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Although Carlos Vives is best known for popularizing Colombian music worldwide, his activities include multiple ventures in his homeland that collectively employ some 250 people.
The singer and his wife, Claudia Elena Vásquez, call their overall enterprise Universo Vives. “We have interplanetary meetings,” jokes Vásquez, who has worked alongside her husband since 2012 and is CEO of the entity.
While Vásquez, a former chemical engineer and entrepreneur, readily admits she “didn’t know much about the music business” before, she has come to effectively oversee this particular universe. The ventures include:
Gaira Música Local Although Vives founded his own record label (named after an area near his hometown of Santa Marta) over 30 years ago, he relaunched it in 2019 with local artists like Gusi and Estereobeats. Gaira, distributed by The Orchard, also releases one-off projects, like Vives’ 2008 album, Pombo Musical, and helps curate artist performances at Cumbia House.
Cumbia HouseFormerly known as Gaira, this successful bar, restaurant and live music club launched in 1998 and has become a must-visit in Bogotá that also houses Vives’ recording studios. A business with 170 employees, it also has franchises at airports in Bogotá and Medellín.
Río Grande Music SchoolLaunched in 2016, the Bogotá school educates children ages 6 to 18 “with the purpose of teaching them how to be original in music without biases,” according to Vásquez. The school has 200 students, with plans to expand its size and provide scholarships for needy children.
Tras La Perla Vives has long supported myriad causes. But his Tras la Perla foundation, created in 2015 and based in Santa Marta, is focused on giving back to the neighborhoods his father introduced him to as a child, particularly El Pescaíto. The low-income historic area is the birthplace of some of Colombia’s top soccer players, “and we think it has great tourism potential,” Vásquez says. “Our goal is to improve Pescaíto and provide infrastructure. We wanted to bring together people who love this city and build projects around it.” With funding support from the private and public sectors, as well as Vives himself, Tras la Perla has finished projects including a House for Dance, a “spectacular” toy library, reading clubs and multiple initiatives in association with Magdalena University, Vásquez says. The venture has also worked to improve infrastructure in Santa Marta’s palafitte townships, where homes are built on stilts over water.
This story originally appeared in the Aug. 26, 2023, issue of Billboard.
Several highlights mark Carlos Vives’ year-long celebration of his three-decade musical career.
In April, the Colombian superstar released Escalona Nunca Se Había Grabado Así, an album that unites the members of his original band — La Provincia — and his longtime accordionist, Egidio Cuadrado, to revisit some of legendary vallenato artist Rafael Escalona’s biggest hits.
In May, Vives launched El Tour de Los 30 to celebrate the 30th anniversary of his breakout album, Clásicos de la Provincia. The outing appropriately kicked off at Colombia’s Vallenato Festival in Valledupar (the Colombian city known as the birthplace of the music that defines Vives’ style), then went through South America. A nine-city U.S. run began Aug. 19 in New York and ends Nov. 5 in Los Angeles.
“He’s undeniably one of the most beloved artists and influential Latin music figures of our time,” says Nelson Albareda, CEO of Vives’ U.S. tour promoter, Loud and Live. “This tour is particularly special because it pays homage to his incredibly innovative 30-year journey of his unique blend of traditional Colombian rhythms with contemporary sounds, which made him a global ambassador of Colombian music.”
During his U.S. tour, Vives will also play a landmark free show on Oct. 14 at Madrid’s Puerta de Alcalá, where tens of thousands are expected. Vives is inviting some of his many Spanish artist friends to perform with him.
The full-circle moment extends to recordings as well. Later this year, Vives will release an album with remastered versions of hits from 1993’s Clásicos de la Provincia and 2009’s Clásicos de la Provincia II. Singles with Juanes and Ryan Castro will precede the set.
And, ever in love with audiovisual content, Vives can be found on Disney+ starring in the musical comedy series The Low Tone Club, for which he plays, aptly, a music teacher with unconventional methods. He also is taping a docu-film about his life that includes archive and touring material, as well as scripted scenes.
This story originally appeared in the Aug. 26, 2023, issue of Billboard.
Little more than a decade ago, Carlos Vives’ career was on the verge of oblivion.
In the late 1990s and early 2000s, he had been one of Latin music’s biggest global stars, with hit albums, sold-out arena tours and a thriving TV presence, thanks to his telegenic looks.
But by 2012, he hadn’t had a recording contract for eight years, had no touring plans or publicist and had split with his management after years of inactivity. Vives remembers picking up the phone and dialing the president of one of the labels where negotiations had stalled.
“He told me, ‘There is nothing we can do for you,’” Vives recalls.
Then, at age 51, Vives staged one of the most remarkable comebacks in Latin music history. He signed a new recording deal with Sony, landed his first No. 1 on Billboard’s Hot Latin Songs chart in nearly a decade — the aptly titled “Volví a Nacer” (I Was Born Again) — and, six months later, earned a No. 1 on Top Latin Albums, his first in nearly a decade, with Corazón Profundo.
Vives has flourished since — as a recording artist, as a touring performer, and, perhaps most importantly, as the de facto keeper of Colombia’s most beloved musical traditions. Widely recognized as the person who took authentic Colombian rhythms like cumbia and vallenato to a global stage, Vives also opened the door to the internationalization of Colombian music, leading to the success of fellow Colombian artists like Maluma, Shakira, Juanes, Fonseca and Feid.
“The most beautiful and magical thing about Carlos is that he behaves as if he started his career today,” says Sony Music Latin Iberia chairman/CEO Afo Verde, who signed Vives after his fallow period. “He respects everyone at every level in the industry. He’s the kind of icon who’s eternal.”
And this icon isn’t slowing down. Vives’ 2023 has included a 30-date tour, a starring role in the Disney+ series The Low Tone Club and the release of new album Escalona Nunca Se Había Grabado Así. He’s also prepping for massive concerts at Madrid’s Puerta de Alcalá in October and in Colombia in December, a testament to his cross-continental appeal.
“Carlos influenced my music in every way,” Maluma says. “My parents were huge fans. Thanks to him, Colombian folklore is known worldwide. He has been a very big inspiration for us and will continue to be so. We owe our roots to Carlos.”
Vives started his career as a singer/TV actor, and he might have ended up doing run-of-the-mill pop had he not been cast in 1991 as the lead role in Escalona, a Colombian series based on the life of fabled vallenato singer-composer Rafael Escalona, who rose in the 1960s to become perhaps the most revered composer in the genre and whose songs remain classics today. On the soundtrack, Vives covered Escalona’s greatest hits in their traditional arrangements — and became an overnight sensation in Colombia and its neighboring countries.
Beyond stardom, the role sparked a quest. Born in Santa Marta, the second-oldest Spanish city in South America, Vives had grown up surrounded by the strains of vallenato, the Colombian coastal music built on accordion riffs and troubadour-style storytelling. At his childhood home, top vallenato artists regularly engaged in jam sessions with his father, a music-loving physician who had attended school with Escalona. In that music, often forgotten and undermined by the pop-loving elite, Vives found his calling.
In 1993, after moving to Bogotá following his parents’ divorce, he released Clásicos de la Provincia, a collection of vallenato standards recorded with a pop and rock sensibility that reflected Vives’ musical DNA as a son of Santa Marta with touches of Bogotá modernism and rock n’ roll. The album made him a major international star and inspired a new generation of Colombian artists who, for the first time, saw their music on a global stage.
“It was only until I heard Clásicos de la Provincia that I felt my music could have the influence and sound of Colombia,” Fonseca says. “Before that, I dreamed of being like Guns N’ Roses, Nirvana, George Michael. Carlos’ music opened my mind.”
In the United States, Clásicos de la Provincia, distributed by PolyGram Latino, debuted at No. 46 on Top Latin Albums and peaked at No. 2 seven months later. It remained on the chart for 86 weeks.
Juanes (left) and Carlos Vives on set for the “Las Mujeres” music video in Bogotá in 2023.
Frankie Jazz
Over the next decade, Vives amassed four No. 1s and nine top 10s on Hot Latin Songs and five top 10s on Top Latin Albums, including one No. 1 (2001’s Déjame Entrar). Recording from the outset with his Colombian band, La Provincia, Vives’ music became progressively more adventuresome but remained linked to his roots. “My commitment is with my locality,” he told Billboard in 2004. “It’s the sound I dreamed for our music but influenced by the world.”
“Carlos bet on Colombia’s identity and making it global,” says his wife, Claudia Elena Vásquez. “He took our roots and our folklore and modernized it. It was the match that sparked the flame.”
That “flame” is what Vives calls el Universo Vives (the Vives Universe), which includes his own label, Gaira Música Local; the Río Grande Music School for children and the venue-restaurant Cumbia House, both in Bogotá; and his nonprofit, Tras la Perla, in Santa Marta.
It all amounts to a beehive of activity that seemed implausible a decade ago. Back in 2004, his second marriage had just dissolved, his touring had ground to a halt, and after his contract with longtime label EMI had expired, he failed to secure another record deal to continue his international career. He didn’t release a single album of original material from 2002 to 2012, save for the 2008 children’s album Pombo Musical.
The flame could have been extinguished were it not for Vásquez — who has lived with Vives since 2007 and is now CEO of Universo Vives — and executive Walter Kolm, who in 2012 was starting his management career after years as a major-label executive.
“I knew I was signing a superstar,” says Kolm, who flew to Colombia to meet with Vives and offer a detailed proposal. “There weren’t that many Latin artists then who could fill arenas like he could, even after being absent. And beyond his music, Carlos was a point of reference for Colombian culture.”
Since his comeback, Vives has placed 12 No. 1s on the Latin Airplay chart, including his 2016 Latin Grammy-winning duet with Shakira, “La Bicicleta,” and two No. 1s on Top Latin Albums. Last year alone, he played 15 U.S. shows that grossed $6.1 million total, according to Billboard Boxscore. On top of that, he has won 17 Latin Grammys and two Grammys.
The artist’s resurrection has been “more than a revival; it has been a rebirth,” Kolm says with a laugh. “That’s why we’ve released so much music. He’s making up for lost time.”
“Carlos opened the door of Colombian folklore to the world and brought the music of the world to our folklore,” Juanes says. “Rock, vallenato, cumbia, caribe, funk, electric guitar, accordion, poetry and charisma. Everything fits in his name.”
To mark the 30th anniversary of his breakthrough album, Vives reflected on the past, present and future of his influential career.
Gusi (left) and Carlos Vives celebrated Gusi’s signing with Gaira Música Local at Cumbia House in Bogotá in 2020.
Daniel Amézquita
On Clásicos de la Provincia in 1993, you gave classic vallenatos a shot of steroids, incorporating electric bass, guitar and drums. Did you ever think it would go as far as it did?
I never thought doing the music we did would lead to success. Plus, back then, we were told doing vallenatos, or doing them this way, was not the right music for me. At the time, it was about finding an authentic path and breaking the industry paradigms about what was folk, pop or rock.
How did you do that?
We opened a different mindset. We took Colombian instruments and electrified them using rock instruments; like taking the caja vallenata to an electric guitar or bass, or playing the cumbia beat on a Stratocaster. We were “happy illegals,” as Gabriel García Márquez used to say. We thought we’d last forever, and we were happy doing that and playing in bars and on TV. Maybe that’s why we dared do it in the first place.
You had nothing to lose…
Exactly. And when it started to work, it caught us with our pants down because we really weren’t expecting it. But I loved being connected with my dad, my essence, with that lost world of my childhood.
Clásicos de la Provincia made you a star. But what followed next, 1995’s La Tierra del Olvido, really consolidated your success. Can you explain why?
Clásicos de la Provincia triggered pride in vallenato, but it was also a new sound for our songs. But on my next album, I couldn’t continue to just record classic vallenatos. I had to write my own songs.
The first thing I had learned about vallenato was that it was the son of cumbia, and it opened up to a much bigger universe that touched our entire Colombian culture. It was a broader musical DNA that I called la tierra del olvido [the forgotten land]. I came from recording ballads and I was searching for my identity. I was forgetting where I came from, and that’s why I called the album [and its hit title track] La Tierra del Olvido. I saw myself reflected in that album cover, where I’m standing in front of the Caribbean and at the foot of the Sierra Nevada de Santa Marta, the Colombian Tibet and home to our indigenous cultures.
Carlos Vives on set for the “La Tierra del Olvido” music video in Santa Marta.
Socorro Arango
This tour celebrates Clásicos de la Provincia. How do you summarize 30 years in a single evening?
It’s an opportunity to go on a trip. We began on a TV series singing vallenato old-school, the way tradition dictated they needed to be performed. So you see me singing with a conjunto vallenato, “La Casa en el Aire,” in the way it was done 30 years ago. I tell the story from the beginning, going through “La Tierra del Olvido,” “El Amor de Mi Tierra.” You witness how the sound grows to what I call “the rock of my town,” growing the instrumentation and showing how we changed the way we “tropicalized” with more rock-leaning patterns. It shows how very traditional fare can give way to very edgy stuff. We play 22 to 23 songs [in] two-and-a-half hours.
You had that eight-year hiatus between 2005 and 2012 before you came roaring back. Do you realize today how rare it is to have these second chances?
I think we planted something in our people that they valued and took as their own. And I think that lived on, despite bad management and my not having taken advantage of certain things. When Walter [Kolm] came along, I got a team. I haven’t met a manager that believes more in me than Walter or anyone who believes more in me than Claudia, my wife. But my marketing team were the Colombians who took my songs with them everywhere they went. Then the Venezuelans and Puerto Ricans came along, and we recognized ourselves in that diversity that’s our Hispanic America. That also allowed this comeback.
Carlos Vives celebrated his birthday (Aug. 7) with manager Kolm (right) at Cumbia House in 2021.
Frankie Jazz
You mentioned your wife. How important is it to sleep next to your biggest fan?
An artist needs someone close who loves him. And I don’t mean just the love of your life, but someone who understands your work and who has a vision to grow and dignify it. What Walter and Claudia have done is incredible. They came to my life to love and value my work. It’s something I needed.
Many people don’t know that aside from learning music in your home, you also played in Bogotá bars for years, you did theater, you produced TV shows. How important was it to put in those 10,000 hours?
It was vital to work as part of a team in a theater group, in a TV cast — getting up early, having responsibilities with a group and with a project.
There has always been a craft. I learned a lot at a bar called Ramón Antigua where I was a waiter. We had a singing contest every night. My friends from college would come and make me sing. And eventually, the owner would travel and leave me in charge. I’d put together the band, book groups like Guayacán and Niche [in their beginnings]. Can you imagine? We were always making something up.
You tour constantly. What does live performance mean to you?
It’s my comfort zone, the place where I feel safest. Being onstage means going back to all the things I cherish from my childhood and growing up with music. It’s connecting with my true roots, and I feel that’s what allows me to connect with fans. They feel the same way I do, and that’s why they’re there.
Carlos Vives (kneeling, fourth from left) and musical collaborators onstage during the VIVES Tour in Orlando, Fla., in 2021.
Sergio Rodriguez
You spent your early years in Santa Marta, the backbone of your music. But then you moved to Bogotá after your parents’ divorce. How did these very different cities shape your music?
I like to sing everything. That’s how we were raised. Even music in English, although I can’t sing in English. My challenge was, “How can I do it in my own style? How can I be modern without copying anyone?” I didn’t want to be a copy of a copy of a copy. That’s the Bogotá factor, being raised in a city full of culture. I loved what I did, but I was missing an element of authenticity and of understanding the musical processes around the world. I wanted to understand where Elvis and the British [artists] got their inspiration. I wanted to understand where the music came from.
You are a true authority in Colombian music and its roots, and the author of several books on the subject, which is remarkable for a pop star. Why is this important to you?
Understanding who you are is vital. For example, discovering through music that Spain is a key ingredient, even if people denigrate being Spanish. We don’t stop being Spaniards simply because we gained our independence. Independence is a political state, but blood, last names and the cultural footprints that come from being a mix of Spaniards and those born in our countries is something that doesn’t go away, and it’s part of our music. The same thing happens with our African and indigenous roots. That is who we are. It was so important to get on this little boat called vallenato, which is tiny but has taken me to all these other worlds. This has been a 30-year journey. A journey where we found a world far richer and far more connected through music. We live in a world of separation, distrusting others if they speak Spanish or English, and music shows us a much more united, far more beautiful world.
Let’s put a debate to rest: Was cumbia born in Colombia?
Cumbia was born in the towns of the Río Grande [in Colombia]. The cumbia rhythmic pattern is a pre-Hispanic native American pattern that is unique to cumbia; it’s not in any other indigenous or African place in the world. That’s why it’s so endemic and so unique. The shores of the Magdalena River are the capital of cumbia, and that’s where we celebrate the cumbia festival. But the Spaniards brought a writing style, metrics, décimas, the red handkerchiefs, the white dress.
Carlos Vives at the Río Grande Music School in Bogotá in 2022.
Edgar Ibarra
You’ve never sung in English. Do you see more non-Spanish speakers reacting to your music now than before?
Totally. If you play Royal Albert Hall, Colombians and Latins come to see you, but they don’t come alone. They bring their British friends with them. It’s the same on the other end; we paid to see British bands in Bogotá and didn’t understand a damn thing they were singing, but we loved it. Today, musicians connect with each other in many languages, and that’s so much more beautiful. That has been very important to me. That they take me here and there, that our flags are out there, that there’s so much more connection between artists who sing in Spanish and English. We’re part of the same industry. You’re popular, I’m popular; we all connect.
Aside from your music school in Bogotá, you also have Tras la Perla, a foundation in Santa Marta that works to improve many different aspects of the city, even though you no longer live there. Why is it located there?
Maybe because of my ties to my father and his work as a doctor. We inherited the love people felt for him. That’s one factor, and the other is the tragedy of seeing a magical place that has been forgotten. It’s unfair. I work in a neighborhood called Pescadito, where great athletes like El Pibe and [Radamel] Falcao were born and raised, and we want to improve it and attract people and tourism. And I also work in Ciénaga Grande, the delta of the Magdalena River, which is an important musical capital.
Colombia is very politicized now, with extreme views on each side. And you are such a visible Colombian icon. How do you handle that?
The world is politicized. Colombia is merely a reflection. Nowadays, being a rebel means being on the opposite side of someone else, on the left or the right. No. No. I’m the rebel. I’m a rebel because I’m Colombian. I took on that responsibility and I decided to make music based on our roots that incorporated the music of the world. Being Colombian is understanding who we are and recognizing all that we are. I don’t take sides [for politics]. I take sides for my country.
Carlos Vives performed at Cumbia House last December 2022.
Santiago Romero
Carlos Vives: Five Vital Releases
Clásicos de la Provincia, 1993 PolyGram Latino/Sonolux
The album that introduced the Vives sound covered classic vallenatos with a mix of traditional and rock instrumentation, a revolutionary approach that rocked fans and fellow musicians. Choice track: “La Gota Fría”
La Tierra del Olvido, 1995PolyGram Latino/Sonolux
Vives’ stylistic fusion solidified on this glorious nostalgic set that also established him as a songwriter and took his sound and that of his band, La Provincia, further into the pop and rock realms. Choice track: “La Tierra del Olvido”
Courtesy Gaira Musica Local
Déjame Entrar, 2001Capitol Latin
While Vives established himself on a global scale with 1999’s El Amor de Mi Tierra, Déjame Entrar unified his international appeal thanks to original global hits that had vallenato roots and broad-appeal pop melodies. “Carito,” which talks about a boy’s crush on his American English teacher, presciently united cultures and languages. Choice track: “Carito”
Corazón Profundo, 2013Sony Music Latin
Vives’ comeback after an eight-year halt on recording originals is chock-full of joyous, irresistible hits, including the first major collaboration, with Brazilian star Michel Teló. It marked a new stage in Vives’ career and sound. Choice track: “Volví a Nacer”
Cumbiana, 2020Sony Music Latin
Vives’ exploration of the roots of cumbia and vallenato, the two rhythms that define Colombian music and his style, continued on this adventuresome release. It features collaborations with artists from around the world, including Panama’s Rubén Blades, Spain’s Alejandro Sanz, Jamaica’s Ziggy Marley and Colombian-Canadian Jessie Reyez. Choice track: “For Sale”
This story originally appeared in the Aug. 26, 2023, issue of Billboard.
It’s the end of an era: Los Temerarios are separating, Billboard has learned.
Led by brothers Adolfo and Gustavo Ángel, the band, one of the most iconic Mexican grupero/pop acts in Latin music, is splitting after more than 45 years.
In a statement shared with Billboard, Adolfo, Los Temerarios’ songwriter, producer and keyboardist, and Gustavo, the group’s lead singer, explain the decision while thanking fans for supporting them across four decades. “With the love that has united us since we were kids, the same that we feel for the vocation that we’ve had the privilege of working in for more than 46 years, we want to share that we’ve made the difficult decision of separating, closing one of the most important and gratifying cycles of our lives.”
Since releasing their first album in 1983, Los Temerarios helped popularize the grupero subgenre in Mexico and the United States in the late ’80s, early ’90s. Known for its romantic lyrics powered by electric guitars, keyboards and drums, Los Temerarios secured 41 entries on Billboard‘s Hot Latin Songs chart, 17 of which are top 10 hits, including four No. 1s (“Ya Me Voy Para Siempre,” “Por Qué Te Conocí,” “Que De Raro Tiene” and “Si Tú Te Vas”). On the Top Latin Albums chart, the group placed 23 top 10 sets, eight hit No. 1.
The statement continues, “We are eternally grateful to our fans that have so generously embraced our music with their hearts and have been the fuel and inspiration of our career. To the media who has supported us with respect and integrity throughout these years. To the promoters and collaborators who are part of this project, who’s mission is to expand our music made to honor love, the magic and mystery that unites us and gives life meaning. Everything that we express form this moment on will be in form of music and in our next shows where we’ll be giving you the best of us.”
While staying true to their core sound, Los Temerarios soundtracked multigenerational households across the U.S. and have, to date, been a touring titan going on stints almost every year. That came to a halt during the pandemic but earlier this year, the brothers returned to the stage with a special tour that celebrated the group’s more than 40 years trajectory. After spending a decade with Fonovisa, a division of Universal Music Latin Entertainment, Los Temerarios launched their own record label and publisher, Virtus, nearly 15 years ago, which played a major role in their longevity.
“At the beginning of our careers when we were looking for support from labels and executives, we weren’t well received. All we knew back then was that music was our life so we kept looking for options,” Adolfo told Billboard in February. “I thank my brother Gustavo for always standing by my side and supporting all the decisions I made for the band. One day, we decided to launch our label, our publisher, and it was one of the best decisions we could ever make. Staying relevant in this industry is not easy so we have nothing but gratitude for our fans, we feel very fortunate.”
Los Temerarios will complete their 2023 tour dates and have announced new dates for next year. “The touring schedule from September 2023 to November 2024 will be the last one we offer together,” Los Temerarios announce in the statement. “And we will do it with the same love and respect that we’ve always done tours with.”
Below, the complete list of dates for Los Temerarios’ upcoming last tour in the U.S. (For dates in Mexico and Central America, click here.)
2023:Sept. 15 — San Diego, CA — Pachanga ArenaSept. 16 — Ontario, CA — Toyota ArenaSept. 22 — Albuquerque, NM — Rio Rancho Grande ArenaSept. 23 — Denver, CO — Ball ArenaSept. 29 — Oakland, CA — Oakland ArenaSept. 30 — Ontario, CA — Toyota ArenaOct. 7 — Fort Myers, FL — Hertz ArenaOct. 8 — Miami, FL — Miami-Dade ArenaOct. 12 & 13 — New York, NY — UBS ArenaOct. 14 — Bridgeport, CT — Total Mortgage Arena Nov. 3 — Fresno, CA — Selland Arena Nov. 4 — Anaheim, CA — Honda CenterNov. 11 — McAllen, TX — Payne Arena
2024: June 15 — Los Angeles, CA — BMO Stadium July 26 — San Jose, CA — SAP CenterAug. 3 — Las Vegas, NV — Michelob Ultra Arena Aug. 8 — Phoenix, AZ — Footprint CenterAug. 9 — Coachella, CA — Acrisure ArenaAug. 24 — Sacramento, CA — Golden 1 CenterSept. 7 — Fairfax, VA — EagleBank ArenaOct. 4 — Austin, TX — Moody CenterOct. 12 — Houston, TX — Toyota CenterNov. 2 — Atlanta, GA — Gas South ArenaNov. 3 — Charlotte, NC — Spectrum CenterNov. 8 & 9 — Chicago, IL — Allstate Arena Nov. 23 — Anaheim, CA — Honda Center
Purchase tickets to the 2023 Billboard Latin Music Week here.
“Benito” was trending all over social media after Bad Bunny shared several personal photos on Sunday (Aug. 27). The picture that had most people talking? A selfie in which the Puerto Rican star bares almost everything. Explore Explore See latest videos, charts and news See latest videos, charts and news In the pic, Bad Bunny […]
The Latin music world has been abuzz about the reunion of Mexican pop band RBD, who played their last show as a group in December 2008 in Madrid. Since that day, fans have been clamoring for a reunion, but the likelihood of that happening had seemed far. Now, five of the original six members — […]
From career milestones and 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.
Music 101 in Puerto Rico
SESAC Latina and Rimas Publishing joined forces to produce Music 101 in Puerto Rico on Thursday (Aug. 24). According to a press release, the event was an effort to “empower and educate songwriters and producers with the necessary tools to succeed in the music industry.” Featuring six panels, the topics ranged from the significance of a performing rights organization, the role of a publisher and creative and legal assessment, among other topics.
“We are thrilled with the results of Music 101 in Puerto Rico. We were looking forward to bringing back this seminar and what better way to do it than at one of the hubs for Latin Music. Our gratitude goes to Rimas Publishing for their invaluable support in making this event a real success,” said Celeste Zendejas, vice president of SESAC Latina. “We remain committed to fostering the development of the music industry ecosystem in Puerto Rico and in the region, therefore events like Music 101 are necessary to educate the new generations and those who want to learn how to navigate this industry,” added Emilio Morales, managing director of Rimas Publishing.
Becky G Announces New Album
Mexican-American star Becky G has announced the name of her upcoming album, which will be her first Mexican music set. During her performance in New York on Friday (Aug. 25), as part of Citi Concert Series on Today, the “MAMIII” singer said her album’s new name is Esquinas and went on to explain what inspired the title. “I have always identified as not this side or that side of the streets that raised me but the corner where two flags, two cultures, two languages meet,” she said. Becky G is set to kick off her first-ever headlining tour Sept. 14 in Boston. See the tour dates here.
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2023 Billboard Latin Music Awards Finalists
Mexican music star Peso Pluma leads the list of finalists for the 2023 Billboard Latin Music Awards, with 21 nods across 15 categories including Artist of the Year, Songwriter of the Year, Global 200 Latin Artist of the Year, and Top Latin Album of the Year. His collaboration with Eslabon Armado, “Ella Baila Sola,” is up for six awards, including Hot Latin Song of the Year, Global 200 Latin Song of the Year and Sales Song of the Year. And his hit with Yng Lvcas, “La Bebe,” competes in five categories, including Hot Latin Song of the Year and Latin Rhythm Song of the Year.
Following Peso Pluma are Bad Bunny and Grupo Frontera with 15 nods each. For a second year in a row, Karol G is the female artist with the highest number of entries on the list of finalists. The Colombian star has 13 nods.
See the complete list of finalists here.
Grupo Frontera at the Zócalo
Viva México! Grupo Frontera is set to help celebrate Mexican Independence Day with a special performance at the Zócalo — the country’s most important public square — on Sept. 15. The Texas-based group joins a long list of national and international artists who have set foot in the second-largest public square in the world. Musicians such as Paul McCartney, Justin Bieber, Shakira and the late icon of regional Mexican music Vicente Fernández, among many others, have performed at the Zócalo.
The attendance record for free concerts held in the so-called Primer Cuadro in the Mexican capital is held by the Argentine rock band Los Fabulosos Cadillacs, which achieved the milestone of gathering 300,000 people on the night of June 3.
Nicky Jam’s Scholarship
The Latin Grammy Cultural Foundation has awarded the Nicky Jam Scholarship to 19-year-old Dominican Pianist Leomar Cordero. The award was granted during a special presentation with the reggaetón Puerto Rican hitmaker on Thursday (Aug. 24) in Miami, Florida. “When I received the news, I could not believe this was happening to me!,” Cordero told Billboard Español. “I feel very fortunate to have been selected for the Nicky Jam Scholarship and very happy at the same time to see that all my hard work is yielding results.”
The four-year scholarship holds a maximum value of $200,000 and it will allow Cordero to pursue a bachelor’s degree at Berklee College of Music in Boston starting this fall.
08/25/2023
The Mexican music star showcased his hitmaking prowess on Thursday night.
08/25/2023
This week, our New Music Latin roundup — a compilation of the best new Latin songs, albums, and videos recommended by Billboard Latin and Billboard Español editors — is powered by new music from Manuel Turizo and Grupo Frontera, Gian Marco, Myke Towers and Luis Fonsi, to name a few. For the first time ever, Turizo and Grupo Frontera team up for a […]
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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Luis Fonsi, “Pasa La Página (Panamá)” (Universal Music Latino)
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Luis Fonsi’s new single “Pasa La Página (Panamá)” fuses funk with electric guitars and electronic keyboards. The catchy track is inspired by the common phrase “turn the page” and was produced by by Andrés Torres and Mauricio Rengifo (the team behind “Despacito”). Fonsi explains to Billboard Español that the phrase serves as a reminder to those stuck in a moment or a phase, and keep talking about the same thing, that “life is too short to keep dwelling on the same old things. Let’s move on!”
“Pasa La Página (Panamá)” is the second single from Fonsi’s upcoming album Viaje, which will trace his journey in music. The new song’s music video, created and directed by Carlos Pérez, follows a person who is constantly in the public eye, with a focus on microphones and cameras. – INGRID FAJARDO
Manuel Turizo & Grupo Frontera, “De Lunes a Lunes” (La Industria Inc./Sony Music Latin)
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If “La Bachata” and “El Merengue” are any indication, it’s no surprise that Manuel Turizo is diversifying his sound one single at a time. This time, he teams up with Grupo Frontera — no, not for a song called “La Cumbia,” but rather “De Lunes a Lunes.” Produced and written by Edgar Barrera, the slow-tempo norteño track finds Turizo and the sextet group chanting about a heartbreak so severe and unfair that it has them drinking from Monday to Monday.
“This song speaks to the universal experience of heartbreak and the lengths we go to numb the pain,” Turizo says in a press statement. “Collaborating with Grupo Frontera has allowed us to channel these emotions into a powerful and relatable track.” “De Lunes a Lunes” is also the surprise sixth track on Frontera’s debut studio album El Comienzo, which peaked at No. 4 on the Top Latin Albums chart and No. 2 on the Regional Mexican Albums chart. — JESSICA ROIZ
Maluma, Don Juan (Sony Music Latin)
Maluma has been a “Pretty Boy, Dirty Boy,” a “Papi Juancho,” and now, he’s a “Don Juan,” per the title of his new album. It’s a set that the Colombian star describes as “magical,” and far lighter than its more emotional predecessor. “I want to go out and listen to the whole album in a club,” he told Billboard. Certainly, there’s much of that in down and dirty club tracks like “Ave María” and “Luna Llena,” the latter with Ryan Castro. But Maluma shines brightest when he veers into unexpected territory: “Bikini” is a refreshing, lovelorn, mid-tempo track with 60s vibes, “Según Quién,” is a guitar-anchored waltz with Carin Leon that turns the tables on the concept of spurned women — and if you want to get your reggaetón in, our top choice is the old-school “Nómina” with Jowell & Randy. — LEILA COBO
Myke Towers, “Bajo El Sol” (Warner Music Latina)
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Still riding high from his global hit song “Lala,” Myke Towers delivers an equally catchy and magnetic new track titled “Bajo El Sol.” Powered by a trap-like beat, the Puerto Rican singer and rapper uses his lyrical prowess to win a girl over. Singing over sensual melodies and head-bobbing drums, Myke Towers confidently chants, “Yo te quiero ver bajo el sol (I want to see you under the sun).” The track follows a handful of Myke Towers single releases, including “Kiki” and “Hora Cero.” Earlier this year, Myke released the eclectic set La Vida Es Una, which peaked at No. 9 on Billboard‘s Top Latin Albums chart. — GRISELDA FLORES
LOUTA & Elsa y Elmar, “Diamante” (LOUTA)
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The Argentine singer-songwriter LOUTA fuses his alternative pop with the “spiritual pop” of the Colombian singer-songwriter Elsa y Elmar to create “DIAMANTE,” a song about happiness. The theme echoes that the often-elusive happiness is not pursued or found on the outside, but is within each one. “Away from the eyes of others/ There was a diamond, it was hidden, it was back there,” they affirm in the contagious chorus.
The video, set in a house with design, shades and lights that recreate a vintage style, shows the two artists performing in different rooms, and accompanied by a live band. The repeat-worthy collaboration between the two artists feels organic, and with the mix of all the elements of both the song and the video, they manage to evoke that feeling of contentment and peace. — LUISA CALLE
Gian Marco & Rubén Blades, “Aún Me Sigo Encontrando” (Enjoymusic Records)
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For the first single of what will be his 17th album, Gian Marco recruited Panamanian salsa master Rubén Blades, achieving a rich fusion of their musical styles. Honest and nostalgic, the song talks about the sometimes-painful path of self-discovery in order to live a genuine life. “Look deeply inward/ With all that that implies/ Life does not replicate/ Brave those who go to meet it,” the Peruvian singer-songwriter narrates in the first verses, before breaking into song. “So many times I got lost, and I still find myself,” both artists repeat in the chorus.
“‘Aún Me Sigo Encontrando’ encapsulates reflections from a distinct period in my life,” Gian Marco explains in a press release. “It extends an invitation to delve inward, an endeavor that few are willing to embark upon, as the song’s opening aptly suggests, due to the profundity it entails.” The music video, directed by Rodrigo Dulanto and Kenneth O’Brien, shows Gian Marco in different everyday scenes; Blades does not appear in it, but his voice is dubbed by people, including a child and a female senior citizen. — SIGAL RATNER-ARIAS
Los Tucanes de Tijuana, Edén Muñoz & Fuerza Regida, “La Tierra del Corrido” (Rancho Humilde / Street Mob Records)
“Esto no es moda, esto es cultura,” declare the heavyweight trio against an energetic corridos backdrop. Bolstered by a menacing accordion riff, “Mi Tierra del Corrido” also isn’t just a modern-day corridos single, it’s a mission statement where three generations of música mexicana giants unite to uplift the Mexican movement that’s taking over the culture. The legendary Los Tucanes de Tijuana, Sinaloense norteño-banda sensation Edén Muñoz, and Mexican-American hitmakers Fuerza Regida represent distinct corners of this ever booming norteño sound, and together they pay homage to Chalino Sánchez, tradition, heritage, and the new belikada lifestyle. Above all, it’s a tribute to the evolution of corridos, the century-old borderland style that came to notoriety during the Mexican Revolution of 1910.
“This song is very important to me because I am singing alongside legends like Los Tucanes and Edén Muñoz,” says Jesús Ortiz in a press release. Written by Muñoz, the song, in his words, “honors the stories that make history.” “Music is for living together, not for competing,” adds Mario Quintero. “So creating together is very beneficial for culture, history and for the genre.” — ISABELA RAYGOZA
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Listen to this week’s New Music Latin playlist below: