Todas Las Flores,” Natalia Lafourcade, songwriter (Natalia Lafourcade)
“La Raíz,” Valeria Castro, songwriter (Valeria Castro)
“1.200 Kilómetros,” Santiago Cruz, songwriter (Santiago Cruz)
“Si Me Matan,” Silvana Estrada, songwriter (Silvana Estrada)
“Tu Historia, La Mía y La Verdad,” Juan Carlos Pérez Soto, songwriter (Juan Carlos Pérez Soto)
Field 7: Regional-Mexican
Best ranchero/mariachi album
Se Canta Con El Corazón (Deluxe), Majo Aguilar
Bordado A Mano, Ana Bárbara
Sólo Muere Si Se Olvida, Adriel Favela
Herederos, Mariachi Herencia De México
Forajido EP2, Christian Nodal
Best banda album
De Hoy En Adelante, Que Te Vaya Bien, Julión Álvarez y Su Norteño Banda
Hecho En México… Mágico, Banda El Recodo De Cruz Lizárraga
Punto y Aparte, Banda MS de Sergio Lizárraga
Una Copa Por Cada Reina (Deluxe), Nathan Galante
1500 Pedas, La Adictiva
Prefiero Estar Contigo (Deluxe), La Arrolladora Banda El Limón De René Camacho
Best Tejano album
Sin Fin, Gary Hobbs
El Patrón, Jay Perez
Súper Héroes De Blanco, Proyecto Insomnio
Para Empezar A Amar, Juan Treviño
Ganas, Vilax
Best Norteño album
Aclarando La Mente, Joss Favela
Family & Friends, La Abuela Irma Silva
Fuera De Serie, La Energía Norteña
Colmillo De Leche, Carin León
Hay Niveles (Deluxe), Los Rieleros Del Norte
Best regional song
“Aclarando La Mente,” Joss Favela, songwriter (Joss Favela)
“Alaska,” Edgar Barrera & Camilo, songwriters (Camilo & Grupo Firme)
“Ella Baila Sola,” Pedro Julian Tovar Oceguera, songwriter (Eslabon Armado & Peso Pluma)
“La Siguiente,” Edgar Barrera, Kany García, Richi López & Christian Nodal, songwriters (Kany García Featuring Christian Nodal)
“un X100to,” Bad Bunny, Edgar Barrera, Andrés Jael Correa Rios & Mag, songwriters (Grupo Frontera Featuring Bad Bunny)
Field 8: Instrumental
Best instrumental album
Tres, Renesito Avich
Choro Negro, Cristovão Bastos e Mauro Senise
Brooklyn-Cumaná, Jorge Glem y Sam Reider
The Chick Corea Symphony Tribute. Ritmo, Adda Simfònica, Josep Vicent & Emilio Solla
Made In Miami, Camilo Valencia & Richard Bravo
Romance Al Campesino Porteño, Miguel Zenón, José A. Zayas Cabán, Ryan Smith & Casey Rafn
Field 9: Traditional
Best folk album
Epifanías, Susana Baca
Aguajes De Mar y Manglar, Cantares Del Pacífico
Camino Al Sol, Vicente García
Mamá Cumbé, Tato Marenco
El Trébol Agorero, Homenaje A Luis Antonio Calvo, Quinteto Leopoldo Federico
Ayvu, Tierra Adentro
Best tango album
Retrato Del Aire, Pablo Jaurena
Operation Tango, Quinteto Astor Piazzolla
Reencuentro, Susana Rinaldi & Osvaldo Piro
Ahora, Romo – Agri – Messiez Tango Trio
Argentinxs, Tanghetto
Best flamenco album
Pura Sangre, Israel Fernández
Por La Tangente, Diego Guerrero
Quejíos De Un Maleante, Omar Montes
Camino, Niña Pastori
Prohibido El Toque, Juanfe Pérez
Field 10: Jazz
Best Latin jazz/jazz Album
Unánime, Roxana Amed
Flying Chicken, Hamilton De Holanda Featuring Thiago Rabello & Salomão Soares
Bembé, Iván “Melon” Lewis & The Cuban Swing Express
Semblanzas, William Maestre Big Band
I Missed You Too!, Chucho Valdés & Paquito D’Rivera (with Reunion Sextet)
Field 11: Christian
Best Christian album (Spanish language)
Fuego & Poder (Live), Barak
Vida, Alex Campos
El Vallenato Se Hizo En El Cielo, Gilberto Daza & Sergio Luis Rodríguez
Hazme Caminar, Jesús Israel
El Cielo Aún Espera, Jesús Adrian Romero
Lo Que Vemos, Marcos Vidal
Best Portuguese language Christian album
30 Anos – Vol 1, Aline Barros
Novo Tempo, Casa Worship
Único, Fernandinho
Preto No Branco Vertical, Preto No Branco
Nós, Eli Soares
Field 12: Portugese language
Best Portuguese language contemporary pop album
Bryan Behr Ao Vivo Em São Paulo, Bryan Behr
Em Nome da Estrela, Xênia França
Hodari, Hodari
Quintal, Melim
As Palavras, Vol. 1 & 2, Rubel
Best Portuguese language rock or alternative album
Não Me Espere Na Estação, Lô Borges
Jardineiros, Planet Hemp
Meu Esquema, Rachel Reis
Habilidades Extraordinárias, Tulipa Ruiz
Olho Furta-Cor, Titás
Best Portuguese language urban performance
“Da Favela Pro Asfalto,” Àttøøxxá & Carlinhos Brown
“Aviso De Amigo,” GIULIA BE
“Fé,” Iza
“Distopia,” Planet Hemp Featuring Criolo
“Good Vibe,” Filipe Ret, Dallass, Caio Luccas
Best Samba/Pagode album
Negra Ópera, Martinho Da Vila
Resenha Do Mumu, Mumuzinho
Desse Jeito, Maria Rita
Sambasá, Roberta Sá
Meu Nome É Thiago André (Ao Vivo), Thiaguinho
Best MPB (Musica Popular Brasileira) album
Mil Coisas Invisíveis, Tim Bernardes
Vem Doce, Vanessa da Mata
D, Djavan
Serotonina, João Donato
Daramô, Tiago Iorc
Best Sertaneja music album
Ao Vivo no Radio City Music Hall Nova Iorque, Chitãozinho & Xororó
Daniel 40 Anos Celebra João Paulo & Daniel, Daniel
É Simples Assim (Ao Vivo), Jorge & Mateus
Decretos Reais, Marília Mendonça
Raiz, Lauana Prado
Best Portuguese language roots album
TecnoShow, Gaby Amarantos
Portuguesa, Carminho
Raiz, João Gomes
Elba Ramalho No Maior São João Do Mundo, Elba Ramalho
Do Amanha Nada Sei, Almir Sater
Erva Doce, Gabriel Sater
Best Portuguese language song
“Algoritmo Íntimo,” Arnaldo Antunes, Criolo, Gabrieu, Keviin & Marcia Xavier, songwriters (Criolo, Ney Matogrosso)
“Do Acaso,” Ronaldo Bastos & Chico César, songwriters (Alice Caymmi Featuring Chico César)
“Num Mundo De Paz,” Djavan, songwriter (Djavan)
“Que Tal um Samba?”, Chico Buarque, songwriter (Chico Buarque Featuring Hamilton de Holanda)
“Tudo O Que A Fé Pode Tocar,” Tiago Iorc & Duda Rodrigues, songwriters (Tiago Iorc)
Field 13: Children’s
Best Latin children’s album
Aventuras, Flor Bromley
Vamos Al Zoo, Danilo & Chapis
Cantando Juntos, Gaby Moreno & Zona Neon
Colcha De Retazos, María Mulata
¿Y Si Pido Que Me Cuentes?, Veleta Roja
Field 14: Classical
Best classical album
Afro-Cuban Dances, Kristhyan Benitez; Jon Feidner, album producer
Albéniz & Granados Piano Works, Luis López; Luis López, conductor; Fernando Ortí Salvador, album producer
Cantata Negra, Marvin Camacho & UCR Coral; Didier Mora, conductor; Marvin Camacho Villegas & Jorge Castro Ruiz, album producers
Estirpe, Pacho Flores; Carlos Miguel Prieto, conductor; Ingo Petry, album producer (Orquesta Sinfónica De Minería)
Huáscar Barradas Four Elements Immersive Symphony For Orchestra And Chorus, Simón Bolívar Symphony Orchestra; Ollantay Velasquez, conductor; Huascar Barradas, Maria Cardemas, Eugenio Carreño & Eduardo Martinez Planas, album producers
Best classical contemporary composition
“Aroma A Distancia (Live from Paliesius, Lithuania),” Gonzalo Grau, composer (Brooklyn Rider)
“Concerto Venezolano,” Paquito D’Rivera, composer (Pacho Flores Featuring Paquito D’Rivera)
“Double Concerto for Clarinet and Bandoneon, III. Aboriginal,” JP Jofre, composer (JP Jofre and Seunghee Lee)
“Lucha Libre!,” Juan Pablo Contreras, composer (Juan Pablo Contreras)
“Suite de los Buenos Aires para Piano y Flauta,” Claudia Montero, composer (Natalia González Figueroa and Tanja Esther Von Arx)
Field 15: Arranging
Best arrangement
“Waltz Of The Flowers,” Joe McCarthy & Vince Norman, arrangers (Joe McCarthy’s New York Afro Bop Alliance Big Band)
“Com Que Voz,” John Beasley & Maria Mendes, arrangers (Maria Mendes Featuring Metropole Orkest & John Beasley)
“Songo Bop,” Rafael Valencia, arranger (Camilo Valencia, Richard Bravo Featuring Milton Salcedo)
“Crónicas Latinoamericanas,” Daniel Freiberg, arranger (Varios Artistas)
“Spain,” Emilio Solla, arranger (Varios Artistas)
Field 16: Recording Package
Best recording package
Atipanakuy (Deluxe), Gustavo Ramirez, art director (Kayfex)
Hotel Miranda!, Alejandro Ros, art director (Miranda!)
Nocturna, Alejandro Ros, art director (Javiera Mena)
Placeres y Pecados, Pedro Chico, art director (Vanesa Martín)
Trinchera Avanzada, Alejandro Ros, art director (Babasónicos)
Field 17: Songwriter
Songwriter of the year
Edgar Barrera
Kevyn Mauricio Cruz
Felipe González Abad
Manuel Lorente Freire
Horacio Palencia
Elena Rose
Field 18: Production
Best engineered album
Canto A La Imaginación, Érico Moreira, engineer; Érico Moreira, mixer; Felipe Tichauer, mastering engineer (Marina Tuset)
Daramô, Bruno Giorgi, mixer; Randy Merril, mastering engineer (Tiago Iorc)
Depois Do Fim, Túlio Airold, Victor Amaral & Pedro Peixoto, engineers; João Milliet & Pedro Peixoto, mixers; Fili Filizzola, mastering engineer (Lagum)
Octet And Originals, Roger Freret, engineer; Marcelo Saboia, mixer; Andre Dias, mastering engineer (Antonio Adolfo)
Quietude, Rodrigo de Castro Lopes, engineer; Pete Karam, mixer; Paul Blakemore, mastering engineer (Eliane Elias)
Solar, Thiago Baggio, engineer; Thiago Monteiro, mixer; Thiago Monteiro, mastering engineer (Vanessa Moreno)
Producer of the year
Edgar Barrera
Bizarrap
Eduardo Cabra
Nico Cotton
Julio Reyes Copello
Marcos Sánchez
Field 19: Music Video
Best short form music video
“Podcast/Pedra Memória”, Kayode; Gabriel Avelar & Beto Galloni, video directors; Hugo Castelo Branco, Bruna Fernandes, André Cozman Ganut, Kozmos, Paladino, Regis Ramos & Yalla Rec, video producers
“Fixação”, Luthuly Featuring Nave; Pedro Fiorillo & Jesus Mendes, video directors; Alcino Algarrao, Alcino Araujo, Ricardo Estevam, Paulo Miguez & Pamela Taby, video producers
“Estás Buenísimo”, Nathy Peluso; Félix Bollaín & Rogelio González, video directors; María Rubio, video producer
“No Quiero Ser Un Cantante”, Sen Senra; Torso, video director; Cap Dept, video producer
“Descartable”, Wos; Tomas Curland & Rafael Nir, video directors; Mariano Jaureguiberry, Abril Neistadt, Rafael Nir & Diego Ríos, video producers
Best long form music video
Camilo: El Primer Tour De Mi Vida, Camilo; Camilo & Camilo Ríos, video directors; Mauricio Ríos, video producer
Donde Machi – Album Completo, Dawer X Damper; Ivan Vernaza, video director; Alejandro Velasco Ochoa, video producer
Fanm Zetwal, Una Historia De Vida Y Milagros, Fanm Zetwal; Claudia Hernández Romero, video director; Francisco Núñez, video producer
Universo K23, Kenia Os; Flakka, video director; Compostela Films & Art, video producer
Patria Y Vida: The Power Of Music, Varios Artistas; Beatriz Luengo, video director; Michael Fux, Beatriz Luengo, Gloria Rubin & Yotuel, video producers
Wisin and La Base, the record label he launched in 2020, are confirmed for the 2023 Latin Music Week and Billboard En Vivo concert series, returning to Miami from Oct. 2 to 6.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
The “Billboard En Vivo with La Base and Wisin, presented by Smirnoff,” held at Oasis Wynwood, will feature special guests Luny Tunes and DJ Nelson spinning the biggest reggaeton hits of yesterday and today. Also marking the first-ever La Base party out of Puerto Rico, the 21-and-over free event will be open to the public on a first come, first served basis.
Additionally, reggaeton icon Wisin will be joined by legendary hitmakers Luny, Tunes, DJ Nelson and Hybe for a once-in-a-lifetime conversation where they will share their views on identifying and creating hits. Titled “Wisin & La Base: Eye of the Tiger,” the panel presented by Smirnoff will be tied to Wisin’s visionary label and music company La Base.
In other Latin Music Week news, Billboard will reveal the final talent additions and full event schedule during a press conference held Sept. 20 at the Faena Forum in Miami Beach, where Leila Cobo, chief content officer of Billboard Latin and Billboard Español, will be joined by mayor Dan Gelber, Valentina Bueno (director of Karol G’s Con Cora Foundation), as well as artists Fonseca, Mike Bahía and Venesti.
Celebrated for more than 30 years, Billboard Latin Music Week is the longest running and biggest Latin music industry gathering in the world, and coincides with the 2023 Billboard Latin Music Awards, which will be broadcast live on Telemundo on Thursday, Oct. 5, from the Watsco Center in Miami.
Registration for the 2023 Billboard Latin Music Week is now open at BillboardLatinMusicWeek.com.
Magnus Talent Agency, the agency division of Marc Anthony and Michel Vega’s company Magnus, has acquired the booking and management division of Tomas Cookman’s Industria Works.
Moving forward, Spain-based Industria Works’ staff and global roster will join MTA’s Miami-based team at Magnus, with five new staff members joining MTA, and for a total of 25 artists on its roster.
MTA’s original roster includes Marc Anthony, Fonseca, Gente de Zona, Il Volo, Micro TDH, Mau y Ricky and Bacilos, among others. Now, it will incorporate artists such as Trueno, Love of Lesbian, Paula Cendejas, Villano Antillano, YSY A, Maikel Delacalle, Nicola Cruz and YADAM, which Industria Works currently books for shows and tours in Europe and Latin America.
Industria Works founder Tomas Cookman, who also owns Nacional Records and founded the Latin Alternative Music Conference, will continue to play a leadership role within the new partnership.
“I’ve known and admired Tomas for over twenty years and we share the same passion for excellence in talent representation,” said Michel Vega, CEO of Magnus, and who originally founded the company with Marc Anthony. “This new partnership is an important step in our international expansion and will provide a crucial local presence and expertise in the European market and beyond, all in the name of continuing to provide top of class service to the careers of iconic and soon-to-be iconic artists.”
Cookman says he opted not to have a title in the new venture, “but I am involved in building this with Michel on a day-to-day basis (along with my other ventures) as always. I have always considered Michel Vega a friend – and am now proud to call him a partner. We are excited for the opportunity to join forces with a solid team to maximize opportunities and bring a truly global booking and management experience to our combined artist roster. I am a believer in the power of teamwork and Michel and Marc have created a solid foundation to continue building upon.”
Industria Works’ current head of Spain, Agustin Lopez, will lead the Madrid-based office and overall Spain team. Other Spain-based team members, Ulia Moreno, Patricia Zavala and Alicia Toboso, have also joined MTA and will continue to work out of Madrid and Barcelona.
The acquisition will give MTA added presence in Europe and it will also diversify its roster. At the same time, Industria Works will benefit from MTA’s infrastructure and its presence in Miami, the epicenter of Latin music.
“Tomas is coming on board to help us grow the agency in the future by leveraging his extensive network of contacts, vast experience in artist representation, independent thinking and entrepreneurial spirit,” added Vega.
Cookman will continue to oversee both Nacional Records and the LAMC, which are not part of the deal.