State Champ Radio Latin
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The Spanish flamenco singer Diego “El Cigala” was sentenced to two years and one month in prison for abuse committed against his ex-partner, flamenco singer Kina Méndez, according to Spanish media including newspapers El País, El Mundo and El Diario de Jerez. The sentence, which can be appealed, was announced on Tuesday (Dec. 17) by the press office of the High Court of Justice of Andalusía (Tribunal Superior de Justicia de Andalucía).
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“The judge imposes the sentence for three crimes in the field of violence against women committed in Jerez de la Frontera and a hotel in Palafrugell (Girona), and also finds him guilty of another minor and continuous offense of harassment in the domestic sphere, imposing 25 days of a permanent location, always in a different residence and away from the victim’s residence, in addition to the prohibition of communication and approaching within 200 meters of the victim for six months, a measure common to the rest of the other crimes,” according to El País.
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The conviction would correspond to three specific episodes of abuse, El País reports. The first, dating from the summer of 2017, was in a hotel in Jerez de la Frontera, where he “slapped her in the face” during a discussion on “the common areas” because she had asked him to stay with her son instead of going out. The second, two years later in another hotel in Palafrugell (Girona), was “in the context of a heated verbal confrontation,” when the singer “gave her a push that made her fall to the ground, and while [she was] lying on the ground, continued hitting and kicking her body,” according to El Mundo. The third case of abuse occurred in November 2020, when, while at the house in Jerez de la Frontera, he “grabbed Méndez by the neck,” shouting, “I’ll s–t on your ancestors” because she had reproached him for using drugs in front of their children, El País reports.
Billboard Español has reached out to Diego El Cigala for comment.
During the trial in Jerez, Diego “El Cigala” declared Nov. 7, “I have never laid a hand on a woman,” according to El Diario de Jerez. Méndez, whose real name is Dolores Ruiz Méndez, said at the same hearing that she never went to the doctor with her injuries because she wanted to patch things up with her partner, with whom she said she was always “very much in love,” and that she did not report him before “out of shame.”
Diego “El Cigala,” 55, is one of the most recognized flamenco singers of recent years in Spain and abroad. Winner of five Latin Grammys, his hits include “Si Tú Me Dices Ven,” “Moreno Soy” and “Lágrimas Negras.”
In 2021, the artist, whose real name is Ramón Jiménez Salazar, was already under investigation for alleged gender violence following accusations made by Méndez, who, according to El País, had been in a relationship with El Cigala since 2014.
Billboard has revealed its much-anticipated Year-End Charts that includes the Year-End Top Latin Albums list. The top 10 sets represent regional Mexican music and reggaetón’s continued dominance. Ending strong as the top LP is Bad Bunny’s Nadie Sabe Lo Que Va a Pasar Mañana. The set — which was released October 2023 — spent one week […]
It was November 2023 when I first met Ana Castela. She was backstage at Caldas Country, the festival in Caldas Novas in the Brazilian state of Goiás. At the time, she avoided speaking to the press before her show and seemed serious and shy as she prepared to take the stage. It was only her second time at the festival — just over a year had passed since her name first appeared in the media thanks to her song “Pipoco,” a collaboration with Melody and DJ Chris no Beat. Yet she was one of the main attractions of the night.
Nine months passed before I met Castela for the second time. This time, though still a bit shy, she was at one of the world’s biggest music festivals — Rock in Rio — to join duo Chitãozinho and Xororó for the “Brazil Day” celebration, the first in the event’s 40-year history. “For me, it was an honor. I consider them my grandparents,” she joked in her dressing room at Cidade do Rock, embraced by the sertanejo duo. Castela still seemed nervous about her upcoming performance, but she projected a new confidence, amplified once she took the stage. She faced a crowd singing along to her hits (“Nosso Quadro,” “Solteiro Forçado” and “Sinônimos”), including children of all ages wearing headbands with her nickname, “Boiadeira.”
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Born in Amambai, Mato Grosso do Sul, Ana Castela certainly couldn’t have imagined the success she would achieve by embracing the “boiadeira” style. Dressed in a cowboy hat, boots and a wide belt (much as an American cowgirl might), her so-called “agronejo” music blends sertanejo (Brazilian country music) and Brazilian funk, with lyrics about the agribusiness lifestyle. She is now one of the most listened-to artists in Brazil — a title she’s consistently held throughout 2024 — who as of this writing had two songs on the Billboard Brasil Hot 100 and spent 31 consecutive weeks at No. 1 on the Artists 25 Brazilian chart.
She entered the music scene at 17 but is still, at 21, trying to absorb the whirlwind of her life. “It was a drastic change, to be honest,” she says. “Before, I had a completely anonymous life. Now, people want to know everything about me, follow me around. It’s changed a lot.” Speaking to Billboard Brasil, she is still very much the girl from a countryside farm, pausing occasionally as if she is still trying to reconcile who she was and who she is today: “I’m enjoying the fruits that fame and the world are giving me, but always with caution.”
Ana Castela photographed for Billboard Brazil Global No. 1s Issue.
João Victor Moura dos Anjos
She’s followed by over 27 million people on social media, where she offers fun looks at her personal life — a Disney vacation, cute videos with her boyfriend, the singer Gustavo Mioto — and she’s starred in various commercials and advertising campaigns. “Ô loco [Wow],” she marvels. “Doors just keep opening for me. I never thought my face would be on a shoebox. It doesn’t just help my career; it makes dreams come true that I never even imagined. It’s awesome.”
But her feelings around her wildly increased presence are also conflicted. “My life is no longer mine. I don’t have a private life anymore; everyone knows everything I do,” she laments, though she adds that she’s getting used to it. When I ask if she’s receiving any professional support, Castela says that she started therapy about a month ago: “I think no mind is strong enough to go without a professional for so long.”
She knows the truth of that firsthand. At a performance at the Festa do Peão de Barretos in 2023, one of the most important sertanejo festivals in the country, she broke down while preparing to sing “Solteiro Forçado,” one of her breakthrough hits. “Sorry I can’t sing,” she sobbed in front of a massive crowd. “I swear I’m studying and working with a vocal coach to improve. It’s exhausting as hell, but I’m giving it my all.” Backstage, it was equally tough. “I was in a bad headspace,” she recalls.
Excessive work, plus the overwhelming experience of her fame, had taken a toll on her emotionally. “I couldn’t hit the note that day — I was so insecure,” she says. Criticism from both the public and within herself fueled her drive to improve. “You need to evolve. I was born with the gift of singing, but I need to perfect it.”
Therapy, her Christian faith and her family — an unconditional support system — now help her cope. She also strives to balance the needs of Ana Flávia (her real first name) and Ana Castela. In her free time, she enjoys hanging out with friends at her farm in Londrina, Paraná, and visiting São Paulo for shopping. “Those are the days I can just be young,” she jokes, as if on others she must be a more mature version of herself.
Ana Castela photographed for Billboard Brazil Global No. 1s Issue.
João Victor Moura dos Anjos
Her latest project, Herança Boiadeira, released in September 2024, embodies this balance. Recorded at her farm, it features collaborations with iconic sertanejo artists like Matogrosso & Mathias, Eduardo Costa, Paula Fernandes and Gino & Geno. “I wanted it to be mine — not Ana Castela’s, but Ana Flávia’s. A tribute to my roots, my upbringing on the farm. My grandfather loved these artists, and so did I,” she explains. In fact, one standout track features her paternal grandparents: “Minha Herança,” with its heartfelt lyrics reflecting a longing for lost time.
Next year, Castela will step into the shoes of iconic artists before her when she becomes the ambassador of the 70th Festa do Peão de Barretos, where she quickly has risen from playing a secondary stage in 2022 to the main stage in 2023 and again in 2024. Pedro Muzeti, artistic director of the festival, says Castela’s evolution represents the future of sertanejo music: “It’s a renewal of the rodeo audience. Having someone young represent such a historic event is fitting.”
Her appeal to younger fans is certainly evident in the kids who wear her signature hats (“They’re adorable; I love them,” Castela says), and she’s launching Turma da Boiadeirinha, a YouTube channel featuring kids songs. But her future, she realizes, very much revolves around an adult audience. She’s collaborated with big names like Gusttavo Lima and Luan Santana and dreams of pairing up with Luísa Sonza and Anitta. And after winning best sertanejo album at the 2024 Latin Grammy Awards, Castela has her sights set on an international audience next.
“If it works, I’ll go for it,” she says. In 2025, she plans to incorporate pop into her shows but stay true to her roots: “I’ll always bring my hat wherever I go,” she insists. “It’s important to show the strength of our music on the global stage.”
Just a month after Bad Bunny bagged his 77th top 10 on Billboard’s Hot Latin Songs chart, the Puerto Rican adds a new top 10 to his roster of songs, as “El Club” debuts at No. 2 on the Dec. 21-dated list. The new arrival extends his scope to 78 top 10s across a seventh calendar year, dating back to his first in 2017.
“El Club,”, along with its music video, was released Dec. 5 on Rimas Entertainment. The song launches at No. 2 as the Hot Shot Debut of the week largely to its streaming activity –9.5 million official U.S. streams in the tracking week of Dec. 6-12, according to Luminate. The sum also sparks a No. 2 entrance on Latin Streaming Songs for a record-extending 83 top 10s there.
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“El Club,” Benito’s second solo single of the year, follows “Una Velita,” a song that addressed the destructive effects of hurricane María on his native Puerto Rico in 2017, which launched at No. 4 on Hot Latin Songs with 6.6 million official U.S. streams (Oct. 5-dated list). The multi-metric tally combines streaming data, digital sales and audience impressions into its formula.
Despite a negligible number of downloads in its first week, “El Club” advances 11-2 on Latin Digital Song Sales, also Benito’s 78th top 10 there.
With “El Club,” Bad Bunny stacks his 78th top 10 on Hot Latin Songs, further extending the distance from the next competitor, Enrique Iglesias, who last secured a top 10 through his Anuel AA collab, “Fútbol y Rumba” (No. 8 debut and peak in 2020).
As Bad Bunny’s top 10 collection grows, here’s a look at the artists with the most top 10s on Hot Latin Songs since its inception in 1986:
78, Bad Bunny39, Enrique Iglesias39, Luis Miguel37, Daddy Yankee37, Shakira
Further, “El Club” starts at No. 66 on the overall Billboard Hot 100, for Benito’s 97th entry there, still the most for a Latin artist. It also makes its No. 39 entrance on both the Billboard Global 200 and Global Excl. U.S. charts, with 31 million global streams and 22 million clicks outside the U.S., respectively.
All charts (dated Dec. 21, 2024) will update on Billboard.com tomorrow (Dec. 17). For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
A Lionel Messi-inspired animated series will soon premiere on Disney Channel after Disney Branded Television acquired Messi and the Giants from Sony Music Vision and Sony Pictures Television – Kids, Billboard has learned.
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The sci-fi animated show follows a 12-year-old boy named Leo, who is transported from his home in Argentina into an alternate universe. The series will demonstrate how the character faces adversity, builds a team, and discovers how to become a hero.
“I always dreamed of being involved in a project that would share the values of sports, the very same values that have been so important to my career, with younger generations,” Messi expressed in a press release. “Nothing truly is impossible with teamwork, perseverance, discipline, and hard work. I look forward to sharing this series with kids around the world, and I hope I will inspire them and motivate them to achieve their own dreams. Ever since I was a kid, I always loved animated series, and I look forward to watching this series with my own kids.”
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Each episode of Messi and the Giants is 22-minutes long and will premiere on Disney Channel, followed by Disney Channel On Demand and globally on DIsney+, and will be available in English, Spanish and other languages.
Messi and the Giants
Disney
“Football — or soccer as we call it in the United States — is the world’s most beloved sport, uniting and captivating millions of fans of all ages,” noted Ayo Davis, president, Disney Branded Television. “We are proud to work with Lionel Messi and Sony Pictures Television to bring ‘Messi and the Giants’ to our passionate, global kids’ audience. We know that its themes of family, friendship, and teamwork will resonate with not only football enthusiasts but everyone everywhere who loves a great story.”
“It’s been a privilege to team with Leo and our colleagues at Sony Music on this first-time collaboration,” Joe D’Ambrosia, EVP and general manager, Sony Pictures Television – Kids added. “We’re thrilled that Disney is giving a global platform to this fun take on a classic tale and look forward to launching a global consumer products and branded partnerships program alongside the show’s debut.”
“There is an incredible team all working together on this project, with Leo’s magic as the inspiration behind it all,” said Afo Verde, Chairman & CEO, Sony Music Latin Iberia. “We are thrilled that Disney has now joined our roster to help bring this imaginative series to audiences and inspire fans all around the world.”
To date, Messi is the only athlete in the world to win eight Ballon d’Or Awards and six Golden Boots. In July, he joined the MLS team Inter Miami.
Guy Toubes will serve as executive producer, and Atlantis Animation, and director Dan Creteur will serve as the show’s animation studio. The series was developed by Toubes and Creteur under the creative direction of Sony Music Vision and SPT – Kids, in partnership with Messi.
Daddy Yankee filed a legal motion Friday (Dec. 13) in Puerto Rico seeking an injunction against his soon-to-be ex-wife Mireddys González, alleging she withdrew $80 million from the bank account of his El Cartel Records “without authorization,” according to court documents obtained by Billboard.
The filing by the reggaetón hitmaker (Ramón Luis Ayala Rodríguez) was made in a court in San Juan against González, her sister Ayeicha González Castellanos and El Cartel Records, a company founded by Yankee where González allegedly serves as CEO and González Castellanos serves as secretary/treasurer.
The 16-page filing claims that “in spite of the plaintiff being the owner of the shares of the company and being the reason for the existence of the corporation Cartel Records Inc., today he lacks access, interference and information, to all that he generated and continues to generate and to which he is entitled.”
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Now, Yankee is asking that the court provide “immediate removal of the plaintiffs from any function or interference in the corporations as officers or administrators thereof and the delivery of the information and documentation that they have illegitimately withheld.”
Yankee claims that González and González Castellanos improperly moved to “concentrate in their persons a greater power over the operations of the Cartel than was authorized, which has resulted in a detrimental and negligent performance for the company.” He also claims they “failed to render an accurate account of their actions, disregarded formalities and requirements of the corporate legislation, irresponsible financial decisions.”
In one claim detailed in Friday’s court filing, Yankee says González hired a third party to represent El Cartel in the sale of the plaintiff’s music catalog to Concord, which Billboard reported in October. He claims the transaction was formalized by selling these rights at a price that “turned out to be unreasonable, disproportionate and far below the real value.”
“Despite the plaintiff having signed the agreement, under the advice of that third party and the defendants, the plaintiff was not provided with a copy of all the contract documents, and to this day he does not know the real scope of the transaction, nor does he have detailed knowledge of what was or was not sold, nor the limitations he may have on the use of his musical creations,” the filing reads.
According to the legal filing, the huge theft of company funds occurred on Thursday (Dec. 12) after Yankee had already revoked González and González Castellanos’ authority and had “warned that they could not carry out any transactions on behalf of El Cartel.”
“Without the knowledge and authorization of the plaintiff and in violation of the requirements of the Law, a bank transfer was made, withdrawing, according to the information obtained, eighty million dollars from the corporate account of the entity,” his lawyers wrote.
Billboard reached out to González and González Castellanos for comment but did not hear back at press time.
The new legal battle comes just weeks after Daddy Yankee and González announced they were divorcing after 20 years of marriage.
“With a heart full of respect and honesty, I want to share some important news about my personal life,” Yankee said in a statement on his Instagram Stories on Dec. 2. “After more than two decades of marriage and after many months of trying to save my marriage, which my wife and I share, today my lawyers respond to the divorce petition received by Mireddys.”
Besides her role as CEO of El Cartel, González was also the manager of the reggeatón artist and is widely known to wield broad influence over Yankee’s music career. As the artist previously told Billboard: “She’s the boss. She has always been the boss.”
Christian Alicea has set the microphone aside and picked up a fire extinguisher, bringing to life his modeling side in a red-hot limited-edition calendar for 2025.
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The breakthrough salsa singer — nominated for best salsa album at the 2024 Latin Grammys — has released his very own firefighter-inspired calendar, serving as the sensual poster boy for each month. The fiery merch is not only a tribute to his own beginnings as a firefighter in Puerto Rico, but also an act of gratitude for his fans.
“The idea of the calendar was to satisfy my fans, since they always suggested it in the comments on photos of when I was a firefighter. In interviews they always questioned me about it too. Rather, it was to make that idea a reality,” he tells Billboard exclusively.
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For Alicea, there’s not much difference between his former career and his job as a musician today.
“It was a public service,” he explains. “In music, we also owe it to the public and work for them every day. As a firefighter I was part of a musical band, and I always try to give the best show, the best work in music. The sacrifices. Firefighters don’t have a fixed schedule. Many times I missed my mother’s birthday, I couldn’t share with my family on important dates, and music is the same. I have to do my part for my people.”
Describing himself as hardworking, disciplined and focused, Alicea hopes his hot-and-steamy portraits bring new career opportunities as well.
“In this calendar you will see a side of Christian Alicea that’s very important because who knows if through this other doors will open: brands, movies,” he notes. “We don’t just make music, we’re not just composers, we don’t just go to the gym, but we like to do different things that have to do with art.”
Christian Alicea’s 2025 calendar is available for purchase at ChristianAlicea.com.
Christian Alicea
Jean Villegas
On April 26, Argentine trap star and master freestyler Duki will kick off his first major U.S. tour, playing 11 dates (including Puerto Rico) in theaters and arenas. Explore Explore See latest videos, charts and news See latest videos, charts and news Duki, who made history as the first urban artist to sell out the […]
Maluma is already celebrating milestones for 2025 with the announcement of his Bogotá en el Mapa concert, he shared on Monday (Dec. 16). Set to take place in May at the Nemesio Camacho El Campín Stadium, the Colombian artist will host the first-ever 360 concert at the venue that holds nearly 40,000 people. “On May […]
This year was largely defined by pop stars who rewrote the rules, genre outlaws who succeeded in new territory and a rap beef that gave us a unifying anthem. But throughout the year, a handful of artists were enjoying their own major milestones — ones that not only defined their year, but their career.
From award recognition to chart firsts to major synchs and more, artists including Victoria Monét, Gracie Abrams, Natasha Bedingfield, A. G. Cook, Carín León, and Tems reflect on their defining moments of the year.
Gracie Abrams
Gracie Abrams
Abby Waisler
Last year, every single time I watched The Eras Tour — which was every time I opened — never once did it feel like there was going to be an end. When we were asked to come back, knowing that it would be to close it out, I immediately felt so nostalgic for the experience. Over the past few challenging, strange, scary years, Taylor has been a source of light for people who desperately needed it, and for developing artists, the tour has been an unimaginably significant springboard. For my career, it’s been undeniable. It’s hard to make sense of streaming numbers on your phone — I’m not someone who’s ever really been super tapped into that data — so to track the difference in audience reception quite literally in front of my eyes on The Eras Tour has been mind-blowing. I thought I was hallucinating when I first heard [Swifties] singing my lyrics back.
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What was most exciting about my own headlining tour was that I had made [2024 second album] The Secret of Us with my live show in mind. I’ve had the most fun performing “us.” in particular because on the days I’m not singing it with Taylor, it becomes this duet between all of us onstage and everybody in the crowd. And it was nominated for a Grammy! The whole reason Taylor and I wrote it in the first place was we’d just come off a dinner where she’d very sweetly said we needed to celebrate my first Grammy nomination [for best new artist in 2023]. The full circle of it all is hard for me to wrap my head around.
The Secret of Us has had the most traction out of any of the projects I’ve put out before, and there are milestones that are fun to acknowledge. When “I Love You, I’m Sorry” ended up being the song that took off the most, I felt like it was — not that we needed it — permission to allow acoustic guitar to remain the driving force behind “That’s So True,” which came from the feeling of living with a burning, fiery rage of jealousy. Seeing the life that song is having right now is psychotic to me. The audience’s engagement has only felt stronger as these rooms have continued to, by some miracle, expand. But what I clock as my metric for success is how it feels to create a thing and then sing it with a group of people who resonate with it. I just can’t believe any of it is real.
Natasha Bedingfield
Natasha Bedingfield
Cameron Jordan
Last year, my publisher reached out and I recognized the name [in his pitch]. I was like, “Ah, [filmmaker] Will Gluck! I remember him.” My song “Pocketful of Sunshine” was a big part of his [2010] movie, Easy A. He seems to use my songs in things and they resonate. So when I wrote back [about using “Unwritten” in his new film], I said, “A hundred percent yes.”
I went to the premiere [of Anyone but You], and the actors were like, “They just kept making us sing your song!” I think he made them sing it in every scene. I remember my publisher being like, “They’re really using it a lot.” And they even came back after they edited the movie and said, “We actually want to give you a bit more money because we ended up using the song even more.” We were really blown away by how it was used and how funny it was. There’s a moment where Sydney [Sweeney] is looking up at [Glen Powell’s] butt, singing, “Reaching for something in the distance.” I mean, that’s the kind of humor that I love.
People watched the movie and they left singing the song, and then they filmed themselves singing it and put that up on TikTok. And I got a call from Will saying, “Because the song is trending on TikTok, it’s making more people go see the movie.” So it was this really amazing thing that kind of served each other.
It feels like “Unwritten” has been one of the songs of the year. I feel really touched by this, and I couldn’t have anticipated it. Last year, I was thinking, “We need to do something for the [20th] anniversary! Let’s celebrate. Let’s put music out.” And then this happened without me. It was outside of my control, and it’s just been wilder than I could have imagined.
I think it’s everyone’s song, but nobody knew that until Anyone but You. What’s so poetic about this is that “Unwritten” itself is a song that’s changing and growing, and the story about it is evolving. When I was writing it, we imagined the arenas and the stadiums and the crowd singing it. And when we were producing it, I remember being like, “How do we pick sounds that aren’t going to be dated?” “Unwritten” is like my baby, and I hope it keeps shape-shifting.
A. G. Cook
A.G. Cook
Henry Redcliffe
Charli and I were talking about doing remixes almost from the beginning. I was really pushing this notion that I have about music in general in the post-streaming era. I like that music doesn’t have to completely end at the album release; the masters that get uploaded to streaming aren’t necessarily the final version.
What’s been so nice about brat is that even the way it was rolled out, the Boiler Room set happening early on and so forth, it’s holistically been about there being different versions. We’d sometimes even talk about remixes while working on the tracks themselves. There was always this notion that at some point, there would be a high-effort extension of the album. Thematically, brat is so interesting in how it is pure Charli, not using features. But obviously there’s all that energy building up for actual collaborations to happen. We knew while making it that if we wanted to collaborate, that would go on the remix album, but we’d also give collaborators agency to make songs even more in their image.
The original tracks were operating in real time, so it was no surprise that the remix album just continued that experience [by reflecting on] those months [after brat’s release]. The confessional nature of brat also provoked a lot of the remix collaborators to match that. Especially the [“Girl, so confusing” remix with Lorde], because it was conceived right as the album came out. That set the tone for the remixes to be actual conversations.
For [the “Mean girls” remix with Julian Casablancas], we wanted to make sure he could really make it his own, that it wasn’t just “Julian’s going to jump on for a verse.” That would have felt wrong for everyone. Charli and I wanted to demonstrate, like, “We’re not precious. We’re fine to dismantle it.” There are some remixes that didn’t happen simply because we sent it to people and they didn’t know where to start or were uncomfortable making a completely different genre. But the “Mean girls” remix is a good example of making sure it didn’t just feel like a feature, but an amalgamation that would then challenge Charli and I to also put ourselves on it.
The original songs are as clubby as DJs want to make them, or not. There’s so much ammo in brat, so many intriguing moments that could be looped, taken apart. I’ve already heard people do so many of their own remixes. There are funny ones where Charli is interviewed and is like, “Yeah, I love dance music, but I don’t really like drum’n’bass.” Then there’ll be like 10 drum’n’bass remixes, almost as like a “f–k you.” I think that’s the most fun part.
Carín León
Carin León
Carlos Ruiz
Being at the Grand Ole Opry was culturally very significant. As a Latino, as a Mexican, as a fan of country music, to go to the capital of country and play inside the temple of country music meant a lot to me. I think we made our mark.
I’ve always been close to country music, listening to Johnny Cash, George Strait and the newer generation of artists who are so good and are breaking parameters and doing things differently, just as we are with Mexican music. I love what artists like Luke Combs and Post Malone are doing, but if I had to choose a single country act, it would be the great Chris Stapleton. He’s given us a lot of love.
In fact, the last time we performed in the South, we sang “Tennessee Whiskey,” and I said, “Respectfully, for me, the best country singer, technically and artistically speaking, is Chris Stapleton.” Then we realized his wife was there, and she got up and came to the stage to see us. It made me realize music really has no borders. We have a country project set for next year, mostly in English, with a lot of collaborations.
We’ve been making other inroads with country music this year, and one day my manager, Jorge Juárez, and I were on a flight and he said, “We’ve just been confirmed for the Grand Ole Opry.” As if this was normal. My first words were “You’re kidding me!” Because I know how hard it is to play there. Many American artists never get to do it. It felt like confirming the biggest stadium ever.
It was the culmination of all those dreams I had as a kid of playing in a mythical and legendary space. Playing there allowed me to be me and to be that person that since childhood has loved country music, especially because our Mexican music is so influenced by country. I think it’s the only place where I’ve cried onstage. It’s something money can’t buy — and a memory I’ll take with me till the day I die.
Victoria Monét
Victoria Monét
Dalvin Adams
I really liked the process of getting into the Grammys. I was doing a lot of prep physically, like watching my food intake, lots of workouts. A really special moment happened where I took [my daughter] Hazel with me to a fitting with Versace. It was my daughter’s first time on a red carpet, and she [was going to] be matching with me. Versace allowed us to pick a specific brown and bring that theme of [my album] Jaguar to life.
[Winning the best new artist Grammy] was one of the biggest goals that I had for the year. You know how much it takes to get recognition in this industry or bring a vision to life and what kind of marketing it took to get there, what kind of focus and dedication and sacrifice. [But I have this] yin-yang mentality like, although this means the world to me and I appreciate it, I can’t make it my be-all and end-all to determine whether or not I’m good — because the other [nominees] were also amazing and they didn’t get it, and they’re going on with their lives and doing amazing, incredible things.
I have [my Grammys] on a banister upstairs; it’s kind of become an awards banister. There are a few plaques there and a framed tweet about the Grammys that I tweeted in 2015, almost like a manifestation. It puts a pep in your step to know that you did the right thing, but also you have so much more work to do, so just keep going and remain grounded and know that all of these things are a blessing.
You want to continue to do what you love even if the accolades don’t ever come again. There were many years where I thought I was great and I didn’t have those awards on my banister. It was just knowing, because of my work ethic, greatness comes that way. And when the recognition and attention come, you want to make sure that doesn’t become your driving force. Those are extras, but it does feel really nice.
Tems
Tems
Adrienne Raquel
Once I have a vision, I’m always trying to do everything to put my vision in place. But that can also sometimes turn into perfectionism, which I learned to let go of while [making my debut album, Born in the Wild]. You [have to] be as authentic as possible and allow yourself to flow in the music — letting go of anything that you think you’re supposed to do, be or show.
I’m not thinking too much about genres or rules: “Oh, you have to make Afrobeats.” My “why” is different. My “why” is to release my thoughts. It’s an honor to be able to make music that you want to make and for people to be able to connect to it — and for someone to recognize that is also really great.
[At Coachella], Wizkid was around and we asked him if he’d come out [to perform “Essence”], and he was really down. Justin [Bieber] happened to also be around. He hit me up that morning and said he’s down to come out if I needed him. And I was like, “Yes!” It was amazing. Everybody was going crazy. The crowd was screaming, the floor was shaking. It was a vibe, like a huge party.
[In November], we had just arrived at midnight in Melbourne, Australia, so I wasn’t thinking too much about the Grammys. I was extremely tired, so I went to bed hoping to get a little bit of rest before my show the next day. Around 5 a.m., my phone started vibrating on my bed. It’s calls and people shouting, “Oh, my God. Congrats!” I’m like, “Bro, what’s going on?” They’re like, “Bro, three Grammy nominations!” It was worth being woken up for, especially for the people that have worked on this album — not just me, but my friend and my producer [GuiltyBeatz], [and] Spax, [who] also engineered it.
There are so many people that worked sleepless nights and really did their best to help me out, and it’s beautiful to see them have the recognition. All it takes is a Grammy-nominated project that you were a part of for your life to change. That’s what I really care about the most.
This story appears in the Dec. 14, 2024, issue of Billboard.
