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Fernando Cabral de Mello has been named CEO of Sony Music Entertainment Brazil, Sony Music Latin Iberia announced on Thursday (March 27). His appointment comes as part of a new organizational structure for Sony’s operations in the country. The “newly unified entity” will encompass Sony Music Brazil, Som Livre and also oversee the joint venture […]
Yailin La Más Viral is no stranger to making headlines, whether it’s for her high-profile love affairs or her bold reinventions, such as surgically changing her eye color. But in early March, the Dominican rising star drew attention in a whole new way with a career-making achievement: She made history by selling out her first headlining concert at New York’s iconic United Palace for two consecutive nights, becoming the first Dominican woman to do so, and the third Latina after Karol G and Becky G, the venue’s CEO confirmed to Billboard Español.
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“I feel very proud and it was something very important,” Yailin tells Billboard Español, reflecting on her growing success and the overwhelming support she has been receiving from the Caribbean community and beyond in the U.S. “It’s a very big pride to do it as a Dominican, as a woman, representing the Dominican youth, and the gender of us; the support that the fans gave me and putting my culture on high.”
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At just 22 years old, Yailin is not just commanding stages but living up to her moniker — “the most viral” — with her latest breakout hits. Released in November 2024, “Bing Bong” has amassed an astonishing 175 million views on YouTube to date, with an additional 75 million streams on Spotify. On this track, inspired by a spontaneous encounter with Brazilian artist Veigh during Billboard. Latin Music Week in Miami, Yailin dips into Brazilian funk and infuses her signature Dominican dembow flair. The result? A fresh and infectious sound that’s all her own, provocative and unapologetically original. The song earned a spot on Billboard’s Hot Latin Songs chart, debuting at No. 28 — her first solo chart achievement. Meanwhile, tracks like “Silla” and “Chapa” — all three produced by Puyalo Pantera and Yailin — continue to rack up ten of millions of streams.
Adding to her growing buzz, she further made waves online when she was seen celebrating New Year’s Eve in Santo Domingo alongside Spanish superstar Rosalía. “I had my first encounter with Rosalia when I was in a relationship with Catta’s father,” she says in reference to Anuel AA and their daughter Cattleya. “[Rosalia] was a very warm person, she gave me her friendship, despite everything that was going on. We kept communicating and we created a friendship.” Around the NYE holiday, she also sang “Obsesión” alongside bachata megastar Romeo Santos when Aventura came to Dominican Republic Olympic Stadium in the Dominican Republic. “It was something very important, Romeo is someone very important for us,” she adds.
Yailin (whose real name is Georgina Lulú Guillermo Díaz) grew up in Santo Domingo, immersed in the rich sounds of her island, such as dembow. “The carnival music from here, with drums and things like that, was always something I heard here,” she recalls. “My dad passed away when I was little, and music always influenced me because of him. He always listened to Ana Gabriel, which is why I identify with Ana Gabriel so much. There was a dance they called el baile de Pakitín, where you danced with your hands and feet. And those were the things that influenced me the most.”
Like many rising Latin artists, Yailin looked to the icons of reggaetón and pop culture for inspiration, imagining herself on the same level as the legendary figures she grew up listening to. “You know, I’m not that old. I used to listen to Puerto Rican reggaetón artists like Daddy Yankee. Then we started listening to music in the Dominican Republic from American artists like Beyoncé, those people. You always think when you’re [very young] that one day you’re going to be something big just like them,” she says. Her ambition fueled her journey as she ventured into music, despite the challenges of breaking into a male-dominated genre.
Yailin La Más Viral
Christopher Nunez
Her rise has been anything but ordinary, with much of her early public recognition stemming from her high-profile romantic relationships. In 2022, she became involved with superstar Anuel AA, shortly after his highly publicized split from Karol G. Their whirlwind relationship led to a marriage and the birth of their daughter, Cattleya. During this time, Yailin also collaborated with the Puerto Rican rapper, appearing on “Si Tú Me Busca,” which scored her her first Billboard chart entry, reaching No. 12 high on Hot Latin Songs.
By 2023, Yailin and Anuel AA separated, and she began to face life as a young single mother. She began collaborating with Tekashi69 — a controversial rapper with a history of legal troubles — on tracks like the bilingual “Shaka Laka” and the romantic-leaning “Pa’ Ti,” which fueled rumors of a romantic connection, as she navigated public scrutiny. The latter track, however, secured her her first top 10 on Hot Latin Songs, debuting and peaking at No. 6 that year in July. This year, she inked a deal with Roc Nation.
“I always say that God takes you on a path where you can learn,” she says. “Those things that happened to me, I think they were kind of forging me into who I am. But I know that God put me through that, so that I can be who I am today.”
“Bing Bong” marks her first chart appearance as a solo artist. Its success is particularly special to her, as it serves as both a creative milestone and a personal one. The inspiration behind the track was none other than her daughter. “Catta was the one who did the ‘aayyyy…’ [heard in the song]. She is the inspiration for ‘Bing Bong,’” she shares with pride. Being a single mother and balancing her demanding career hasn’t been easy, but her child has become her driving force. “Catta is like the engine of my life, like the motor. Everything I do is so that she can have a future and a very different life than the one I had.”
From her new grey eyes to her striking pink hair and daring outfits, the singer’s bold style is yet another way she showcases her individuality. “My look, the different things I do to myself, I change them a lot because I really like experimenting to see where I find myself,” she explains. “One of my goals is for my fans to identify with the style I have, [clothes] to be able to use it day to day, and for it not to be too expensive, so they feel good and can be different.”
As she continues growing her career, Yailin is focused on leaving an impact — not just as an artist, but as a humanitarian, of helping single mothers and children in need, even expressing her desire to one day adopt. “I have plans to help single mothers. I want that to be on my record, that I can make a plan, a foundation, something to support young single mothers,” she says, also adding, “I’ve always had a dream of adopting a baby.”
“The first thing I always want is for people to remember me as a girl who came from low-income backgrounds, who came from the bottom, from the Dominican Republic, who made it, who was able to go out and represent her country, and that this helps to put my country on high,” she says. “And as a person, that they remember me as the best mother Catta could have. May I always be seen as someone who loves her family, who is very grateful to her fans, and who appreciates the support. I see myself in the future as one of the most remembered artists of the Dominican Republic, who inspired many young people and that they know that I will always be the same Yailin.”
Name: Georgina Guillermo Díaz
Age: 22
Recommended Song: “My song ‘Bing Bong’ is like the seal of Yailin La Más Viral, because it was the song where I found myself. But if I can tell you the most important song that I have recorded, apart from that one, is ‘Mía,’ because it is the song for my daughter, where I express what she means to me.”
Biggest Accomplishment: “Many great things can come and go in life, but being Catta’s mom is my greatest accomplishment. [Professionally], I still feel like my biggest accomplishment hasn’t yet arrived.”
What’s Next: “For Yailin, la chivirica, putona, toda la chivirica, a lot of music and many surprises are coming. We have many projects: to bring out a makeup and clothing line. That the fans can identify with me, see that I wear this [clothing] and that it is not so expensive. To finish an album and do an international tour.”
Dua Lipa won a ruling Thursday (March 27) dismissing a copyright lawsuit claiming she copied her smash hit song “Levitating” from two different decades-old songs.
The case, filed in 2022 by songwriters L. Russell Brown and Sandy Linzer, accused Lipa of ripping off their 1979 song “Wiggle and Giggle All Night” and their 1980 song “Don Diablo.” The lawsuit was one of two high-profile copyright cases filed over “Levitating,” a massive hit that spent 77 weeks on the Billboard Hot 100.
In her decision, Judge Katherine Polk Failla ruled that Lipa’s song shared only generic elements with Brown and Linzer’s songs — the kind of basic musical building blocks that are not covered by federal copyright law and cannot be owned by any one songwriter.
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“The court finds that a musical style, defined by plaintiffs as ‘pop with a disco feel,’ and a musical function, defined by plaintiffs to include ‘entertainment and dancing,’ cannot possibly be protectable,” the judge wrote. “To hold otherwise would be to completely foreclose the further development of music in that genre or for that purpose.”
The judge said that some of the material Brown and Linzer claimed Lipa stole — like a “patter style” featuring rapid singing of one syllable per note — had been “used for centuries” and existed in operas by Mozart and operettas by Gilbert and Sullivan. The judge said another allegedly infringing element, a rapid tempo, was also “common” and had appeared identically in “Stayin’ Alive” by the Bee Gees.
“It is possible that a ‘layperson’ could listen to portions of plaintiffs’ and defendants’ songs and hear similarities,” the judge said. “But … the similarity between the works concerns only non-copyrightable elements of the plaintiffs’ work.”
In a statement to Billboard, an attorney for Brown and Linzer said they “respectfully disagree” with the decision and would file an appeal.
“This case has always been about standing up for the enduring value of original songwriting, and we continue to believe in the strength of Mr. Brown and Mr. Linzer’s creative legacy,” attorney Jason T. Brown said. “There’s a growing disconnect between how these cases are decided — by academically analyzing briefs, bar lines, and musical notation — versus how audiences actually experience music.”
An attorney for Lipa did not immediately return a request for comment.
Released on Dua Lipa’s 2020 album Future Nostalgia, “Levitating” spent a whopping 41 weeks in the top ten of the Hot 100 — the longest ever such run for a female artist — and was later named the No. 1 Hot 100 song of 2021.
In early 2022, the star was sued over the track twice, both over accusations that she had lifted key elements from earlier songs. The first lawsuit came from a Florida reggae band named Artikal Sound System, which claimed Lipa lifted the core hook for her song from their 2015 “Live Your Life.” That case was dropped in 2023 after Lipa’s attorneys won a key early-stage ruling.
The second case came from Brown and Linzer, who alleged that Lipa had stolen the melody that starts just a few seconds into her song, when Lipa begins singing, “If you wanna run away with me…” They called it a “duplicate” of their own songs.
But in Thursday’s ruling, Judge Failla said that claim was merely over “a descending chord and the one additional note” — a “combination of two unprotectable elements” that she said are “not sufficiently numerous or original to constitute an original work entitled to copyright protection.”
In reaching that conclusion, the judge heavily cited from recent litigation against Ed Sheeran over accusations that his “Thinking Out Loud” infringed Marvin Gaye‘s “Let’s Get It On.” That case also ended with a ruling that Sheeran had used only common, unprotectible elements.
Suge Knight openly criticized Ye (formerly Kanye West) for his comments about Jay-Z and Beyoncé’s kids earlier this month during an explosive X tirade. Knight joined the Art of Dialogue podcast earlier this week, where he targeted West and put the embattled Chicago rapper on blast for his flagrant remarks about Jay and Bey’s seven-year-old […]
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Rapper Sexyy Red is facing a lawsuit from Nicole Barnes, the grandmother of her children. The grandmother claims that the artist publicly shared Barnes’ home address and encouraged her social media followers to harm her.
According to legal documents filed on Monday, Barnes alleges that in December 2024, Sexyy Red posted her address online and instructed her large fan base to “kick in the door” and do harm to her and her family. Barnes claims that this act left her in extreme fear for her safety, forcing her to flee her home and rendering her unable to return. As a result, she has struggled to find affordable housing and has been experiencing ongoing emotional distress. The lawsuit states that Barnes has been in therapy to cope with the trauma and anxiety caused by the incident.
In response to these alleged actions, Barnes is suing Sexyy Red for assault and infliction of emotional distress. She is seeking over $5 million in damages for the harm she has suffered. It remains unclear whether Sexyy Red has responded to the lawsuit or if she intends to fight the claims in court.
If Barnes’ allegations are proven, Sexyy Red could face serious legal and financial repercussions. The situation continues to develop as both sides prepare for a potential legal battle. More news to come as the story develops.
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Following the announcements of Anitta and YG, True Religion is now tapping Sexxy Red for their latest Own Your True campaign. Aiming to highlight “pop culture icons who are unafraid to embrace their true selves,” the brand had Red showcase their spring 2025 collection, including their signature denim, statement velour tracksuits and summer-ready low rise shorts.
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True Religion’s spring 2025 collection pays homage to decades of influence in both streetwear and music, incorporating oversized silhouettes, distressed denim, and statement-making camo prints. With a nod to ‘90s hip-hop influences, the women’s collection features elevated takes on the brand’s signature styles, including heritage stitching and bold graphics.
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“Fashion is all about showing people who you really are,” says Sexyy Red in a statement. “True Religion has always been about being bold and staying real, and I felt dat. I’m excited to be a part of this campaign and to keep inspiring my supporters to be themselves, no matter what nobody says.”
The new campaign comes on the heels of another big announcement for the “Get It Sexyy” rapper — at the start of March, Variety reported that Red had joined the cast of the forthcoming Rolling Loud comedy fim, alongside fellow hip-hop stars Ty Dolla $ign and Ski Mask The Slump God, as well as Henry Winkler, Matt Rife and Owen Wilson..
The Own Your True campaign will continue to announce more collaborations and artist partnerships over the coming months. In the meantime, shop Sexxy Red’s True Religion campaign look on the brand’s site here, as well as below:
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BEAT Music Fund, the dance music investment company from Armada Music Group, acquired the rights to “a large portion” of masters from DJ, producer and Turbo Recordings founder Tiga. The deal includes Tiga’s “Sunglasses at Night,” “Bugatti,” “You Gonna Want Me,” “Let’s Go Dancing” and “HAL” featuring Kölsch. BEAT previously signed catalog deals with Kevin Saunderson, Markus Schulz, Robbie Rivera, Jax Jones, Amba Shepherd, VIVa MUSiC, Sola Records, King Street Sounds, Chocolate Puma and others.
Hook, the AI-powered platform that allows users to legally remix songs by top artists while earning income from those remixes, closed an additional $3 million in funding, bringing the startup’s total funding to $6 million. This round includes new investments from Khosla Ventures, Kygo‘s Palm Tree Crew, and The Raine Group. Continued support came from existing investors including Imaginary Ventures, Steve Cohen‘s Point72 Ventures, KSHMR and Edgar Bronfman, Jr.‘s Waverley Capital. The investment will help accelerate Hook’s marketing efforts and hiring, with a focus on user acquisition.
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Japanese record label Teichiku Entertainment signed a distribution partnership with Believe for Japan and the rest of the world. Through the deal, the companies aim to expand Teichiku’s digital footprint by leveraging Believe’s global DSP network, technology and digital-first expertise to bring Japanese enka, kayōkyoku and pop music to a wider audience globally.
Indian record label and music publisher Times Music acquired Indian regional record labels Symphony Recording Co. and ARC Musicq. These are Times Music’s first acquisitions since Primary Wave Music invested in the company to speed up its growth worldwide. Symphony, described in a press release as “the undisputed leader of Tamil spiritual and devotional music,” has a catalog of more than 350 audio and 100 video albums and boasts YouTube views of nearly 2 billion, with revenue on the platform doubling in the past four years, according to the release. ARC Musicq, which has been distributed by Times Music since 2017, is a label specializing in Indian folk music and film soundtracks within the Kannada music market. ARC also boasts more than 2 billion views on YouTube, with revenue quadrupling in the last three years, according to the release.
Independent U.S.-based K-pop label hello82 struck a partnership with One Hundred Label, the Korean entertainment company behind THE BOYZ. Under the deal, hello82 is serving as the exclusive physical distributor for the group’s album Unexpected, which was released on March 17. To support the release, hello82 is erecting immersive fan experiences at its brick and mortar fan spaces in Los Angeles and Atlanta, and at pop-up shops in major markets including New York, Chicago and San Diego throughout March. Hello82 previously signed similar deals with KQ Entertainment (ATEEZ, hikers) and FNC Entertainment (P1Harmony).
Ninja Tune struck a licensing partnership with Reactional Music, the music personalization platform allowing real-time interactive music integration in gaming, automotive and digital environments. With the deal, Ninja Tune’s labels and publishing division, Just Isn’t Music, have licensed the rights to tracks from its catalog for use in Reactional’s music personalization engine and music delivery platform. Ninja Tune’s labels include Brainfeeder, Counter Records, Technicolor, Big Dada and Foreign Family Collective, which have collectively released music by Thundercat, Bonobo, Little Dragon, Run the Jewels, ODESZA, Peggy Gou and others. Reactional’s platform is now live on Unity and Unreal Engine. It is being used by developers and creators in Europe, the United States, China and Southeast Asia.
ADA, the independent music distribution and artist services arm of Warner Music Group (WMG), acquired music tech startup RSDL.io, which provides automated accounting and a simplified view of multiple revenue streams for artists and labels. Founded by tech executives Mike Holmes, Jim Sella and Bill Sella and music industry players Alex Brahl (S7 Management) and songwriter-producer Shep Goodman, RSDL.io lets users facilitate payments and manage splits and recoupments and “allows for multi-level artist and contributor payout functionality and insights,” according to a press release.
EMPIRE struck a multi-year partnership with sound separation and lyric transcription technology company AudioShake under which the San Francisco-based label will use AudioShake’s stem and lyric separation technologies to create stems and lyrics for its catalog. EMPIRE will use AudioShake’s AI to produce stems for use in synch licensing, immersive formats and new music licensing models.
Musical AI, the AI rights management platform for music and audio, is partnering with Nashville-based artist-model platform and VST plugin First Rule to build fully-licensed AI agents and models designed to support music makers. Through the deal, Musical AI will provide licensed training data to First Rule, which will use the data to train musical agents and models aimed at assisting artists and producers. Musical AI will also provide attribution technology and payment processing “to ensure First Rule can prioritize rightsholder consent, credit, and compensation,” according to a press release. Using this data, First Rule will train its proprietary models to ensure they are able to produce high-quality results. This will allow artists and producers to train their own “Musical Essence or M.E Models on their distinctive style and approach,” then license those models to others to use in First Rule’s Co-Writer, a generative AI-powered VST plugin the company is currently building that will work in any digital audio workstation.
Sony Music Entertainment India and Tiger Baby — the Indian production company formed by filmmakers Zoya Akhtar and Reema Kagti — formed Tiger Baby Records, a joint-venture music label dedicated to fostering emerging talent. For one of its first projects, the new label has partnered with jewelry brand Tanishq for a wedding song composed by Abhishek-Ananya and performed by Poorvi Koutish. It also recently released the soundtrack for Superboys of Malegaon, a film based on the life of filmmaker Nasir Shaikh, that was composed by Sachin-Jigar and written by Javed Akhtar. Tiger Baby Records will additionally release original music curated by Ankur Tewari that will spotlight emerging artists and launch a “City Sessions” initiative with Mumbai’s Island City Studios in which singer-songwriters will be offered the opportunity to refine their craft, collaborate with established artists and more.
Universal Music Group (UMG) and HEAT — a new marketplace connecting animators, game developers and 3D artists with a trove of motion data and music — formed a collaborative initiative involving Lil Wayne and CG5 that will make licensed tracks from both artists available to game developers for the first time. Beginning May 1, Lil’ Wayne tracks “Uproar” and “GO DJ” and CG5 tracks “I See A Dreamer,” “Sleep Well,” “Let Me In” and “Dancin’” will be available through the HEAT platform, allowing game creators to integrate those tracks into their projects.
Secretly Distribution struck a global distribution deal with Invada Records, a U.K.-based independent label co-owned by musician, producer and composer Geoff Barrow (Portishead, BEAK >) and his longtime business partner Redg Weeks. Invada has released music by artists including DROKK, The KVB, Jeremy Gara (Arcade Fire), BEAK >, Divide And Dissolve, Anika, Billy Nomates, Gazelle Twin, Colin Stetson, Sleafords Mods, TVAM, Benefits and Julian Cope. It has additionally released scores for films, TV shows and video games including Stranger Things, Drive, Ex Machina, Solaris, Red Dead Redemption 2, Hannibal, Dark, Annihilation and Black Mirror.
Sweet Relief Musicians Fund and Sweetwater launched The Hearing Health Fund at Sweet Relief Musicians Fund, which will provide support for the growing number of music professionals who face hearing-related challenges, including hearing loss and tinnitus. According to research cited in a press release, seven in 10 music venue staff are exposed to noise levels above the daily recommended limit, while only 15% reported using hearing protection on a regular basis. Through the fund, professionals can receive a free, three-part hearing screening with a certified audiologist and free Etymotic Research ER-20XS High Fidelity Earplugs. Music pros can navigate here to apply for the Hearing Health Fund.
Music technology company Audoo partnered with German performing rights society GEMA on GEMA’s music impact study, which aimed to quantify the commercial value of background music in gastronomy and retail spaces. The study used Audoo’s audio meters — or music recognition hardware — that the company had installed in hundreds of venues. Overall, it found that the use of background music increased retail sales by an average of 8% and gastronomic sales by an average of 5.4%. More information on the research can be found here.
Rhino Staging, which provides stagecraft and rigging crews across the U.S., acquired ROC Rigging, a provider of special event rigging services for entertainment, corporate and private events in the Palm Springs, Calif., area. Matt Talley, the founder/CEO of ROC Rigging, along with the company’s management team, will remain in place as the company integrates with Rhino.
UnitedMasters partnered with The Coca-Cola Company for an event to be held this month in São Paulo celebrating Brazil’s independent music scene. The two companies have also selected independent artist Alee to perform at Coke Studio at Lollapalooza Brasil, in addition to Zudizilla, who will perform on the main stage.
Brian Austin Green is putting MGK (formerly Machine Gun Kelly) on blast. The Night They Came Home actor took to his Instagram Stories this week, where he shared a screenshot of a DM with the “Bloody Valentine” singer, according to People. “Stop asking when our child is gonna be born. you the FEDS 🐀👮♂️,” Kelly […]
With her bubbly charm, dazzling aura and universal appeal, Selena Quintanilla revolutionized the Tejano genre in the ‘80s and ‘90s by lacing her authentic Mexican roots with bold new sounds such as R&B, pop, dance and rock. Known as the Queen of Tejano, she shattered ceilings in a genre that was dominated by men, and made history along the way. After earning four of her eventual seven No. 1 Hot Latin Songs hits in 1994 — “Donde Quieras Que Estes,” “Amor Prohibido,” “Bidi Bidi Bom Bom,” and “No Me Queda Más” — the Mexican-American powerhouse was well on her way to a major mainstream crossover before she was tragically shot dead on March 31, 1995, at the age of 23.
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However, her music has stood the test of time — and, throughout the years, she’s influenced a new generation of hitmakers, making her a bona fide Latin icon in pop culture 30 years later. As a testament to her enduring legacy, Mexican-American artist Becky G speaks with Billboard about her love and admiration for Selena, and how she’s influenced her own career. Read her heartfelt as-told-to essay below:
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I was born in 1997. That was two years after Selena’s passing.
My mom actually remembers when they were doing the casting calls for the movie…she actually wanted to audition. Everyone loved Selena and identified with her. Having such a young mom, she naturally played for me the music she would listen to. I may not have vivid memories of Selena, but this is the way she was introduced to me. I even have baby videos listening to her music. She’s always been a part of my life.
She’s influenced my career in so many ways. As a performer, she represented so much more than just herself. She started building a bridge for the 200 percenters like myself, who [are] no eran de aqui ni de alla (neither from here nor from there). Growing up, that identity crisis used to feel like such a curse for me. I felt that I wasn’t enough, and I felt that I had to sacrifice parts of myself to be accepted on this or that side. What Selena embodied was authenticity. She was so authentic in her sense of humor, the dreams that she had, and the way she connected with her family and fans. That’s something that we, as fans, crave today from our favorite artists, but it’s a lot easier said than done.
At Coachella in 2023, I decided to pay tribute to her. A part of me does it for Little Becky, because I think what Little Becky saw in Selena was that dreams can come true, and it’s almost a celebration of being here and of her. First and foremost, I think it’s important that we recognize who came before us, and for me, it’s a beautiful thing to pay respect to the people you know you wouldn’t be here without. I truly feel that I wouldn’t be here without Selena.
Throughout the years, I’ve been very blessed to have had many, many loving interactions with the Quintanillas. Suzette even became a pretty good friend of mine. This last tour that I was on, she came to see it, and she’s always been super supportive. I actually met [her] mom and dad at the Fiesta de la Flor Festival in Corpus Christi, and I’ll never forget that her dad couldn’t believe that I was going to perform without a band. I was just getting started! It’s always one of those things that he would tease me about. It’s been really cool to keep up with them. They’re truly dedicated to continuing her legacy, and I admire that about them.
Now, going back to the word authenticity, she represents something that still resonates and is relevant today, which is that 200 percent identity. You should always be yourself no matter what, pochos and all! I feel that from the way she showed up in interviews to the way she did some of her most iconic performances to personal stories you hear from her loved ones, there was a common thread: it was her genuine kindness.
As an artist, you are overworked, you are depleted of your energy… but when you’re meant for it, you really do it with gratitude. Selena lived in abundance and was always giving back to the community, and always had the best of intentions. So many artists throughout the years since her passing may have reminded us of her essence, but there will never be another Selena. She was one of a kind — and that’s what makes a true superstar. Selena’s legacy is to admire, to respect, and to continue protecting, because she’s a light to so many of us.
Carlos Santana likes to ascribe metaphors to his music. And in the case of his new album, Sentient, that would be floral arrangements.
“When I go to the lobby in hotels in Europe, they always have these incredible flower arrangements,” the San Francisco Bay Area-based guitar hero tells Billboard. “They hire some people to come in and arrange the flowers in the lobby. That’s how this album was made — that’s how I make all my albums. I feel like a florist who is trying to combine the right colors and textures and create a beautiful ornament. That’s what Sentient is, an ornament of flower arrangements — colors, passions, textures, emotions.”
Variety is certainly the hallmark of the 11-track set, which comes out March 28 and is the follow-up to 2021’s Blessings and Miracles. It includes three previously unreleased tracks, while the rest are remastered songs drawn from various points in Santana’s career, including collaborations with friends living (Smokey Robinson, Darryl “DMC” McDaniels and his wife Cindy Blackman Santana) and deceased (Michael Jackson, Miles Davis). The selections might appear random, but Santana promises there’s a unity when they’re brought together.
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“The theme of the story is to bring God out of people,” he explains. “There’s too much fear, there’s too much anger, too much harmony. There’s too much doubt, and the opposite of compassion. I’ve played music since the beginning — and now more than ever — to bring kindness, compassion, generosity, gratitude and divine attributes…elements to take make this world and life more delicious. I trust and believe that God wants something incredible for me to share with people, and that thing is to remind everyone that everyone is worthy of their own divinity and their own light. That’s the message.”
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He adds that featuring collaborations with some of his late friends (“Whatever Happens” from Jackson’s 2001 album Invincible, “Get On” and “Rastafario” with Davis from their collaborations with Italian pianist Paolo Rustichelli for his 1996 album Mystic Man) help illustrate that idea.
“Miles Davis is not here and Michael Jackson’s not here, but they’re in my heart, and it makes me very grateful,” Santana says. “I learned very well from them. I am one of them. It may sound a little this or that, but I’m immortal like them. Like Bob Marley and Bob Dylan, I am here to do the same thing they’re doing, which is to invite people to have a deep sense of self-worth, to look at yourself in the mirror and say ‘I am worth God’s grace. I can create blessings and miracles myself, with my grace.’ That’s the highest thing you do as a musician, to bring God out of people instead of the devil.”
Other tracks include “I’ll Be Waiting” from the Santana band’s Moonflower live album in 1977 and the title track from 1987’s Blues For Salvador, which netted Santana his first Grammy Award, for best rock instrumental performance, the following year. “Please Don’t Take Your Love,” meanwhile, is an earlier take of a track from Robinson’s 2009 album Time Flies When You’re Having Fun, while “Coherence” is a trio track with Blackman Santana and bassist Matt Garrison that’s intended as a preview of the drummer’s own next album.
Santana invokes Jackson again in an unreleased instrumental version of his “Stranger in Moscow,” which Santana recorded with Narada Michael Walden and his band during a club gig in San Rafael, Calif. “We played that on the spot, no rehearsal, and it felt really good,” Santana says. “I had been listening to that particular song for awhile. When I play ‘Stranger in Moscow’ I become Michael Jackson. My fingers become Michael Jackson; I was imagining how he would phrase, how he would sing it, so my guitar became his voice and I learned how to articulate the language, the phrasing. I learned all this from Aretha Franklin, because I play that album, Lady Soul, over and over. I play that album so much I learned the bass, the drums, how to hear her voice.”
After Sentient‘s release Santana will begin a nine-date Oneness Tour beginning April 16 in Highland, Calif., and wrapping May 1 at the New Orleans Jazz & Heritage Festival. His next residency at the House of Blues Las Vegas runs May 14-25, and a European Oneness Tour leg begins June 9 in Poland and runs through Aug. 11 in Copenhagen.
Santana is working on another performance idea as well — a multi-day, multi-act worldwide festival with the utopian perspective of Woodstock. “With everything that’s happening with this planet, with fear of nuclear war and Korea and China and Russia, the Middle East, I want to create a global concert that goes around the world and (promotes) unity, harmony, oneness,” says Santana, who envisions sites such as San Francisco’s Golden Gate Park, New York’s Central Park and Hyde Park in London. “It’ll keep going in Asia, Japan, Singapore, all the way to Australia and New Zealand and end up with a concert in Honolulu,” he says.
No dates or solid details have yet been determined, but Santana says he’s already reached out to some acts to participate, including Eric Clapton, Metallica, Earth, Wind & Fire and others. “Everybody I talked to, they want to do it,” he says. “It starts and begins with me. This is my vision. This is my aspiration, and I’m not afraid to manifest what I learned from Bill Graham and (Woodstock co-producer) Michael Lang and Clive Davis. I’ve learned from the best, and I believe it’s not impossible to create a global event of this magnitude…and celebrate, celebrate, celebrate. Instead of fear. Celebrate — with joy.”