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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.
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Maffio Covers a Rock n’ Roll Classic
Maffio has teamed up with rising salsa newcomer (and a former Billboard On the Radar Latin artist) Christian Alicea for a new rendition of Elvis Presley’s “Blue Suede Shoes,” in collaboration with Maffio’s own musical band, El Revulú. Called “Bailame Con Actitud (Blue Suede Shoes),” the track fuses rock n’ roll with salsa, resulting in a refreshing Latin banger. The collaboration forms part of the new Paramount Plus documentary “Reinventing Elvis: The ’68 Comeback,” where Maffio is the only Latin artist onboard the project. In an Instagram Live with Billboard Latin, the Dominican producer talked about the documentary, Presley’s influence in his own career, and the Alicea collab. Watch it here.
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A “Bandoleros” Reunion
Earlier this week, three reggaeton icons—Don Omar, Tego Calderón, and Arcángel—became a trending topic after performing “Bandoleros” at the 2023 Baja Beach Fest in Rosarito, Mexico. “Last night I sang next to my favorite bandoleros (bandits). It was an unforgettable night for me,” expressed Don Omar in an Instagram post. “Bandoleros” was originally recorded by Don and Tego in 2005 for The Fast And The Furious: Tokyo Drift movie soundtrack. Watch the emotional performance below:
Café Tacvba To Receive Special Award
This week, the Hispanic Heritage Foundation (HHF) announced that Mexican rock band Café Tacvba will be honored with the 2023 Hispanic Heritage Arts Award at the 36th annual gala set for Sept. 7 at the John F. Kennedy Center for the Performing Arts in Washington, D.C. “A great honor [and] emotion to be part of this,” expressed the group on Instagram. “We are very grateful for the recognition of our trajectory!” Celebrating a 34-year career, Café Tacvba is known for timeless Latin rock hits including “La Ingrata,” “Eres,” “Chilanga Banda,” and many more.
“Café Tacvba has been inspiring audiences with their brilliant, eclectic sound for decades since they started in Mexico,” said Antonio Tijerino, HHF President and CEO, in a press statement. “We are thrilled to honor this remarkable group of musical visionaries with our Arts Award and we look forward to celebrating Café Tacvba and share our collective cultural pride and achievement at the Kennedy Center and on PBS.” The Hispanic Heritage Arts Awards will broadcast on PBS and stream on PBS.org on Sept. 29th.
Sebastian Yatra Enters His Tennis Star Era
Yatra is taking a break from music and channeling his inner athlete. This week, the Colombian pop star posted a video where he’s seen training with tennis star Rafael Nadal for his upcoming U.S. Open charity match against another tennis great, Carlos Alcaraz. In the clip, he’s seen educating himself on the sport and very determined to take the trophy home. “Getting trained by the one and only Rafael Nadal to play with the world No. 1,” he wrote on Instagram. The match, called “Stars of the Open,” will take place on August 23rd at the Louis Armstrong Stadium in New York. Tickets can be purchased here.
Latin Music Week’s New Wave of Artists
Billboard Latin Music Week unleashed its phase two, announcing Feid, Manuel Turizo, Myke Towers, Chencho Corleones, and RBD’s Christopher von Uckermann, Christian Chávez, and Maite Perroni as confirmed acts. Other artists set for the coveted music conference are Shakira, Arcangel, Peso Pluma, Young Miko, and many more. Billboard Latin Music returns to Miami’s Faena Forum the week of Oct. 2-6, and coincides with the 2023 Billboard Latin Music Awards on Thursday, Oct. 5, at the Watsco Center in Miami, and will broadcast live on Telemundo.
Purchase tickets to the 2023 Billboard Latin Music Week here.
Webster “Yenddi” Batista Fernandez, one of the leaders of the largest-known YouTube music royalty scam in history, was sentenced to nearly four years in prison on Tuesday (Aug. 15). The court documents were made publicly available on Friday.
According to court documents, Batista is ordered to serve 46 months in prison for one count of wire fraud and one count of conspiracy. Upon his release from prison, he will be placed on supervised release for 36 months.
From about 2016-2021, Batista and his partner, Jose “Chenel” Teran, ran MediaMuv, a music company that claimed ownership of and collected YouTube royalties from over 50,000 songs, despite not having legal rights to nearly any of those works. The victims were primarily from Latin genres and ranged from hobbyist musicians to global superstars like Julio Iglesias, Don Omar, Anuel AA, Prince Royce and more.
Batista and Teran were ultimately indicted on 30 counts of conspiracy, wire fraud, money laundering and aggravated identity theft in November 2021. Six months later, Batista accepted a plea deal, admitting to one count of wire fraud and one count of conspiracy. His partner, however, did not plead guilty and accept a plea deal until just before the start of his Jan. 17 trial date. Ultimately, Teran admitted guilt to single counts of conspiracy, wire fraud and transactional money laundering.
Teran was given a heftier sentence than his counterpart — in late June, he was sentenced to nearly six years in prison for his involvement in the scheme. According to the government’s sentencing memorandum, Teran’s sentence was “undoubtedly substantial” but reflects a desire to “deter future conduct” similar to the MediaMuv scam. The document adds that Teran is at high risk to re-offend, given his interest in returning to the music business after prison and the sheer scale and savviness of his scam.
“In particular, the government is alarmed that even news of his indictment did not stop Teran,” says the court document. After his indictment, the document revealed that Teran siphoned another $190,000 of stolen royalties and moved those funds to a bank account “out of the government’s reach.”
A court document filed on Aug. 7 claimed that Batista is working toward rehabilitation and should receive more leniency in his sentence as a result. “He wanted to rehabilitate his life” since his arrest in November 2021, says the sentencing memorandum. “[He] participated in Hustle 2.0, which is a self-directed learning program designed for incarcerated individuals to give them the tools for rehabilitation.” On May 3, 2023, Batista received a certificate for completing its “pre-season program.”
Many of the artists whose works were claimed and stolen from by MediaMuv are still unaware. To check and see if you are a victim, please click here and contact victim witness specialist Todd McKenney, todd.mckenney@usdoj.gov.
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 Mon Laferte, Maluma, RBD, Ha*Ash and Anitta, to name a few. Chilean singer-songwriter Mon Laferte delivered a slow, deep, sad song about a young woman who leaves her hometown […]
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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Maluma & Carin Leon, “Según Quién” (Sony Music Latin)
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For his new regional Mexican song, Maluma is joined by Carin Leon, a leading force in the música mexicana realm. “Según Quién” highlights the fusion of two genres, creating pop-norteño with acoustic guitars and a trumpet that accentuates the song’s lyrics. Produced by Edgar Barrera, this new collab was co-written by Maluma, Barrera, Keityn, Lenin Yorney Palacios “Lexus” and Luis Miguel Gómez Castaño “Casta.” The song is a dedication to someone who mistakenly believes you still love them. “Tell the one who is informing you that you are being misinformed, and for them to inform you well,” Maluma croons. The track will be part of the Colombian star’s next album Don Juan, which is set to be released Aug. 25. — INGRID FAJARDO
Ha*Ash feat. Reik, “Te Acuerdas” (Sony Music México)
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Both Ha*Ash and Reik are known for their power ballads and heart-wrenching lyrics. A collab between the two powerhouse pop acts had been a long time coming, and today, they join forces to deliver “Te Acuerdas,” a soulful romantic song that stays true to their essence. The stripped-down track, powered by a piano and guitars, puts Hanna, Ashley and Jesús Navarro’s striking and evocative vocals at the forefront, as they sing about not being able to let go of a past lover. “Remember you loved me, do you remember, because I do,” they declare.
“It was a collaboration that we knew our fans were waiting for,” sisters Hanna and Ashley (Ha*Ash) said in a statement. “We had been wanting to do something with our little brothers from Reik for a long time. We’ve shared a record label for a long time and we’ve practically grown up together. We wanted a song that represented both of us and ‘Te Acuerdas’ is one of those heartbreaking songs that both their fans and ours love.” — GRISELDA FLORES
Mon Laferte, “Te Juro Que Volveré” (Universal Music Group México)
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It wasn’t supposed to be the first release of Mon Laferte’s next album, but “Te juro que volveré” became an unanticipated new single in recent days when it was leaked. Narrated by an unknown voice, which could be her own (just distorted), the “simple” cumbia — as the Chilean-born artist describes it — is a slow, deep, sad song about a young woman who leaves her hometown to pursue her dreams, and her promise to her mother to go back for her as soon as she could.
“This story is my story,” says Mon Laferte in a press release, noting that, in her case, her mother was actually her grandmother. “I juggled through a lot to be here in Mexico for years. Just a year after my grandmother died, things started to go well for me, so I was never able to fulfill that promise.” The song is accompanied by a captivatingly dark visualizer in which Laferte, wrapped in what a appears to be the flags of her native and adoptive countries, sings from her own grave while being honored with a cholo dance and flowers. — SIGAL RATNER-ARIAS
Carlos Vives & Juanes, “Las Mujeres” (Sony Music Latin)
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Colombian superstars Carlos Vives and Juanes come together in a folkloric tribute to women on the song “Las Mujeres”. In this new vallenato-pop version of the classic vallenato authored by “El Cantor de Fonseca” Carlos Huertas, the compatriots celebrate the beauty and plurality of all the races and subcultures that make up the Colombian idiosyncrasy. The theme — which was created to celebrate the 30th anniversary of the Vives Clásicos de la Provincia album released in 1993 and included in the sequel to volume II in 2009 — incorporates the rock touch of Juanes, who opens the song with his electric guitar and in the video, the two of them sitting enjoying a cup of coffee. “What can we do with women, because they finished me off,” highlights the very Colombian expression in the chorus.
The video shows women of different races, ages, and professions, from indigenous people from the Sierra Nevada de Santa Marta like the talented accordionist Ati, to the Vallenato singer Lupe with her accordion, “the queen of BMX” Mariana Pajón, models, doctors, pilots, dressmakers, and philanthropists. It also highlights the coffee line of the renowned Juan Valdez brand “Mujeres Cafeteras” in a true tribute to the diversity and power of Colombian women. Recorded on a stage that represents typical Colombian towns, it ends with a colorful mural in honor of “Las Mujeres,” created throughout the song by the talented graffiti artist Ledania. — LUISA CALLE — LUISA CALLE
Anitta, Funk Generation: A Favela Love Story (A Republic Record / UMLE)
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Picking up steam from her viral “Funk Rave” reverie, Anitta arrives with a sweltering carioca funk trilogy: Funk Generation: A Favela Love Story. On the three-track release, the Brazilian superstar brings all back to her favela foundations, unleashing a no-holds-barred fête with two new bangers, “Casi Casi” and “Used to Be.” Bolstered by an arresting baile funk beat, the former trilingual cut sees the Brazilian singer in her most playful phase as she teases with flirty verses while the street party stays lit, as shown in the kitschy new music video. Meanwhile, “Used to Be” sees Anitta reminiscing on her adventurous, pleasure-seeking journey. The visual for the latter track will drop August 24. Bem-vindos à Funk Generation. — ISABELA RAYGOZA
Los Ángeles Azules & Maria Becerra, “El Amor De Mi Vida” (Seitrack/UMG Recordings)
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In a first-ever collaboration, Los Ángeles Azules and Maria Becerra deliver “El Amor de mi Vida” (the love of my life). Produced by the group’s Jorge Mejía and Rodolfo Lugo, Becerra starts off showcasing her powerhouse vocals, backed by soft accordion and guitar melodies, before transitioning into an infectious cumbia sonidera and cumbia villera fusion. Composed by Becerra alongside Horacio Palencia, Andy Clay Cruz and Nina Mínguez, the track narrates the story of a person who’s all-in with love. “Let’s go far away/baby, tell me yes/I’m ready to love you, if not, forget about me/give you my kisses all night/and tell you, if you didn’t know, I want to make love but make you the love of my life,” the Argentine singer chants.
The music video was filmed in Argentina and stars Becerra’s actual family members. “They [Los Ángeles Azules] have been the soundtrack of my house and family parties, and that is what we wanted to reflect in the video with my family being part of it because we feel that it is the essence of the song,” Becerra says in a press statement. — JESSICA ROIZ
Stream the New Music Latin playlists below:
Purchase tickets to the 2023 Billboard Latin Music Week here.
After hitting No. 1 Billboard‘s Latin Songwriters chart early on in his career, releasing back-to-back EPs and making his Coachella debut in April, DannyLux has built a confidence that’s allowed him to be limitless for his debut album. In a span of nine months, the música mexicana artist wrote DLux, an eclectic 17-track set that thrives on a collection of styles including bachata, EDM, pop and his signature guitar-driven sad sierreño sound.
The 19-year-old from Palm Springs winds through love and loss, singing ultra-melancholic songs with a glimmer of hope puncturing through. “I was going through a lot of things in relationships when I was writing this album,” he explains. “That’s why some of the songs are really sad and some are happy.” The heartbreak theme is what makes DLux so relatable, but it’s the sound — inspired by an array of genres — that DannyLux (real name Daniel Balderrama) hopes will strike a chord with his fans.
“I didn’t really put any limits on myself,” he explains. “I’ve always approached my music that way but I used to be kind of scared. Now, I want to show the world that I’m finding my style and the real Danny. That is why I called this album DLux because when you order a meal if you get the deluxe it usually means the better version. DLux is the better version of me. I started realizing the people just want to hear you and who you are authentically.”
And he didn’t shy away from featuring new collaborators. While he taps Eslabon Armado for their fourth collab together, “Me Cambiaste,” DannyLux also recruits emerging acts such as Argentine singer-songwriter Yami Safdie and Dominican-American Melvin War. There’s also Pablo Hurtado from the Mexican trio Camila (“Zafiro”) and indie star Cuco (“Decir Adiós: Oye Narrador),” two artists DannyLux has long admired.
“I put so many emotions into this album,” DannyLux says. “I hope fans will enjoy it. I love how they’ve always supported me even when I try out new styles or genres.” He’s already working on the deluxe version of DLux, which he teases will include five new songs.
In the meantime, DannyLux breaks down five tracks from DLux, out today (Aug. 18), in his own words:
“Decir Adios: Oye Narrador” (with Cuco)
We literally made that song the first time we met. It was two years ago when I had a session with Cuco and I was, like, peeing myself, because I’ve always looked up to him. He truly changed the Latin indie scene. He was one of those pioneers. I remember I showed up that day to the session, we were getting to know each other and we randomly started writing this song. We recorded the whole demo, we stayed in touch. He then told me he wanted to use a part I sing in the demo for his album.
That song on his project is called “Decir Adiós” — and in my head, I was like “D–n, I still really like that original idea of the one we recorded before, the demo.” So that’s why in my album, it’s that demo, but we made a few changes to it. Mine is called “Decir Adiós: Oye Narrador”, because it’s mostly talking like a narrator. It’s like in a movie, when an actor starts talking directly at a camera or to the audience. It’s basically like that but in a song.
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“Ferxxo100”
I’ve always admired Feid and the way he writes. This song is so good, and then it turns into a reggaetón — I was like, “D–n.” I started thinking about it, and thought if I try to slow it down using the same lyrics and melodies but just slower, it might sound sick. I learned how to play it on the guitar, and I remember one day we were in Texas for a show and I was in the hotel room alone and I started playing it on the guitar — it sounded so cool. My engineer and producer was in the same hotel and I called him saying, “Bro, come to my room right now and bring your mics and your computer.”
We recorded the first demo just to see how it would sound, and it was sick. Later, when we were back home, we re-recorded it and put some final touches on it — like an electric guitar and literally the drums you hear in there, I recorded that part. I didn’t even know I knew how to play the drums. I actually just looked on YouTube quickly how to play a certain drums style, and that’s how that song came to be. I really admire how Feid writes. I hope he likes my version.
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“Mi Hogar” with Maye
It’s crazy, because when I started making my own music, I’d listen to her songs, and I was such a huge fan, I still am. When we were in the studio together for a songwriting session, it was unreal. I felt the same way I did when I met Cuco. I love her voice, and I thought, “If she sings this part, it would be awesome.” She was so nice and so down to be part of it. It wasn’t even a bachata at first — it was kind of like a pop song — but I wanted to add more bachata to the album so it became a very tropical song.
When we were writing the lyrics we were kind of stuck at first, we didn’t know what to write. You know when your laptop kinda goes into your screensaver after not using it for a while? The engineer had his computer and it went to his screensaver, which was a bunch of houses on the beach. So, the opener became “una casa frente al mar (a house in front of the beach).” I’ve become a fan of bachata recently. I love that genre. So much goes into that style, and it just makes you want to dance.
“La Lluvia” (with Jordyn Shellheart)
I had a writing session with Jordyn in Tennessee — and, to be honest, I didn’t know what to expect, because it was country artists. I’m always open to anything, and I thought, what if a sick song comes out of this? I’ll just try my best. I met her and she’s such a nice person. I started with chords for that song, and I thought it would be a good interlude in the album — because it’s so soft and calm, just so people could take a break and relax after listening to the other songs. When I first heard her sing “La Lluvia,” it was a crazy thing. Her voice is sick. We finished it that same day and that song is probably one of my favorites on the album.
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“House of Lux“
I’ve always listened to EDM and house music and I’ve always made random beats with that style. When I was making an album I was like low key I want an outro for it, instead of having an intro. And so I started making that beat and I thought I should add my vocals here and there. I just wanted to make a song that I would hear at a club, and I want this one to be played at a club with people singing and dancing to it. That’s my dream for this song.
Calling all RBD fans! The Mexican pop group has unleashed their new single “Cerquita De Ti,” which comes just days before kicking off its highly anticipated reunion tour on Aug. 25 in El Paso, Texas. The track starts off with a melancholic piano note that then meets a subtle dembow beat for an explosive fusion […]
The National Football League, Neon16, and Ntertain Studios announce their partnership expansion for the 2023 season. Emerging Latin artists housed under Neon16 — the production powerhouse and music label led by Tainy and Lex Borrero — will join NFL Latino players in an upcoming content series. The deal also includes new music releases that will comprise of a new volume for the next Por La Cultura mixtape.
NFL’s season-long campaign Por La Cultura will continue to spotlight Latin players, coaches and staff members to celebrate Latin excellence while telling their own stories of the community.
Neon16 Dominican star RMAND, from Netflix’s reality music competition show La Firma, is confirmed to be one of the artists for the next volume.
“Music is a leading passion point for Latinos, and we feel this partnership is an ideal platform for celebrating our Latino players and connecting more deeply with our fans,” said Javier Farfan, cultural strategist at the NFL, in a press release. “This content series brings together the commonalities of artists and athletes and their inspirational stories from humble beginnings, as they reach the top of their careers and their goal of stardom. Working with Ntertain and Neon16 allows us to authentically tell these stories with the creative vision of tastemakers at the forefront of Latino culture, music and entertainment.”
By showcasing current NFL Latino players and emerging Neon 16 music artists, the series aims to highlight the diversity and inclusivity of the NFL while celebrating the shared passion for music and football.
“We loved the concept of having our artists collaborate with Latino NFL players to create something as unique as an original song,” added Lex Borrero, co-founder and CEO of Ntertain and Neon16. “While both share Latino heritage, we know that artists and athletes also share a common drive to succeed, the talent to shine and the work ethic to thrive in their respective careers. Unifying these traits and the mutual love and respect for music has led to some incredible art that we can’t wait to share with fans this season.”
This season, the team-up will create an original song and music video that reflects Latino NFL players and the artist’s shared passion for music, football, and community.
The first song “#0B,” an energetic electronic banger by RMAND, draws inspiration from his experience working with Miami Dolphins’ wide receiver Braxton Berrios, who is of Puerto Rican descent and wears the number zero. “0B” is slated to release on the third week of the NFL regular season, leading up to the Miami Dolphins Latino Heritage Month game and home opener on September 24th.
Another player and artist collaboration will drop later in the season, joining the RRMAND and Berrios song as this season’s Por La Cultura mixtape.
Furthermore, the NFL Shop commercial for this year will also feature RMAND as well as Neon16’s Alex Ponce and Nashy-Nashai; the commercial’s score will be done by the label. Neon16 will also produce four exclusive tracks for the NFL and its 32 clubs to use as part of their soundtrack for the upcoming season.
“With more than 31 million NFL fans in the United States, there is no doubt that Latinos continue to fall in love with the sport of football every day,” said Marissa Solis, NFL SVP global brand and consumer marketing. “We want to inspire Latinos with the lyrics and melodies created by these talented NEON16 artists in the same way they get excited for a perfectly executed pass and catch for a touchdown. This partnership unifies the heroes of stage and sport through their common bond as Latinos representing ‘por la cultura.’”
Last year, the NFL and Neon16 announced their 10-track debut Por La Cultura Mixtape: Vol. 1, featuring El Alfa, Will.I.Am., Yandel, Snow Tha Product, Anthony Ramos, Trueno and more, and beats by producers Albert Hype, Jodosky and Chael.
The NFL, Ntertain, and Neon16 partnership kicked off in 2021, when Latin artists Jodosky, Kris Floyd and Álvaro Díaz were invited guests of the NFL League.
This collaboration is one of the NFL’s ambitious plan to go all in on Latin music and its growing fanbase. Last year, J Balvin became the first Latin headliner to perform for the league’s yearly free Kickoff Concert. Last November, the NFL also recruited Tijuana superstars Grupo Firme to perform at the halftime show for its annual Mexico City game, featuring the Arizona Cardinals and San Francisco 49ers.
In the new “The Stars Behind the Stars” franchise, Billboard Latin and Billboard Español editors share stories that have yet to be told, directly from those who aren’t often in front of the spotlight. Think “todo lo que no se ve detrás de cámaras” or “everything that happens behind the scenes.” These unsung heroes are essential to an artist’s team and its foundation. Today, we highlight, Rob Trujillo, musical director of Karol G.
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Every night Karol G gets onstage for her Mañana Será Bonito stadium tour, she embarks on a two-hour (approximately) musical journey that takes fans on a rollercoaster of emotions, highlighted by arrangements and sounds that they can’t hear on her recorded songs. It’s part of the magic of a live performance. And in Karol G’s tour, the person in charge of executing her musical vision is her musical director, multi-instrumentalist Rob Trujillo.
A native of Chile with a family musical background (his grandfather is renowned pianist Valentin Trujillo), Trujillo’s duties as musical director include determining the show’s setlist, creating special moments, arranging the music and executing the flow of the show.
Trujillo began his career working 14 years with Myriam Hernández, one of the most beloved voices in Chile and Latin America.
Daniel Portes
In 2016, he moved to the U.S. and began working with Karol G in 2017, when she was invited as the opening act for Luis Fonsi’s Love and Dance US Tour, which marked the beginning of a new chapter in her musical career. Trujillo has played a vital role in numerous Karol G performances, including her appearances at the Grammys and Coachella. He also recently led Karol G’s performance on Good Morning America and was in charge of Karol’s historic headlining set at Lollapalooza, where she was the first Latin female to headline the fest in its more than 30-year history.
Within the world of live music performances, there are many pieces to the puzzle, and endless details are meticulously worked on behind each concert, tour and festival. Talking to Billboard in Miami, Trujillo took us through this fascinating musical creative process behind the scenes.
What are your job responsibilities as music director?
The musical director is the person who is in charge of everything related to the music of a show. In soccer terms — soccer fan that I am — he’s like the technical director.
I am responsible for everything creative in terms of music, the setlist, the versions, the arc of the show… How to manage to [put together] something more intimate that they remember. I call that arc a trip… [the point is to take a fan on] a trip, that when the person goes to that show, they feel something different from what is heard on the digital music platforms.
I watch the videos, the charts, the lyrics. Why? Because by looking at the chart, I can know where to put [the song] in the checklist. I watch the video because I want to know what the artists creatively envisioned, what they wanted at the time. That is what I have to deal with in my version of communicating to you.
Can you take us step-by-step through the preparation before starting a tour with Karol G?
It all starts with the tour’s purpose: if it’s for an album, if it’s for a celebration of something special, etc. It all has to do with the concept of the tour.
We put together a set list and after that, the creative process begins. This involves working on songwriting and live adaptations of said songs. For the new musical arrangements, I make the aesthetic [concept]. I make a demo for each song so that the artist can first listen and tell me if he likes it; let’s change this, I don’t like it.
Once I get the artist’s vision, I turn to creative inventing. In my studio or a hotel, I have two keyboards, a bass and several guitars, and another bass. And according to what they are asking me, I am building. I take the song — for example, I do the drums on the keyboard to show the musician what to play later.
And after that, I am very structured. So, with that mental structure, I know how everything sounds.
At this moment, I am being reflective and creative, both musically and visually. I am envisioning what will resonate with crowds of 25,000 or even 70,000 people.
How much is improvised, or can you improvise in a live show?
In my case, I’m not much for improvising. I am very organized, and like to keep [it that way], because it is also good for the team. In a show, it is not only the music; the music is the matrix of everything. If there are no songs, there is no show, basically. So, everything that emerges — the lights, the stage, the screens, the fireworks, everything — is related to the music, and everything around the music is to enhance that, so there has to be synchrony.
And what is the challenge of leading a tour of stadiums versus the arena?
It’s different starting with the number of people who can live the experience. The infrastructure of an arena differs from that of a stadium and allows for unique creative opportunities based on the specific concepts being developed. I believe the stadium format is the largest format you can get as an artist to work.
It’s different. I like both, but the stadium excites me a lot.
I am excited about the fans; I aim to ensure that every person, whether seated in the front row or the last chair above, enjoys the music equally. My goal is to provide an experience that is fair and accessible to all. For me, they both have to live the same experience, without any difference. That is what helps me. That is my mission.
How is the setlist order determined?
The setlist is defined based on various criteria. There are criteria first that are emotional, which also have to do with the new material coming out, how big the song is, and what we want to give to the people at each show. We can make a hit like “Bichota,” and then we want to transport it to something like “El Barco,” where, for example, we made a bossa nova arrangement with a little bit of bachata. Then comes this very Mexican spectacular; she takes the shots, and the people are with her.
We are putting together the setlist around how we want to move people, and where we want to take them… it is like the script of a movie.
For the third time in her career, Lana Del Rey performed in Mexico City on Tuesday (Aug. 15), where she offered an unforgettable show at the Foro Sol that gathered 65,000 attendees, according the promoter Ocesa. It was the first of two concerts in the Mexican capital as part of her international Did You Know […]
Three months after Grupo Frontera became the second regional Mexican act to break the top 10 on the Billboard Hot 100 chart with “Un X100to” with Bad Bunny, the sextet scores its first top 10 on any albums chart with El Comienzo as the album flies 39-4 on the Top Latin Albums chart Aug 19-dated ranking after its first full week of activity. The set also jumps 12-2 on Regional Mexcan Albums and debuts at No. 39 on the all-genre Billboard 200.
El Comienzo is the Texas-based band’s album debut following multiple hit singles. The cumbia-spiced set was self-released on an off-cycle Thursday, Aug. 3 (the final day of the July 28 tracking week), and debuted at No. 39 on Billboard 200 with only one day of activity (Aug. 12-dated list).
On its first full tracking week ending Aug. 10, El Comienzo earned 21,000 equivalent album units in the U.S., according to Luminate. Nearly all the 11-track set’s opening sum is fueled by streaming activity. That figure equals to 31.4 million on-demand official streams of the album’s songs, while a negligible amount of album sales and track-equivalent album units contributes to the remaining balance.
Grupo Frontera grabs its first top 10 on an albums chart after placing six top 10s on the multimetric Hot Latin Songs and eight entries on the all-genre Hot 100. On the former list, “Bebe Dame” with Fuerza Regida led for two weeks in January, while on the latter survey “Un X100to,” with Benito, reached a No. 5 high in May.
Beyond its Top Latin Albums new peak, El Comienzo also gifts Frontera its first top five on Regional Mexican Albums, climbing from No. 12. Plus, it opens at No. 39 on the all-genre Billboard 200.
El Comienzo was preceded by four tracks on Hot Latin Songs, including the No. 2-peaking “Uno X100to.” Those, plus “El Amor De Su Vida” with Grupo Firme, which debuts on the current chart, make for a total of five songs from the album that have secured a spot on the list. Here’s the recap:
Peak Position, Title, Artist (if other than Frontera), Peak Date
No. 3, “No Se Va,” Nov. 12, 2022
No. 3, “Que Vuelvas,” with Carín León, Jan. 28
No. 2, “Uno X100to” with Bad Bunny, May 6
No. 43, “Le Va Doler,” June 24
No. 12, “El Amor de Su Vida” with Grupo Firme, Aug. 19 (debut)
“El Amor De Su Vida” also bows at No. 82 on Hot 100, for a total of eight entries there.Further, Grupo Frontera holds the record for the most entries on the all-genre tally among regional Mexican groups. Only one other act continues to topple its run, Peso Pluma with 20 entries, the most overall.
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