Latin
Page: 8
New Music Latin is a compilation of the best new Latin songs and albums recommended by Billboard Latin and Billboard Español editors. Check out this week’s picks below.
Explore
See latest videos, charts and news
See latest videos, charts and news
Majo Aguilar, Mariachi Mío (Fonovisa/Universal Music Mexico)
Majo Aguilar’s Mariachi Mío bridges tradition and innovation, fusing mariachi — a centuries-old genre rooted in northwestern Mexican heritage — with the modern tumbado movement that’s rapidly reshaping música mexicana. The result is a personal album that expands the storied genre’s boundaries while preserving its essence. Crafting eight of the ten tracks and involved in production, Aguilar showcases her artistic evolution and cultural pride.
The opener, “No Pidas Perdón,” reflects post-breakup closure through lilting violins and mournful vihuela strums. The focus track, “Que Te Vaya Bien,” offers a mellow kiss-off enriched by harp, brass, and layered rhythms, while “Mala Mala” injects drama into a more traditional framework. Of its two collaborations, Alex Fernández lends vocals to the ranchera “Cuéntame,” while rapper Santa Fe Klan contrasts with a tumbado-infused blend on “Luna Azul.” With her new release, Aguilar reclaims mariachi as her own, remaining rooted in its foundational spirit to forge a fresh path forward. — ISABELA RAYGOZA
Debi Nova, Leonel García, “Se Va” (Sony Music Entertainment Centroamérica y Caribe)
Debi Nova and Leonel García join forces on this delicate heartbreak ballad about a relationship that is slowly fading. Driven by a mournful guitar riff, the Costa Rican singer-songwriter and the Mexican musician begin by almost narrating their feelings before harmonizing on intimate verses like, “Today I understood that dreaming only lasts a moment, and I’m sorry/ If you don’t embrace the one who is there, they will leave/ If you don’t take care of that flower, it will wither.” In an Instagram post, Nova shares that she met García 12 years ago when they both participated in a Franco De Vita tour, and that ever since then she “had always dreamed of doing a collaboration with him.” It took more than a decade to make it happen, but it was worth the wait. – SIGAL RATNER-ARIAS
J Balvin & Omega, “KLK” (Capitol Records/Sueños Globales/UMG Recordings)
In the midst of his Rayo Tour, J Balvin dropped “KLK” in collaboration with Omega — a tune that could easily become the next summer banger of the year. Produced by Jorge Milliano, the track perfectly blends the Colombian artist’s urban swagger with the Dominican act’s mambo essence, bringing to life an energetic merengue electrónico backed by ferocious güira and conga beats. “KLK,” which is Dominican slang for “que lo que” and loosely translates to “what’s up,” is a celebration of the vibrant Latin culture — the music video, filmed in the barber shops, colmado (mini market), and streets of New York City and the Dominican Republic attests to that. “Que lo wa, qué lo que,” says the catchy hook. — JESSICA ROIZ
Marco Mares, ¿por qué corres? ya estamos ahí (Rebeleon Ent./Universal Music Latino)
Mexican singer-songwriter Marco Mares unveiled his highly-anticipated third studio album, ¿Por qué corres? Ya estamos ahí, which translates to “Why Are You Running? We Are Already There.” This poignant title serves as a heartfelt reminder to embrace the present moment and savor life’s experiences. The album consists of 10 tracks that radiate uplifting vibes, reminiscent of sun-soaked tropical islands. Among these, you’ll find bachata rhythms in “A 150” and “Amor Chiquito”; and an infectious merengue track in “digo que no, pero si” in collaboration with Sabino—all which beautifully showcase Mares’ ability to blend traditional sounds with a contemporary flair. ¿Por qué corres? Ya estamos ahí was produced by Sebastián Krys and Eduardo Cabra, and co-written by Mares with several songwriters, including Raquel Sofía from Puerto Rico, Valentina Rico, Alberto Arcas, and Juan Pablo Vega. Collaborations include Zoe Gotusso, Bebo Dumont, Carlos Sadness, and Sabino. — INGRID FAJARDO
Karol G, “Milagros” (Bichota Records/Interscope Records)
Fresh off the release of her documentary, Tomorrow Was Beautiful on Netflix, Karol G is gifting fans a new feel-good song. “Milagros,” or miracles, opens with bright quena (Andean flute) notes that quite literally sets the tone for the joyful track about the miracles of life. “When I wake up I realize how blessed I am, I go through the world doing my thing, opening doors and closing wounds … what more miracle than to be breathing?” she sings in her velvety voice. Produced by Edgar Barrera and Lexus, the song goes full pop with elements of Peruvian folk incorporated throughout, a new style for the Bichota who is known for her reggaetón hits. “Milagros” is Karol’s first release of the year and fans can hear it at the end of her documentary. — GRISELDA FLORES
Check out more Latin recommendations this week below:
Southern California has long been shaped by the essence of Chicano and cholo culture, a deeply ingrained presence that speaks to the region’s multifaceted identity. Murals and tattoos served as canvases for a range of imagery steeped this subculture — from low riders and clowns to the iconic “smile now, cry later” masks, while vending machines once dispensed prismatic stickers featuring cholas, homies, and pachucos, each paired with the name of a classic oldies song.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
At swap meets and once-thriving CD stores, Lowrider Oldies compilations where the backdrop to nights spent cruisin’ in custom lowriders outfitted with hydraulics — at quinceañeras, damas and chamelanes arrived in similar old school cars to these. This rich tradition boomed as Black and Brown culture intertwined, with the soulful sounds of Marvin Gaye, Smokey Robinson and Brenton Wood echoing across the hood.
Trending on Billboard
For Cuco, the 26-year-old singer-songwriter and multi-instrumentalist hailing from Hawthorne by way of Inglewood in L.A. county, this kind of environment shaped him. With his third studio album Ridin’, out Friday (May 9) — his “love letter to L.A.” and Chicano car culture — the artist reimagines oldies music through a modern lens, blending analog and harmonic richness to bridge generations while honoring his roots.
“The association with oldies and cars is a big thing here [in L.A.],” Coco tells Billboard Español. “I don’t know if that’s culturally relevant for the rest of the world, but I wanted it to be a thing [with my album].” He mentions that each of his upcoming visuals, for singles link “Phases” and “My 45,” will be paired with a classic car. “Obviously, this is my love letter to L.A., but I wanted it to be something that feels like it can be everywhere,” Cuco notes.
From the shimmering stylings of boleros to modern interpretations of timeless soul, Ridin’ unpacks emotion and tradition, making connections between collective nostalgia and personal experience. “[That influence] has always been there,” Cuco explains.
He adds, “There’s a lot of norteño culture out here in L.A., but also cumbias, románticas, and boleros. There’s a different part of Mexican culture blowing up, and oldies have always been around. They influenced a lot of the romantic part of my music. Many people don’t really know that. But there’s a lot of layers to me. I wanted to make an album that felt more old school.”
One of the defining cuts — of the album produced by Tom Brennick (Amy Winehouse, Mark Ronson, Bruno Mars) and mixed by Tom Elmhirst (Adele, Frank Ocean, Travis Scott) — is the title track. “’Ridin’’ was the first track that we worked on for this record, the first that Tommy made,” Cuco says. “I wanted it to feel like a nursery rhyme. There’s also that psychedelic break at the end.”
Other songs like “ICNBYH” (short for I Can’t Ever Break Your Heart) showcase the singer-songwriter’s knack for crafting infectious, big choruses that leave a lasting imprint on listeners. “The chorus feels timeless, and I really wanted to lean into my vocals,” Cuco explains. “For a lot of my older fans, it’s something that would be easier to digest before going into the rest of the album.”
His love for brown-eyed soul also shines in “Para Ti,” a Spanish-language ballad á la Ralfi Pagan. “I think my pen in Spanish is strong,” he shares. “It’s something that comes naturally. It feels like a mix between a bolero and a romántica, that I listened to a lot [too].” It’s the only song in Spanish on the album, but Cuco has also teased a deluxe version with additional tracks en español as currently being in the works.
In addition to nods to old-school greats like Barbara Lewis, including an interpolation of Lewis’ enduring ’60s hit “Hello Stranger” in “Seems So”, Cuco says that “Ralfi Pagan and Joe Bataan were on repeat a lot,” along with Smokey Robinson, Al Green and Brenton Wood. He also acknowledges newer artists blending vintage sounds with fresh perspectives, such as Thee Sacred Souls, Thee Sinseers and Los Yesterdays: “I got to work with some of those folks and meet really cool people that I look up to in that world. It was really dope.”
Emotionally, one of the album’s most striking moments comes in “My Old Friend,” a gently wistful ballad that Cuco describes as his way of connecting to life’s losses without falling into sorrow: “I wanted to write [a song] to the people that have passed away in my life. It’s something that I can still celebrate with the people that are alive around me. My cousin, who was there when I wrote the song, said, ‘Why does it feel sad, dude?’ I was like, ‘It’s not supposed to be.’ But it can be, depending on who you’re thinking about.”
Then there’s “My 45,” the only collaboration on the album. “I don’t generally work with a lot of songwriters, but for this record, a good chunk of the song is with my friend, Jean Carter,” he explains. “That’s my brother right there. We played it at the El Rey [in L.A.] at the live show, and people are geeked over that track.”
Ridin’ not only aims to connect generations through its music but also celebrates the evolution of a culture that remains alive. Or, as Cuco says: “It brings you into the world of the new oldies.”
Cuco
Courtesy Photo
After winning the Latin Grammy for best new artist in 2024, Colombian singer-songwriter Ela Taubert finally released Preguntas a las 11:11, her debut album, on Friday (May 9). The 16-track set, which took two years to bring to life, is a reflection of her deepest thoughts and her tendency to overthink.
All the song titles are framed as questions except for one, which is simply titled “Pregunta” (Question) and is the 11th track on the album.
“I’ve always overthought things since I was little, and that hasn’t changed now that I’m an adult,” explains the 24-year-old artist to Billboard Español. “When I started writing [these songs,] I realized all that came out were questions, which I think reflect my tendency to question everything. Obviously, when all the songs started to have this kind of title, we said, ‘Well, it’s going to be Preguntas, and a las 11:11 (at 11:11) because at home we always make a sacred wish at 11:11. So we unified these two universes.”
Trending on Billboard
Sonically, Taubert says that for this album — released under Universal Music Latina and featuring the singles “¿Cómo Pasó” (with and without Joe Jonas, and in a third live version with Morat), “¿Quién Diría?” and “¿Cómo Haces?”, among others — she drew inspiration from the pop superstars she grew up listening to.
“I used to watch the Hannah Montana movies. I literally wanted to be like that, a pop star. I’d wear sparkly gloves and everything,” she says enthusiastically. “Maybe I’m still holding on to that childhood dream of bringing the sound of the artists I listened to as a kid, like Miley [Cyrus], Taylor Swift, and Adele, to our language, Spanish — obviously while keeping my Latin roots super present, because I also grew up listening to Reik and Jesse & Joy. So I’d say it’s like a fusion.”
Designed to be listened to from start to finish, the LP weaves a narrative that feels both intimate and universal, addressing themes like love, heartbreak, and the complexities of human connection in songs like the focus tack “¿Trato Hecho?” as well as “¿Es En Serio?”, “¿Te Imaginas?”, “¿Qué Más Quieres?”, “¿Si Eras Tú?”, and more.
“This album is like a midnight diary for me. It’s about those moments when there’s no TV, no phone, nothing, and you can’t sleep, so you start thinking about 45,000 things at once,” Taubert summarizes. “I hope that the people who listen to me, who support me, find refuge in each of these songs and see themselves reflected in them. That’s been one of the most beautiful things about these last two years — growing the family, realizing I’m not the only one who feels the way I feel, and learning to grow together through this whole process.”
Below, Ela Taubert breaks down five essential tracks from Preguntas a las 11:11. Listen to the full album here.
“¿Quién Diría?”
Contextually, the album as a whole is a love story with all its ups and downs and emotions. But “¿Quién Diría?” (Who Would Say?) is precisely the track that starts it all. It’s the only love song on the album, so it opens up this universe and speaks about the first time I truly felt I was in love. I was always very rebellious about that kind of thing on a personal level — like, “I’m not going to fall in love, I’m not in love, I don’t like anything romantic.” And in the end, I fell in love, and that’s how the story begins. That’s why it’s so special, because it opens up this world. And also because fans were always asking me, “When are you going to release a love song?” So it’s like giving them a little taste of the fact that love has existed in my life — and it still does.
“¿Cómo Pasó?”
I think this was one of the most fun songs to make and also one of the quickest. It’s about my first heartbreak as a teenager, the first time I felt like my heart was broken. But it’s very beautiful, because when we started writing it — obviously I’m in a different place now. The idea behind this song was that I wanted people to feel exactly what I felt during that strong heartbreak. I wanted to share how I truly felt. That’s why at first it gives you the sense that it’s a love song — just like how I felt when I got my hopes up — and then suddenly, your world falls apart and you think, “Wow, this is a heartbreak song.” I wanted to allow people to navigate that emotion with me, the way I felt that intense disappointment.
And the twist with Joe Jonas — well, that was a dream come true for me. Joe was one of my childhood idols. I think he was for everyone, honestly, for people who watched Camp Rock and all those kinds of childhood series. It was a blessing, and I’m proof that dreams really do come true. Right when I got nominated for the Latin Grammy, I decided to look for a video of myself as a little girl singing, and I found one of me singing “This Is Me” from Camp Rock. So I wrote him thanking him for inspiring me, and then it was crazy, because a few days later, he replied — which blew my mind, because I never thought he’d reply. And the rest is history. This version is something I’ll carry in my heart forever, thinking about how it fulfilled my inner child’s dream.
“¿Cómo Haces?”
This is a very special song for me. It’s track No. 7 on the album because, for me, 7 is the number of my family. Everything has its reason. I wrote it for my mom, because my mom has been my anchor and my grounding force — she’s always there. It’s a very beautiful song, and I also realized it’s a song for all the people who’ve been there for me — the fans, everyone. So when we announced the album, the most beautiful way to do it was paying homage to her, to my whole family, my friends, and everyone who’s been there. That’s why, at the end of the song, during last year’s tour, after 40 attempts during the show in Bogotá where my mom was, where the fans were, everyone learned the song and we were able to record them and include them in the song [with a live snippet at the end].
“Preguntas”
Well, “Preguntas” (Questions) is the epicenter of the album. “Preguntas” represents where I’m at in my life right now on a very personal and emotional level. It’s the 2.0 version of a song I wrote for my first EP called “Crecer”. It talks about that difficult moment I experienced back then, about how hard I found it to grow up. I left my country alone at 18 or 19. It was really hard for me as an only child. So this song is very special to me, and honestly, “Preguntas” feels like the answer, almost three years later, to what I’m living now and how I see growth now. The fans will understand it deeply because they know what this symbolizes for me. That’s why it’s the 11th track, because it’s the most vulnerable part of me, and it’s the epicenter where questions are born.
“¿Trato Hecho?”
This is one of my favorites. To me, writing music is immortalizing memories, but this song specifically — the lyrics teleport me over and over again to that same place and bring me so much peace, for some reason, [even though] is a super sad song. Sonically, it’s one of the ones I feel most proud of as well, in the sense that I was able to pour all the emotions I felt in that moment into the song. That’s why it’s the focus track and why it’s the third track — it connects the whole story of the album very well. It’s been one of those promises, so to speak, that I’ve broken. It’s like a trato hecho (done deal) that we wouldn’t see each other again, but we saw each other again and tried again.
See how Billboard ranks every song on the new LP.
Becky G has officially dropped her first single of 2025 — and it’s a complete contrast to the Música Mexicana era she’s been in for the past two years.
Reeling in Colombian sensation Manuel Turizo, “Que Haces” is a merengue/bachata hybrid produced by Nup and Ciey. Lyrically, the song is flirty, cheeky and, in Becky’s own words, “atrevida” (daring), narrating the story of two people who like each other and have the urge to start dating.
“It really encompasses how romantic relationships are nowadays,” Becky G tells Billboard over a Zoom interview. “We can be super casual and get married tomorrow. The freedom of it is not just in the lyrics, but in the feeling: you can hear me smiling when you’re listening to it. There’s something very contagious about this record, I describe it as serotonin in a song.”
Trending on Billboard
Marking her first collaborative effort with Turizo, the Mexican-American artist expresses she “definitely slid into his DMs” after the tune was done.
“As soon as I finished doing my thing, I remember thinking that there was only one person who could make this song be what it could be, and that’s when I reached out to Manuel,” she elaborates. “We were both so hands on with it. It’s the perfect synergy for sure.”
The music video, directed by Joey & Joey in the heart of Miami’s Hialeah neighborhood, celebrates the kind of puppy love that grows old together. But beyond the feel-good, romantic, and nostalgic elements found in the song and video, “Que Haces” represents an evolution for Becky.
“Coming out of [my música mexicana albums] ‘Esquinas’ and ‘Encuentros,’ I can confidently say that I’m a genre-less artist,” she notes. “This song is an evolution of me as an artist and a woman. I’m not rebranding or abandoning anything, I’m building something. Moving forward, my main focus is that no matter what music I make, Becky is going to be Becky.”
Watch the music video for “Que Haces” below:
Prince Royce is set to open TelevisaUnivision’s 2025-26 Upfront presentation, taking place in downtown Manhattan on Tuesday. The bachata star will perform songs from his upcoming new album Eterno. “Music is the cornerstone of our content strategy, bringing to life the power of Latin Music to our audience and clients,” Ignacio Meyer, president of Univision […]
Who would’ve ever thought — a Regional Mexican artist doing reggaetón music? But it works. Earlier this year, Billboard editors predicted “corridos experimentation” as a Latin music trend in 2025. Yes, in recent years, we’ve seen Latin urban stars like Karol G, Bad Bunny and Arcángel famously dabble in regional Mexican music, but lately, the […]
Mexican band Los Alegres del Barranco has been charged by the Fiscalía del Estado de Jalisco (Jalisco State Prosecutor’s Office) for allegedly advocating crime. Authorities in the Mexican state are investigating the band after projecting images of a criminal leader while performing the song “El del Palenque” during a concert on 29 March at an auditorium of the University of Guadalajara.
Now, a judge will determine whether or not to initiate legal proceedings against the members of the group, their legal representative and the promoter of their concerts in a hearing scheduled for Monday (May 12), which would mark a precedent in regional Mexican music.
“The members of a musical group that showed images referencing a figure from organized crime during a concert in Zapopan have been formally charged in a criminal court today for allegedly promoting criminal activity,” read a statement from the Jalisco Prosecutor’s Office on Tuesday (May 6) shared with Billboard Español. “Similarly, charges were also brought against the group’s manager and the promoter of their concerts.
Trending on Billboard
According to the statement, the judge imposed precautionary measures on the four members of the band, their manager and the promoter, meaning they are not allowed to leave Jalisco. Additionally, they will have to pay a bond of 1.8 million pesos (about $92,000), which amounts to 300,000 pesos per person.
Article 142 of the Jalisco Penal Code states that publicly inciting the commission of a crime or glorifying it — or any vice — can be punishable by up to six months in prison. Experts consulted by Billboard Español note that since this type of penalty is less than four years, it can potentially be served outside of prison if the judge allows it.
The group and their representatives chose not to make any statements during a hearing on Tuesday, according to the statement. Billboard Español has reached out to the band’s representatives for comment but has not received a response at time of publication.
The Jalisco State Prosecutor’s Office confirmed to Billboard Español that three open investigations into Los Alegres del Barranco for allegedly advocating crime. The first one corresponds to the investigation against them for projecting images of the leader of the Cártel Jalisco Nueva Generación (CJNG), Nemesio Oseguera Cervantes, alias “El Mencho,” during their concert on March 29. This fact even caused the United States to revoke the work and tourist visas of its members, as announced on April 1 by the U.S. Undersecretary of State, Christopher Landau, in a post on X.
The second investigation was opened after, on May 3, the group allegedly projected on screens during their show the lyrics of the controversial corrido “El del Palenque,” which alludes to the aforementioned drug lord. The third folder corresponds to another presentation, on May 4, in which the group allegedly incurred in similar acts, in the municipality of Tequila, according to a press release from the Jalisco State Prosecutor’s Office on May 5.
The President of Mexico, Claudia Sheinbaum, said on Wednesday (May 7) that “it was the decision” of the Jalisco State Prosecutor’s Office to prosecute the members of Los Alegres del Barranco for allegedly advocating crime, and reiterated that her government is not in favor of banning the narcocorrido genre.
“My position is that it should not be banned, but that other music should be promoted. Rather than prohibiting, it is more important to educate, guide and encourage people and young people to stop listening to that music,” said the Mexican president during her morning press conference.
The controversy over Los Alegres del Barranco’s alleged homage to the drug trafficker comes in the wake of the debate over how the cartel founded in Jalisco uses clandestine ranches to recruit people to the criminal group through deceitful job offers, as reported by federal authorities and the media. This follows the discovery of the Izaguirre Ranch in the municipality of Teuchitlán, where acts of torture and murder were allegedly committed, as denounced by the Guerreros Buscadores collective in early March.
Ten (out of 32) states in Mexico have implemented several new bans against narcocorridos or any expression that advocates crime, without it being a federal law.
Daddy Yankee hits a new milestone as the music video for his hit “Con Calma,” featuring Canadian rapper Snow, coolly crosses the three-billion-view mark on YouTube. The animated visual, packed with electrifying dance moves and reggaetón flow, marks the Puerto Rican superstar’s second video to hit that milestone, following the 2017 chart-topping smash “Despacito.” Explore […]
Los Alegres del Barranco was supposed to perform at Chicago’s Michelada Fest this summer — but after the U.S. government cancelled the group’s visas when they displayed images of a cartel leader at a show in Guadalajara, Fernando Nieto and his team quickly pivoted to replace the Mexican band with Gabito Ballesteros.
A month later, on May 6, event organizers announced that the two-day festival — set to be headlined by Grupo Firme, Anitta and Luis R Conriquez — was cancelled over artist visa “uncertainty” under the Trump administration, and a “rapidly changing political climate,” they said in a statement.
Nieto, co-founder of Michelada Fest (Big Indie produces the festival alongside Zamora Live and Viva tu Música), tells Billboard that the visa situation for regional Mexican artists happened “abruptly,” to the point that they had to cancel the entire event.
Trending on Billboard
“It seemed at first that Los Alegres was an isolated event but we’ve seen enough over the last few weeks for us to have to make this difficult decision,” he explains. “I can’t comment on a specific artist or whether it’s a pending or revoked visa, but as a small business we needed to make the responsible decision not only for our company but also our consumers. We didn’t feel confident we could give them a complete event between now and July.”
Michelada Fest is perhaps the biggest event to date to cancel over visa issues and uncertainty under the Trump administration, which launched an aggressive crackdown on immigration on day one of the president’s second term in office. The Cinco de Mayo festival in Chicago’s La Villita neighborhood was cancelled over fear of ICE raids. Billboard previously reported how Trump’s immigration policies could impact Latin music, with promoters seeing certain markets being impacted with low attendance.
Now, in a plot twist of sorts and adding to the uncertainty of it all, regional Mexican artists who sing or have sung narcocorridos are under the spotlight, with Mexican states cracking down on banning the style of music, and the U.S. government not only taking notice, but acting on it too. It’s a major blow to the genre, which has only grown significantly in popularity and exposure over the past few years.
“We had been taking everything day by day, a lot of our vendors were also asking what would happen if ICE showed up — that’s what we were focused on,” Nieto says. “Never did we think that it would go from our people being targeted to now our culture also being targeted. I did not see it going this way at all.”
Just last year, Miche Fest — which was launched by locals as a street festival — held its biggest edition to date, taking place for the first time in Chicago’s Oakwood Beach, with superstar headliners Kali Uchis, Junior Hand Los Ángeles Azules.
Below, Nieto reflects to Billboard about the team’s decision to cancel this year’s Michelada Fest, and discusses what comes next.
What was your thought process throughout all of this, which ultimately led to cancelling Michelada Fest?
First and foremost, we want to treat consumers with respect. We’ve been doing this for eight years now, we started as a street festival and our fans have been there since day one. The last thing we want to do is put their money at risk. We felt the best thing we could do was to be transparent about what’s going on. Our consumer [base] works extremely hard for their dollars, and especially right now, we’re living in a time where everything is more expensive — not just on the events side, but the daily cost of living… That’s why we’re doing a 100% refund instead of saying your ticket will be good for next year.
What does not having a Michelada Fest this summer mean for Chicago’s Latin festival scene?
We’re leaving a major gaping hole in the Chicago summer season. We feature a bunch of small businesses, merch vendors, local food vendors, and we were about to announce a stage to highlight local Chicago artists — and that’s not taking into account the impact that we have financially when it comes to stimulating the economy through small businesses.
For a lot of our vendors — and I’m talking about the generator company, security company — we’re their biggest contract of the year. We have a $9 million dollar operating budget for our event. And unfortunately I had to make really difficult calls over the past few days to tell them the news, and now they’re trying to find another big [gig] for the year. There’re so many layers to the impact this festival has, from artists to small businesses and a cultural impact. It’s a tough pill to swallow, but it was the responsible thing to do.
Michelada Fest is the biggest event to cancel because of the political climate …
We were the first major event to really make a statement — and I hope no one else has to deal with this, but a lot of visas are pending, tours are getting pushed back. There’s so much uncertainty.
What’s next for Michelada Fest?
We’re going to take the next few months to regroup and strategize, maintain the trust [with our base] and have a major comeback next year. Chicagoans know we’re a grassroots organization that started as a street festival by a bunch of South Siders. At the end of the day, they deserve this transparency. It only sets us up for a bigger year next year.