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When Alessandra Alarcón was named president of SBS’ entertainment division in 2019, she became, at 31 years old, the first woman to ever lead the Latin media company’s very lucrative live events division.
“We have a sweet little nickname at corporate for my division,” she says with a laugh. “They call us the ‘profit center.’”
“The profit center,” as Alarcón calls it, puts together SBS Entertainment’s many highly regarded and successful music events, including Los Angeles’ Calibash, the urban fest that takes place every January. In the three years since Alarcón took over, Calibash has gradually pared down the number of acts and emerged with a more star-studded lineup. “I thought the audience would be okay, because I would be okay with there being less acts but more quality sets. And I’m happy to report that I was right,” she says.
Garnering success was especially important for Alarcón given that she’s the granddaughter of SBS founder Pablo Raúl Alarcón and one of the daughters of SBS Chairman Raúl Alarcón.
In this episode of the Billboard podcast “Latin Hitmaker,” Alarcón, in her first in-depth interview since being appointed to her post, spoke about the importance of legacy, the new U.S. Latin market and balancing work and motherhood. Below you can find some highlights from the conversation.
On bringing a bilingual, bicultural perspective to a Spanish-language media company: “It gives me a very unique perspective on business and how business is done. There are a lot of deep relationships [in Latin] and there’s a certain way of thinking of how things have to get done, because that’s the way it was always done. And I think that being born in L.A., and then [living] in New York and raised in Miami […] and having that more bicultural view of business and how things get done has certainly helped me accomplish a lot of things and not getting lost in the noise, which sometimes happens.”
On her negotiating style: “I’m definitely more of a velvet hammer. This is a very male-dominated industry. Women are making strides, but it is a very male-dominated industry. There’s a time and a place to be tough, but I always like to come in, hearing someone out, making them feel heard and respected. But certainly there’s a hammer that has to come down every once in a while.”
On work advice from her dad: Raúl Alarcón always imparted on his daughter the importance of being respectful to others. “He said, ‘There’s nothing worse than having an enemy that works for you. The solution is going to come to you, but you’re not going to get it by berating someone or making them feel bad about themselves.’”
On balancing work with her six and four-year-old children: “This [is a] piece of advice I got from my aunt. She worked and she had two children and she said: ‘You can have it all, just not at the same time.’”
On her advice to those new in the business: “The obstacle is the way. There is a way through anything. There’s a solution to every problem. It might not be the exact thing that you want, and that’s where the humbling and the flexibility comes in. You know, you have to be limber and ready to adapt because if you don’t adapt, you die. You have to pivot.”
Listen to the full episode of Latin Hitmaker here:
There are a handful of achievements that many musicians dream of: obtaining a Platinum-certified record, entering the “Billions Club” on a streaming platform, topping the Billboard charts, and of course, winning a Grammy. For the Bad Bunnys, Karol Gs, and Ozunas of the world, those feats come in abundance, especially as música urbana continues to increasingly gain momentum worldwide.
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While the urbano greats continue to dominate with some of these achievements, Billboard below highlights a dozen lesser-known Latin Grammy nominees, beyond the best new artist category. Whether it’s Mireya and Roman Rojas competing for best regional song against musical monoliths like Christian Nodal, Christina Aguilera, Grupo Firme and Maluma, or giving indie artists more shine in categories not aired during the telecast — like flamenco newcomer Carmen Doorá, or tango revivalists Spinettango (who channel their love for Argentine rock legend Luis Alberto Spinetta) — we got you covered.
Here are 12 lesser-known artists you should know in the running for a Latin Grammy, in alphabetical order.
Afro-Andean Funk
Nominated for: The Sacred Leaf (Best Alternative Album)
Perú is celebrated for its vibrant Andean roots music, colorful indigenous art, and sacred medicinal rituals. Mix these elements with hints of psychedelia, and the result is Afro-Andean Funk’s debut, the Sacred Leaf. Comprised of singer Araceli Poma and producer/bassist Matt Geraphty, the Spanish- and Quechua-language duo embrace these traditional trademarks, all the while paying respect to millennia-old practices — like healing through coca leaves, shamanism and sacred water. The album is experimental and introspective, but above all, it’s a love letter to the ancient Andean culture.
Bala Desejo
Nominated for: Sim Sim Sim (Best Portuguese Language Contemporary Pop Album)
Composed of Julia Maestre, Dora Morelenbaum, Zé Ibarra and Lucas Nunes, Brazilian band Bala Desejo bring a carefree spirit and warmth to Sim Sim Sim. The Rio de Janeiro four-piece moved in together during quarantine to unite their artistic abilities and concoct this poptimistic delight. Combining jubilant choruses, groovy beachside ballads, and a dash of experimentation, their debut full-length album is a refreshing continuation of the feel-good and forward-thinking vibe of late-‘60s tropicalia.
Bruses
Nominated for: Monstruos (Best Pop/Rock Album) and “Qué voy a hacer conmigo???” (Best Pop/Rock Song)
Mixing goth rock, rawness and lyrical introspection, Bruses’ Monstruos intrigues. The Tijuanense singer-songwriter tackles delicate themes with grit against a propulsive, glimmering sound that combines contradictory elements that pair well together (think Nightmare Before Christmas, or BABYMETAL). “For me, these songs represent 13 of my monsters, which I also know are not only mine, they are everyone’s monsters — and we have somehow learned to survive with them,” said the artist in a statement.
C4 Trío
Nominated for: Back to 4 (Best Instrumental Album)
Back to 4 equals cuatro virtuosity, where C4 Trío’s nylon dexterity takes a front row seat. Consisting of cuatro masters Edward Ramírez, Héctor Molina, Jorge Glem, and bassist Rodner Padilla — who are all producers and songwriters — all navigate through jazzy experimentation, Caribbean and joropo rhythms. Ultimately, the quartet showcases the various facets of the native Venezuelan instrument at its peak.
CA7RIEL
Nominated for: El Disko (Best Alternative Album) and “Bad Bitch” (Best Alternative Song)
Formerly of cloud rap duo CA7RIEL & Paco Amoroso, the eccentric Buenos Aires artist has been wreaking havoc in the crossover Argentinian trap scene as a charming goofball with a sinister edge. Since he launched his solo career with two EPs in 2018, the quirky trap star has been building a loyal following. But his debut album El Disko sees him expanding his sonic palette in abstract ways filled with thrilling complexity. Funky grooves (“Bad B–ch”), old school hip-hop-meets-ominous distortions (“Polvo”), and glowing synths (“Chanel Maconha”) collide against lo-fi minimalism. It’s half an hour of unpredictable excitement.
Carmen Doorá
Nominated for: Orgánica (Best Flamenco Album)
The charm of Orgánica lies in its bewitching simplicity. Carmen Doorá’s dynamic rasp and Paco Hereida’s riveting guitar fretwork make a powerful pair. Together, they revitalize the essence of flamenco with utmost respect for the centuries-old tradition. With original material and beautiful renditions by Nina Simone, Spain’s nueva canción singer Joan Manuel Serrat, and Argentine tango singer Carlos Gardel, the Murcia-basad singer performs ten tracks live in the studio with gut-wrenching delivery — like agony and ecstasy.
Isabel Marie
Nominated for: Una ilusión (Best Tejano Album)
Isabel Marie is a promising new voice pushing tejano forward. Born in Chicago and based in Texas, the 19-year-old singer entered the music business as a child competing for La Voz Kids, and since 2014, she’s been busy releasing a steady stream of rancheras, tejano songs, and mariachi. With her 2022 Latin Grammy-nominated EP, Una Ilusión, the sultry-voiced singer adds co-producer to her title, and claims inspiration from Selena, Vicente Fernández, and Mariah Carey.
KURT
Nominated for: La Vida (Best Traditional Vocal Pop Album)
KURT knows how to craft a dazzling pop ballad. With his poetic prowess and guitar plucking skills, the Mexican musician is making a name as a compelling singer-songwriter to know. On his Latin Grammy-nominated album, La Vida (2021), his second studio album, the Sinaloa native, born Kurt Schmidt Ramos, displays the perfect mix of open-hearted wordplay and catchy melodies. “KURT’s songs are not dedicated to just anyone,” writes one of his twitter followers in Spanish.
Marilina Bertoldi
Nominated for: Mojigata (Best Rock Album)
Dissonant piano stabs, screeching guitar melodies, and drum syncopation collide throughout Marilina Bertoldi’s 2022 release Mojigata. Although her confidence and attitude pours out of her, her voice is as cutting as ever, shouting verses like “I spent my time sharping knives” (Spanish lyrics of “La Cena”). She enlists Chilean electro-pop artist Javiera Mena on the dazzling “Amuleto”, and distorts the mood with reved-up power chords on “Beso Beso Beso.” In 2019, Bertoldi became the first female rock artist to win the Premio Gardel de Oro in the history of the award ceremony.
Mireya & Roman Rojas
Nominated for: “Nunca te voy a olvidar” (Best Regional Song)
It begins with a riveting joropo rhythm in the hands of Jorge Glem’s cuatro (also of C4 Trío), and transitions into a fierce mariachi anthem. Led by a pulsing guitarrón and a dense vihuela, the song marks Mireya Ramos’ first nomination as a solo artist — she usually co-fronts and plays violin for the New York mariachi ensemble Flor de Toloache. Produced by Venezuelan alchemist Román Rojas, and co-written by Ramos and Rojas, this is Mexican tradition-meets-Venezuelan folk at its finest.
Nico Cotton
Nominated for: Producer of the Year; Ya no somos lo mismo by Elsa y Elmar (Album of the Year and Best Engineered Album)
Nico Cotton is one of the most sought-after beatmakers behind many booming tracks coming out of the Argentine trap scene. A movement that began to accelerate just a few years ago, it has seen acts like Cazzu, María Becerra, and Tiago PZK break into global prominence, partly thanks to the producer’s darkly compelling beats. Catapulted by dissonant trap and Latin drill configurations — like on Cazzu’s Trampa Nena (2022) — the three-time nominee has also lent his craft to Colombian pop singer-songwriter Elsa y Elmar and Conociendo Rusia’s indie-rock splendor, showcasing his impressive versatility. This year, he competes against Tainy, Eduardo Cabra, last year’s winner Edgar Barrera, and Julio Reyes Copello for producer of the year.
Spinettango
Nominated for: Spinettango (Best Tango Album)
Spinettango’s eponymous debut is a charming reimagining of Luis Alberto Spinetta’s songs with a deep affinity for tango. Arriving ten years after the passing of the late influential Argentine rocker, the band sets out to explore the tango side of El Flaco. For example, “Muchacha (Ojos de Papel)” and “Seguir Viviendo Sin Tu Amor” are captivating reworkings. The album also features legendary Argentines such as Litto Nebia and Daniel Melingo, as well as the Uruguayan murga troupe Falta y Resto. Spinettango is the creation of the Los Altiyeros collective, formed by Hernán “Don Camel” Sforzini together with Damián Torres Quintet and Santiago Muñiz.
Loud And Live, the Miami-based entertainment, marketing, media and live events company, has committed to making a $1 million dollar donation to the Latin Grammy Cultural Foundation, the company tells Billboard.
Marking the largest single donation in the foundation’s history, the money will be donated over the next five years to advance the foundation’s mission to further international awareness and appreciation of the contributions of Latin music and its makers to global culture via college scholarships, grants and educational programs, according to a press release.
The donation builds on Loud And Live’s culture of giving and philanthropic commitment.
“We’ve been fortunate to have great success in this industry, and for us, we feel it’s an obligation to give back to the community that we’re a part of,” said Loud And Live CEO Nelson Albareda. “Our history partnering with the Latin Recording Academy goes back to 2003, and we can’t think of a better partner to channel and make a meaningful impact with this donation, than the Latin Grammy Cultural Foundation.”
For nearly two decades, Loud And Live has supported the Latin Grammy Cultural Foundation by donating time, services and resources, including a private fundraising event that featured an intimate conversation with Cuban-American superstar Pitbull. Most recently, the foundation has benefited from various tours produced by Loud And Live, including those by Camilo and Carlos Vives, both of whom pledged to donate $1 from each ticket sale on their respective tours to the foundation.
“We are grateful for the generous donation of Loud And Live, a longtime partner of the Foundation,” added Becky Villaescusa, vp of strategic planning & corporate development at the Latin GRAMMY Cultural Foundation. “Together we have the ability to continue creating opportunities, have a positive impact on our communities, and preserve the legacy of Latin music and Latin music creators.”
Both Bizarrap and Quevedo can check off a new career milestone as “Bzrp Music Sessions, Vol. 52” hits No. 1 on Billboard’s Latin Airplay chart (dated Nov. 5) — the first No. 1 for both acts. The new achievement lands after their team-up led both, the Billboard Global 200 chart (six weeks) and the Global Excl. U.S. chart (four weeks) starting the July 30-dated rankings.
“Bzrp Music Sessions, Vol. 52” advances to the top slot in its seventh week on Latin Airplay thanks to an 8% gain, to 9 million, earned in the U.S. in the week ending Oct. 30, according to Luminate.
With the move, Bizarrap and Quevedo join four other acts who have notched their first champ through their first showing on the list in 2022. Here are this year’s new winners:
Artist, Title, Accompanied Artists, Peak DateVictor Cárdenas, “El Incomprendido,” with Farruko & DJ Adoni, Jan. 29DJ Adoni, El Incomprendido,” with Farruko & Victor Cárdenas, Jan. 29Lisa, “SG,” with DJ Snake, Ozuna & Megan Thee Stallion, April 2Megan Thee Stallion, “SG,” with DJ Snake, Ozuna & Lisa, April 2Bizarrap, “Bzrp Music Sessions, Vol. 52,” with QuevedoQuevedo, “Bzrp Music Sessions, Vol. 52,” with Bizarrap
The collaboration between Argentinian Bizarrap and the Spaniard Quevedo outs another pairing, Romeo Santos and Justin Timberlake’s “Sin Fin,” after its one-week command.
Meanwhile “Vol. 52” leads Latin Rhythm Airplay for a second week.
Elsewhere, “Vol. 52” steps 12-11 on the multi-metric Hot Latin Songs chart despite a decline in both streams and sales. The song dips 5 in U.S. streams with 4.1 million logged in the week ending Oct. 27. It also falls 7% in downloads sold in the same period.
For an artist who says music is his passion and the music of others is his hobby, it’s no surprise why Puerto Rican salsa icon Gilberto Santa Rosa released a conceptual album called Debut y Segunda Tanda. Both the Vol. 1 and a deluxe version were produced by his label B2B Music and distributed by Believe.
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The “Debut” part of its title, as he explains to Billboard, represents three of his original recordings, such as “Cartas Sobre La Mesaz” — while “Segunda Tanda” pays tribute to emblematic tracks recorded by his colleagues, such as Willie Chirino, Mucho Manolo and Carlos Vives’ “For Sale,” to name a few.
“The first song that was created was ‘Cartas Sobre La Mesa,’ and that’s the one that sparked the concept of my album,” he says of his first set in two years. “This album came at the perfect timing.”
Below, read 20 questions with El Caballero de la Salsa, where he opens up about his new album, being from Santurce, Puerto Rico, the movie that makes him cry and more.
1. This is your first album in two years — what’s the concept behind Debut y Segunda Tanda?
It’s simple. My new songs are the ones debuting and the second part is the covers. Half of the songs were originally recorded by me and the other half are songs that other artists lent me for the album.
2. On this album, you pay homage to your colleagues Willie Chirino, Mucho Manolo, Septeto Acarey, Grupo Bahia, Carlos Vives and Alejandro Sanz. Which of these covers was most challenging for you to interpret?
Truthfully, I identify with all of them, even if they’re not my songs. But I would have to say “Cartas Sobre La Mesa” because it was originally recorded as an urban song. I’ve done tropical and romantic covers, but it’s the first time I did something urban. Even though salsa and urban have a lot of things in common, starting with their origin, this song was the most peculiar for me.
3. Of your original tracks on the album, which is your personal favorite?
Without a doubt “En Defensa Propia.” It’s a very well-written song, very Santa Rosa. It’s a song made for expression and it gives the album a special touch.
4. Which song from Debut y Segunda Tanda are you most excited to perform live?
I like all of them! Since I select the songs for my shows, I would like to perform them all, because it’s an album I really want my fans to discover.
5. Why did you decide to release this album in two parts?
The album was divided because I went into the studio and got excited. I realized I had a lot of songs, and we decided to work on the first eight. Besides, time passes by very fast, and a lot of music gets lost in the way. That’s when we had the idea of releasing it in two parts.
6. What’s at the top of your professional bucket list?
I don’t really have a bucket list. Who knows if in a couple of years I’ll focus on that list? But for the time being, I don’t have anything.
7. Who made you realize you could be an artist full-time?
I was six years old. There was a teacher in my school who unfortunately passed away very young, her name was Yenny Diaz. She was a science teacher, but she also led the music classes. She taught us to play the guitar. She encouraged me and taught me a lot. I remember her with great affection. She was the only person, of all the people who gave me a lending hand, who did not see me develop my career.
8. Which would you say is the most emblematic song of your career?
“Conciencia” and “Perdóname.” They are two songs that I have definitely had to sing in all the places since I recorded them.
9. What was the first concert you ever saw?
I started singing very young, so I had access to see almost all the artists for free. But, the first concert I went to which my uncle paid for the ticket was Las Estrellas de Fania — and the first concert that I paid for, where I worked and saved, was to see a great Cuban singer named Roberto Ledesma, a spectacular romantic singer.
10. What artist, dead or alive, would you like to see in concert?
Well, it’s going to surprise you, because I’ve seen almost every artist. But I would like to see John Legend, Alicia Keys, or Justin Timberlake, if possible.
11. How did being from Santurce, Puerto Rico shape your art?
Totally. A large number of musicians and singers who excelled in salsa music came from Santurce. At one time, the heart of entertainment was there including radio and television stations. The atmosphere in general is a very happy sector with a lot of music. I always remember my grandmother’s house, when you went out to the balcony and there was music everywhere, and you were nourished by all that. Being from there helped me with my training, of course.
12. What was the last song you listened to?
When I prepare for my concerts, I like to listen to music by other artists. Last night I was listening to a song called “Adolorido” by a Cuban singer named Tito Gomez who has already passed away.
13. What song or movie always makes you cry?
There is a movie that has it all! It has tears, it has suspense, and even quite a lot of violence but very well used. The first Godfather movie, I’ve seen it like 900 times. I always find something that I didn’t see the previous time. That movie talks about family, and loyalty, it goes beyond being a mobster movie. There are many interesting and deep messages.
14. Do you recall your first job ever?
I’ve always worked in music. I thank music for sustaining me all my life. But, the very first job I had was delivering newspapers for two weeks. The other time, I was a model for a car show. I had to drive one, but I’m usually not a good driver, so it didn’t go very well for me. Those were the last times I worked on something other than music.
15. Besides music, what’s another passion of yours?
I can be a bit boring because I’m passionate about music and nothing else. My work is music and my hobby is the music of others. In the last few years, however, I wasn’t much into going to the studio. For me, the recordings were very tedious, but about five years ago, I began getting involved and visiting the studio every once in a while to record things. That’s why I have many songs for this album.
16. What’s your all-time favorite vacation spot?
Las Vegas. I love going there for the entertainment lifestyle. It’s a city where there is always something new going on. I’ve seen almost every artist in the residences. I have a good time even if it’s on a bench drinking coffee. It is an interesting desert.
17. Describe 2022 in one word?
Spectacular!
18. With a more-than-40-year career, what’s one piece of advice you would give to younger salsa artists?
A genuine vocation and the stamina to move forward are important. It is not an easy road — life, in general — is not, but today, there is a contrast between all the advances that exist. And that seems to be an advantage, but sometimes it is not, because the competition is even stronger. It is more difficult for people to focus on an artist. So, you have to have the stamina and character to be able to fulfill a dream. There is always a door that opens, there will always be an opportunity, and there is always a person who helps you — but we cannot give up on the first failure or the first “no.” It is hard to start a project and defend it.
19. What’s the one word you always use?
Everyone knows me because I use the phrase “Caminalo!” At first, it started out as a strictly rhythmic phrase, but today for me it’s almost a philosophy. It suggests going forward, not stopping, the future, and movement.
20. What do you hope to accomplish or experience in 2023?
We are going to start promoting both volumes of Debut y Segunda Tanda, and in 2023, we will begin planning the new tour that we hope will take us to Europe again.
Shakira and Ozuna’s “Monotonía” rallies 25-3 on Billboard’ Hot Latin Songs chart (dated Nov. 5) after its first full tracking week. The track was released Oct. 19 via Sony Music Latin, and debuted in the top 30 a week ago with five days of airplay (during the Oct. 17-23 tracking week).
“Monotonía” pushes to No. 3 with gains in all metrics. It earned 9.4 million U.S. streams, up 205%, in the week ending Oct. 27, according to Luminate. That yields a No. 3 debut on Latin Streaming Songs. Sales, too, assist its position increase, with 2,000 downloads sold — up 38% — during the same period. (The song holds strong at No. 1 on Latin Digital Song Sales.)
Meanwhile, on the radio front, “Monotonía” generated 6 million in audience impressions, up 106%, earned in the week ending Oct. 30, which prompts a 36-13 surge on the all-genre Latin Airplay. On Tropical Airplay, the song lifts 8-4.
Further, “Monotonía” breaks up a Bad Bunny monopoly of the top three on Hot Latin Songs — the entire top three has been occupied by nothing but Benito’s songs since the May 21-dated chart, where he has ruled with songs from his Un Verano Sin Ti album.
“Monotonía’s” move earns Shakira her 32nd top 10. She continues to hold the record for the most top 10s among women since the tally launched in 1986. Ozuna adds a 28th top 10 to his career count.
Elsewhere, “Monotonía” also enters the all-genre Billboard Hot 100 chart at No. 65. It becomes Shakira’s highest debut since “Empire’s” No. 58 arrival in 2014.
On Global territory, Shakira secures her third top 20 title on the Billboard Global 200 ranking as “Monotonía” debuts at No. 18. Ozuna, meanwhile, captures his third top 20 on the Billboard Global Excl. U.S. survey, as the song soars 174-4 in its second week.
Music is an essential part of the Día de los Muertos (Day of the Dead) celebration. For this reason, many Latin artists have lent their voice to showcase the traditional melodies of this Mexican festival, which mixes indigenous roots with Christian traditions from the Spanish colonial era, but also to bring to the forefront more recent songs such as those included in the 2017 Disney-Pixar movie soundtrack, Coco.
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According to this tradition, every Nov. 1 and 2, the dead and alive are reunited when they return from Mictlan, as the ancient Mexicans called the Underworld.
In honor of Day of the Dead, Billboard compiled five heartfelt songs. Listen to them below:
“La Llorona,” Various Artists
“La Llorona” is one of the best known tracks in the Mexican popular songbook and has its origin in the region of the Isthmus of Tehuantepec, Oaxaca. The most famous version is performed by the late singer of Costa Rican origin Chavela Vargas. Other popular interpreters include Mexican artists Lila Downs, Aída Cuevas, and Natalia Lafourcade.
In recent years, the timeless song has positioned itself among the young generations thanks to Ángela Aguilar, who recently performed it before thousands of people in the Zócalo of Mexico City during the closing of the mega-parade dedicated to the Day of the Dead.
This year, there is also a new version performed by another young regional Mexican artist, Carolina Ross, who accompanies her singing with a TikTok where she is transformed into a Catrina skull.
“La Nostalgia,” Julieta Venegas
Mexican-American singer-songwriter Julieta Venegas pays tribute to the Mexican tradition with “La Nostalgia,” which premiered Sunday (Oct. 30) exclusively on her Facebook page. The song is part of her seventh album, Tu Historia, set to be released on Nov. 10. In this song, Venegas captures her memories of Mexico and is strongly inspired by the Day of the Dead.
“Las Flored del Camposanto,” Lupita Infante
The Mexican-American singer (granddaughter of the emblematic Mexican actor and singer Pedro Infante), released a majestic mariachi version of this song written by Luis Rosado Vega and performed in 1986 by the late Mexican singer-songwriter and musician Óscar Chávez. Infante recorded the piece to pay homage to those who are no longer with us and to the place where they rest, the cemeteries.
“Flores y Tierra,” Danny Felix
Phoenix-based singer Danny Felix, one of the pioneers of the corrido tumbao genre, also released new music in honor of Day of the Dead. On Nov. 1, he shared a video on his YouTube account announcing “Flores y Tierra,” which he states is “dedicated to loved ones who are no longer with us.” An accompanying music video shows Felix performing the song at a cemetery during the day.
“Recuérdame,” Natalia Lafourcade, Carlos Rivera
“Recuérdame” is the main theme song from the Disney Pixar film, Coco. Many versions of this heartfelt track exist, including one by Carlos Rivera, who recorded the version in Spanish for Latin America, and “Remember Me” in English recorded by Miguel Natalia Lafourcade. The song was also performed by renowned Latin actor Gael García Bernal during the 2018 Oscars ceremony, where it took the award for the best original song.
After nearly a five-year break, Yuridia returns to a Billboard albums chart as her latest full-length, Pa’ Luego Es Tarde, debuts at No. 7 on the Regional Mexican Albums chart (dated Nov. 5). It’s her first entry and first visit to the upper region there.
“The truth is I did not expect to receive this news,” Yuridia tells Billboard. “I am very excited to be able to enter the top 10 on a Billboard chart, and obviously I am going to celebrate the news by toasting with a big cold ‘caguama’ (loggerhead), hahaha.”
Pa’ Luego Es Tarde was released Oct. 20 via Sony Music Latin. The Eden Muñoz-produced effort is the first taste of the Hermosillo-born artist within the regional Mexican genre. The 14-track set starts with 2,000 equivalent album units earned in the U.S. in the week ending Oct. 27, according to Luminate. Most of the album’s opening sum derives from streaming equivalent album units. That equates to 3.8 million on-demand official U.S. streams generated for the songs on the album.
“Eden and I clicked from the get-go,” Yuridia adds. “We drank beer, played and sung songs through the night; tunes that are not on the album but that are part of the soundtrack of our lives and that is how we became the best of friends. It’s something I will never forget.”
Pa’ Luego, Yuridia’s seventh studio album, marks her comeback to a Billboard albums chart; Primera Fila debuted and peaked at No. 12 on Latin Pop Albums in 2017. Pa’ Luego was preceded by six other sets, all of which have secured an entry on Top Latin Albums and Latin Pop Albums. On the latter, the six albums reached top 10, dating back to La Voz de Un Ángel, a No. 8 high in 2006.
Elsewhere, Pa’ Luego debuts on Top Latin Albums at No. 39, becoming Yuridia’s return since 6 debuted and peaked at No. 7 in 2015.
Two Pa’ Luego album cuts preceded the set on Regional Mexican Airplay: “Y Tú, ¿Qué Ganas?” peaked at No. 32in July, while ¿Y Qué Tal Si Funciona?,” with Banda MS, peaked at No. 11 on the Oct. 29-dated ranking.
About the songs Yuridia adds: “I really like all of them, but right now I am very excited to be able to sing live on tour for the first time a song I composed with Eden Muñoz called ‘Brujería’ because we are going to dance a lot to it.”
Yuridia’s Pa’ Luego Es Tarde U.S. Tour kicks off this Friday, Nov. 4 in Laredo, Texas. The 24-date (thus far) tour will conclude at Rancho Mirage in California on Feb. 25.
The Latin Recording Academy unveiled a new wave of performers Tuesday (Nov. 1) set to take center stage at the 2022 Latin Grammy Awards. They include Christina Aguilera, Camilo, Christian Nodal, Elvis Costello, Jorge Drexler, John Legend, and Mariachi Sol de México de José Hernández.
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At the 23rd annual ceremony, Aguilera is a seven-time nominee, including album of the year and record of the year; Camilo holds six nominations including record of the year and song of the year; Drexler has eight nominations including album of the year and record of the year; and Nodal is nominated for best ranchero/mariachi album and best regional song.
The newly announced artists set to take the stage join previously announced performers such as Ángela Aguilar, Rauw Alejandro, Marc Anthony, Banda Los Recoditos, Chiquis, Nicky Jam, Jesse & Joy, Carin León, Sin Bandera, Sebastián Yatra, and this year’s Latin Recording Academy Person of the Year, Marco Antonio Solís.
The Latin Grammy Awards — which “promise to honor the legacy, celebrate the present and embrace the future of Latin music, with deliberate consciousness, paying-it-forward to the next generations of music creators,” according to a press statement — will be held Nov. 17 at the Michelob Ultra Arena at the Mandalay Bay Resort and Casino in Las Vegas, and will air live on Univision beginning at 8 p.m. ET.
The Latin Grammy Premiere, a non-televised ceremony in which the winners in most categories are announced, will take place before the broadcast. Additional details about this ceremony will be announced soon.
Yahritza Y Su Esencia has signed a label deal with Columbia Records, Billboard can confirm. The deal is a partnership between Columbia and the trio’s regional Mexican indie label Lumbre Music, who first signed them in February.
Composed of 15-year-old singer-songwriter Yahritza Martinez and her brothers Armando (guitar) and Jairo (bass), the sierreño band is currently managed by their older sister, Adriana Martinez. In April, Yahritza y Su Esencia made chart history with their heartbreak track “Soy El Unico” as the youngest Latin performer to enter the Billboard Hot 100 debuting at No. 20. Since then, major Latin and mainstream record labels had expressed interest in signing the regional Mexican act.
“Lumbre is really happy to partner with Columbia Records for Yaritza Y Su Esencia. It speaks volumes for an American-Mexican indie label like us to work hand in hand with a major label,” says Ramon Ruiz, CEO of Lumbre Music. “We have been working hard to develop and really get the kids’ music out to the masses and we have done some great work with them, including their first diamond certification, but are so excited to take them to the next level. We are all so passionate about this project it was important that whoever came into the project felt that same passion, and both the artists and Lumbre felt that with Columbia from the get-go. It felt like the right choice. Great things are coming for Yahritza Y Su Esencia!”
Yahritza Y Su Esencia, up for best new artist at the 2022 Latin Grammys, broke out on TikTok earlier this year where they uploaded covers and quickly created a zealous fan base. In March, after being discovered by Lumbre Music on the platform’s For You Page, they released their first single, “Soy El Único,” which peaked at No. 1 on Billboard’s Hot Latin Songs chart.
Since, they scored their first No. 1 on the Regional Mexican Albums chart with their debut album, Obsessed, released in May. Elsewhere, the five-track set debuted at No. 7 on Top Latin Albums, and it also entered the all-genre Billboard 200 at No. 173.
Yahritza Y Su Esencia added in a statement: “We are so excited to be working now with not only Lumbre but also a big label like Columbia! For us it’s just another step forward in accomplishing our dreams. We still have to go to school, but we are working hard on recording new music for our fans that we love so much and who helped get us to where we are today. We are very grateful to our entire team for all their support, and we can’t wait to see what the future holds.”