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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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Manuel Turizo, 2000 (La Industria Inc./Sony Music Latin)
In 2000, named after his birth year, Manuel Turizo is more experimental than ever — and the first few songs are proof of that. Though he stays truthful to his reggaetón-pop core, the Colombian artist does not shy away from techno beats (as heard in “Triste”) fast-paced merengue (the Marshmello-assisted “El Merengue”) sultry reggae and dancehall fusions (“Jamaica”) and trap (“U Lala”). 2000 is a feel-good, summer-ready production that’s home to 15 track — including the previously released “Extasis” with Maria Becerra and “La Bachata,” which hit No. 1 on Billboard‘s Tropical Airplay Chart, Latin Airplay Chart, and most recently, the Argentina Hot 100.
Over energized rhythms and relatable lyrics, the Colombian artist also gets ultra-personal in the notable “Vacio” — a track where he opens up about chasing his dreams at such a young age (Turizo was 15 years old when he dropped his first hit “Una Lady Como Tú”). Further solidifying a very intimate set, the cover art is an actual photo of Turizo when he was a baby. — JESSICA ROIZ
Elena Rose, “El Hombre” (Warner Music Latina)
A groovy pop track is Elena Rose’s first single of the year, which also serves as a preview to her upcoming debut album. As ever, the singer-songwriter’s ethereal vocals — which adapt to whichever style will serve as her canvas — take center stage in this soon-to-be anthem. The sweet, yet poignant “El Hombre” describes an evolved man, one who isn’t scared to be vulnerable and has embraced his softer side. “He’s different from the rest,” she sings, introducing this unicorn of a man. “It’s not the man that opens the door for you, but the one who doesn’t want to close doors for you. A man isn’t the one that loves you but the one who teaches you how to love.” — GRISELDA FLORES
Lupita Infante, “Besarte Así” (Sony Music Latin)
In times when lyrics are getting more and more explicit, it’s refreshing to hear Lupita Infante’s utterly romantic “Besarte Así” (To Kiss You Like This,) the third single from her upcoming album Amor Como En Las Películas de Antes (Love Like in the Old Movies). With a retro sound and very sweet, innocent lyrics, the mariachi ballad (written by Infante with Pedro Dabdoub) imagines what would be the perfect kiss with the perfect someone: “If I get closer, little by little, I feel my voice tremble/ When I say your name what I really want is kissing you,” she sings, in Spanish. The song is about “letting your imagination take you somewhere you’ve never been before,” Infante says in the production notes, adding that the track “lets you envision that one kiss you have dreamed about your entire life, allowing yourself to embrace those loving feelings.” — SIGAL RATNER-ARIAS
Isabella Lovestory, “Latina” (Isabella Lovestory)
Freaky urbano purveyor Isabella Lovestory doesn’t mind sharing alcohol, men and lipstick with her Latina comrades — after all, it’s a sisterhood. Buoyed by a glitchy, intoxicating reggaetón beat and her riot grrrl antics, the Honduran-born artist arrives with a powerful mission statement that’s filled with pride and conviction: “Latina.” Her first track of 2023 already sounds like an electrifying art-pop feminist anthem, one that’s empowering mujeres the web over (“I feel beautiful listening to this queen” or “I didn’t ask to be Latina I just got lucky,” commented some online users).
“Tongue-in-cheek and playful, [‘Latina’] is a song that celebrates being Latina without being cliché and ‘dove commercial’ about it,” she says in a press release. “It’s a commentary on the tokenizing of latinidad, reclaiming the uniqueness and poignancy of every experience each Latina has.” Produced by Chicken, Kamixlo and Nick León, the commanding neo-perreo song also coincides with the announcement of her upcoming tour, Laticonica. — ISABELA RAYGOZA
Luis R Conriquez & Grupo Frontera “Dame un Chance” (Kartel Music)
Luis R Conriquez and Grupo Frontera team up to deliver “Dame un Chance.” The contemporary norteño band and the Mexican singer-songwriter offer a fresh regional Mexican fusion that effortlessly combines traditional norteño sounds with the lively rhythm of cumbia. Produced by Edgar Barrera, the song serves as a romantic plea to be given a chance, committing to change (and even to consume less alcoho)l if it would grant them an opportunity with the person they love: “I have a feeling that my life is better with you/ I know very well that they say that I am a mess/ And it’s true I admit it too, but I also know how to love you pretty/ I’ll go down and drink a little so that you can see that I need you.” The accompanying video showcases the artists performing live with an enthusiastic group of men dancing and partying. — LUISA CALLE
Lenier & Yomo, “Corazón Callejero” (Mr. 305 Records)
Cuban singer-songwriter Lenier recruits Puerto Rican artist Yomo to deliver a love letter in “Corazón Callejero.” With a blend of charming melodies and uptempo beats, the heartfelt track — a sweet confession of love — seamlessly balances Yomo’s signature vocals and Lenier’s raspy-yet-soothing voice. “Yo tengo un corazón callejero, un corazón bandolero que de ti se enamoró (I have a street heart, a bandit’s heart that fell in love with you),” they sing in the chorus. — INGRID FAJARDO
Below, stream Billboard’s New Music Latin playlist, also featuring other recent releases from the Latin world.
Warner Chappell Music (WCM) has named Catalina Santa Peña as the new managing director for WCM Colombia, the company announced Thursday (March 16). The executive will lead the organization’s operations for the territory while reporting to Gustavo Menéndez, president of U.S. Latin & Latin America, Warner Chappell Music. She replaces Daniel Mora, who was recently named managing director of Warner Music Andes.
Santa Peña will oversee WCM Colombia’s “rapidly growing” roster, which includes Juan Pablo Vega, Santiago Cruz, Lalo Ebratt, Piso 21, Vicente García, Yera and TIMØ and be “key in helping expand the team while also championing local songwriters and global superstars alike,” according to a press release.
Santa Peña, who authored the book Industria Musical Para Artistas, Music Business Para Todos (Music Industry for Artists, Music Business for Everyone), is an industry veteran. In 2019, she founded entertainment law firm The Artist’s Attorney, where she worked with artists such as Karol G, Sky Rompiendo, J Balvin and Aterciopelados. She previously held roles at the Colombian Copyright office, Sony Music (Andean region), SAYCO and the Ministry of Culture in Public Performances Law in Colombia.
“As I’ve gotten to know Catalina over the years, I’ve seen the many hats she’s worn, from being an attorney and author, to becoming one of the industry’s most respected leaders,” said Menéndez in a statement. “Catalina knows the artistic side of the business and her heart is always in the right place, defending songwriters and the creative community. That’s the passion we like to see, and the perfect fit for our team and the philosophy we stand by. We couldn’t be more thrilled to have her joining us and continuing our work and expanding our growth.”
“I am very excited for this new opportunity and to continue my journey of empowering musicians and composers, who are the backbone of this wonderful industry of ours,” Santa Peña added.
The relevance and recent growth of regional Mexican music has become undeniable, and today, the genre holds a preponderant place within the industry. However, few women have been able to stand out and survive in a mostly male-dominated world.
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The problem is not only onstage, where few women — such as Lola Beltrán, Selena or Jenni Rivera — have made ‘her’story, but also at the level of programmers, entrepreneurs and executives. Fortunately, that reality seems to be improving, thanks in part to the changes that technology has brought to the industry, and the pioneering women who have helped to pave the way.
In celebration of Women’s History Month, five women who have made their way in regional Mexican, including executives, publicists, songwriters and singers, answer five questions about the industry and its future from Billboard.
María de Jesús Lizárraga (Doña Chuyita), CEO of LGA Entertainment
María de Jesús Lizárraga (Doña Chuyita)
Felipe Osuna
After the 1995 death of her husband Don Cruz Lizárraga, founder of Banda El Recodo, María de Jesús Lizárraga, known in the industry as “Doña Chuyita,” took the helm of the pioneering regional Mexican group. She created LGA Entertainment and boosted the achievements of her artists, taking them not only to the top of the charts but also to international stardom. The company run by Doña Chuyita employs around 200 people, and countless artists mention her and her bands (she also has Banda Los Recoditos) as an influence, and inspiration.
How can a woman stand out in a world of mostly men?
First of all, by having lots of discipline to get the job done. Secondly, handling yourself with a lot of respect towards the people you deal with. In the music business, and in particular in the regional Mexican business, keeping and honoring your word is one of the most important things. Lastly, I believe that things should be done with infinite love.
Who was your biggest inspiration to get into regional Mexican?
My husband Don Cruz Lizárraga, of course. He shared with me this love for Banda El Recodo and that passionate way of working. Because he loved his work and his band, he was and continues to be my best example and our greatest inspiration.
What can be done so that more women achieve their dreams within regional Mexican?
I believe that more spaces for women have to be created in all areas of regional Mexican, not only on stage, but also in executive positions. Women are prepared to develop and excel in any area.
What has been your worst experience as a woman in regional Mexican?
Sometimes we weren’t paid what was agreed for a show, but in reality, they have always respected me.
And the best?
Getting Banda El Recodo to be a pioneer since the movement was called grupero. There was a time when we always set the tone in everything, which is an honor but also a commitment that we keep to this day.
Sara Eva Pérez, public relations specialist for Mexico and the U.S.
Sara Eva Pérez
Jorge Pena
A journalist by profession, Sara Eva Pérez has been forging her career as a public relations professional within the regional Mexican music industry in Mexico and the U.S. for three decades. Her foray as an executive with companies like Fonovisa Music, Univison Music and Universal Music led her to work with artists such as Los Tigres del Norte, Marco Antonio Solís, Banda El Recodo and Los Tucanes de Tijuana. Today, she is one of the most respected public relations professionals in the genre due to her mastery of both territories, and for seven years she has been responsible for the image and media liaison of Banda MS, the genre’s most successful group in recent years.
How can a woman stand out in a world of mostly men?
The first thing is to be authentic, the second is to have freshness in the music, to know where you want to go and have very clear objectives of what you want to do. Forget that you are a man or a woman, just do things well. The most important thing, which unfortunately happens to many singers, is that they fall into doing the same thing over. You have to make different proposals, and this applies to everyone in general, not only to women. When a proposal is fresh and different, there are many more opportunities to gain a place in this industry.
Who was your biggest inspiration to get into regional Mexican?
Definitely someone who must be recognized for her work in the genre is María de Jesús Lizárraga, Doña Chuyita. When I got to work with Banda El Recodo, I admired a woman with clear objectives who has managed to run a company that’s comprised mostly of men. Everyone respects her. She has a very important place in the industry and I think she’s an inspiration for any woman who works behind the scenes.
What can be done so that more women achieve their dreams within regional Mexican?
There’s something very important: you must be consistent with who you are and what you sing. You must have principles, you must respect the public. I say this because currently, and it is somewhat sad, there are singers in regional Mexican who go on stage to speak nonsense and use vulgar language and images because they think that’s a part of regional Mexican, and I totally disagree. You need to have a clean image. There’s Ángela Aguilar, who by making different music and being very focused on her objectives has managed to take a big step forward and is proof that women do have a place in regional.
What has been your worst experience as a woman in regional Mexican?
On one occasion, I had to face a group of businessmen because an artist did not show up to their event. At that time they didn’t respect me because I was a woman. However, I asserted myself and did things the way that had to be done, and that resulted in earning the respect not only from them, who are used to dealing with men, but also from their team and from the regional Mexican industry.
And the best?
I definitely think I’m living my best moment in regional Mexican right now. The experience I have gathered over the years has allowed me to work with the most important band today. It’s not because I work with them, but I think they have achieved what very few have, and by that I mean permanence. It’s very easy to get there, staying is what’s hard. I have learned many things that I didn’t know before, my horizons have broadened.
Alhe Romo, vocalist of the group Vilax
Alhe Romo
Pablo Regalado
In 2021, during the Latin Grammy Awards, Vilax, a regional Mexican band led by 24-year-old singer Alhe Romo, attracted attention thanks to a nomination for best Tejano album with their debut, Un Beso es Suficiente. It’s something that had not been seen since Alicia Villarreal debuted with Grupo Límite in the ’90s. Universal Music/Fonovisa recently signed the group from Torreón, Coahuila, which joins the movement that has empowered Grupo Frontera and unites music from northern Mexico and the southern United States.
How can a woman stand out in a world of mostly men?
Never cease to struggle, but above all, be aware that we must work for our dream, and we must do it with values. It is possible if you do it with great perseverance, with lots of passion and with the desire to do it well.
Who was your biggest inspiration to get into regional Mexican?
My greatest inspiration have always been great women and music legends like Selena, Rocío Dúrcal, Alicia Villarreal. When you learn their history, you realize how much they fought to have a place in the industry. Having the support of my family, especially my mother, has been very important; she is a great woman, too. The wave of emotions that comes to me when I’m on stage, getting to touch hearts with my voice, is something that inspires me to continue on this path that isn’t really easy, but a dream can be achieved if you fight and work for it.
What can be done so that more women achieve their dreams within regional Mexican?
Personally, I think that we need to get out of our heads that we have fewer opportunities for being women, because if you believe it, you can make it happen. Sadly, in many aspects of life, we must make ourselves strong alone and not let anything move us from the path in which we are always tracing with constant effort and, above all, self-esteem.
What has been your worst experience as a woman in regional Mexican?
I’ve had a brief career, and fortunately I have not had a bad experience that has marked me yet.
And the best?
In 2021, along with my colleagues from Vilax, we were nominated for the Latin Grammy for best Tejano album, and that year I was the only woman among the finalists. I hope life allows me to do it again.
Erika Vidrio, songwriter
Erika Vidrio
Ernesto Huerta
For 13 years, Erika Vidrio was a well-known broadcaster in the Los Angeles area. In 2018, she decided to focus on her music career, and today she is the most recorded female songwriter within regional Mexican. Now she has a Latin Grammy nomination, several BMI Awards and 350 songs recorded by artists such as Christian Nodal, Banda MS, Julión Álvarez and many more. “Fíjate Que Sí”, “Borracho De Amor”, “Quién Es Usted” and “40 y 21” are just some of the charting hits she has written.
Concerned about the inclusion and exposure of female composers in regional Mexican music, she created Las Compositoras, a space in networks and platforms, including a podcast, in which she shares her knowledge and provides tools for those who are just starting out in this profession.
How can a woman stand out in a world of mostly men?
The same way men excel, by working. I mean, not only working hard but also knowing how the music medium works, bonding, networking, so that you find opportunities; working from all points, not just creating beautiful songs locked in your house. To excel, you need to see well beyond that. In songwriting, equality between women and men is still unbalanced, but I think we are making progress, there are more and more female composers in regional.
Who was your biggest inspiration to get into regional Mexican?
I grew up with deep-rooted ranchero music: my grandparents played José Alfredo Jiménez, Vicente Fernández and Hermanos Záizar, so my influence comes from visceral ranchero music. As a teenager I got to see Selena, Alicia Villarreal with Grupo Límite, and I realized that women could also excel in the genre.
What can be done so that more women achieve their dreams within regional Mexican?
We must support each other and understand that there’s not only one space, that we can all excel in our own styles. We need a history; forget what they say, that a woman’s enemy is another woman. In regional Mexican in particular, I’ve had great female allies who have supported me. So let’s start by turning our backs on those archaic ideas that we are enemies. This way we can generate interest among people in the industry and get them to see women’s projects. It all starts with us.
What has been your worst experience as a woman in regional Mexican?
Certain humiliations, seeing my work discredited just for being a woman, not getting even the opportunity to show my song. Personally, the most difficult thing for me was gaining the respect, the credibility. The fact that at first they said that I didn’t write my own songs was very hard on me, mentally. I think it’s been one of the biggest obstacles I’ve had to overcome.
And the best?
Being able to make a living of what I’m passionate about. That’s a very nice feeling. I think it’s a blessing.
Diana Reyes, singer with 25 years of experience
Diana Reyes
Courtesy of DR Promotions
Diana Reyes is known as the Queen of the Pasito Duranguense. Born in Baja California Sur, the singer marked one of the most splendorous periods of the regional genre with that musical movement in which only she and Los Horóscopos de Durango had a place. For over two decades, she has ventured into ranchera and banda music, becoming a model for many women who enter the genre. Jenni Rivera considered her one of her inspirations, and together, they recorded the song “Ajustando Cuentas” before the Diva de la Banda died in a plane crash in 2012.
Reyes is the creator of Mujeres del Regional, a group of talented singers who have encountered more obstacles than opportunities and who together a first-class show, making their own way.
How can a woman stand out in a world of mostly men?
I believe that the best way to keep moving forward is by not losing track of what we want to achieve and not giving up, because unfortunately we have to continue working to demonstrate our capabilities.
Who was your biggest inspiration to get into regional Mexican?
Without a doubt, my taste for music began with my father; watching him sing encouraged me to sing, too. My inspiration to delve into this music were Mrs. Lola Beltrán, Chayito Valdez and Joan Sebastian.
What can be done so that more women can reach their dreams within regional Mexican?
The music industry is very difficult, even more for a woman, but this should not prevent us from doing what we like. We should not limit ourselves to making use of what we have been accustomed to for so many years, such as radio and television; today, we should take advantage of all the tools that technology offers, such as social media and platforms. In addition to not stopping working, it’s also very important to stick together, as men do.
What has been your worst experience as a woman in regional Mexican?
On one occasion, a businessman assaulted me physically and they had to take me to a hospital.
And the best?
I don’t think this is specifically because I am a woman, but my best experience has been achieving things I did not imagine, despite how difficult it is to reach success in this career. But I have dreamed of them and I have worked to achieve them, so it’s clear to me that even if I’m a woman, nothing is impossible.
Lasso presents his fourth studio album called Eva, a tribute to everything a woman represents — and its release date on Thursday (March 16) perfectly ties in with Women’s History Month.
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“Eva (Eve) is a metaphor,” he tells Billboard of the album’s title. “She’s a woman who represents all these relationships that I am having with her. Theoretically, Eve was the first woman, and I found it super beautiful and poetic.”
On the 12-track set, the Venezuelan singer-songwriter delivers a mix of pop, ballads and alternative tunes, most of them inspired by ’70s and ’80s music. The only collaborative effort is the remix of “Ojos Marrones” with Sebastian Yatra, which came together organically thanks to the original song’s success on TikTok. Lasso entered the Billboard charts for the first time in 2022 when “Ojos Marrones” peaked at No. 66 on the Billboard Global 200 chart and at No. 39 on the Billboard Global Excl. U.S. chart, both dated Sept. 17. The song also earned him his first and only entry on the Billboard Argentina Hot 100 chart (dated Sept. 10).
The first track to make it on Eva was “Corriendo con Tijeras,” the last addition was the title track, and “Plastico,” “Algodon” and “Los Hombres Son Todos Iguales” were three of the most challenging tracks to work on, he admits.
But above all, “It’s an album where I worked a lot and they are songs that have a lot of humanity,” he explains.
Below, Lasso breaks down five essential tracks on Eva.
Lasso
Universal Music Mexico
“Ojos Marrones”
“Without a doubt, this would be the first due to the fact that this is a song that became a worldwide hit and it’s a song that is alternative and has no collaboration — part of the particularity that it’s not something that happens a lot in the Latin scene today. Normally the things that go viral are reggaeton or some kind of collaboration. It’s something that surprised me a lot and until today I don’t know how it happened but I am honored and very happy that I was able to experience the first hit of my career.”
“Corriendo Con Tijeras”
“It’s a nice metaphor for a toxic relationship in the sense that it is based on a saying that we say a lot in Venezuela. I really like words and phrases that evoke something different and interesting. I believe that’s the work of an artist and composer. I know running with scissors is dangerous but it’s fun. There are a couple of lines in this song that are not only cool but also relatable.”
“Los Hombres Son Todos Iguales”
“It seems to me a great phrase [all men are the same] that has some truth. There is a lot of pain behind it, a lot of satisfaction, a lot of frustration, and a lot of reality. The song is an exploration between a boy and a girl who are each talking with their points and their arguments. Both are right but at the same time, they are not. I really like the lyrics that go beyond a beautiful melody and remain with you and that make you feel in some way.”
“Perdon Pero No Te Perdono”
“It was the song that my team liked the most. Each of the phrases in this song is tweetable, they are powerful phrases. It has a great title and says many things. It has many hooks and many things that can get stuck to you. There is one that I like that says: ‘Who sends me like an idiot to wait for love from someone with a hole in their chest.’ The beautiful thing about this song is that you always have the responsibility because it’s your life and you can choose who to be with.”
“Eva”
“It’s my favorite song on the record and to this day I still hear it a million times and I’m moved. It’s a song that came out so fast and I think the lyrics are one of the best things I’ve ever done. I am very critical of myself and I hate 70% of my catalog or more, depending on whether you catch me on a good day or a bad day, but this song has this simplicity and depth that one should look for in ballads. It’s a song that talks about exploring being alone in paradise but what good is it if I can’t share it with someone? In general, it’s the essence of the album. Sometimes you’re wrong, and sometimes you’re right.”
Tours by Latin artists have reached new heights in the past year.
Bad Bunny closed out 2022 with a record-breaking $435 million in tour grosses, thanks to his El Ultimo Tour del Mundo and World’s Hottest Tour treks. Rosalía graduated from clubs to arenas, becoming an international touring powerhouse with her global Motomami Tour.
And it’s not just current hitmakers that are riding the wave. It’s also legacy acts such as Los Bukis, who embarked on a historic reunion stadium tour in 2021. And newcomer Feid, who was able to sell out his first U.S. tour in a span of 24 hours.
Now, RBD‘s upcoming Soy Rebelde Tour is poised to be one of the biggest tours of the year. The Mexican pop group’s first trek in 15 years — produced by Live Nation and the band’s manager Guillermo Rosas (also CEO of T6H Entertainment) — the tour has so far sold more than 1.5 million tickets and is filling stadiums and arenas across the world.
The topic on the influence of Latin artists on global touring took center stage at SXSW this year during a panel moderated by Billboard‘s Griselda Flores, senior writer, Latin. In a conversation with Rosas and Hans Schafer, svp of global touring at Live Nation, the one-hour fireside chat examined how tours by Latin artists continue to reach new markets and new audiences.
Below, five takeaways from the panel:
Many factors have contributed to the surge in touring numbers for both established artists and newcomers
Schafer: “For me, this [growth] has been happening for the past 15 years. English radio stations playing Spanish-language music now. The ability to access music that’s happening across the country or across the world. All those factors have contributed to this growth. It’s an exciting time.”
Rosas: “Although television has changed so much, there’s also a value that we can attribute to television. Series featuring Latin artists, such as RBD, were being viewed by audiences who didn’t speak Spanish. It became a trend to learn how to speak Spanish so you could understand the show, and it opened a lot of opportunities for Latin music in general in countries like Brazil or Eastern Europe. There are many different variables but that’s definitely one of them.”
Big tours, not big “Latin” tours
Schafer: “You look at the tours and the results that they’re giving — sure you can break them out into their own, ‘This is the No. 1 Latin tour.’ But when you look at the top 10 [of all tours], they’re in there. They’re in there worldwide, in North America, they’re surpassing a lot of artists in South America, an area that generates a lot of money. When you talk about the importance of global touring for all acts, a huge chunk is in Spanish-language countries. We’re now able to capture the data. It’s giving us the respect and the place of how important those markets are, the purchasing power we have and the impact that the Latin acts have.”
Rosas: “We have as example, Mexico, Brazil and Colombia where you have major international acts like Coldplay that held records in stadiums in Latin America. RBD came and broke all of them. In Colombia, RBD is doing four stadiums in a row, sold out. No other artist in the world has done that. Latin artists are capable of doing massive numbers.”
RBD’s reunion tour: Go big or go home
Rosas: “It was one of those reunions that was bound to happen at some point. It’s a complex structure, because there are so elements surrounding it — their individual careers, independent careers. Hans and I always had a vision that it would be successful when the time came. Because we do believe in the size of it, the first strategy was to make it big. If you go to a small arena, then you give the impression that it’s a small tour — but if you have a partner like Hans that believed in it, then we announced stadiums, and people understand that it’s going to be a big tour. A lot of promoters are scared of doing that, but you only have one opportunity for a first impression in this business. Because it’s such a big cultural movement, we needed to do it like that: add to the excitement and emotion.”
Nostalgia tours are having a moment
Rosas: “It is a cultural movement — RBD is bigger than its music. It’s part of growing up with it, and [in terms of] friendship, it’s a big reunion. All these people will get together after 15 years, some that haven’t seen each other in years, and RBD is the connection. It brings you back to amazing memories of childhood or teenage years. And it makes you happy. Los Bukis has a similar story. People grew up with the music, and that’s all you listened to in Mexico back in the day. To bring it back, it brings those emotions back to life. Hans and I worked on the Versus Tour in 2016 with Alejandra Guzmán and Gloria Trevi — we played on nostalgia. It was massively successful.”
Promising markets for Latin artists
Schafer: “We’ve seen that Europe has shifted in terms of the ability of going a little bit outside the box of your traditional market would be. Spain is the anchor for a lot of these acts to go out there. More and more, the U.K., France, Italy. You’ve seen more stuff in Poland, we’ve done shows in Tel Aviv. It’s the best time for a Latin artist. Musically and from touring-wise, you have the ability to go pretty wide, and if you have the right team, you can build a real career outside of traditional markets. I’m also excited about Australia and Japan — really the outskirts of the world that we haven’t hit [where] I know there’s a market.”
You can listen to the entire conversation here.
Colombian producer, songwriter and record engineer Julio Reyes Copello has inked a multi-year worldwide deal with Sony Music Publishing.
“I am thrilled to be starting this new phase of my creative life as part of the great Sony Music Publishing family,” says Copello, who won producer of the year honors at the 2022 Latin Grammys. “I am very grateful for the belief, respect, and enthusiasm that [Sony Music Publishing president and CEO] Jorge Mejia and his team have shown, which will be essential in order to find new outlets and homes for my music.”
“I have known and admired Julio for many years,” adds Mejia, who oversees Latin America and U.S. Latin territories as executive. “He is widely respected as a musician’s musician, with a deft touch at the piano and a sensitivity as a producer and songwriter, that makes all manner of artists and writers feel right at home whenever they work with him. It is a dream come true, therefore, to finally be able to work directly with Julio, as well as the artists and songwriters he’s developing. I can’t wait for what comes next.”
Reyes is currently working on upcoming releases with Colombian pop star Camilo, Spanish musician Pablo Alborán, Marc Anthony, Alejandro Sanz, among many others.
The four-time Grammy and seven-time Latin Grammy winner is widely considered one of Latin pop’s most important songwriters, producers and musicians. Since launching his career in 2001, the Cúcuta alchemist has also penned hits for the likes of superstars Ricky Martin, Jennifer Lopez, Thalía, Chayanne, Laura Pausini, Kany García and more. In total, he has earned 48 Grammy and Latin Grammy nominations; he also has more than ten ASCAP awards under his belt.
Aside from his songwriting Career, Reyes founded Art House Records, a talent incubator where he continues to discover and develop emerging artists, which includes Joaquina, Riza, Ela Taubert, and more. Additionally, he partnered with Abbey Road Institute — the first U.S. music production school, and an extension of the music production education program held at the legendary Abbey Road Studios in London. Together, both parties established the Art House Academy & Abbey Road Institute Miami, where they specialize in music performance, music production and sound engineering to develop and educate “the next generation of singer/songwriters, music producers and sound engineers.”
To celebrate the one-year anniversary of Rosalía‘s Motomami, the Grammy-winning album’s logo will be on FC Barcelona’s jerseys for their El Clásico match against Real Madrid.
The Spanish superstar becomes the first artist to be featured on both the men’s and women’s teams home kits as part of Barcelona’s partnership with Spotify. The limited-edition shirt with the Motomami logo will also be available for fans to purchase.
Rosalía follows Drake who, in October, had his OVO brand owl logo placed on the front of the FC Barcelona men’s jerseys for the match after becoming the first artist to surpass 50 billion streams on Spotify.
“We’re honored to give up our space on the FC Barcelona shirt to celebrate Rosalía – the most streamed Spanish artist on Spotify in 2022,” Marc Hazan, vp partnerships, Spotify said in a statement. “It’s a chance to continue the celebration of our unique partnership with FC Barcelona and continue to bring the worlds of football and music together.”
In 2022, Rosalía was the most-streamed Spanish artist in the world on Spotify, with streams of her tracks growing by more than 110% year over year, and she was also the most-streamed female artist in Barcelona, according to the company.
Juli Guiu, vp marketing, FC Barcelona, added: “Seeing such a renowned artist as Rosalía on the beloved Barça jersey is a wonderful surprise for our fans around the world. Music and football form a special partnership with a long future ahead of them and we are happy to add another chapter to the story alongside the world’s most popular music streaming platform, Spotify.”
Barcelona’s El Clásico match will take place March 19. The women’s team will then also wear the Motomami jerseys at theirs on March 25.
Both team’s players will also be curating the El Clásico Matchday playlists featuring the top songs to motivate the players in the build up to the matches, which will, of course, include their favorite Rosalía songs.
Rosalía’s Motomami peaked at No. 3 on Billboard‘s Top Latin Albums chart. It won the Latin Grammy for album of the year. Most recently, Rosalía confirmed a joint three-song project with Rauw Alejandro titled RR, set to drop March 24.
FC Barcelona / Germán Parga
If you get the feeling Bad Bunny is everywhere at once, all of the time, well, you’re not entirely confused.
The record-smashing Latin artist is a verified global superstar, and his career seems to be rolling along, gathering momentum by the month.
Need a snapshot? In recent weeks, Bunny (real name: Benito Ocasio) scored his tenth music video to hit one billion views on YouTube (with 2016’s “Soy Peor”); he opened the 2023 Grammy Awards; presented at the Billboard Women In Music; and video game publisher 2K released a first look at Bad Bunny in WWE 2K23, the newest instalment of the WWE video game franchise.
Pull back a few years and, Bunny made history with El Ultimo Tour del Mundo (2020) and Un Verano Sin Ti (2022), which both debuted at No. 1 on the Billboard 200, making him the only artist to top the tally with a Spanish-language album — not once, but twice.
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Un Verano Sin Ti went on to become the first Spanish-language album to be nominated for album of the year at the Grammys, and it won the IFPI Global Album Award, making Bunny the first Latin artist to ever win an IFPI global award.
Add to that big-office dynamite, both on tour and at the movies, and a No. 1 on the Billboard Hot 100 for “I Like It” with Cardi B and J Balvin, this Bunny just keeps bouncing along.
The Puerto Rican rapper was in the spotlight again on The Late Late Show Tuesday night (March 14), for a round of “Carpool Karaoke”.
Sitting alongside host James Corden, Bunny played along and answered those questions we all wanted to ask.
Among them, how did it go down with his folks when he announced he’d use the stage name Bad Bunny instead of Benito (he initially wanted to hide his features behind a bunny mask, à la Deadmau5 and Marshmello. “I never wanted to be so famous. So then I just went with the flow.”) Also, why “Bad Bunny” (no matter how bad he is, a bunny is “still looking cute…that’s me.”), and was there truth behind the rumor that Bunny nearly failed to make it for his Grammy-opening medley performance (yes, blame L.A. traffic).
The hip-hopper also discussed his love of drawing and wrestling. He demonstrated it, at one point enticing Corden into the ring with WWE wrestler Rey Mysterio.
The best of the action, however, was saved for the “karaoke” element, with host and talent hitting “Dakiti,” “I Like It,” “Tití Me Preguntó,” and covers of “Break Free” by Ariana Grande featuring Zedd, and finishing things up with Harry Styles’ “As It Was,” the biggest hit in the world last year.
Watch below.
Billboard officially returns to South by Southwest with three nights of star-studded concerts as part of the “Billboard Presents THE STAGE at SXSW,” which will be headlined by rapper and singer Lil Yachty (March 16), Latin superstars Feid and Eladio Carrión (March 17), and electronic music titans Kx5 (Kaskade and deadmau5) (March 18).
All taking place at the Moody Amphitheater at Waterloo Park in Austin, Texas, those who have SXSW Music and Platinum badges and SXSW Music Festival wristbands will have access to these performances on a first-come, first-served basis.
Tickets are also available for the public to purchase here. Billboard will donate a portion of ticket proceeds to Waterloo Greenway Conservancy, a nonprofit organization that aims to create an urban park system in partnership with the city of Austin.
In addition to Feid and Carrión, many more Latin acts will be present at this year’s festivals and conferences including Andrekza, Divino Niño and Ivonne Gonzalez, to name a few. See the full Latin guide from Thursday, March 16 to Sunday, March 19, below (the schedule is based on the official SXSW website):
THURSDAY, MARCH 16
Caramelo Haze Presented by: SXSW DAY PARTY – Qobuz SessionsTime: Noon – 12:30 p.m. CT Location: KMFA Radio
Divino NiñoPresented by: SXSW Day Party – Dr. MartensTime: 3:30 p.m. – 3:45 p.m. CTLocation: Clive Bar
The New Wave of Puerto Rican MusicArtists: unÁnima, Neysa Blay, Piquete, El Laberinto del CocoPresented by: PRIMATime: 7 p.m. – 11 p.m. CTLocation: Revival Coffee
Desta FrenchPresented by: Selector Radio (Jamz Supernova)Time: 8 p.m. – 8:40 p.m. CTLocation: Sellers Underground
ZZK RecordsArtists: Dat Garcia, Jackie Mendoza, Jhoniván y su Cumbia Loop, Karen y Los Remedios, Son Rompe Pera, Trucha SoulPresented by: ZZK Records Time: 8 p.m. – 2 a.m. CTLocation: Speakeasy
RUMBA Presented by Cinq Music + Mitu Artists: Ivonne Galáz, Janine, Los Aptos, Poe Leos, Porte Diferente, Tania DomínguezPresented by: Cinq Music + Mitu Time: 8 p.m. – 2 a.m. CTLocation: The Venue ATX
Nemegata Presented by: EQ Austin Time: 9 p.m. – 9:40 p.m. CTLocation: Sheraton BackYARD
Andrekza Presented by: Downtown Music ServicesTime: 9:35 p.m. – 10:25 p.m. CTLocation: Vaquero Taquero
Sara CurruchichTime: 10 p.m. – 10:40 p.m. CTLocation: Flamingo Cantina
OKAN Time: 11 p.m. – 11:40 p.m. CTLocation: Flamingo Cantina
Perreo Millennial ShowcaseArtists: CRYMES, Foudeqush, riela, Letón Pé, JUANPORDIOS!, Isabella LovestoryPresented by: Perreo ClubTime: 7 p.m. – 2 a.m. CTLocation: Cuatro Gato
Perreo Club ShowcaseArtists: RUUEx, soularreal, EL NICK, Vacio Sur, Dinabn, ella ella, Nurrydog, Poniboy, Girl Ultra, Suxxy PuxxyPresented by: Perreo ClubTime: 8 p.m. – 2 a.m. CTLocation: Coconut Club Rooftop
FRIDAY, MARCH 17
Billboard’s THE STAGE at SXSWArtists: Gabby Got It, Eladio Carrión, FeidPresented by Samsung Galaxy Time: 7 p.m. – 10:30 p.m. CTLocation: Moody Amphitheater @ Waterloo Park
Feid photographed on January 12, 2023 at Proper Studio in Miami.
Devin Christopher
Daniel Villarreal Presented by: Iceland Airwaves Time: 1 a.m. – 1:50 a.m. CTLocation: Victorian Room at The Driskill
Divino Niño Presented by: Cosmica Artists Time: 1 a.m. – 1:40 a.m. CTLocation: Cooper’s BBQ
La Cuneta Son Machin Time: 4 p.m. – 4:40 p.m. CT Location: International Day Stage
GlobalFEST Showcase Artists: La Cuneta Son Machin, King Stingray, Tuyo, Ramon Chicharron, Monophonics, Balaklava BluesPresented by: globalFESTTime: 8 p.m. – 2 a.m. CTLocation: Speakeasy
FAMA Collective ShowcaseArtists: La Marimba, Ramona, El Gran Poder de Diosa, Paraísos, Tangowhiskyman, RUBIO mediopickyPresented by: FAMA CollectiveTime: 8 p.m. – 2 a.m. CTLocation: Augustine
Latinapalooza Artists: Mariachi Las Coronelas, Patricia Vonne, The Tiarras, Liah Alonso, Cecilia and The Broken HeartsPresented by: Latinapalooza Time: 8:30 p.m. – 1:30 a.m. CTLocation: Cooper’s BBQ
El Combo Oscuro Presented by: Austin Music Foundation: ATX Gen NTime: 11 p.m. – 11:50 p.m. CTLocation: Sheraton BackYARD
OKAN Time: 9 p.m. – 9:40 p.m. CTLocation:
Sara CurruchichTime: 11 p.m. – 11:40 p.m. CTLocation: Victorian Room at The Driskill
SATURDAY, MARCH 18
Latin ShowcaseArtists: Michi Sanz, Destiny Navaira, Como Las Movies, Shiela, Shrt_LyfPresented by: Latin Music Coalition Austin & EQ Austin: LatinATX 2023Time: 7 p.m. – midnight CTLocation: Sheraton BackYARD
Hermanos Quimica Time: 7:55 p.m. – 8:35 p.m. CTLocation: Shangri-La
Poe Leos Presented by: The Color Agent Time: 9:30 p.m. – 10 p.m. CTLocation: Swan Dive
SUNDAY, MARCH 19
Estereomance Presented by: Anniversary Group + No Gold Time: Midnight – 12:40 a.m. CTLocation: Hotel Vegas
Billboard’s parent company PMC is the largest shareholder of SXSW and its brands are official media partners of SXSW.