Latin
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Karol G tallies a second week at No. 1 spot on the Billboard Argentina Hot 100 chart as “Si Antes Te Hubiera Conocido” holds atop the ranking (dated Sept. 28). She is just the third woman in a solo role to rule the chart in 2024, after Tini and Nicki Nicole, whose “Pa” and “Ojos […]
Omar Courtz’s journey is a resonant tale of a superfan turned rising star, whose deep admiration for the icons of Latin music inspired his career — from back when he was just a fervent listener right up to performing on the legendary Coliseo de Puerto Rico (a.k.a. El Choli) alongside those very idols. His debut album, Primera Musa, which dropped on September 20 via Mr. 305 Records and Rimas Entertainment, is both a nod to his inspirations and a showcase of his exploratory urbano sounds.
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The Puerto Rican artist arrives at the New York Billboard office a few days after releasing his LP, sporting Tims, a beige baseball hat with pink accents, and a gigantic diamond-encrusted chain featuring a huge open heart that revealed bone ribs. It had engraved the names of his grandmothers on each side, and a Bible verse in the back: “Keep thy heart with all diligence; For out of it are the issues of life.” He was thrilled to discuss the essence of Primera Musa, a title that symbolizes the multitude of influences that have propelled his artistic journey.
“Primera Musa can be many things,” he explains. “I leave it to the people to interpret it as they wish. It can be something you’ve lived, an experience, or it could be a woman.”
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The album is a personal odyssey that weaves his past, his family’s influence, and an homage to the pivotal women in his life. Its extraordinary diversity spans trap, reggaetón, R&B, Jersey club and house — each track showcasing Omar’s skill in melding diverse styles to forge a colorful listen. From the potent “Intro” with Kendo Kaponi to the introspective finale, “Luces de Colores,” his debut is a masterclass in both musical versatility and deep connection to his fans and foundation.
The rapper/singer detailed the special allure found in debut albums, which often capture the pure essence of an artist’s sound. “What happens is that for me there is a magic in artists’ first albums,” he expresses, citing Myke Towers’ El Final del Principio (2016) and Bad Bunny’s X100Pre (2018) as examples. “There’s something special that fans always say: ‘I want to hear that artist, their first delivery, their first muse.’”
Raised in Carolina, a famously tough neighborhood of Puerto Rico that also produced figures like Almighty, Anuel AA, and Rauw Alejandro, Omar reflected on the extraordinary local talent. They emerged “in my very street, literally,” he says. “There really must be something there, something duro, a kind of magic, because superstars come out of it.”
The spirit of Omar’s music is intrinsically linked to his experiences as a fan who lived through the anticipation and thrill of music releases. He highlights the pivotal role of SoundCloud in his early career, a platform that immensely facilitated the rise of new artists, particularly in the then-emerging Latin trap genre. “SoundCloud gave us the opportunity for ease, for speed, for you to create a song today and send it out to the world,” he recounts, also reminiscing about the early days when artists like Alvarito Díaz and Myke Towers would release new music every Thursday, cultivating a fervent community of listeners eager for fresh sounds.
“One of my biggest inspirations is Myke Towers,” Omar admits with a look of reverence. “His musical consistency, his delivery, his concepts are inspiring. I think he’s a lyrical genius. He just takes a notebook and starts throwing verses as if it were a string of them.”
Omar’s journey is saturated with humble beginnings and diverse experiences: “I’ve done everything from selling clothes in my uncle’s shop to washing cars, mowing lawns, and operating a pressure washer.” Amidst these hard-knock jobs, he found his true calling, starting to publish his own tracks on streaming platforms in the mid-2010s — and during the 2020 pandemic, he began to release a string of material, putting himself on the map with his Latin trap and reggaetón tracks armed with his distinctive flow.
By 2019, a significant professional relationship was forged when he met his current manager, Orlando Dávila of OD Entertainment. They bonded over a shared taste in music and artistic vision. “Omar Courtz was an artist who caught my attention from our first conversation without even knowing him […] I could see his intentions and the vision he had for his musical career right from the start, partly because we share similar musical tastes, including a fondness for R&B,” Dávila tells Billboard Español. “Omar is deeply committed to his craft, very demanding of himself, and a perfectionist.”
Omar Courtz’s hard work and artistic integrity paid off when he landed a feature on Tainy’s 2023 hit “Pasiempre,” a track that saw him holding his own among Latin trap titans Myke Towers, Arcánge, Jhayco and Bad Bunny, also starring Venezuelan producer Arca. This song not only put him on the charts, but also symbolized his arrival in the music industry’s spotlight, peaking at No. 28 on the Hot Latin Songs chart and marking his entry on the Billboard Global 200. His collaboration with Daddy Yankee, “Beachy,” also affirmed his status, doing exceptionally well on the Latin Airplay (No. 27) and Latin Rhythm Airplay charts (No. 7).
What is particularly striking about Omar’s path is how he melds his deep-seated fan experiences into his music’s DNA, striving to incite the same fervor among his listeners. He operates with a fan’s heart, tailoring his creations to meet their expectations. “I put myself in a fan’s position,” he explains, “and I ask myself, ‘If I were a fan of my music, what artist would I want to hear these songs with?’ This is how I thought when I enjoyed other artists’ albums, wishing for certain collaborations.” This creative empathy informs his choices in the studio and guides his collaborative strategies.
This synergy between artist and fan is key in his collaborations, such as with Jhayco and Arcángel during Tainy’s concert, where Omar — once a fan in the crowd — stood alongside his musical heroes. Recalling the release of Bad Bunny’s first album, he remembers how everyone gathered, eager for the first play: “We were all in the court at midnight, waiting for a sound system to come out so the whole world could listen. This communal excitement is what he seeks to replicate with his own releases, evident when he saw Primera Musa being celebrated on social media in the same way.
“I couldn’t be more proud of Omar Courtz and his incredible achievements. His debut album topping multiple global charts is a testament to his raw talent, hard work, and the unique sound he’s introducing to the industry,” Robert Fernandez, CEO of Mr. 305 Records, tells Billboard Español. “Omar’s music is resonating with fans worldwide, and this is just the beginning of his journey to greatness.”
Name: Joshua Omar Medina Cortes
Age: 26
Recommended Song: “I wanted to bring a song that refreshes every 30 seconds rhythmically. Since there is so much music [out there], people listen to the intro, chorus and verse and that’s it — they listen to very little of the theme. I wanted to renew the rhythm often bring another new color. I got together with Karbeats, my producer, and we made “Goddess.”
Biggest Accomplishment: “I’m excited that I’m reaching other countries. Puerto Rico was already very important to me because it’s my island, but to see the support from other countries, that excites me as I was excited when they supported me in Puerto Rico as well.”
What’s Next: Omar Courtz will be a panelist at Billboard Latin Music Week alongside Saiko and KBaez, presented by Cheetos.
Feid has officially signed with Creative Artists Agency (CAA), which will be representing the multi-platinum artist in all areas globally, Billboard can exclusively announce today (Sept. 26).
With CAA’s representation—across music, film, television, endorsements, sports, business development and more—the Colombian artist is “poised to further expand his international reach and will work closely with CAA on future endeavors, including his highly anticipated world tour,” according to a press statement.
The artist born Salomón Villada Hoyos is known for his No. 1 hits on the Billboard Latin Airplay chart such as “Perro Negro” with Bad Bunny, “Luna” with Atl Jacob, “Yandel 150” with Yandel and “Hey Mor” with Ozuna. He’s also one of this year’s top finalists at the 2024 Billboard Latin Music Awards boasting 11 entries, including Global 200 Latin artist of the year and Latin rhythm album of the year for Ferxxocalipsis, in addition to the five he achieved for “Perro Negro” with Bad Bunny.
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Feid is also a four-time Latin Grammy nominee, where he’s up for best reggaeton performance (“Perro Negro”); best urban music album (Ferxxocalipsis); and best urban song for two tracks, “El Cielo” with Sky Rompiendo and Myke Towers and “Luna.”
Additionally, his Ferxxocalipsis World Tour that sold out dates in New York, Los Angeles, Miami and more, kicked off the Latin American leg of stadium shows with two sold-out concerts in Mexico City last month. The tour will continue through December, wrapping with three consecutive sold-out stadium gigs in his hometown of Medellín, Colombia.
Feid is managed by Luis Villamizar.
Both Feid and Villamizar are set for the 2024 Billboard Latin Music Week returning to Miami Beach on Oct. 14-18, with confirmed superstars including J Balvin, Gloria Estefan, Alejandro Sanz and Peso Pluma, among many others. For tickets and more details, visit Billboardlatinmusicweek.com.
Julión Álvarez y Su Norteño Banda are back in the top 10 on Billboard’s Hot Latin Songs chart with “Rey Sin Reina,” which soars 26-8 on the Sept. 28-dated list. The group last rose to the upper region with “El Amor de Su Vida” in 2015.
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“Rey Sin Reina” lands at No. 8 on Hot Latin Songs thanks largely to its streaming activity during the tracking week ending Sept. 19. According to Luminate, the song earned 4.1 million official U.S. streams, a gain of 57%, from the week prior. Hot Latin Songs is a multimetric list that blends streams, digital sales and radio activity to rank the week’s most popular Latin songs in the U.S.
The streaming sum also yields a No. 10 debut on Latin Streaming Songs, the group’s first top 10 there among its five entries. Prior, the Mexicans reached their highest ranking in 2015, through the No. 14-peaking “El Amor De Su Vida.”
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As “Rey Sin Reina” leaps 18 slots in its second week, it becomes the second-biggest jump to the top 10 on Hot Latin Songs in 2024. Karol G’s “Contigo” with Tiesto, released Feb. 15, debuted at No. 48 with only one day of activity, the last day of the previous tracking week, and rallied to No. 3 in March, after its first full tracking week. Only one other song has climbed at least 15 positions into the top 10 or more this year: Tito Double P’s “El Lokeron” rallied 27-7 last week (chart dated Sept. 21).
On a global scale, “Rey Sin Reina” debuts at No. 112 on the Billboard Global 200 and at No. 93 on Global Excl. U.S., the group’s highest debuts on both charts.
“Rey Sin Reina,” composed by Omar Cárdenas and Tláloc Noriega, is one of four tracks on Julión Álvarez y Su Norteño Banda’s latest EP Atento Aviso… Rey Sin Reyna, which rises 22-20, a new peak, on Regional Mexican Albums on the current ranking. The album’s animated artwork was designed by Álvarez’s daughters, María Isabel and María Julia.
Billboard Latin Music Week is returning to Miami Beach on Oct. 14-18, with confirmed superstars including Gloria Estefan, Alejandro Sanz and Peso Pluma, among many others. For tickets and more details, visit Billboardlatinmusicweek.com.
Amid election season, Bad Bunny is making sure that the more than three million residents living in Puerto Rico know his political stance.
In a Sept. 24 tweet, the Puerto Rican artist shared a set of photos of billboards across San Juan that read: “To vote for PNP is to vote for corruption,” “Who votes for PNP doesn’t love Puerto Rico” and “Voting for PNP is voting for LUMA.” The latter of the three is a private energy company responsible for power distribution and transmission on the island.
“Announcements paid by Benito Antonio Martínez Ocasio,” he captioned the post. “A Puerto Rican who does love Puerto Rico.”
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Billboard has reached out to Bad Bunny’s rep for comment.
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The billboards are in protest of the Partido Nuevo Progresista (New Progressive Party), one of the major political parties in Puerto Rico that traces back to 1967 and currently holds both the seat of the governor and of the resident commissioner.
The powerful PSAs also come on the heels of Bad Bunny’s latest song, “Una Velita,” in which he reflects on the devastating aftermath of the Category 5 Hurricane Maria that occurred in 2017. “There were five thousand that they let die, and we will never forget that,” he chants in the track.
“Obviously the light will go out, God knows if it’ll come back,” he continues over an intense folkloric beat. “The bridge they took so long to build, the growing river will break. A few songs on the phone for when the reception goes out. The sign was sent and they don’t want to see it, it’s up to the Boricua to want to wake up … Remember that we’re all from here, the people will have to save its pueblo.”
Always passionate and vocal about the social issues that affect the Puerto Rican community, in 2022, Benito also released a 23-minute-long documentary for “El Apagón” in which he addresses blackouts and gentrification, among other topics, taking aim at the local government for its inaction.
Music industry veteran Rebeca León, who has helped guide Latin music and culture into the mainstream and up the charts, is the recipient of the Latin Power Players’ Choice Award, which is an accolade chosen by Billboard Pro subscribers.
As founder and CEO of artist management company Lionfish Entertainment and film/TV studio Lionfish Studios, León helms a roster that includes Brazilian superstar Anitta, Venezuelan singer-songwriter Danny Ocean, rising Spanish act st. Pedro and Venezuelan reggaetón LGBTQ+ artist La Cruz. The Miami-based León also oversaw the rise of global stars like Colombia’s J Balvin and Juanes, as well as Spain’s Rosalía, whom León developed from an unknown flamenco artist.
León says working with artists she believes in is an honor and a privilege that “gives me hope for the future of music.” To that end, León and Pharrell Williams have partnered on the creation of a bicultural U.S. Latin boy band that’s set to debut this fall. Meanwhile, Lionfish Studios focuses on work that draws on León’s Cuban heritage with projects including the 2022 Father of the Bride remake starring Gloria Estefan and Andy Garcia, which was produced alongside Jeremy Kleiner of Plan B. Projects in development include one with Keshet Studios and Apple.
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Lionfish’s success follows León’s 25-plus-year career, which has included over a decade in the touring business as senior vp for Goldenvoice and positions at labels including Sony Music and EMI.
While León, who lives in Miami Beach with her three dogs, calls herself “naturally shy and reserved,” in the case of this year’s Latin Power Players’ Choice Award, she feels a responsibility to step into the spotlight. “This moment is bigger than me,” she says. “We’re in a time where women’s rights are being challenged, and there are those who want to take us backward. That is simply not acceptable.” She expresses gratitude for the recognition and for a platform “to say, without a doubt, we are never going back. This is for my nieces and all the young girls out there: Never let anyone tell you what you can or cannot do — whether with your body or your mind.”
Being voted into this position by the music industry community, she adds, “means the world to me, to have the respect of my peers, which include so many people that I admire so much.”
This story appears in the Sept. 28, 2024, issue of Billboard.
The first time George Prajin took Peso Pluma shopping for a music video, they didn’t see eye to eye. “I wanted him to go John Varvatos rock’n’roll, and he wanted to go to Burberry,” Prajin recalls. Considering that the video would also feature regional Mexican artist Luis R Conriquez for their 2022 collaboration, “Siempre Pendientes,” “I was like, ‘I don’t know about that,’ ” he adds. But, as Prajin proudly admits of the all-plaid ensemble (complete with bucket hat) that Peso insisted upon (and which perfectly contrasted with the gritty desert setting), “He was right — and after that I learned not to go against him.”
That implicit trust now goes both ways — and Prajin, 52, has earned it. As the son of Antonino Z. Prajin — who owned Prajin One Stop, a music retailer and distributor that sold to over 3,000 stores across the United States and Mexico and had more than 20 warehouses throughout Southern California in its 1980s and ’90s heyday — the music business has always been in his blood. “Some people do what they love. Some people are born into a trade. I got the best of both worlds,” he says, speaking in a green room at the Honda Center in Anaheim, Calif., hours before a recent Peso Pluma show there.
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After graduating from University of California, Los Angeles in the mid-’90s, Prajin founded the independent label Z Records, which scored early success with Jessie Morales (known as El Original de la Sierra), an Angeleno who loved West Coast rap and Mexican music and who ruled Billboard’s Top Latin Albums chart with his Homenaje a Chalino Sánchez in 2001. But when physical record sales plummeted, Prajin One Stop shuttered in the late 2000s — and so did Z Records. “It was hard to make money with music during that period of time,” he recalls. “And so, I got disillusioned. I got a little depressed — but I tried to stay very close to music.”
Prajin went on to earn a degree from Southwestern University School of Law, becoming a sports and entertainment attorney and establishing his own practice while producing music on the side — and retaining ownership of the Z Records catalog. But in 2008, thanks to his love of MMA (and friendship with fighter Tito Ortiz), he entered an entirely new world: the Ultimate Fighting Championship. Prajin spent the next decade-plus focused on representing UFC’s top talent as an agent and a manager, earning a reputation as a master negotiator. “It’s educating yourself on the deal and being two steps ahead — and knowing what you’re asking for is valid,” he says.
By 2019, Prajin — who had continued to do music business work even as he dove into the UFC world — and his practice were negotiating “massive deals” for record labels. At the same time, he noticed a catalog-driven uptick in Z Records’ revenue and, on the advice of his law partner, Anthony Lopez, reentered the industry, launching Prajin Parlay in 2021. “I was looking for something that had nothing to do with any of the clients I was representing, and I started going back into the ’90s,” he says. And so, with the new Prajin Parlay, he soon helped launch Época Pesada (a group of corrido giants who were then in their 40s) and revive the career of Lupillo Rivera.
Soon, Prajin was again focusing on music full time, and his first major signing (in partnership with Grand Records) was Mexican singer-songwriter (and future star) Junior H. But it was an early management signee who would define his storied career — and help him emerge as one of Latin music’s most powerful and admired executives.
When Prajin first met Peso Pluma (born Hassan Emilio Kabande Laija) in 2019, thanks to an introduction from his former client Morales, the then-unknown artist was walking around Prajin Parlay Studioz in Anaheim playing guitar. “I was really intrigued by him,” Prajin recalls with a far-off look in his eyes. Morales was trying to help the young artist find management to no avail; given that Prajin himself had just reentered the industry, he, too, initially passed.
Morales’ father, Herminio Morales, signed the future superstar, but soon became too ill to work. And so, by 2022, the offer was back on the table — and this time, Prajin said yes. (Herminio, who is healthy today, remains involved in Peso’s career.) “I [waited until I] felt like I could really put up my sleeves and do what I do best,” Prajin explains.
George Prajin photographed backstage at Intuit Dome in Inglewood, Calif., on Aug. 20, 2024.
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Apparently, that was developing a global groundbreaker who has repeatedly made Billboard chart history while helping to elevate música mexicana from “the genre that has always taken a back seat,” as Prajin puts it, to the forefront of the mainstream.
“I’m not going to take all the credit because [label] Rancho Humilde, Natanael Cano, Junior H and all these other artists brought something that first, second and third generations of Mexicans born in the United States were lacking,” Prajin says. “But Hassan took that road and connected it to the international highway.”
Prajin now admits that when he first met Peso he was a bit confused. “I couldn’t tell what type of artist he was,” he says. “I thought he was a rapper, or was he a rocker? [The last] thing I thought of was a corridos singer. When we first started talking, he told me he wanted to do reggaetón. He wanted to do everything.” (Prajin even had him record a Pink Floyd song “to see if he trusted me.”)
“I said, ‘I love that, that’s what I want, but I’ve been doing this for 20 years, and it’s tough,’ ” Prajin continues, noting how in the past he’d only had fleeting success with rappers recording over banda beats. But, critically, Peso didn’t want to blend anything; he wanted to own every clearly marked lane he explored.
Together, they made a plan “to focus on his core audience, regional Mexican, and really build that. And at the same time, reach out and get a feel of these other genres and take it from there.” And they’ve done just that. In 2022, Peso made his Hot Latin Songs debut with “El Belicón,” with Raúl Vega. The following year, he scored the most entries on the chart of any regional Mexican act — and his team-up with Eslabon Armado, “Ella Baila Sola,” became the first regional Mexican song to enter the top five on the Billboard Hot 100 (where Peso has now charted 31 songs).
Peso’s third album, 2023’s Génesis, scored the highest placement on the Billboard 200 for a música mexicana album ever, debuting at No. 3. This year’s Éxodo double album also debuted in the top five, and for its second half, Peso enlisted several nonregional heavy hitters including Cardi B, Quavo, Anitta and DJ Snake. In August, Peso scored one of his biggest features yet, replacing Bad Bunny on Ye and Ty Dolla $ign’s “Drunk,” off the new deluxe version of Vultures 2. (“He couldn’t believe it,” Prajin says, “because they’re so mysterious. They don’t even tell us until the song is released.”) Lately, Peso has been walking onstage to Black Sabbath; Prajin thinks he could do a rock album one day.
Their relationship has now expanded beyond just music to include Double P, Peso’s imprint through Prajin Parlay Records that launched in April 2023. (Prajin is the imprint’s co-founder and COO.) By December, Double P had signed a distribution deal with The Orchard, and in August, the label’s publishing division signed a global administration deal with Downtown.
Today, Double P’s roster boasts a tight-knit crew that shares talent — and Peso’s friendship. As CEO and head of A&R, Peso has strategically signed Mexican music acts Vega, Jasiel Nuñez, Tito Double P (Peso’s cousin and one of his co-writers) and Los Dareyes de la Sierra, among others.
“We’re building a team and going together, and that’s what I love about Hassan,” Prajin says. “Jasiel Nuñez was a friend. They made a deal — whoever makes it first is going to pull the other guy with him, and [Hassan] did that. He pulled him with him on tour. We’ve signed him. That’s their philosophy. We’re a real community.”
Plus, as Prajin says, having Peso as a partner helps him stay on top of his management game, too. “Because you really want to give the attention to Hassan, but then you don’t want to sign other artists and not give them the attention that they deserve… He’s always like, ‘Hey, make sure that everybody’s getting the attention that they need, too.’ ”
And as Prajin Parlay has proved over time, one rising tide can indeed lift all boats. In 2023, it finished atop the year-end Hot Latin Songs Publishers chart — Prajin proudly displays the trophy at his house next to his Grammy (honoring Génesis as best música mexicana album [including Tejano] at the 2024 awards). “One of the reasons why we won that publisher of the year award is [because of] Tito Double P,” Prajin says, crediting his songwriting savvy. “[He] then developed as an artist, and today, we released his first album.
“We’re providing those label services, and we’re doing it inclusive of the same management fee that any other manager would charge,” he continues. “A lot of people tell me that’s a crazy notion, but we’re not going to get rich or poor overnight.”
That same thought process led Prajin to restructure Peso’s five-year record and management deal just nine months in. Prajin had seen his early client Jessie Morales make a healthy living off music, only to end up “on hard luck,” and he never forgot it. “I always told myself, especially when I was practicing law, that if I had the chance to do this again, I would teach [artists] to not only be wary of how they spend their money, but to also build their own team. Have their own lawyer, have their own CPA. I want them to make sure that going forward, whatever they do in their lives, they’re going to make the right financial decisions. I fought hard for [Peso] to have his own [attorney in] Mexico. He has his own CPA. And then he has a person that audits the CPA.
“When I saw him making the kind of money that he was making… The artists should be the ones seeing the benefits, and that’s why we changed our deal,” Prajin continues. “I restructured it and made him a partner in Double P. It’s the right thing to do — and just one of the few times in life that something good turns into something great, because we’re killing it.”
Prajin, who is warm and attentive, says his father’s own “big heart” inspires him as an executive. “His kindness, his generosity, those are the things that have [helped me excel],” he says. “You could be a shark. But I don’t think those guys last too long. It’s all about networks. Right? I think a lot of the things that we accomplished were because I was able to pick up the phone and reach out to anyone. Everything comes full circle.”
And Prajin Parlay’s betting-inspired name tells its own full-circle story: Prajin has often said when something works, he doubles down. In the years to come, he says he’s “doubling down on everything” — beginning with Double P Records, saying the label is in the middle of completing a business transaction that will allow it to “really double down.”
“Double P Records and Prajin Parlay in five years are going to be a global brand,” he says, noting that in the next year or so he hopes to open offices and a recording studio in Madrid. He also has plans to grow the management roster and maybe even acquire other catalogs or companies. He’s also considering a sports division: “We’ve talked about it, yes,” Prajin says, adding that he and Peso are both fans of combat sports, and even share a boxing coach.
He admits that as a manager, what takes up most of his time each day is “trying to make everyone happy… I’m constantly trying to make sure everybody takes vacations, has their personal lives. You know, I’ve lived my life, I haven’t had any kids. I’ve devoted myself to my artists and to my athletes. And am I going to regret it down the road? I might. So I always tell people, ‘Think about yourself, too. This job isn’t your only focus.’ ”
Fortunately, Peso has been planning ahead for quite some time. The artist has long admired Jay-Z, and Prajin believes Peso is already following in the rapper’s footsteps to becoming a mogul himself. As for Prajin, he says his five-year plan looks a lot like an exit route, before laughing through a nervous smile: “No, I’m just kidding.”
He mentions how the other day, he and Peso were reminiscing when the artist told him, “You changed my life.”
“He changed my life as well,” Prajin says. “He’s allowed me to love music again, and also reach a lot of the goals I made for myself that I thought had passed.”
This story appears in the Sept. 28, 2024, issue of Billboard.
Sony Music Publishing Latin announced on Thursday (Sept. 26) the renewal of its global publishing deal with songwriter, producer, recording engineer and musician Edgar Barrera. According to the publisher, the agreement extends the company’s partnership with the Mexican-American hitmaker, which began in 2014.
The renewal comes just a week after Barrera, for the second year in a row, tops the Latin Grammys nominations with nine nods in total, including songwriter of the year and producer of the year.
“I am very grateful and excited to extend my relationship with Sony Music Publishing, to start a new chapter on a journey that started 10 years ago,” Barrera said in a statement. “Jorge and Jon have always supported all of my crazy ideas and given me a safe space to continue growing as a writer and music executive.”
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Billboard‘s 2023 Latin Groundbreaker honoree, the Texas-born artist has become one of Latin music’s most in demand producers and songwriters, penning songs for Karol G, Maluma, Shakira, Peso Pluma, Grupo Frontera and Selena Gomez, to name a few. In January 2021, he topped four genre charts — pop, rhythm, tropical and regional Mexican airplay — with four different songs, something no other Latin songwriter had done before.
“Edgar is one of the most hardworking, versatile, talented, and smart songwriters I’ve had the pleasure to work with, period,” added Jorge Mejia, Sony Music Publishing president & CEO, Latin America and U.S. Latin. “Most importantly, over the years I’ve learned that for Edgar it’s not about the accolades or the records or barriers that he breaks time and again – it is about the music. With that mindset, I know Edgar is possibly just getting started. We are beyond honored to be part of his team and can’t wait to see what’s next.”
Edgar Barrera was represented in this negotiation by his long-time counsel Brian Alvarez.
The 35th anniversary of Billboard Latin Music Week, which will feature exclusive panels, conversations and performances by Latin music’s biggest stars, will take place Oct. 14-18 in Miami. Tickets are available now at BillboardLatinMusicWeek.com.
Alejandro Fernández is setting the record straight over a “false” Latinos for Donald Trump ad that features a photo of his father, the late legendary Vicente Fernández, stamped on it. On Thursday (Sept. 26), the Mexican star slammed the advertisement on social media, while also reminding his millions of followers the values his father stood for.
“My father was not only the best representative of Mexican music and culture, but he was also a fervent defender of the dignity and rights of our countrymen around the world,” he wrote in Spanish.
“Vicente Fernandez would never have supported a politician who denigrates Mexicans and mistreats migrants. During all the tours I did with my father, and the ones I continue to do now in the United States, we were able to confirm that our fellow countrymen are the lifeblood of this country,” he continued. “Mexicans who are characterized by being honest, hardworking and dignified human beings who are looking for better opportunities to help their families. People who do not deserve to be mistreated or discriminated against. We should not allow anyone to underestimate us by saying that we are criminals, murderers, rapists and thieves.”
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During the 2016 presidential election, Trump kicked off his presidential bid by insulting Mexican immigrants, saying, “They’re bringing drugs. They’re bringing crime. They’re rapists. And some, I assume, are good people.”
Following his then and now infamous remarks about the Mexican community, a number of artists, including Vicente Fernández — who died in 2021 — expressed their support for presidential candidate Hillary Clinton, endorsing her through a corrido. Meanwhile, during the 2020 presidential election, Alejandro Fernández’s “Decepciones” soundtracked a Joe Biden ad that aired in Arizona.
This time around, the “Nube Viajera” singer isn’t directly endorsing a candidate, but asks that those eligible to vote in the upcoming Nov. 5 election do what’s right for them and their families. “It is not my intention to recommend or endorse any candidate or party, but on behalf of myself, my children and the memory of my father, we ask you to reason your vote and think about what is best for you, your families and the rest of the Mexicans and Latinos who, like you, have migrated in search of a better life.”
Read his post below:
J Balvin and I have a date at Tiffany’s.
Admittedly, even I don’t realize this until I reach the storied display windows on Fifth Avenue, where I’m led to a private elevator manned by a uniformed attendant who silently takes me up, up, up. The doors open to a stunning private room with unfettered views of the Manhattan skyline and Central Park — where I also find José Álvaro Osorio Balvin himself. He looks every bit the lord of the manor, in a casually elegant short-sleeved white T-shirt tucked into sleek black Prada cargo pants. His beard is trimmed and his hair is pulled back in neat cornrows, exposing the matching diamond studs in his earlobes. On his wrist is a Patek Philippe watch.
It’s a rare oasis of calm for an artist who lately seems to have been moving nonstop in multiple directions at once. Since the beginning of the year, Balvin has appeared in the cinematic teaser for Usher’s Super Bowl halftime show; released a new shoe in collaboration with Air Jordan; been the face of Cheetos’ new “Deja tu Huella” campaign; performed a major Coachella set (the second-highest billed artist of the day, behind Doja Cat), featuring a surprise appearance by Will Smith; toured Europe and then Australia and New Zealand; and in August, released Rayo, his first album since 2021. He’s currently preparing a collaboration with G-SHOCK watches. Before the year is over, Peacock will broadcast a new interview series he’ll host. And he’s already gearing up for his first feature film lead role, in the drug drama Little Lorraine, helmed by Grammy Award-winning director Andy Hines and planned for a 2025 release.
It’s a remarkably fruitful time — both creatively and commercially — for the Colombian star who three years ago, during the pandemic and at the height of his popularity, saw public opinion in some quarters turn sharply against him after a rapid-fire series of unfortunate, almost surreal incidents.
In 2021, following the birth of his son Rio (with his longtime girlfriend, model Valentina Ferrer), Balvin found himself in the crosshairs of rapper Residente, who took umbrage with Balvin’s call to boycott the Latin Grammys due to the absence of reggaetón in the main categories and who posted several scathing videos chastising him on social media.
Not long after, Balvin was criticized for his portrayal of women in the video for his 2021 song “Perra,” an edgy collaboration with Tokischa. Directed by Raymi Paulus, Tokischa’s collaborator, it showed Tokischa, who identifies as a queer woman, eating from a dog bowl and Balvin walking two Black women dressed as dogs on leashes, prompting Colombia’s then-vice president, Marta Lucía Ramírez, to call out the song’s “misogynist lyrics that violate women’s rights, comparing them to animals.” Days later, Balvin apologized publicly and removed the video from YouTube.
Mere weeks after that, confused fans questioned why the 2021 African Entertainment Awards named Balvin Afro-Latino artist of the year. “I am not Afro-Latino,” Balvin posted to his Instagram story in Spanish. “But thank you for giving me a place in the contribution to Afrobeat music and its movement.”
Then, in March 2022, Residente, whom Balvin had considered a friend, resurfaced with “Residente: Bzrp Music Sessions, Vol. 49,” a no-holds-barred, nine-minute opus made with Argentine DJ Bizarrap that torpedoed reggaetón in general but zeroed in on Balvin, criticizing him for, among other things, “using mental health to sell a documentary” and for the “Perra” video.
And through it all, Balvin’s mother was in and out of intensive care in the singer’s native Medellín. (She is now better but still has health struggles.)
While Balvin kept up with social media posts and appearances, privately he was taken aback. “In my entire career, I had never been a person who had scandals,” notes the 39-year-old, who says he hasn’t spoken to Residente since. “I used to say, ‘Why do all these artists have things happen to them, and nothing happens to me!’ You’re looking at it from up there, and then, suddenly you’re in the middle of it.”
Musically, Balvin went quiet — mostly — for nearly three years. An extraordinarily prolific artist, between 2014 and 2021 he had released six albums, all top 10s on Billboard’s Top Latin Albums chart, including four No. 1s, and charted 96 singles on Hot Latin Songs (including nine No. 1s) and 18 on the Billboard Hot 100, including the chart-topper “I Like It,” with Cardi B and Bad Bunny. (Balvin also holds the record for most No. 1s on Latin Airplay, 36.) After March 2022, he put out only a handful of singles and no albums.
But Balvin, a relentless hustler at heart, regrouped with his family; parted ways with Scooter Braun, who had managed him during this turbulent period; and took stock of his friendships. During this dark hour, he sought advice from Maluma, a colleague who had never been a close friend, but who had experienced similar public excoriation in 2016 when he released his controversial song “Cuatro Babys.”
“I was always very willing to help José when all this happened because I went through that,” Maluma says. “At end of the day, even if you pretend it doesn’t matter, it hurts when people have the wrong idea about you, and defending yourself against the entire world is very difficult. Plus, we’re both Colombian, we’ve both had beautiful careers, and we’ve elevated our country and our genre. José is one of the most important pillars of Latin and urban music. He takes his career very seriously. It was the least I could do.”
Entire Studios top.
David Needleman
Balvin began to formulate a plan for returning to the spotlight. He approached Roc Nation co-founder and longtime CEO Jay Brown, and two years ago, signed with Roc Nation to manage all aspects of his career. “He was being very thoughtful about what he wanted. He was looking for insights on how to grow his brands, how to expand on what he wanted to do with his career, outside his music,” Brown says, noting that he and Balvin communicate almost daily. “It’s about managing his enthusiasm, his inspiration. He loves what he does, he loves touching people, he loves being out there. I think that’s refreshing. And he’s a good guy. It’s hard to say no to something like that.”
In 2022, Balvin launched his education-focused foundation, Vibra en Alta, in Colombia. Earlier this year, he also switched labels, moving within the Universal family from Universal Music Latino to Capitol under Capitol Music Group chairman/CEO Tom March and Interscope Capitol Labels Group executive vp Nir Seroussi, a good friend. At the same time, he returned to the studio, working with longtime producers like Jeremy Ayala (Daddy Yankee’s son) and Luis Ángel O’Neill, while also trying out new material with young, rising artists like Saiko, Dei V and Feid.
In short order, he cut more than 40 tracks, which he then narrowed down to 15 spunky reggaetón bangers for an album he named Rayo, which translates to “lightning.” The name and the sleek, silver car on the cover pay homage to Balvin’s first car, a beat-up red Volkswagen Golf that he drove to gigs — a hopeful symbol of all the possibilities before him.
“I wanted to focus on the clear comeback of a Balvin focused on music, his career and his legacy,” Seroussi says. “When I sat down with him to see where he was spiritually, I saw a José that is going to win. He wakes up in the morning as if he were a new artist.”
Four months ago, Balvin wrote me on WhatsApp. He was ready to talk, he said, about everything. And so, here I am high above Tiffany & Co. for a private afternoon of coffee and macarons — just the two of us. As we chat, his openness surprises me. But then again, as Seroussi says, “He’s an artist who has nothing else to prove, but wants to keep doing music. Every [Latin] artist today who has something to do with urban music at a global scale can in some way trace back to what José opened for them.”
Balvin will sit down for a live one on one interview during Billboard Latin Music Week. You can purchase your tickets here.
Luar jacket and pants, Vetements shoes.
David Needleman
Your son Rio was born at a hectic point in your life. What did his arrival mean to you at the time?
His arrival was perfection because having Rio at that moment allowed me to really focus my energy on a person who came to bring me light. It was as if God was saying, “OK, I sent you a trial, but here’s a gift.” And I say that because since Rio’s birth, my — how do I say this — my emotional intelligence has grown very much. I don’t remember losing control since my son’s birth. I’ve had complicated moments, but I’ve never lost control. He brought me strength, a lot of patience, but yes, a lot of light. In fact, I made the Jordan Rios — which are black but have a sunset in the sole — based on the fact that in a moment of darkness, my son came and brought me light.
Let’s talk about this moment of darkness. It became really complicated for you on many fronts, particularly your dispute with Residente.
Have you ever had a friend turn on you? I considered him a friend, and I spoke with him as if he were a friend. Very openly. Con mucha confianza. That’s what surprised me and hurt and opened my eyes. I still believe I can make new friends, but it’s a little more complicated finding them these days. Because some of the people I thought were my friends ended up not being that. Obviously, this happened, it’s done, I’ve matured and I’m not holding a grudge or anything like that. I had to forgive myself for being so naive and opening my heart so easily to some people. The toughest part was to encounter a dark side of humanity in a moment of darkness. And I’m not saying I’m the most illuminated person either; I’ve made mistakes, and maybe I’ve made friends feel bad. But I’ve never betrayed a friend.
Personally, I never found you offensive. How do you think you made people feel bad?
I’ve been very honest. But as a paisa, we’re jokesters and we can get out of hand, and not everyone understands. We’re very open, and other cultures sometimes don’t understand that and take it the wrong way.
Feuds are common in rap and reggaetón. But this felt more like an attack than a feud. You never replied to Residente’s dis track, did you?
Never. First of all, you need to know what court to play in, right? When all this happened, it was the most complicated moment for my mom’s health. She was in intensive care. She told me, “Promise me you won’t reply and you won’t say anything. Do it for me. I know you, I know your essence, and this isn’t for you.” And the weight of a mother’s word is everything.
Is she aware of these things that happened to you?
Of course. And my mom suffered a lot. Now that I’m a father, I understand. It’s crossing a powerful line. A line that’s family, it’s sacred. The pain caused to a mother, a family, a sister, to the people who love you, was complicated. And it was complex for me because, following my mother’s advice, I never spoke out about this and I never defended myself. But I’m very clear on who I am. I’m not going to go out there and explain who I am to the world because clearly, people who know me know my essence and those are the people I want to be in good standing with.
I think not replying was wise…
As one of the leaders of Colombia’s movement I can’t set a bad example, no matter what people would like to see. I’ve always strived to be a better person and a gentleman in life. Being a decent person is a much harder task than being an “artist,” [which is] easier in the sense that if you have a talent and patience, you’ll get there. But being a better person is a daily task.
J Balvin photographed August 20, 2024 in New York. Entire Studios shirt.
David Needleman
You also had an issue surrounding the video for “Perra,” your single with Tokischa.
I’ve always been known for supporting new talent, and in Tokischa, I saw a woman who was very empowered and daring and who spoke positively about her sexuality in a way I had never seen before [in the Latin world], like Nicki Minaj or Cardi B do here in the U.S. If men in reggaetón can speak about their sexuality this way, I was struck to see a woman doing it. My mission was simply to do what I could to elevate and promote Tokischa and her art to a wider audience. I respect the way each person wants to conceptualize their vision, and this was her vision and her creation. I went there to support her vision, and I paid dearly for it.
In this case, after many people criticized the video, you not only took it down from your YouTube channel, but you spoke out and gave a public apology. Why?
I spoke out because this was a much deeper issue in that it went into topics like race, masculinity and machismo. However, if people had listened to the song, they would have realized it’s a story that has nothing to do with going against a race or gender. It was totally the opposite. Tokischa is an Afro Latina woman, and she was representing her race, her culture and the idiosyncrasies of her world. And obviously, my lyrics, I always approach them in a very commercial way and I’m very careful about what I say. But when things happen, they happen all at once.
I know you went to Maluma for advice. What did he say?
Maluma and I weren’t really friends. We were colleagues, but we also competed with each other. But I wrote him, and then I sat down with him. We’ve become very close. I’ve come to appreciate him and respect him more than ever, and now I can say he’s like a younger brother to me. I imagine it must have been tough when things happened to him, but then you grow an armor. That’s what happened to me. I became very cold; I didn’t want to open my heart to anyone. When I went back on social media, I didn’t want to go back to the old José who’s always making jokes and teasing, because I had a mental block. Until Rayo came around and I started to make music again for the love of music 100% and stopped thinking about the business.
How was your approach different?
I began to make music with a sense of security that came down to: I don’t have to prove myself in this business. It would have been complicated if I hadn’t achieved anything [before] and I had to prove myself. But we’ve achieved so many changes and evolutions. I remember you interviewed me years ago with Nicky Jam and you asked: Do you think a song in Spanish will make it to No. 1 on the Hot 100? And I said yes.
I remember that conversation well. And it happened.
We unlocked that. We unlocked performing at the Super Bowl. We unlocked having the most streamed artist in the world, we unlocked the first stadium played by a solo reggaetón artist, we unlocked sneaker culture, fashion, Guinness Records, so many things that hadn’t happened before. So I kind of look back and say, “Prove what? I need to regain my confidence after all these blows and enjoy the process.”
Luar jacket and pants.
David Needleman
You didn’t release an album for three years. For you, that’s an eternity…
And during those three years, I never left the top 50 of the most streamed artists in the world [on Spotify, where Balvin ranked No. 31 at press time]. It’s a beautiful thing to see that in a business where so few artists have the luxury of even saying, “I’m taking a year off.” Obviously, I questioned myself a lot when I came back. “Why the f–k did I leave?” Although I never stopped working. I kept playing festivals in Europe and all that. But I think my official return was when I played Coachella.
I have to imagine that setting foot on that Coachella stage was a little nerve-racking.
Of course! Plus, that show was planned for a year because Coachella had never allowed something to be hung from the roof, because of the wind in the desert. So we took the risk of hanging the [giant inflatable] UFO, and the investment was very high. But it was finally spectacular, and having Will Smith [make a guest appearance to perform “Men in Black”] was very cool. I saw myself in him, in the sense that both of us went through a dark period — and I know that mistakes don’t define a person and can’t detract from the greatness of what he’s achieved. I was so happy to share his return because after the Oscars incident, this was his first public appearance, and a week later, Bad Boys [for Life] came out. And it wasn’t planned!
Were you two friends?
No, we had never met. I [felt] I needed something else to really make a statement in the show. And Will Smith came to mind, because what’s better than Men in Black? [Balvin reached out to Smith’s team and ultimately FaceTimed him.] I told him my mission, with my passion. He said, “Give me a week.” [While I waited] like a good, hardworking paisa, I sent him a photo of the Virgin [Mary] praying. Then I sent him a votive candle, as if I were praying; then a voodoo doll. And exactly a week later, he called and said, “Let’s do it.”
Following Coachella, you took your tour to Europe, Australia and New Zealand to play for big and very receptive crowds despite these regions not being your core markets. Was that gratifying for you after a traumatic period?
When I did that tour, [and when] I went to Medellín to release the album and I saw the euphoria among the fans, I thought, “It was all in my head.”
Entire Studios top and pants, Air Jordan 3 x J Balvin shoes.
David Needleman
You’ve achieved global domination in many spheres. Most recently, you became the artist with the most titles, 15, in YouTube’s Billion Views Club. What drives you today?
What’s most important is a super reconnection and a super service to my Latinos, 100%. They’re the foundation of everything. The reason I’m a global artist is because Latins gave me that power. And I want a super reconnection with new generations and Gen Z. It’s never been a problem for me to connect with new generations because I like new artists and I enjoy collaborating with them. From there, I’d like to do a grand tour of the U.S. and Latin America. And I want to unlock India. Unlock it completely.
You were perhaps the first major Latin artist to talk frankly about mental health and your struggles with it. I know this has been a journey for you and you’ve taken medication for anxiety at times.
I still do. Always. Some people can do without meds. In my case, they’ve been lowering the dosage and I haven’t had any issues since my son was born. None. That’s why I said before, in the darkest moments, I didn’t lose control. But I take my pills daily. It’s perfectly normal, as if someone had an issue with high [blood] pressure. But there’s also meditation — I’ve been meditating since I was 19 years old — daily exercise, eating habits and the people you surround yourself with. The fact that I don’t do drugs or anything like that has also been part of having that mental, spiritual balance.
What role has Colombia’s music scene played in exposing the country to the world?
Music has been a path of light for Colombia at a global scale. I think it saved an entire generation. Now, all these Gen Zers want to be artists instead of drug dealers or killers for hire. When I started in music, there wasn’t a map for urban music in Colombia. There was Shakira and Carlos Vives and Juanes, but they were completely different genres. [Daddy] Yankee inspired me, but he’s Puerto Rican. No one had globalized urban music from Colombia. We literally took a pick and an axe and paved the way. I don’t know how we did it, but we did. And now I see this whole new generation of artists, like Ryan Castro, Blessd.
Karol G has also been steadfastly by your side. In fact, she invited you to perform at one of her shows at MetLife Stadium in New Jersey last year…
Karol is a friend who’s also become a teacher. That was a beautiful moment here at [MetLife] to come together again in a stadium full of people who came to see her. I told her, “You used to look up at me, and now, I’m your biggest fan.” It’s a beautiful cycle and I’m so proud of Colombia. We’re a small country but so strong in our music.
Luar jacket and pants, Vetements shoes.
David Needleman
How do you see yourself today?
I value what I’ve achieved, without a doubt. The insecurity I felt has gone, and I feel like a brand-new artist. If you listen to Rayo, you hear a refreshed J Balvin who had a good time. I didn’t make this album thinking I was going to make an album. I went to make music and remembered how I felt when I was 19 years old and I just wanted to show every song I made to my mom, my sister, my girlfriend, my friends. That’s why, when I finished the album, I wanted to name it for that moment in time, when my only ambitions were artistic, when I really knew nothing about the business.
You really feel like a new artist?
One hundred percent. And I’m working like a new artist. I mean, most artists of my level don’t go to Mexico and sit down for 200 interviews. I do, and also, it’s been three years! I’m ready to be overexposed. Whatever I need to do, it’s Balvin time. And I say that with certainty and because I know what I have and what I can give. Something positive always happens when I give it my all. I went through the dark times, and now, the sun is out and it’s shining on my face.
At 39 years old, how do you feel about longevity?
I’ll perform and record as long as I’m happy and people connect with me. We have yet to see the first elder reggaetón artist. We have the OGs — Yandel, Wisin — who look great. Yankee looks younger than when he started. But honestly, we haven’t had the example of seeing how long a reggaetón artist can go for. I see myself super gangster in the future. Not evil gangster, but as someone who’s done well, who’s been strategic in his movements and has done something well for society and culture. Like a Latin Jay-Z.
This story appears in the Oct. 5, 2024, issue of Billboard.