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CEO of Rancho Humilde, Jimmy Humilde moderates a discussion about the new music business deals happening the industry with the head of music at Zumba, Atella, the managing director of artist and label strategy of GM Latin Virgin group, Cris Falcão and the VP of A&R Sony Music U.S. Latin, Txema Rosique tell us what works at Billboard’s Latin Music Week 2024.
Presented by Billboard Argentina.
Florencia Mauro, the editorial content director of Billboard Argentina, moderates a conversation between Argentianian artists Kenia Os and La Joaqui on how friendship and camaraderie between them became the driving force of their international success at Billboard’s Latin Music Week 2024.
Florencia Mauro moderada un conversación entre artistas argentinas Kenia Os y La Joaqui sobre la unión, camaradería y constante colaboración entre artistas argentinos y la constante colaboración entre ellos se convirtió en un aporte fundamental para el éxito y la globalización.
Pierre Hachar, a managing partner from the Hachar Law Group, moderates a discussion about how much a hit song is worth — and who gets songwriter credit and why — with multiple songwriters, producers and artists, Keityn, Eden Muñoz and Sergio George, at Billboard Latin Music Week 2024.
Pierre Hachar moderada un discusión sobre analizamos el valor de una canción y quiénes reciben o deben recibir crédito en su composición con los compositoras, productoras y artistas Keityn, Eden Muñoz and Sergio George en Billboard’s Latin Music Week 2024.

Nuestros Sonidos, Carnegie Hall‘s ambitious season-long celebration of Latin music and culture, got off to a spectacular start on Oct. 8 under the baton of the Venezuelan virtuosic conductor Gustavo Dudamel — Billboard‘s cover star this month — and the Los Angeles Philharmonic. Kicking off during Hispanic Heritage Month, the festival boasts an impressive lineup, featuring talents such as Mexican singer-songwriter Natalia Lafourcade, Cuban funk artist Cimafunk, Colombian indie pop band Monsieur Perine, salsa legends Grupo Niche and Chilean jazz virtuoso Claudia Acuña.
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One of the most eagerly awaited highlights of the festival is the Carnegie Hall debut of Ivy Queen, the formidable reggaetón superstar known for her fierce advocacy for women’s empowerment within the male-dominated genre. “Being on this stage allows me to celebrate not only reggaetón but also the essence of what it means to be Latino, our roots, and our global musical influence,” Ivy Queen expresses to Billboard Español. “It is an honor to be part of this representation and to continue taking our music to every corner of the planet.”
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Carnegie Hall’s executive and artistic director Clive Gillinson and Adriaan Fuchs, director of festivals and special projects, articulate that Nuestros Sonidos aims to shine a spotlight on Latin music that has deeply influenced both American culture and the world at large.
“Latin music was something that has had such a huge effect [not just] on American culture, but on culture around the world,” Gillinson notes. “It was something really important to do. We look at who are the greatest experts in the field so that we make sure all the ideas that we’re considering and exploring come from people who are leaders in thinking, knowledge, experience and background.”
Gustavo Dudamel & Natalia Lafourcade at Carnegie Hall
Fadi Kheir
Fuchs adds, “We work with curatorial councils and advisors who help put these festivals together. They include Latin music experts, ethnomusicologists, cultural and societal experts in terms of how culture in America has developed. In conjunction with them, we decided that we wanted to cover a range of different genres one would expect, such as salsa, reggaetón, Latin jazz, classical music, and so forth. We really wanted to focus on those genres that have played a key role in the American cultural landscape, and in America, particularly.”
As Nuestros Sonidos unfolds throughout the season, it promises a diverse array of Latin musical styles and expressions, inviting audiences to explore the powerful narratives that have shaped the past, present, and future of Latin music.
Read our Q&A with Ivy Queen and Carnegie Hall’s Clive Gillinson and Adriaan Fuchs below:
What inspired Carnegie Hall to launch Nuestros Sonidos, and what do you hope to achieve with this initiative?
Clive Gillinson: We try to look at things that are important issues and areas of culture. Last season, we looked at the Fall of the Weimar Republic: The Fragility of Democracy, because we felt that’s a very major issue in the world today. The year before, we looked at Women in Music, and before that, Afrofuturism. [In 2021], we looked at [Voices of Hope] Artists in Times of Oppression; artists who wrote despite the most horrific circumstances — be it in the Holocaust, slavery, the Soviet Union, and so on. They still wrote things that were about hope and aspiration.
Latin music was something that has had such a huge effect [not just] on American culture, but on culture around the world. 11 years ago, we did Voices from Latin America, which looked specifically at the music of three Latin American countries. The emphasis was to look at the influences of Latin music on American culture, particularly. We felt it was something really important to do, something that maybe hasn’t been looked at enough in terms of the way people look at culture in America.
Ivy, as a pioneering figure in reggaetón and an advocate for female empowerment in the music industry, what does it mean for you, on a personal and professional level, to debut at Carnegie Hall with the Nuestros Sonidos series?
Ivy Queen: For me, debuting at such an iconic place as Carnegie Hall represents both a personal and professional validation of the path I have traveled in my career. I have fought to open doors for women in a genre that has historically been dominated by men. Being on that stage not only represents recognition of my years of work and effort but also proves that reggaetón, a music born from the streets, has a legitimate place in the most prestigious spaces in the world. It is an achievement that celebrates the resilience, strength, and talent of all the women who have been part of this movement.
How does Nuestros Sonidos intend to impact the local New York community and the broader Latin music scene?
Gillinson: We want this to be meaningful for devotees, advocates and people who come from the Latin music background so that they feel represented. They feel that their culture is given center stage. To make sure that all of these areas of music also reach people who maybe it has not been their background, and where they trust Carnegie Hall as a curator to take them on a journey of exploration.
Fuchs: New York had such a huge role to play, in terms of Latin music flourishing this country throughout the decade. We wanted to make sure that we have programming that addresses all of that. In putting together the concerts at the Hall, we were very much aware of the Latin communities that exist in New York City: the Puerto Rican community, Colombian community, Dominican Republic, Mexico, Cuba, etc. We made sure that we had artists representing those different cultures, musical genres, and styles as part of the festival.
The range of partners that are involved are the Cuban Cultural Center of New York, the Colombian Film Festival of New York, the Association of Dominican Classical Artists. Then we also have iconic New York institutions like the Metropolitan Museum of Art, New York City Center, New York University’s Steinhardt School of Culture, Education, and Human Development all participating in this festival. It’s really an exciting citywide celebration of Latin culture.
Ivy, how do you see this opportunity in terms of promoting and celebrating the diversity of Latin music and its impact on the global music scene?
Ivy Queen: This opportunity at Carnegie Hall is an incredible platform to showcase the richness and diversity of Latin music in all its forms. Latin music is not a single genre; it is a universe full of rhythms, cultures, and stories that connect with audiences around the world. Being on this stage allows me to celebrate not only reggaetón but the essence of what it means to be Latino, our roots, and how we have influenced music on a global level. It is an honor to be part of this representation and to continue taking our music to every corner of the planet, demonstrating that Latin music is much more than a passing trend: it is a cultural and artistic force that continues to transform the global music industry.
Are there any particular performances or elements within the series that you’re especially excited about?
Fuchs: We’re really excited about Ivy Queen on November 20. It was important for us to find a big headlining artist like Ivy Queen to be part of the festival because of the fact that she’s such a trailblazing female artist within the industry. Really in terms of, obviously reggaetón and hip-hop, she stands out as someone who forged her own path and is someone really to be celebrated for her achievements in a very male-dominated field. We wanted to make sure that she appears at Carnegie and as part of Nuestros Sonidos.
We’re also really excited about Grupo Niche. They’re just an extraordinary ensemble that have pioneered and pushed the envelope in terms of salsa music for so long. It’s exciting to have them at Carnegie Hall for the first time. Monsieur Periné, who will be part of the festival on February 22, are such a funky and interesting group. I’m sure that people are going to be getting up and dancing when they start to play. It’s going to be such a joyful concert. Then the incredible Chilean jazz vocalist, Claudia Acuña, who is bringing a very interesting program. Songs in jazz that have stood the test of time through various decades. It’s a moment for us to celebrate the Latin songbook.
Massive Attack, Tyler, the Creator, Charli XCX, Natanael Cano, Nathy Peluso, Parcels, Gesaffelstein, Fka Twigs, TOMORROW X TOGETHER and Meme del Real (Café Tacvba’s keyboard player) are set to headline the 2025 edition of the Axe Ceremonia festival, which will take place April 5-6 at Parque Bicentenario in Mexico City, Mexico.
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The Marías, Hanumankind, A.G. Cook, NSQK, The Dare, Simpson Ahuevo and Brutalism 300 are other acts announced as part of the lineup for this festival, which has established itself as a cultural celebration featuring the best and most representative bands and soloists of the local and international scene.
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Tickets will be available on Ticketmaster in a presale for CITIBANAMEX cardholders Wednesday (Oct. 23), with the general sale beginning a day later, announced promoter Eco Live, which produces the event in collaboration with the Mexican promoter Ocesa.
The Axe Ceremonia, which will be celebrating its 12th edition, has become an interesting option within the circuit of major music festivals in Mexico, providing a space for diverse voices and multi-generational sounds, offering the freshest from the global scene on its lineup.
In the words of its promoters: “AXE Ceremonia is a platform that drives creative communities, cutting-edge talent and social activists so that their projects and ideas can reach a broader audience.”
Past editions have included global music stars such as Björk, Rosalía, Kendrick Lamar, LCD Soundsystem, Travis Scott, James Blake, Wu-Tang Clan, A$AP Rocky, Aphex Twin, Snoop Dogg, Animal Collective, Underworld, Nicolas Jaar and Fuerza Regida.

Alexander Sánchez has strong — and emotional — opinions about his famous dad, Alejandro Sanz. Alex (as his dad calls him) was a surprise guest at his father’s Icon Q&A during Latin Music Week on Oct. 16, when he walked on stage after it became known that he was watching from the wings. Once there, […]

Titans in Latin music united for the 35th anniversary of Billboard Latin Music Week and the topic of community was highlighted during a panel conversation at The Fillmore.
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On Tuesday, October 15, the “Deja Tu Huella: Inspire Who’s Next” conversation presented by Cheetos saw four creatives discuss how they are actively leaving their mark to uplift and inspire their communities and future generations with their art. Among the guests at the daytime programming were rising stars Omar Courtz and Saiko, Mexican designer Kiko Baez and celebrity yoga coach Yudy Arias, with Billboard’s Isabela Raygoza, Associate Editor of Billboard Español, moderating the conversation.
Below, check out the conversation in full, with some memorable quotes from each panelist:
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Omar Courtz on Daddy Yankee’s Impact on His Career: “Daddy Yankee gave me the opportunity to collaborate with him. And not only did he give me that opportunity, but he also showed up at that first massive concert we did in Puerto Rico. So for me, Daddy Yankee has been a great inspiration since I was a kid. I remember imitating him at talent shows, dressing like him, wearing his clothes, going to his concerts and sharing the same stage. That’s why I say I try to leave my mark, so that people can identify with me, so they can have a story like mine. For me, it’s important to have one of my idols there with me at the concert for that reason, to inspire others who feel the same way I do.”
Saiko on How His Passion Inspires Others: “At the end of the day, I know I’ve been a normal teen. I enjoy what I do [and] could inspire another artist. I don’t consider myself an example of anything, but it’s true that I like to be an inspiration for many people. And this year is incredible. And it excites me, for example, that people from Chile listen to me. It excites me that people from Mexico, Puerto Rico and Spain listen to me.”
Kiko Baez on How He Discovered His Work Ethic: “Tijuana, as a border city, is recognized for its work and exports to the United States focused on manufacturing. I think I’ve had that dream since I was a kid, as you said. Curiously, I would work with my dad selling clothes, which I didn’t enjoy since I was five-years-old. Then a woman who sold pirated CDs moved in next to our stand. It was 2005, with Wisin y Yandel’s music, and from then on, I wanted to work because my mom didn’t let me listen to Wisin y Yandel at home since I was just a five-year-old kid. But, from then on, that was my motivation…Believe me, that changed my life because I saw how, as just a kid, it flipped my switch. I wanted to work for one motivation, which was music and gradually this dream became a reality, which is really crazy.”
Yudy Arias on Her Mission to Inspire Youth: “[I’m looking] definitely to inspire. I love what we’re doing with Maluma’s label at Royalty Records. In my case, a lot of people tell me, “Woah, Maluma, you made it,” but honestly, what I love the most about the industry is the process. To me, it’s so exciting to see young people wanting to achieve so much. Being able to contribute a grain of sand feels so good. You have no idea how much love I put into it, how I try to lift them up.”
Omar Courtz, Saiko, Kiko Baez, Yudy Arias, Isabela Raygoza at Billboard Latin Music Week Panels on October 15, 2024 in Miami Beach, Florida.
Gustavo Caballero
Atmosphere at Billboard Latin Music Week Panels on October 15, 2024 in Miami Beach, Florida.
Gustavo Caballero
The 35th anniversary of Billboard Latin Music Week reached its crescendo with a celebration at the official after party hosted by Bresh, dubbed “the most beautiful party in the world.” The event unfolded at M2 Miami on Friday (Oct. 18), encapsulating an ambience that appealed to all senses. True to its reputation, the traveling party […]
Yandel recruited colleagues and industry friends De La Ghetto, Dei Vi, El Coyote, and Roberto Andrade for the ELYTE: The Beginning and Future of the Genre panel at 2024 Billboard Latin Music Week on Friday (Oct. 18).
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Presented by Warner Music Latina, the reggaeton artists and executives talked about the booming success of Latin urban music. Below, check out some notable highlights.
The Beginning of Reggaetón
Yandel: “Like every artist, you have someone to follow and learn from. For me, one of the leaders was Vico C. I loved his musical style because it was commercial, he set an example, and he had lyrical content. Then I fell in love with perreo when there were duos like Baby Rasta & Gringo, Hector & Tito. I followed Daddy Yankee a lot. For me, reggaeton music was love at first sight. When I got to know that flavor and was able to write about what was happening in the streets, that’s when I fell in love even more. Reggaeton music is in its moment right now.”
Roberto: “I was working in radio in Colombia in 1997. I went to Bogotá to study and work at Tropicana Estereo, which was a salsa station, and I remember between 2002 and 2005, I was a DJ and the programmer would tell us ‘you’re going to play this hourly’ and it was “Gasolina,” “Rakata” or “Felina.” It was a reggaeton hit hourly on a salsa and tropical music schedule. Then they went to a crossover and ended up on a 100% urban music station. […] I want to thank the movement that happened in Panama and plant that great seed, but it was definitely the island, Puerto Rico, that internationalized it.”
The Present & Future
Dei V: “Artists like De La, Yandel and all those who came before me opened those doors. It’s a little easier for us with streaming, but if they hadn’t done it, we wouldn’t be here blessed the way we are. I’m not the only one. A lot of the kids who are coming out now have charged $5,000 for their first parties.”
Yandel: “I always identify with the youth. I always like to be where the youth is and what they are doing. It really catches my attention because they also respect me and I feel that they approach me with respect. For me that is a reward… that the new generation wants to record with me after so many years of working hard.”
Best Career Advice
De La Ghetto: “I always tell everyone to ‘study the greats’. I studied Wisin & Yandel, Yankee, Hector y Tito, Don Omar, Zion y Lennox a lot. From my perspective, when Wisin & Yandel came out, they were the first to make videos with Jessy Terrero, the first to see themselves as American artists. In the late 90s, early 2000s, we saw American hip-hop artists as impossible to get to where they were. These people [Wisin y Yandel] started to invest in their careers, not waiting for record labels, not waiting for anyone. That’s where the change in the genre took place because they made the genre more expensive in the sense of seeing us as the same as American artists. You have to invest in your career, in your image, your clothes, your creams at night. It’s part of your job. Image is everything… It’s a lot of work.”
Watch the full panel below: