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Peso Pluma arrives slightly early to his own birthday party. He’s dressed in Dior from head to toe, but still looks casual in a long-sleeve button-down overshirt stamped with the designer’s oblique logo, dark jeans and black sneakers with white shoelaces. The famously punctual birthday boy, who’s turning 24 today (June 15), tours the venue — […]
Peso Pluma opens up about reaching No. 1 with his tracks “Ella Baila Sola” with Eslabon Armado and “BZRP: Music Sessions Vol. 55” with Bizarrap, how his life has changed since his recent success, achieving his dream and more. Peso Pluma:It was a dream to me. I’m very happy to be up there, but I […]
On Wednesday (Jul. 12) evening, Juanes took SummerStage as part of the LAMC summer series to perform in front of an overzealous crowd in a free, outdoor venue that was well-beyond capacity. However, just two songs in, the concert was halted due to “excessive crowds.”
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“Tonight, the Juanes show at SummerStage in Central Park drew a capacity crowd of 5,000 attendees inside the venue with an estimated overflow of 12,000 additional fans outside the gates,” Heather Lubov, executive director at City Parks Foundation SummerStage, said in an official statement sent to Billboard Español. “During the performance of his second song, with continued crowds at the gates and out of an abundance of caution, the show was halted and fans were asked to leave the venue.”
It was the “first time in 30 years SummerStage was required to stop a concert in progress for a non-weather related issue,” she continued. “SummerStage, LAMC and Juanes all agreed that the safety of fans and concert goers was of paramount concern and at the request of the NYPD, made the decision to cancel the show.”
The Colombian rockstar, who arrived clad in all black, opened up with his latest single “Gris” and followed up with mega hit “Mala Gente” to the thrill of thousands. As the excitement began to build, the show got abruptly canceled to everyone’s disappointment.
“Inside and outside [the venue] we have to be calm, guys,” exclaimed Juanes after wrapping up his second song. “If we are not calm, they are going to stop the concert. Many people were left outside without being able to enter. We want to continue with the show. It’s possible, right?”, he said, turning around to a staff member near the stage.
Unfortunately, it was not. “Thanks for coming out, we’re sorry, we have to ask everyone to please vacate the venue immediately,” announced a staff member at SummerStage.
Outside, thousands of people snaked around Rumsey Playfield with a line that seemed about a mile long.
“I’m sad because I was very eager to play,” Juanes told Billboard Español moments before its sudden cancellation. Although clearly disappointed, the Latin juggernaut still took the time to take photos with his fans and thank those for coming.
Moments before making it inside the venue, it was clear that the intensity was high. Cops began to swarm by outside, and ambulances were on the scene. At the time of this report, Billboard Español is unaware of any injuries.
The LAMC and Summerstage headlining performance was going to be Juanes’ first live U.S. show of songs from Vida Cotidiana, his tenth studio album released in May.
Throughout his prolific and highly successful career, Juanes has earned three songs on the Billboard Hot 100 chart, and seven titles on the Billboard 200. He has has won 24 Latin Grammy Awards and three Grammy Awards.
Watch the moment Juanes finds out about the cancellation:
Manuel Turizo rewrites his career-best debut on Billboard’s Latin Pop Airplay chart as “Copa Vacía,” his collaboration with Shakira, bows at No. 4 on the chart dated July 15, his first top 10 launch, among 12 top 10s. According to Luminate, “Copa Vacía” traces its start in the upper region on Latin Pop Airplay to […]
Yng Lvcas picks up his first No. 1 on Billboard’s Latin Airplay chart as “La Bebe,” with Peso Pluma, ascends 2-1 to lead the list dated July 15. The collab checks into the penthouse on the overall Latin chart in its fourth week at No. 1 on Latin Rhythm Airplay.
“La Bebe” takes over Latin Airplay with 10 million audience impressions, up 1% from the week prior, earned in the U.S. in the week ending July 6, according to Luminate.
The song replaces Grupo Frontera and Bad Bunny’s “X100to” from its six-week domination, dipping 2-1 with a 14% decline in impressions, to 9.3 million.
“La Bebe” grants Lvcas his first Latin Airplay champ, who joins four other acts who have also taken over the tally in 2023 with their first leaders: Fuerza Regida and Grupo Frontera through “Bebe Dame” (one week, March 25), Marshmello with the Manuel Turizo-assisted “El Merengue” (one week, June 10), and his contemporary Peso Pluma, as “Ella Baila Sola,” with Eslabon Armado, placed the Mexican at the lead for one week (June 17). Thus, the latter collects his second ruler.
Further, “La Bebe” is the only collaborative charting effort by Lvcas on any Billboard chart. He captured his maiden entry on any Billboard tally when the original version of the song, sans Pluma, debuted on the Billboard Global Excl. U.S. chart at No. 152, reaching a No. 2 high in April, after the remix with Pluma dropped.
Since then, the successful partnership has experienced a rewarding performance across charts. Here’s the recap:
Peak Position, Chart, Peak Date
No. 2, Latin Streaming Songs, April 8No. 2, Hot Latin Songs, April 15No. 1, Latin Digital Song Sales, April 15No. 2, Global Excl. U.S, April 22No. 5, Streaming Songs, April 29No. 2, Global 22, June 10No. 1, Latin Rhythm Airplay, June 24 (four weeks atop)No. 1, Latin Airplay, July 15
Beyond its Latin Airplay coronation, “La Bebe” holds steady at its No. 2 high for a seventh week on the multi-metric Hot Latin Songs chart, despite a 5% decline in streaming activity: it logged 13.2 million clicks in the U.S. during the same period. Plus, it also sees a fall in sales: 12% from the previous week to 1,000 downloads.
On June 15, Karol G officially became a Barbie girl, in a Barbie world when she dropped her single “WATATI,” the second single off of the Barbie movie soundtrack following Dua Lipa’s “Dance the Night.” The Colombian star, however, was not alone entering the Barbie realm, as she reeled in Panamanian artist Aldo Ranks for […]
In May, local authorities of a famous resort in Cancún, Mexico, banned live concerts of corridos tumbados, and other musical genres that authorities believe encourage violence.
At the same time, in the United States and in Mexico, the most important artist of the moment in Latin music is Peso Pluma, the newest Mexican star who this week has 11 songs on the Billboard Hot 100 (dated July 15).
And while Peso Pluma is known for many styles of music, from romantic sierreño (like the hit “Ella Baila Sola” with Eslabon Armado) to party songs like “La Bebe Remix” with Yng Lvcas, he also sings corridos tumbados, a subgenre of traditional Mexican corridos that fuses rap, hip-hop and even reggaetón, and that often openly address the issue of weapons and drugs.
He’s not the only one. Artists such as Natanael Cano, Junior H, Luis R. Conriquez and Fuerza Regida, among many others, also sing corridos tumbados as part of their repertoire, managing to enter the global Billboard charts with those songs.
The music can be successful, but in Mexico, it has been a source of controversy. Along with their popularity, corridos tumbados raise controversy precisely because of their lyrical themes, in a country with thousands of violent deaths and more than 111,000 missing people, according to official data.
Performances of narcocorridos — corridos that narrate the lives and exploits of real or fictional drug traffickers — have been banned in several Mexican states for decades, and now, those bans have been extended against corridos tumbados in some places.
Specifically, on May 18, local authorities did not allow a second concert by Alfredo Ríos, better known as El Komander, to take place.
El Komander had a second show scheduled for May 19 at the Plaza de Toros along with Chuy Lizárraga, Ángel Preciado and Francisco “El Gallo” Elizalde. But the general secretary of the Cancún City Council, Jorge Aguilar Osorio, announced on social media that the city council had approved a new measure that would not allow the concert to take place.
“Not allowing the concert to take place has to do with the fact that the city council has decided not to continue authorizing public performances that encourage violence,” said Aguilar Osorio. “We do not limit freedom of expression. Artists can sing whatever music they want. But the authorities cannot have this ambiguity of looking for a better, more peaceful society and, on the other hand, raise alerts every time we have these concerts due to the probabilities of violence that these type of public spectacles can generate”.
Controversial Rhythms
The controversy that corridos tumbados generate today is the same that was generated in the past by the so-called narcocorridos, which glorify drug traffickers.
Because it is considered a justification for the crime, the dissemination of narcocorridos has been prohibited since the early 2000s in the states of Baja California, Chihuahua and Sinaloa, the latter is the home state of Mexican cartel kingpin Joaquín “El Chapo” Guzmán. The prohibition consists of million-dollar fines and even the veto of concerts for those who perform them live.
Sanctions against corridos have even reached popular groups like Los Tigres del Norte, fined in 2017 by Chihuahua authorities for singing narcocorridos, and Los Tucanes de Tijuana, who were banned by Tijuana authorities in 2008 from playing live for allegedly giving a shout out to a capo during a concert in that city.
As for corridos tumbados, these are equally popular among the youth on both sides of the U.S.-Mexico border. The lyrics about drug use and the war between cartels are a fundamental part of the composition — although over time, some performers have integrated lyrics of love and heartbreak.
“People like the sound of tumbados and when the new genre started, they sang about drugs and other situations, but now they sing about heartbreak,” Danny Felix, singer-songwriter and co-writer of several of Natanael Cano’s first hits, told Billboard Español.
For Oswaldo Zavala, journalist and academic at the City University of New York (CUNY), the justification discourse is based on a political-social position that seeks to regulate this type of cultural expression associated with drug trafficking.
“There is a way of imagining northern Mexico as a place of violence, in the case of corridos tumbados, or Latin America in general, and also of a lot of sensuality and eroticism. These two pathways are constantly activated in much of the popular music that is currently consumed,” Zavala says.
The issue of corridos is so debated that even the Mexican president, Andrés Manuel López Obrador, has spoken about it on several occasions. “Forbidden to prohibit,” he said last week in one of his daily conferences with the press, stressing that he did not believe in censorship. But, he added: “We have the right and obligation to guide young people and give our opinion that nothing that leads to drug use should not be accepted […] There is a wide repertoire of songs that have nothing to do with drugs or with violence.”
Karol G is being dubbed the “Bichota Barbie” after arriving at the Barbie movie premiere in Los Angeles on Sunday rocking a sparkly pink halter top and long, groovy-printed skirt.
The Colombian star attended the event at the Shrine Auditorium and Expo Hall in support of the film’s soundtrack, where she has a collaboration called “WATATI” with Panamanian artist Aldo Ranks.
Produced by Ovy on the Drums, the track — which was the second single from the motion picture soundtrack following Dua Lipa’s “Dance the Night” — is a hard-hitting reggaeton with EDM tones that finds both Karol and Ranks singing about having a good time at the club.
“WATATI,” which is a popular phrase Ranks says in his songs, has so far peaked at No. 12 on Latin Digital Song Sales on the chart dated July 1.
Below, read the full lyrics translated to English:
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Papi, let’s go to the club to have a good timeA lot of smoke, Aguardiente to get dizzyPapi, let’s go to the club to have a good timeA lot of smoke, Aguardiente to get dizzy
And wow, dance all the way to the floor, that the whole worldKnows that dancing you’re a murderer And wow, dance all the way to the floor, that the whole worldKnows that dancing you’re a murderer
The hands to the air, the pum-pum to the floorWith the hands on the hipsWhoever moves it as they want pays But move, well
To the floor, to the floorTo the floor, to the floorTo the floor, to the floorGo lower, go lowerGo lower, lower, lower
That bam-bam-bam and I come, come, comeMove it thereI know you’re active and I’m at 100Let’s continueMoving that bam-bam-bam and I come, come, comeMove it thereI know you’re active and I’m at 100Let’s continue
Papi, let’s go to the club to have a good timeA lot of smoke, Aguardiente to get dizzyPapi, let’s go to the club to have a good timeA lot of smoke, Aguardiente to get dizzy
And wow, dance all the way to the floor, that the whole worldKnows that dancing you’re a murderer And wow, dance all the way to the floor, that the whole worldKnows that dancing you’re a murderer
When I see you dance to the floor, mamiMy heart begins to fulfill at onceThe guys in the club tell me: “Aldo, represent”The Bichota has mambo on those hips
When she begins to move that bam-bam-bam and I come, come, comeMove it thereI know you’re active and I’m at 100Let’s continue
Dancing with the people in the clubThe smoke, the aguardiente, girl, I don’t feel my headPass me the water that’s on the tableTo drink it all because I want to get refreshedIf you want the party to continueLet’s go to the after party until it’s morning
And here are the full Spanish lyrics:
Hello?Yo, chicaUna vez másEl flaquito del swingWatati, jejeje
Papi, vamos a la disco pa’ pasarla ricoMucho humo, aguardientico pa’ quedar mareadito (quede mareao’)Y, papi, vamos a la disco pa’ pasarla rico (hey, hey, hey)Mucho humo, aguardientico pa’ quedar mareadito (dale)
Y, guau, dale hasta el suelo, que to’ el mundo enteroSabe que meneándolo tú ere’ asesina (jejeje)Guau, dale hasta el suelo, que to’ el mundo enteroSabe que meneándolo tú ere’ asesina (ey)
Las mano’ pa’l aire, el pum-pum pa’l sueloCon las manito’ puesta’ en las cadera’Cada quien lo mueve como quieraPero muévale, pues
Hasta abajo, hasta abajoHasta abajo, hasta abajo, hasta abajo (dale, pues)Más pa’bajo, más pa’bajo (más, más, más)Más pa’bajo, pa’bajo, pa’bajo (jajaja)
Ese bam-bam-bam y yo ven, ven, venMuévelo ahíSé que estás activao y yo estoy al cien (jejeje)Vamo’ a seguirMoviendo ese bam-bam-bam y yo ven, ven, venMuévelo ahíSé que estás activa y yo estoy al cienVamo’ a seguir
Papi, vamos a la disco pa’ pasarla ricoMucho humo, aguardientico pa’ quedar mareadito (quede mareao’)Y, papi, vamos a la disco pa’ pasarla rico (hey, hey, hey)Mucho humo, aguardientico pa’ quedar mareadito (dale)
Y, guau, dale hasta el suelo, que to’ el mundo enteroSabe que meneándolo tú ere’ asesinaGuau, dale hasta el suelo, que to’ el mundo enteroSabe que meneándolo tú ere’ asesina
Cuando le das hasta el piso, mamáDe una el corazón se me empieza a llenarLos mane’ en la disco me dicen, “Aldo representa”La bichota tiene mambo en esas cadera’Cuando empieza a menear ese bam-bam-bam y yo ven, ven, venMuévelo ahíSé que estás activa y yo ‘toy al cienVamo’ a seguir
Bailando con la gente en la discoteca (ja)El humo, el agua, chica, ya no siento la cabezaPásame el agua que está en la mesaPa’ tomármela todita porque me quiero refrescarSi ustede’ quieren que siga la fiestaAfter party, vámono’ hasta que amanezca
Este es Aldo RanksCon la BichotaJejejejeje¿Esto no lo esperaba’, verdad?JajajajaColombia y PanamáO-O-Ovy On The Drums
Lyrics licensed & provided by LyricFind
Lyrics © Universal Music Publishing Group
Written by: Carolina Giraldo Navarro, Aldo Vargas, Daniel Echavarria Oviedo
Natanael Cano captures his third top 10 on Billboard’s Top Latin Albums chart as his latest album Nata Montana debuts at No. 5 on the July 15-dated list. The 15-track set concurrently launches at No. 2 on Regional Mexican Albums.
Nata Montana starts with 20,000 equivalent album units earned in the U.S. after its first tracking week ending July 6, according to Luminate. Cano’s eighth studio effort was released June 30 via Rancho Humilde.
As with most Latin albums these days, streams power Nata Montana’s opening sum. Out of the 20,000 units, 19,000 stem from streaming-equivalent album units. That equals 28 million official on-demand streams of the album’s songs.
An equivalent album unit equals one album sale, or 10 individual tracks sold from an album (track equivalent album units, TEA), or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album (streaming equivalent album units, SEA).
At only 18 years old, Cano pioneered the era of corridos tumbados — an amalgam of Mexican corridos with trap-permeated sounds within conventional regional Mexican music — with his breakthrough set Corridos Tumbados, which peaked at No. 4 on Top Latin Albums in November 2019.
The now-22-year-old has opened the curtain for his peers Peso Pluma, labelmate Junior H and others, some of whom comprise the all-star crew on Nata Montana –- the album’s name and artwork are references to the 1983 cult film Scarface starring Al Pacino as Tony Montana, with “The World is Yours” phrase as the set’s cornerstone approach.
As mentioned, Nata Montana marks Cano’s third top 10 on Top Latin Albums among eight entries. Prior to Montana, Cano earned his second top 10 through the No. 9 high A Mis 20 in June 2021.
The album was preceded by two songs: “AMG,” with Gabito Basllesteros and Peso Pluma (No. 6-peak in Feb.) and “Pacas de Billetes” (reached No. 37 in May).
Further, as Montana launches, two of its songs arrive on the multi-metric Hot Latin Songs chart: “Más Altas Que Bajadas” at No. 42 and “Mi Bello Ángel” at No. 46.
Beyond its debut on the Latin albums charts, Montana bows at No. 35 on the overall Billboard 200 list. It bests his only other entry there: Corridos Tumbados which debuted and peaked at No. 166 in 2019.
After 16 years, Tainy returns to the top 10 on Billboard’s Top Latin Albums chart as his latest album, Data, rallies 35-2 on the July-15 dated ranking after its first full week of activity.
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“I really try not to expect too much even though I’m working with superstars in this album,” Tainy tells Billboard. “My first thought is doing something both me and the artist love. I rather bring something amazing and different that at first could be weird, but grows on people with time. But I’m so happy it started the way it did, it’s mind-blowing.”
Data dropped June 29, the final day of the previous chart’s tracking week (albums are typically released on a Friday) and debuted on Top Latin Albums at No. 35 (July 8 ranking) from one day of activity. After its first official tracking week, the 19-track set surges to No. 2 with 31,000 equivalent album units in the U.S. in the week ending July 6, according to Luminate.
Most of Data’s first-week sum derives from streaming, which equates to 40.52 million official on-demand streams of the album’s songs. The remainder balance is a negligible amount of album sales and tracking-equivalent album units combined. An equivalent album unit equals one album sale, or 10 individual tracks sold from an album (track equivalent album units, TEA), or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album (streaming equivalent album units, SEA).
Data gives Tainy his highest charting album in more than 16 years on Top Latin Albums, since Más Flow: Los Benjamins with Luny Tunes launched at No. 1 in 2006. His maiden champ reigned for two weeks, and granted indie label Mas Flow, founded by Luney Tunes, its first and only No. 1 there. Data follows Tainy’s co-released album Dynasty with Yandel, which peaked at No. 25 in 2021.
“Figuring out dates to work on tracks with the artists was the toughest thing,” Tainy adds. “They’re superstars, so they’re touring, doing their own projects so that takes time to put it together and make it sound cohesive. But it’s a process I knew was gonna take time, so we made it work.”
As Data hits No. 2 on Top Latin Albums, Tainy brings Neon16 similar fortune: The indie label founded by the Puerto Rican producer alongside former Roc Nation executive Lex Borrero concurrently picks up its first and only top 10 on an albums chart. Previously, Neon 16 Tape: The Kids That Grew Up on Reggaetón earned the indie label a No. 45 high in March 2020.
Tainy’s catalogue of projects date back to the 2000s, since he was 16 years old; he’s produced for reggaetón heavy hitters, some of which appear on the beatmaker’s 19-song new album. They include Daddy Yankee, Bad Bunny, Wisin & Yandel, Arcángel, Zion, Ozuna and others, and share a space with a younger and varied range of collaborators, such as Julieta Venegas, Rauw Alejandro, Young Miko, The Marias, Kany García, Feid and more.
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In the songs realm, Data was preceded by only one song, the No. 2-peaking “Lo Siente Bebe :/” with Bad Bunny and Julieta Venegas (October 2021). Data also brings in three new recruits on the multimetric Hot Latin Songs, including one top 10: “Mojabi Ghost” with Bad Bunny debuts at No. 2, “Pasiempre” with Arcángel and Jhayco featuring Myke Towers at No. 28, and “La Baby” with Daddy Yankee and Feid featuring Sech at No. 47.
About the tracks Tainy concludes: “Each song represents me and my career in different ways, from artist and sounds that inspired me in the beginning to the new genres I’ve grown to love and artists that nowadays inspire me in a new way. Tough to choose just one.”
Beyond its No. 2 rise on Top Latin Albums, Data concurrently soars 19-1 on Latin Rhythm Albums, and debuts at No. 11 on the all-genre Billboard 200.