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Valentina Trespalacios, a trailblazing DJ whose career was about to take off, was found dead on Sunday (Jan. 22). Her boyfriend, John Poulos, was arrested and charged with the alleged murder at Panama’s Tocumen International Airport, the Panamanian National Police said, according to CNN.
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Her body was found in a blue suitcase in a garbage container on the outskirts of Bogota, the news network reported.
Poulos denied the charges during a hearing in Bogota, according to CNN, and his defense is arguing that due process was not respected. Another hearing is set for Jan. 31.
A DJ deeply engaged in the world of guaracha, a Colombian dance genre, Trespalacios emerged at 23 as one of the country’s promising DJs.
“We are shocked by the violent death of Valentina. She was a dreamer, a skilled DJ and potential producer who was working on several projects, including an album,” David Sarria, creator of Black & White, one of Colombia’s most memorable electronic festivals, tells Billboard.
Poulos, a 35-year-old U.S. citizen, fled Colombia but was detained Jan. 24 as he was about to board a flight to Turkey. The National Police of Panama shared video on Twitter of him being escorted by law enforcement, noting in a subsequent tweet that he was trying to head to Istanbul.
La Policía Nacional informa que Interpol Panamá detectó la presencia del ciudadano estadounidense Poulos John Nelson, tras la alerta dada por la República de Colombia, por el homicidio de la DJ Valentina Trespalacios. pic.twitter.com/fDkaE65gRj— Policía Nacional (@ProtegeryServir) January 25, 2023
His arrest followed a swift investigation by the Colombian Prosecutor’s Office, which collected evidence against him — including Trespalacios’ cell phone, which was recovered at Bogota’s El Dorado Airport, according to Colombia’s El Tiempo — and obtained his extradition to Colombia. He has been charged with aggravated murder and obstruction, modification and disappearance of evidence, according to the paper.
CNN reports that per Colombia’s Institute of Legal Medicine, Trespalacios died from mechanical suffocation, and that it appeared her body had been subjected to force before she died. El Tiempo also reported that her autopsy report showed signs of strangulation, and that her head, chest and other body parts had experienced blows.
The murder of Trespalacios has shocked the country and the music industry. She debuted in 2019 in the local electronic music scene, winning a prize at the Colombia Dance Awards, which has recognized the best DJs in the country for 12 years.
“She was one of the most explosive rising stars in Colombia’s clubs,” Pablo Silva, the awards’ creator, tells Billboard. “In 2019 she took home the Breakthrough DJ of the Year trophy and never stopped.”
Trespalacios made her way in tech house, and had been doing guaracha, the dance genre from Colombia that combines tribal house, cumbia and Latin. The genre is a phenomenon in the country’s youth parties.
Though she was young, Trespalacios had the opportunity to perform with some of her idols, such as Dimitri Vegas & Like Mike, Steve Aoki, Erik Morillo and Markus Schullz.
Trespalacios was laid to rest on Jan. 26.
Marc Anthony and Nadia Ferreira are officially husband and wife after tying the knot on Saturday (Jan. 28) in Miami.
The star-studded wedding, held at the Pérez Art Museum Miami (PAMM), included guests such as Romeo Santos, Marco Antonio Solís, Daddy Yankee, Maluma, Prince Royce, Luis Fonsi, and Salma Hayek ¡HOLA! reported. Mexican entrepreneur Carlos Slim and soccer star David Beckham served in the role of Anthony’s best men.
Victoria Beckham also attended the wedding, and dedicated a special Instagram post to the newlywed couple. “Congratulations Mr. and Mrs. Muniz!!! We love you both so much and it was such an honor to be part of your special day and celebrate your love!! Kisses,” she wrote on Instagram.
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The 54-year-old salsa singer and 23-year-old Paraguayan model, who was first runner-up at the 2021 Miss Universe, got engaged in May 2022. Ferreira shared the big news via an Instagram Story with a photo that showed both of their hands. On her ring finger was a big, glitzy diamond. On his, a black tattooed ring. “Engagement partyyyyy!!!” read the text on the since-expired post in which she tagged Marc Anthony and included a ring emoji.
Two months prior on March 19, the lovebirds made their relationship Instagram official after the model shared a photo of the two outside the Crypto.Com Arena, where Anthony stopped for his Pa’Alla Voy tour. The “Mala” singer also shared a photo on Instagram that day of the two cuddling in a private jet. “May God multiply everything you wish for us,” he captioned the pic.
This is the singer’s fourth marriage following Dayanara Torres (2000-2004), Jennifer Lopez (2004-2014) and Shannon de Lima (2014-2017).
See clips of their special day below:
Colombian record executive Adriana Restrepo has been appointed IFPI’s regional director for Latin America and the Caribbean. Restrepo will now head the global record music organization’s regional operations in Latin American and the Caribbean, based out of the organization’s offices in Miami and reporting directly to IFPI chief executive Frances Moore.
Restrepo takes over the post vacated by Javier Asensio, who served as regional director of the IFPI since 2011. Asensio, who’s been on Billboard’s Latin Power Player list on multiple occasions, stepped down from his role at the end of 2022 to return to his native Spain.
“Having worked directly with Adriana for a number of years as she served on our boards, I know first-hand the level of passion, commitment and knowledge of the Latin American music sector that she brings to the role,” said Moore in a statement. “I would also like to thank Javier who has been outstanding in overseeing our work in the region for over a decade and achieved so much during a period of rapid change and evolution in the market.”
Restrepo comes from a business and recording industry background and is one of the very few women who have headed record labels, including multinationals, in Latin America. She was most recently president of Sony Music Andes, based in Bogotá, Colombia, and overseeing Sony’s operation in the Andean region, which includes Colombia, Ecuador, Peru and Venezuela. Prior to that, Restrepo was president of powerful Colombian indie Codiscos, one of the region’s oldest and most respected labels and publishers, with a vast catalogue of tropical and popular music.
Restrepo comes to the post at a time when the Latin American music industry is on a path of massive growth. Recorded music revenues in Latin America grew 31% in 2021, exceeding $1 billion in revenues for the first time, and making it the 12th year of consecutive growth for the region.
Restrepo, who served on the IFPI’s main board between 2018 and 2020 is familiar with the organization.
“The region is experiencing a stellar moment due to the massive production of new talent for the entire world,” she said in a statement. “I will continue the good work developed by Javier with the National Groups and the collective management organisations seeking to reach new goals for the benefit of IFPI members.”
At Sony Andes, Maria Mercedes “Mechas” Montejo has been appointed to lead the company.
“We will miss Adriana here at Sony Music Latin Iberia, but we are thrilled to know that her professionalism and experience will be of service to the entire Latin music industry in her new role. We wish her all the best,” said Afo Verde, chairman & CEO Latin America, Spain and Portugal for Sony Music Entertainment.
Verde, and the other regional label heads will be working closely with Restrepo, as they do traditionally with IFPI leadership, and support for Restrepo has been unanimous.
“Adriana brings experience, knowledge and a great capacity for work, at a time when the challenges we face in Latin America continue to be enormous. There is nobody better than her to continue the great job done by Javier Asensio during the last decade,” said Jesús López, chairman & CEO, Universal Music Latin America & Iberian Peninsula, Universal Music Group.
Added Alejandro Duque, president, Warner Music Latin America: “I’ve known Adriana for many years and believe she has the right qualities and commitment to lead and execute our industry’s agenda in the region for years to come.”
Shakira is seemingly reacting to her ex-boyfriend Gerard Piqué’s newly debuted relationship on social media.
One day after the soccer star revealed his younger girlfriend Clara Chia Marti in an Instagram post, the 45-year-old Colombian superstar shared a video of herself dancing and mouthing the scathing lyrics of her new diss track “BZRP Music Sessions Vol. 53,” a collaboration with Argentine DJ and producer Bizarrap.
“Las mujeres ya no lloran las mujeres bailan merengue!” Shakira wrote alongside the split-screen Instagram clip on Thursday (Jan. 26). The caption translates to “Women don’t cry anymore, women dance merengue!” which is similar to her hit single’s lyrics of “Women don’t cry anymore, they cash in.”
In “BZRP Music Session #53,” which reached No. 1 on Billboard’s Hot Latin Songs chart, Shakira is more unapologetic and empowered than ever, spitting diss verses to Piqué and even throwing a jab at his new love interest.
“I’m not getting back with you, don’t cry for me, nor beg me/ I understood that it’s not my fault that they criticize you/ I only make music, sorry that it bothers you,” the singer chants on the dance-pop track. “Good luck with my so-called replacement/ I don’t even know what happened/ You’re acting so weird, I don’t even recognize you/ I’m worth two 22-year-olds/ You traded in a Ferrari for a Twingo/ You traded in a Rolex for a Casio.”
This isn’t the first time Shakira has taken aim at her ex. Prior to the Bizarrap session, she released the more poignant “Monotonía” alongside Ozuna, lamenting the loss of love to “monotony.”
See Shakira’s post on Instagram below.
From career milestones and new music releases to major announcements and more, Billboard editors highlight the latest news buzz in Latin music every week. Here’s what happened in the Latin music world this week.
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Emilio Estafan’s acting debut
Grammy-winning producer and musician Emilio Estefan has made his actoral debut in the recently-released Bezos: The Beginning, where he plays Jeff Bezos’ father, Mike Bezos. Based off the book Zero to Hero, the movie is a true-life story that chronicles Bezos’ journey to create Amazon and become one the richest men in the world.
“Very happy to be a part of this movie and represent Mike Bezos, the father of Jeff Bezos,” Estefan wrote on social media. “Mike represents the unconditional love that a father has for his son and his family, the unique love that parents feel for their children. When they introduced me to the project, I loved it! I think they called me because of my accent but the reality is that I identified immediately with Mike.”
Bezos: The Beginning is now streaming on Amazon video.
Shakira at the Grammy Museum
Calling all Shakira fans!
The “Shakira, Shakira: The GRAMMY Museum Experience” exhibit is set to go live March 4 at the Recording Academy Grammy Museum in Los Angeles.
“It’s an honor to have the journey of my career displayed at the GRAMMY Museum,” Shakira said in a statement. “These pieces are a testament to so many indelible moments that I cherish, and I’m so happy to be able to relive these memories with those who have and continue to support me as an artist.”
The news comes after the Colombian singer-songwriter hit No. 1 on Billboard‘s Hot Latin Songs chart (dated Jan. 28) with “Bzrp Music Sessions, Vol. 53.” Shakira now ties with Bad Bunny for the fourth-most No. 1s overall, both with 12.
Karol G’s new album is coming … soon
Colombian star Karol G revealed Wednesday (Jan. 25) the name of her upcoming new album, which is set to drop soon. “Finally, finally,” she wrote on social media. “Today I announce a project that I’ve dedicated so much love and time to. I just know that for me and for everyone else, Mañana Será Bonito (Tomorrow Will Be Pretty).”
Mañana Será Bonito is the name of her highly anticipated fourth studio album. It will follow her 2021 Grammy-nominated KG0516, which scored Karol her first No. 1 on Billboard‘s Top Latin Albums. The set earned the biggest week for a Latin album by a woman since Shakira‘s 2017 El Dorado.
Victor Manuelle to be honored at Premio Lo Nuestro
In recognition of Víctor Manuelle’s impact and influence in Latin music, the 35th annual Premio Lo Nuestro will honor the salsa musician with the 2023 Lifetime Achievement Award on Feb. 23.
“The fact that I have been able to make a living from what I am so passionate about is very meaningful to me,” the Puerto Rican superstar tells Billboard Español. “It’s very exciting to know that the award ceremony, which is a very important platform, decided to give me this recognition. It fills me with pride, and it is a sign of the effort of what I have wanted to represent in the salsa genre throughout my entire career.”
The complete list of Premio Lo Nuestro nominations was announced Monday (Jan. 23), consisting of 192 artist nominees of diverse musical backgrounds across 39 categories. The ceremony will air live on Thursday, Feb. 23, at 7 p.m. ET via Univision; it will simulcast on Galavisión in the U.S. and Canal 5 in Mexico.
J Balvin announces VR concert
Meta and iHeartRadio have partnered to bring to life “J Balvin Futurum: A VR Concert Experience. Created specifically for VR, the 180-degree concert experience will offer state-of-the-art visuals and performances such as a custom-built lighted stage, seven backup dancers and J Balvin strapped to a 15-foot robotic arm that moves to the beat of the music.
The Colombian artist will perform 17 of his biggest hits, including “La Canción,” I Like It” and “Mi Gente,” all of which hit No. 1 on the Billboard charts. The “J Balvin Futurum” show — which kicks off at 6 p.m. PT/9 p.m. ET on Feb. 17 — is part of the iHeartRadio Concert Series in VR. Balvin joins previous performers such as John Legend, Carrie Underwood and Kim Petras.
To watch the VR concert, fans can subscribe to the event by clicking here.
J Balvin
Cate Groubert for iHeartRadio
This week, our First Stream Latin roundup — which is a compilation of the best new Latin songs, albums, and videos recommended by the Billboard Latin editors each week — is powered by new music from Christian Nodal, Rosalía and newcomer Peter Nieto, to name a few.
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The list includes the highly-awaited duet between Christian Nodal and TINI, “Por El Resto de tu Vida.” On their dazzling, first collaborative effort, the Mexican artist and Argentinean pop star collide their powerhouse vocals with a beautiful bolero guitar interplay that later transforms into a bolero-trap thump.
Rosalía also surprised fans with the release of her bilingual track “LLYLM” (the acronym for “lie like you love me”), where she sings over a guitar-led tune fused with the magnetic handclaps: “I don’t need honestly, baby, lie like you love me, lie like you love me.” Her boyfriend and Puerto Rican star, Rauw Alejandro, on the other hand, teamed up with Reggaetón’s finest, Daddy Yankee, to release “Panties y Brassieres” a.k.a. the hidden track number seven, meant to be part of Rauw’s Saturno album.
Additionally, Spanish act Marc Seguí kicked off 2023 with a new musical era, one where he steers away from his edgy urban pop sound and ventures into rock music. In his first single of 2023, “Plaza en el Cielo,” Seguí flaunts his new roquero and rebellious stage. “I wanted to talk about a darker stage in my life where I was quite lost, a stage in which the music that accompanied me the most was rock,” he explained in a press release.
Check out the other tracks on this week’s First Stream Latin and vote for your new favorite release below:
First Stream Latin is a compilation of the best new Latin songs, albums, and videos recommended by Billboard Latin editors. Check out this week’s picks below.
Christian Nodal & TINI, “Por El Resto De Tu Vida” (Christian Nodal/Sony Music México)
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On their first collaboration together, Christian Nodal and TINI make a dazzling duet. Leading with beautiful bolero guitar interplay, the mariacheño trailblazer and Argentine pop singer match hearts as their voices collide to make one of the sweetest of love songs of the year so far. What’s most intriguing, however, is Nodal’s continued ability to experiment within the confines of regional Mexican music, and TINI is a great singing partner to enhance that sound. Hi-hats enter nearly a minute into the song to coalesce with the güiro, a subtle but riveting transition that morphs into a bolero-trap thump. — ISABELA RAYGOZA
Rosalía, “LLYLM” (Columbia Records)
“El que quiero no me quiere como quiero que me quiera,” Rosalía sings over her signature handclap beat. The opening verse of “LLYLM” is almost a tongue twister with lyrics that showcase despair after she realizes that the guy she likes doesn’t like her like she’d like him to like her. She then effortlessly transitions into English, to get her point across in case something gets lost in translation. “I don’t need honestly, baby, lie like you love me, lie like you love me,” she sings, soaring over a guitar-led tune fused with magnetic handclaps. It’s the Spaniard’s first single of the year following her 2022 Latin Grammy-winning album Motomami. — GRISELDA FLORES
Marc Seguí, “Plaza en el Cielo” (Taste the Floor Records/Warner Music Spain)
Marc Seguí kicks off 2023 with a new single and a new musical era. This time, the Spanish artist is steering away from his signature reggaetón-pop sound and venturing into rock. “Plaza en el Cielo,” along with its accompanying video, brings to life Seguí’s new roquero stage. Produced by Carlos Ares, Andrés Goiburu, and Jack Stone, the rebellious punk tune showcases Seguí’s captivating vocals, singing about the mistakes he’s made in his life (but also learning from them). “I wanted to talk about a darker stage in my life where I was quite lost, a stage in which the music that accompanied me the most was rock,” he explains in a press release. “Plaza en el Cielo” is the first single off his upcoming EP. — JESSICA ROIZ
Peter Nieto x Lenier, “Conocerte” (Diamond Music)
Up-and-comers Peter Nieto and Lenier both grew up in Cuba but now live in the U.S., a fact that helps explain the more international sound they bring to their respective brands of tropical music. Together, they’ve paired up for “Conocerte,” a romantic bachata where Nieto’s smooth, plaintive tenor contrasts beautifully with Lenier’s raspy vocals. Despite Lenier’s chanteo, it’s a more melodic bridge between tropical and urban, made all the more appealing by genuinely lovely lyrics. — LEILA COBO
KYEN? ES? x Maffio, “Sopita” (Saban Music Group)
KYEN? ES? (a Spanish play on words that means “who is it”) is a conceptual musical project by Saban Music Group that focuses on paying tribute to Latin music. For his latest single, the performer — who keeps his identity private behind large, dark sunglasses and facemasks — reeled in Dominican hitmaker Maffio for “Sopita” (little soup). The feel-good bop pays homage to the all-time fiesta classic “Sopa de Caracol,” originally released in 1991 by the Honduran group Banda Blanca. Produced by Maffio, the new version moves the traditional punta song to a mid-tempo merengue, keeping its party essence well alive. A vibrant music video features the two artists at a Latin party, where they even flaunt the next viral dance trend. — J.R.
Rauw Alejandro & Daddy Yankee, “Panties y Brasieres” (Sony Music Latin/Duars Entertainment)
In line with Rauw Alejandro’s throwback album Saturno — and space/time-traveling spirit — El Fókin Zorro and the Big Boss team up to drop “Panties y Brasieres,” a.k.a. hidden track number seven. What was once the 19-second “Loading” interlude in the album is now converted into a vintage banger, where the pair embrace old school hip-hop drums, from before the reggaetón drum pattern was solidified in the late ‘90s. In fact, the dance floor cut contains a sample from Yankee’s “Camuflash,” from DJ Playero’s 1996 set Playero 40: New Era. — I.R.
Daniel & Me Estás Matando, “Sólo Tú” (Inmadurez Records)
“Sólo Tú” finds Mexican duo Daniel, Me Estás Matando (Daniel Zepeda and Iván de la Rioja) doing what they do best — bolero glam. To the beat of soft congas and dreamy acoustic guitar riffs, the pair chants about a love so pure, and about feeling safe with that special person. “I know that if I’m holding your hand/ And if fear looks for us, we’re not here/ We left to a faraway world, where only you is there,” goes part of the chorus. The romantic track stays truthful to the sophisticated bolero genre and later transitions into a psychedelic instrumental exploration. — J.R.
Miguel Campello & Nya de la Rubia, “RUMBACUMBIA” (Chatarrero Records)
Following a string of singles leading up to his next album Noche y Día (due out Feb. 3), Miguel Campello drops two very different outings: the experimental flamenco cut “Vete” and “Rumbacumbia.” The latter, which features Sevilla actress and singer Nya de la Rubia, is an electrifying rumba song included in the “day” side for concept album, that feels as uplifting as the sun’s warmth. Flamenco guitar fretwork and silky smooth percussion take the fore, as the former El Bicho frontman’s and Nya’s voices both invigorate with their poetic verses of love and embrace. — I.R.
To mark the first anniversary of the death of Argentine-Mexican singer-songwriter Diego Verdaguer, a new version of his ’70s hit “Ven, Ven” dropped today (January 27) on digital platforms.
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It’s one of the last recordings that Verdaguer made as part of a show on the esplanade of the Cholula Regional Museum, in the central Mexican state of Puebla, in November 2021 — according to the press office of the Verdaguer-Miguel Family in Mexico.
“Ven, Ven (Que Se Va La Vida)” was released as a ballad in 1976. But for its 2021 version, the song was adapted to Mexican cumbia, with some “sonideros” touches at the beginning of the song — much in the style of street DJs in Mexico who mix the local cumbia with electronic music. In the video, Verdaguer is seen dancing happily, surrounded by a group of musicians playing in front of the Sanctuary of La Virgen de los Remedios, in Cholula, Puebla.
With this release, Verdaguer’s artistic and life partner — the also Argentine-Mexican singer Amanda Miguel — and their daughter Ana Victoria pay a heartfelt tribute to the great love and driving force of their lives.
“I miss him terribly. My heart is broken and it cannot be sewn up. Nothing can fill this void; it is very hard not to have him to hug and kiss. Time passes, but the pain does not lesses, it is only accepted irremediably,” says Amanda Miguel in a press release.
According to the press office, Amanda Miguel and Ana Victoria were holding a private ceremony on Friday at their home in Los Angeles, “praying and appreciating the nature that Diego was inspired by and loved so much.”
This will be an intimate moment only for immediate family, including the late Argentine star’s brother, Víctor Raúl, with his wife and children. “All together honoring him who united them and built unbreakable ties with them,” the statement reads.
The press office in Mexico told Billboard Español that the Verdaguer-Miguel family has declined to do interviews at this time.
“My grandson and daughter are my daily bread, the sun that caresses me and the sky that covers me. I have also felt peoples’ embrace, your letters full of beautiful words have been a balm, it is very nice to read your messages accompanying me at all times, from those that sincerely regretted the departure of my husband, to those congratulating me when I was awarded last November with the [Latin] Grammys Lifetime Achievement Award,” says Amanda Miguel.
“I know this was recognition because I have dedicated my whole life to music, but my husband also deserved it — that’s why I received it for both of us,” she adds, emphasizing what she told Billboard Español days before receiving the honor.
This week, it was also announced that mother and daughter will give a concert on March 16 at the National Auditorium in Mexico City — part of their Siempre Te Amaré Tour 2023 — to relive the hits that Verdaguer immortalized with his wife.
Diego Verdaguer was born in Buenos Aires on April 26, 1951, and made his solo debut at 17 with the single “Lejos del Amor.” He moved to Mexico in 1980, and became a Mexican citizen. He dedicated to his adoptive country his album Mexicano Hasta Las Pampas (2009), which earned him two Latin Grammy nominations. And a few years later he released Mexicano Hasta Las Pampas 2, as well as two volumes of the live album Mexicanísimos.
In 1986, Verdaguer debuted on the Billboard charts with his seventh studio album, Estoy Celoso, which spent 11 weeks on the Latin Pop Albums list, peaking at No. 7. That year, the album’s title track earned him his first entry on Hot Latin Songs, where it peaked at No. 25. He had many other appearances on the charts, including with Mexicano Hasta Las Pampas (No. 68 on Top Latin Albums in 2009) and El Mejor Show Romántico de América, a live album with Amanda Miguel (No. 30 from the same list in 2011).
Diego Verdaguer and Amanda Miguel met when they were 24 and 18, respectively. The couple had their only daughter, singer Ana Victoria, in 1983.
“Corazón de Papel,” “Que Sufras Más,” “Creo Solo en Ti” and “La Ladrona” are some of the hits Verdaguer released throughout a five-decade career. He died from complications of Covid-19 on January 27, 2022 in Los Angeles at the age of 70.
In retrospect, 2022 will be remembered as the year of Bad Bunny. And while his album Un Verano Sin Ti dominated much of the year after its May 6 release, the boost that it gave to Latin music’s share of the overall market — with the highest growth in percentage year over year of any genre, going from 5.39% in 2021 to 6.33% in 2022, an increase of 28.8% — is not simply a one album, or even one year, phenomenon.
Between 2020 and 2022, Latin music grew 55.29% in album consumption in the U.S., according to Luminate, far outstripping the overall industry’s 21.61%, as well as the growth of the four biggest genres in the U.S. over that time: R&B/hip-hop (12.17%), rock (22.28%), pop (20.64%) and country (19.22%). And Latin isn’t alone: World Music has also made tremendous strides over that time period, growing 47.67% from 2020 through 2022 on the Stateside growth of K-Pop and Afrobeats, among other ex-U.S. genres, and up 25.8% in 2022 over 2021. Both genres have seen over 20% growth in on-demand audio streams dating back to 2019, while the overall industry has grown in that sector in the mid-teens each year during that time.
Those are two of just four genres (of the 15 tracked by Luminate) that grew at a faster rate than the overall music industry in 2022, which increased consumption 9.2% year over year. (The other two were children’s music, at 30.0%, and dance/electronic, at 11.7%; new age grew essentially in line with the business). And it speaks to how significant that growth has been, and could continue to be moving forward as the business becomes increasingly more global.
With 2023 fully underway, here are four more trends to watch this year:
How Big Is a Hit?
Children’s music (1.38%) overtook holiday music (1.26%) as the ninth-biggest genre in the U.S. this year due to the runaway success of Encanto, which helped boost the genre by 30% in consumption year over year (35.5% in on-demand streams). How significant was the effect of that hit? Growth for the genre year over year was 6.7% in 2020, and actually declined -3.7% in 2021, with on-demand streaming dropping 2.8% in each of those years. The growth is almost certainly unsustainable, but it shows the value of a surprise mainstream hit. For a related analog, comedy was the only genre to actually decline year over year, due to the sector coming back down to earth after the huge gains from Bo Burnham’s Inside (The Songs) album in 2021. From 2020 to 2021, overall comedy consumption ballooned 27.3%, with total on-demand streams growing 28.4%; those numbers fell to -11.3% and -5.0% in 2022, as the effect of the album receded.
Major Genres Shrinking in Share
As a statement of fact, year over year the four biggest, most dominant genres in the U.S. all declined in terms of their share of the overall market: R&B/hip-hop (from 27.72% in 2021 to 26.82% in 2022), rock (20.01% in 2021 to 19.95% in 2022), pop (13.05% in 2021 to 12.68% in 2022) and country (8.09% in 2021 to 7.76% in 2022). But there are a few ways of looking at that.
The first is that, when a genre is as dominant as R&B/hip-hop, for example, maintaining the same percentage growth gets harder every year. And the growth is still huge: the top four genres accounted for 67.21% of the market in 2022, even if down slightly from the 68.87% they held in 2021, and just shy of 50% of the gains year over year. And rock and R&B/hip-hop saw the two biggest increases in raw consumption numbers over 2021, with the former claiming 19.37% of the growth in 2022 over the year prior and the latter 17.13% of it.
The other way to look at it is that the market is, slowly but steadily, diversifying. Latin, the fifth-biggest genre in the country, was third in percentage of growth in the market, up 16.38% year over year; less than 1 million units separated its increase from R&B/hip-hop’s in 2022. Pop was fourth (8.67% of industry growth), but world music — the seventh-biggest genre overall — claimed the fifth-highest share of the market’s growth, at 5.53% year over year. And country, which claimed 4.17% of the growth, was run a close race by Dance/Electronic, at 4.14%. Just three years ago, in 2020, Latin made up 4.95% of the overall market and World Music 1.88%. That doesn’t seem like regular fluctuation, but a true growth trend.
R&B/Hip-Hop Report
Over the last few years, there has been an accepted fact of the marketplace: In a streaming world that reflects not just what people are buying, but what people are continuing to stream and listen to, R&B/hip-hop dominates. That is still, unquestionably, the case. But lately there has been some hand-wringing about the slowing growth of the genre and what that could mean for the broader marketplace, a fair question for others to answer.
Here are some facts: R&B/hip-hop is now 26.82% of consumption. It’s been growing consistently — up around 6% per year the last few years — though not as much as the marketplace overall for several years now percentage-wise. And its share of total on-demand streams dropped from 30.11% in 2021 to 28.61% in 2022. In raw numbers it’s still growing massively, though, second only to rock in share of the industry’s total unit growth in 2022. And compared to 2017 — the year that Luminate predecessor Nielsen first declared that R&B/hip-hop had become the biggest genre in the industry — it still claims a higher share of the market. So while it displays a higher variance year to year than some other genres, the sky isn’t falling just yet.
R&B/Hip-Hop Share of Consumption By Year:2017: 24.52%2018: 25.94%2019: 28.62%2020: 29.07%2021: 27.72%2022: 26.82%
Country Streaming Sputters, Rock’s Resilience
Country’s streaming growth is slowing down. After big gains in audio on-demand streaming the past two years (22.1% in 2020 and 16.5% in 2021) as more of its audience began to embrace the format, that figure slipped below the audio streaming growth of the overall industry in 2022, 11.1% vs. 12.2%, respectively. And total on-demand Country streaming (audio plus video) grew at 9.8%, compared to 12.2% for the overall industry. (Yes, overall and audio on-demand streaming grew at the same rate.) That isn’t the end of the world — R&B/hip-hop on-demand audio streaming has grown less than the overall market percentage-wise in the past few years, though its raw numbers are still massive — but it’s worth noting that the growth is slowing year over year after outpacing the market recently, and its percentage of the growth in on-demand streaming in 2022 was just 6.01%, by far the lowest of the five biggest genres. In total consumption, country grew just 4.8%, slightly over half the rate of growth of the overall industry (9.2%), with its share of the market slipping from 8.09% in 2021 to 7.76% in 2022.
It’s notable compared to the fortunes of rock music. For all the “Rock Is Dead” talk, the format is essentially keeping pace with industry trends overall (up 9.0% in consumption, 14.3% in on-demand streams) and actually grew its share of overall on-demand streaming year over year, from 16.30% in 2021 to 16.62% in 2022, while continuing to flat-out dominate in sales (43% of the market). Again, rock was the genre that showed the most growth in 2022 over 2021: at 19.37%, it outpaced R&B/hip-hop (17.13%) and Latin (16.38%) for the biggest share of growth year over year.
In 1973, Mocedades competed at the Eurovision Song Contest with their anthem “Eres Tú.” The song didn’t win (it came second place) but it ended up becoming such a global hit that it made the top 10 of the Billboard Hot 100, a milestone for a Spanish group. Today, 50 years after its original release, Mocedades seeks to break generational barriers with a new version of their signature hit, featuring tenor Plácido Domingo, set to drop Friday (January 27).
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Written by Juan Carlos Calderón, “Eres Tú” was translated into 70 languages (in English it was called “Touch the Wind”), sold one million copies in the U.S. alone and had an impressive run on the Billboard charts, debuting at No. 90 on the Hot 100 the week of January 12, 1974 and spending 17 consecutive weeks on the chart, where it peaked at No. 9 on March 23.
The new version of “Eres Tú” was produced by Jacobo Calderón, the son of Juan Carlos, who has given it new life with the Bratislava Symphony Orchestra, the participation of Domingo and some modern touches, while still staying true to the original.
It’s all part of a big celebration for Mocedades, which last year released the album Infinito Duets (Fonovisa/Universal), where the group revisits its greatest hits along with Gloria Trevi, David Bisbal, Morat, Il Divo, Lucero, Arthur Hanlon, Pedro Fernández, David Bisbal, Ana Torroja and El Bebeto, among others.
After an Infinito Tour through Latin America and Spain, the group plans to release Infinito Duets 2, which guests including Marc Anthony. “Eres Tú” is the first single of this volume.
Billboard Español spoke exclusively with two essential members of Mocedades: Izaskun Uranga Amezaga, the only original founder member (with 55 years active with the band) and owner of the rights to the use of the name Mocedades worldwide, and José Miguel González Robles, a singer and manager who has taken on the task of modernizing the group, including with the Infinito Duets concept.
Why did you think of Plácido Domingo for the anniversary version of “Eres Tú”?
Izaskun: Because he has undoubtedly been the most international voice that Spain has ever had and the most universal voice in the Spanish language. He has sang on the most renowned world stages, and such an iconic song deserved a voice of such stature.
Were you concerned in any way that the accusations of harassment that Domingo has faced could harm the image of Mocedades?
Izaskun: We admire and love Plácido Domingo as a singer and we admire and love him as a person. Our contact with him has always been cordial, affectionate, respectful. I fully trust him and, above all, [we consider] one very important thing — the presumption of innocence. Plácido Domingo has not been tried, investigated or convicted.
Izaskun, you have been there since the foundation of Mocedades. Haven’t the long tours been exhausting for you?
Izaskun: As long as my voice and head don’t fail me, be it walking or pushing, I’ll keep singing until the end. I never plan to retire, nor has it crossed my mind.
Over the years, Mocedades has experienced a rotation of its members. Those who are no longer in Mocedades but were founders, do they have a profit share?
Izaskun: They have their share of percentage of royalties, a participation of the initial brand — but the rights to the exclusive use of the brand are in the name of Izaskun Uranga Amezaga.
José Miguel, you are a relatively new member, with a decade with Mocedades. Was it your idea to give the group a twist by recording these new versions?
José Miguel: They have called me the modernizer of Mocedades, but what I’ve tried to do in recent years is try to reach new generations with a concept of Mocedades adapted to the 21st century, not to feed on what we had. The concept has been that Jacobo Calderón, the son of the person who created the songs (Juan Carlos Calderón), adapts the songs so that 20-year-olds can find them fresh and current.
We have done everything. A record for Juan Luis Guerra, a symphonic record at the National Auditorium, two records have been made with mariachi — Por Amor A México y Por Amor A México Vol. 2 — and now the two Infinito Duets.
Has this new stage of Mocedades been intense work?
José Miguel: We have recorded many duets, so there’s a long way to go before the public knows about it. The title Infinito allows us to continue with the concept. All these years’ work is summarized in more than 600 performances around the world, more than 20 countries traveled, seven albums published, tours with people who are very important to us. With Armando Manzanero, for example, we toured for three years. And well, the stars that have been with us in more than 30 duets that we have already recorded.
Do you ever consider stopping to take a breather?
José Miguel: Not at all. Any fatigue is relegated to the background when you receive, touch, feel — but above all, are moved — by the loyalty and affection of so many Mexicans, Colombians, Peruvians, Uruguayans, Bolivians, Ecuadorians, Chileans, Argentines and Spaniards who continue to listen to our music. That is the greatest reward for hard work, for all those hours on airplanes, the waitings, or the bitter moments that you face sometimes.