Latin
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Alma Joselin Holguín, a 48-year-old lawyer from the Dominican Republic, went to the Jet Set nightclub on Monday (April 7) with her husband to watch Rubby Pérez in concert. She details the venue’s ambiance inside and the exact moment its roof collapsed. Both Holguín and her husband survived the tragedy. Here’s her story, in her own words, exclusively on Billboard.
It was a very joyful night. Rubby Pérez gave his 100%; I had never seen him perform before, and I wanted to see him because he has several songs that remind me of my teenage years. It was my second time, after almost 30 years of not going to Jet Set, and my husband’s first. The club started filling up around 10:40 p.m., and at one point there were up to 700 people. The truth is, that night Rubby had the crowd happy, dancing, singing. Everyone was enjoying the moment, taking selfies. The crowd was very happy.
I didn’t see anything unusual from where we were sitting. We were opposite of the stage, near a bar by the entrance and about 35 meters from an emergency exit. In fact, they offered us a VIP table near the stage, and we declined to avoid the large groups of people. We were just enjoying the concert from where we were. We didn’t feel the need to go near the stage or onto the dance floor because it was too crowded.
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The orchestra started playing around 11:38 that night, and after an hour, it was all over. Around 12:40 a.m., I was one of the first people to call 911. I got through right away, and I said, “The roof of the Jet Set just fell. It’s crushing everyone. Send all the ambulances you can!”
All in all, we weren’t hysterical at the time.
Jet Set Club survivor, Alba Holguín and her husband, at the Rubby Pérez concert moments before roof collapse.
Alba Holguín
I remember there was a deathly silence, like a void in the air. The ceiling collapsed with a single blow, the entire roof fell with the irons, with the lights, it collapsed with everything! It landed at the same level as where we were sitting. It fell almost at our feet. I remember the dust rising, I remember that silence, and then the people screaming. The only thing I thought at that moment was, “My God, the ceiling fell on people!”
We had to unblock the emergency exit because they had chairs and tables blocking it—when they moved all that, a group of about 30 people managed to get out with us. I had no feelings at that moment; it was a mechanical thing: protect ourselves, sort things out, and leave.
Today I feel tired and burdened because I slept very poorly. Emotionally, I feel a certain gratitude, a certain peace for being alive. Sadness for everything that’s happening. I’ve tried not to watch too much news so as not to expose myself further emotionally. Yesterday and today I went to work, trying to make more sense of the fact that my husband and I were blessed with a protection that we believe is divine, and we came out without a scratch, without anything.
We’re trying to carry on with life as normally as possible because at the end of the day, it’s like feeling like I have a mission in life. I was blessed with the opportunity to bear witness. I survived a tragedy, and it was because of God’s love, a divine protection.
At the end of last year, Bobby Pulido announced his retirement from music to pursue a career in politics starting in 2026. But the norteño-tejano music icon still has much to offer.
In an exclusive interview with Billboard Español, Pulido reveals that he has signed with Fonovisa/Universal for a double album and an additional new project he’ll release before officially closing his chapter as a singer.
“I wanted something special with my friends, something where I could invite the people I admired and respected,” Pulido explains about Bobby Pulido & Friends – Una Tuya y Una Mía, the title of the set that will kick off this partnership. “Normally, it’s customary for guests to sing the other person’s songs, but in this case, I wanted it to be one of mine and one of theirs.”
The recording took place in December 2024 during the Mexican-American singer’s performances at the Auditorio Cumbres in Monterrey, Nuevo León, Mexico, where he was joined by guests such as Alicia Villarreal, Bronco, Kinky, Caloncho, Majo Aguilar and David Bisbal, among other stars.
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The concept will begin to unfold on April 22 with the release of Pulido’s hit “Desvelado” in a duet with Bisbal. Two days later, a norteño-tejano version of the Bisbal’s song “Dígale” will be available on streaming platforms.
Antonio Silva, managing director of Fonovisa Disa US & México, tells Billboard Español: “For the team and personally for me, having worked with him at the start of his career, it’s very emotional to reunite at such a special moment, working on a product that represents the legacy of a lifetime of success.”
The first part of Bobby Pulido & Friends – Una Tuya y Una Mía includes 14 songs that will be released in pairs on a weekly basis, starting on April 22 and continuing until May 30. Starting June 17, the 16 songs of the second set will begin to launch, concluding on Aug. 7.
L to R: Antonio Silva (managing director Fonovisa-Disa US/México), Bobby Pulido, Alfredo Delgadillo (CEO & president, Universal Music México/US), José Luis Cornejo (manager Bobby Pulido)
Fonovisa/Universal
Born in Edinburg, Texas, Pulido — the performer of hits like “Se Murió de Amor,” “Le Pediré” and “Ojalá Te Animes” — belongs to a successful subgenre of regional Mexican music that emerged in the mid-’90s and includes groups like Intocable, La Firma, El Plan, and Duelo — all U.S.-born with Mexican roots. “We made our own music by blending cultures. I feel very honored to have represented this movement for so many years and to mentor new generations,” Pulido adds. “I’m happy with what I’ve achieved in my career. I never wanted to be just the artist of the moment.”
In addition to the double set, Pulido is preparing a studio album for next year, aiming to leave new music for his fans before running for an unspecified public office in Texas.
Fans will still have the chance to see Pulido live throughout 2025 during his Por La Puerta Grande Tour, which kicks off on April 25 in San Antonio, Texas. The trek includes a show on Aug. 9 at the Auditorio Nacional in Mexico City. For more dates and details, click here.
Carlos Bautista, a music manager for artists including Omega and Chimbala, went to Jet Set nightclub on Monday night to watch his friend Rubby Pérez perform. He was standing near the stairs leading to the stage when the club’s roof collapsed. Both Bautista and his brother survived the tragedy. Here’s Bautista’s story, in his own words.
I’m a close friend of Rubby. I produced his last album, and we’ve worked together on business projects. I went to see him perform that night. I was standing near the stairs by the stage.
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A piece of the roof fell onto the corner of the club, landed on a table, and shattered it. That’s when a hole appeared in the roof. People started recording it and looking at it, and within seconds, the entire roof caved in. At first, we thought it was a fight in the club because everyone started running, and we assumed it was some kind of altercation. But five seconds later, the roof collapsed. I was right there in front. I didn’t even have time to run. When I turned to leave, the roof fell on me — on my head, back, arms and knees. I was completely buried.
My brother and I were both trapped under the rubble. Nearby, there was a couple, and they managed to create a space and said, “Carlos, help me get out.” I’m a big guy — 6 feet tall and over 200 pounds — so I was able to move a chair, and they got out. My brother was still trapped, so I went to get help to get him out of the rubble. When things like this happen, you don’t really think about anything. While I was trapped, I thought about my mom, my family. I prayed to God, asking Him to let us make it out alive, but I also surrendered to His will. I was calm — 100% calm. But it wasn’t me; it was God who made that possible.
I never thought about dying. I was trapped for over an hour. I didn’t lose consciousness because I kept talking to my brother to keep him alert since he was on the verge of having a claustrophobic attack. Neither of us passed out. The people near me made space for us, and I was able to get out. I walked out barefoot because my shoes got stuck under the rubble. I was careful not to step on nails or anything sharp. I ran into someone my mom knows — a cop — and a firefighter. My brother had his phone with him and used the flashlight so they could find him and remove the debris to get him out. He was trapped for three to four hours. Rubby didn’t make it, and I think being trapped for so long is what ultimately took him.
When you’re in that kind of situation, your mind starts to wander, and it’s not easy to process what’s happening. At first, I thought it was an earthquake. But when I got out and saw everything was fine outside, I realized it wasn’t. What impacted me the most was seeing people outside desperately waiting for their loved ones to come out alive. That stayed with me — seeing their faces, knowing that most of the people trapped inside had already passed away. God had called them.
I live with my brother and my mom. She was at home and only found out what had happened when I called her from the hospital. My mom wakes up every day at 4 a.m. to pray, and I called her at that time to tell her not to worry when she woke up and realized I hadn’t come home. My brother spent the night in the hospital, but he’s here with me now. I didn’t break any bones, but my mind feels fractured after everything I saw. My heart feels broken because I’m human, and I feel the pain of others. I lost a lot of people I knew that night.
Life can change in an instant. I woke up this morning thanking God for giving me more time, for showing mercy to us, for not leaving my mom alone in this moment, for letting her keep her two sons. That’s just how I am — always calm, always composed. But I didn’t survive just because I’m calm. Everything is in God’s hands. I keep thinking about this phrase: “It wasn’t the universe, it was God. And it wasn’t random; it was part of His plan.”
Now that this has happened, I want humanity to take God’s existence more seriously. We’re seeing the signs of the end times, and God is real. I’ve always believed, but now even more so. I’ll continue to talk about His existence for the rest of my life. This doesn’t affect my career — not at all. I work in music, and I’m mentally prepared for whatever comes my way.
Rubby Pérez was among the victims of the deadly Jet Set nightclub roof collapse on Tuesday (April 8). Hours after the tragedy, it was confirmed that the 69-year-old merengue icon had died after being trapped in the rubble.
Pérez had been performing at the nightclub in the early morning hours of Tuesday at the upscale nightclub located in Santo Domingo, Dominican Republic, when the roof collapsed, killing more than 120 people, according to the Associated Press’ latest death toll, and injuring hundreds more.
On Wednesday, Pérez’s team posted an official statement on the artist’s Instagram account. “It is with deep sorrow that we inform you of the passing of our beloved Rubby Pérez,” the post reads in Spanish. “We sincerely appreciate all the love, support and solidarity we have received at this difficult time for his family, friends and fans. His musical and human legacy will live forever in our hearts.”
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Born Francisco Arturo Pérez in Hato Mayor, the singer launched his career as the lead vocalist of Wilfrido Vargas’ orchestra. He then kicked off his solo career in the 1980s and catapulted to stardom thanks to classics like “Volveré” and “Enamorado de Ella.”
Immediately after reports of his death, a number of Latin artists posted heartfelt tributes in honor of the musician. “Heartbroken, not only for all the victims of this tragedy but also for the departure of someone so admired,” merengue star Olga Tañón wrote on Instagram. “My God, maestro you leave us in great pain. One of my greatest idols of all my life!”
“My heart goes out to all Dominicans after such a terrible tragedy, the loss of a great musician, a great brother, who with his music transcended generations as was the great Rubby Pérez, and for all those who died and were affected under the same circumstances,” wrote Venezuelan salsa singer Oscar D’León.
Meanwhile, Wilfrido Vargas, who was a key figure in the rise of Pérez, shared on Instagram: “I am devastated. The best singer the genre has ever produced, the highest voice of merengue. The friend and idol of our genre, has just left us. I have no more words. This is very deep, deeper than what you can feel even in the most terrible of dreams. Farewell Rubby Pérez.”
“You have arrived in the presence of the Lord Jesus, dear and admired Rubby Pérez,” Juan Luis Guerra wrote on Instagram. “May God pour out strength and His peace that surpasses all understanding upon your family and friends!”
Fellow Dominican artist, Milly Quezada, expressed on Instagram: “Fly high my friend! Rest in peace dear Rubby! My heart goes out to your family and also to the families of all those affected in this tragedy!Without words…”
Other artists who mourned Rubby Pérez include Marc Anthony, Ricky Martin, Chichi Peralta, Elvis Crespo, Sergio Vargas, Yordano and Toño Rosario, among others.
At last month’s Billboard Women in Music ceremony in Los Angeles, Breakthrough honoree Ángela Aguilar took a moment to express her solidarity with the Latin immigrant community, dedicating her award to women who cross the border to the United States “with nothing but hope in their hearts, only to find themselves living in uncertainty and fear,” she said in a poignant speech that prompted a standing ovation. “You deserve safety, dignity, the right to dream.”
Aguilar is part of a growing group of Latin artists — including Shakira, Maná and Alejandro Fernández — who are using their platforms to speak up for immigrants after President Donald Trump took office in January and immediately launched an aggressive crackdown on immigration, pledging to carry out mass deportations.
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But it was perhaps regional Mexican artist Tony Aguirre who addressed the situation more bluntly. “I’m scared that no one will show up to my shows,” he said during an interview with a Mexican podcaster when asked how things were going with Trump as president. Aguirre tells Billboard he is genuinely worried.
“Regional Mexican events have been directly impacted, and it’s not just me going through this, many of my colleagues feel this way,” says Aguirre, who tours mainly in the U.S. “When it all started, we were reaching out to each other just to see how things were going and everyone was saying the same thing, low attendance. People are scared to go out because of mass deportation threats, and I wanted to speak up because it seems like no one in our industry is willing to really to talk publicly about how this has impacted our industry, and it’s important that we do.”
While the effects of Trump’s policies on Latin music still remain to be seen on a larger scale, there is a real concern about the impact.
Abel DeLuna, California-based member of the veteran Mexican music association Promotores Unidos and founder of Luna Management, is once again dealing with a situation that’s historically effected regional Mexican bailes, which are small but mighty shows (and for many years the backbone of the genre) predominantly held in nightclubs catering to a specific demographic and booked by indie promoters. In 2007, Billboard’s Leila Cobo interviewed DeLuna about “stepped up” immigration enforcement under the George W. Bush administration, where he said then that the immigration situation alone accounted for 20% to 25% of the drop in his concert promotion business. He relived the same scenario 18 years later when Trump took office for a second term earlier this year, with that fourth week of January and first week of February being particularly brutal. DeLuna says shows in those weeks sold only around 10% to 15% of tickets, which ultimately led him to cancel some shows in Northern California.
“Our people are worried,” says DeLuna, speaking over the phone just weeks after Trump took office. “Many are afraid to go out, afraid to go out to work, afraid to go to the bailes, concerts, several having to get canceled because people are not buying tickets. I don’t know how long this is going to last, if it is really going to calm down soon or if it is going to go on for a long time and if it does, then our people are going to suffer a lot and the whole business is going to suffer.”
Low concert attendance aligns with a decrease in foot traffic in predominantly Hispanic neighborhoods around the country since Trump took office, says Maria Teresa Kumar, president of Voto Latino, a non-profit organization that aims to encourage young Hispanic and Latino voters to register to vote.
“People are scared that they’re going to be targeted and rounded up, creating a chilling effect happening around a community that is getting internalized mentally but also physically in their decisions to not go shopping or go to concerts,” says Kumar, who in the past has teamed up with artists like Maná and Los Tigres del Norte to get Latinos more politically involved.
The Latin music industry thrives on a diverse fan base, and while it’s reaching a global audience now more than ever, its core listeners are still Latinos, and a significant portion of them are immigrants. Just as with previous administrations, when there are increased reports of immigration raids in U.S. cities, businesses inevitably suffer. That includes everything from flower shops and restaurants in Chicago seeing a notable decline in sales to schools and churches feeling the “chilling effect,” as The New York Times put it in a report about “immigrants in hiding” over fear of deportation.
DeLuna says the sobering topic came up at the annual conference for Promotores Unidos, a long-standing Latin concert promotion association with more than 300 members, in Las Vegas in January.
“[Immigration] is the most important conversation right now,” DeLuna says categorically. “With those I have talked to among the association, I recommend the same thing: We must take care of ourselves, but we have to work harder and try to do better promotion to get people to come to our events, even if that means keeping prices low. What I’m personally doing is lowering prices to see if people feel encouraged to come out.”
Enrique Ortiz of Luz Record, a management, promotion and booking agency based out of L.A., also attended the Promotores Unidos conference in Las Vegas and says that while misinformation on social media about alleged raids in certain cities has also affected concert attendance, he’s been following the situation closely. “We’ve been noticing that ICE is arresting those with a criminal record, yes, but also those who don’t [have one]. And that’s concerning. It has a direct impact on all of us as managers, promoters, musicians.”
Billboard’s reporting confirms that this is an ongoing topic of conversation in important Latin music spaces and is top of people’s minds — although many in the industry prefer not to speak on the record about it. Over the course of two months, Billboard reached out to more than a dozen industry leaders, from managers to agents to promoters, for this story, with the majority declining to give an interview about just how much the Trump administration could impact the business of Latin music. Some who agreed to speak on background on the condition of anonymity expressed the same sentiment: uncertainty. One source, a manager to a well-known regional Mexican act, said they had already seen the impact on live shows in certain markets, particularly concerts that mainly book more traditional (i.e. older) regional Mexican acts.
Josh Norek, president of Regalias Digitales, refuses to stay silent and blasted a wide email to his contacts in March with the subject line: “Latin music industry — the time to speak is now.”
“From venues and record labels to artists and crews, deportations create instability that threatens the economic power of Latin music,” Norek’s email reads, with messaging crafted by Voto Latino for artists and executives to share. “If our audiences and communities are at risk, our industry suffers.”
Norek is particularly focused on the impact Trump’s administration will have on royalties should his promise of mass deportations come to fruition. “I project in the next four years we’ll see a significant decrease in earnings,” he tells Billboard. “I care tremendously on a humanitarian standpoint, but when you think about the economic impact, it’s very simple math: A stream coming from Mexico is worth about 2% of a stream coming from the U.S. So, if you deport 5 million streamers and put them in places like Mexico, Guatemala or Venezuela, you go from paying $10 a month for Spotify to [the] free ad-supported tier in Mexico, and it will generate almost nothing. Meanwhile, Pandora exists only in the U.S. and if you take away those users, it will impact SoundExchange royalties. You shouldn’t have to be a Democrat, Republican or independent to be thinking about the economic impact of deportations.”
Adding to the precariousness of it all, Trump’s global tariffs, announced on April 2, could also affect the U.S. music industry, from musical instrument manufacturers to the vinyl business. They could also lead to a potential decrease in local tourism, directly impacting concert and festival attendance in the U.S.
“During these times [of uncertainty], people are double-thinking how to spend their expendable income and, sadly, concerts are one of those pieces that are disposable income,” adds Kumar. “It’s been only two months and we’re already seeing the implications in the music industry, in hospitality, retail industry — this is not tenable.”
Norek reached out to Voto Latino to help craft messages for industry leaders and artists to share, although the shareable posts have yet to garner wider traction. “I understand that it’s tough for some people to speak out because they don’t want to be demonized,” says Norek. “However, now there’s just outward hostility toward Latinos and immigrants. The least we can do is show our clients that we care. This is our audience.”
The death toll from the roof collapse at the Jet Set club in Santo Domingo in the Dominican Republic has climbed to more than 113 people. According to the Associated Press, the iconic venue was packed with “musicians, professional athletes and government officials,” when dust from the ceiling began to fall into attendees’ drinks before the entire roof collapsed.
In addition to the scores of dead buried under concrete slabs, authorities said more than 255 were injured. Merengue superstar and concert headliner Rubby Pérez — who was on stage performing when the ceiling collapsed — was among the dead, according to emergency operation director Juan Manuel Méndez, who said the 69-year-old singer’s body was found early Wednesday morning (April 9). The collapse happened roughly an hour into Pérez’s midnight performance.
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Pérez’s official Instagram posted a tribute to the late singer on Wednesday morning honoring the beloved star born Arturo Pérez in Hato Mayor. “It is with deep sorrow that we announce the passing of our beloved Rubby Pérez. We sincerely appreciate all the love, support, and solidarity we have received from his family, friends, and fans during this difficult time. His musical and personal legacy will live forever in our hearts. May his soul rest in peace.”
As of press time rescue teams from Puerto Rico and Israel had arrived to help local authorities, who said they were still searching for any potential survivors, with Méndez telling the AP that “as long as they report that there is a missing person, we will be there.”
Among the dead were two former Major League Baseball players, pitcher Octavio Dotel and Dominican star Tony Enrique Blanco Cabrera. An Instagram tribute to seven-time MLB All-Star Dotel from the Ministry of Sports and Recreation read: “We deeply regret the passing of former Major Leagues and Immortal of Dominican Sport, Octavio Dotel, 51. His legacy on and off the field leaves an indelible mark on national baseball history. Peace to his soul and strength to his family and loved ones.” Dotel pitched for 13 teams during a 15-year MLB career, including a pennant-winning season in 2011 with the St. Louis Cardinals.
The Ministry’s tribute to Blanco, 44 — who played in the outfield and as a first and third baseman, spending eight years in the minors, as well as one season with the Washington Nationals (2005) and 16 years in the Japanese baseball league — read, “We deeply regret the passing of former Major Leagues and Immortal of Dominican Sport, Octavio Dotel. His legacy on and off the field leaves an indelible mark on national baseball history. Peace to his soul and strength to his family and loved ones.”
Among the other reported victims were Nelsy Cruz, the governor of the northwestern province of Montecristi, and sister of seven-time MLB All-Star Nelson Cruz, who called DR President Luis Abinader from underneath the rubble to alert him of the disaster and later died at a hospital. The AP reported that Pérez’s saxophonist Luis Solís, who was on stage during the collapse, also died.
The Jet Set club issued a statement on Tuesday morning, sharing condolences to the families of those killed and injured in the roof collapse. “Last night, a tragedy struck that has deeply shaken the hearts of everyone who is part of Jet Set and all Dominicans. The loss of human lives leaves us in a state of profound sorrow and grief,” the venue wrote on Instagram. “In this difficult moment, our prayers are with each of the affected families. We share their pain as if it were our own, as we too are in mourning. We are working fully and transparently with the competent authorities to assist the victims and clarify what happened … We join the country in expressing solidarity during this unexpected and painful situation.”
At press time authorities were still investigating the cause of the roof collapse. Only 32 people have been identified in what is being described as one of the worst disasters to hit the Dominican Republic.
Legendary Latin artists Vicente Fernández and Freddy Fender are among this year’s inductees into the National Recording Registry, a prestigious honor from the Library of Congress. Fernández’s ranchera anthem “El Rey” and Fender’s bilingual country crossover hit “Before the Next Teardrop Falls” join a select group of recordings recognized for being “culturally, historically, or aesthetically […]
Dominican merengue singer Rubby Pérez has died Tuesday afternoon (April 8) at 5pm E.T. after being trapped in the rubble of a nightclub in Santo Domingo whose roof collapsed in the early hours of the morning, confirmed Listín Diario, a Dominican newspaper. The artist was 69 years old. Billboard Español reached out to Pérez’s two […]
Manuel Turizo is going on tour, the Colombian superstar announced Monday. The CMN and La Industria Inc-produced stint is set to kick off June 11 in Jalisco, Mexico, and he will tour other Latin American countries like Chile, Costa Rica and Argentina, before launching the North American leg of the trek. “I can’t wait to […]
Rubby Pérez has been hospitalized following the deadly roof collapse at the Jet Set nightclub in the Dominican Republic, where he was performing early on Tuesday (April 8). The 69-year-old Dominican merengue singer — known for Billboard hits such as “Tu Vas a Volar,” “Enamorado de Ella” and “15,500 Noches” in collaboration with Romeo Santos, […]