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From career milestones to new music releases to major announcements and those little important moments, Billboard editors highlight uplifting moments in Latin music. Here’s what happened in the Latin music world this week.
Mental Health Support
Mexican star Alejandro Fernández announced that a portion of proceeds from every ticket sold on his ‘De Rey a Rey’ U.S. and Canada tour will be donated to Backline, a nonprofit organization dedicated to mental health and wellness support for music industry professionals and their families. According to a press release issued by Live Nation, who is behind this upcoming tour, this partnership will “specifically help expand Backline’s services and reach within the Latino music community—an area often underserved by mental health resources.”
The ‘De Rey a Rey’ Tour is tribute to Fernández’s iconic father, Vicente Fernández. The stint kicks off this Saturday, May 10 at Seattle’s WAMU Theater at Lumen Field. See the dates here.
Grupo Frontera Makes Special Visit
Some of the members of Grupo Frontera made a special visit to fan Perla Leyla, a 7 year old girl fighting cancer. Beto and Payo arrived to the hospital with flowers and spent time with Leyla, taking selfies, dancing and FaceTiming other Grupo Frontera members. “Thank you for this beautiful surprise,” she captioned the sweet video posted on Instagram.
Jay Wheeler Honors Mom
A new song for mom. Puerto Rican star Jay Wheeler unveiled “Mejor Que Tú” — which replaced “Track Loading” on his album Girasoles. The previously-hidden track on his eighth studio LP honors the dedication, guidance, and perseverance of the woman who inspired him to become the man he is today.
“‘Mejor Que Tú’ is personally one of three very special tracks on this album,” Wheeler said in a statement. “It’s a very special song dedicated to my mom. To me, my mom has always been a true warrior and someone whom I’ve always admired. Although I admire many members of my family, I feel that my mom represents what I am today — the strength, values, and the love I possess and project today, is because of her.”
Karol G Celebrates Mañana Fue Muy Bonito
Karol G’s new documentary, Tomorrow Was Beautiful, is the culmination of her history, making, record-setting Mañana Será Bonito stadium tour. Now streaming on Netflix, the doc gives insight into the challenges the Colombian star faced along the way. “The tearjerking film brings together key moments from her life and career while highlighting her deep bond with her family, who have always provided her unwavering support,” Billboard Español‘s Isabela Raygoza wrote.
“Watching the documentary gave me the chance to reflect on the incredible journey I’ve had as a person— in the way I think, and even changes physically,” Karol told Billboard Español. “I feel like it all started when I had blue hair, and then came the whole process with red hair, blonde hair and finally pink hair. I can see how my mindset evolved, how my sense of responsibility and commitment to my fans grew, and even how I view myself physically. I also feel that the beautiful kind of self-love you start to develop begins to blossom and becomes more noticeable.”
Read all about Tomorrow Was Beautiful here.
Drew Afualo gives flowers to Zara Larsson and she shares something she wrote on her blog in 2014 and more at Billboard Women in Music 2025. Drew Afualo: We are here with the iconic and legendary international pop star Zara Larsson. How do you feel being here at Billboard Women in Music? Zara Larsson: So […]
Following a star-studded 60th annual Academy of Country Music awards in Frisco, Texas on Thursday, May 8 – at which Jelly Roll was up for three trophies while Post Malone was competing in four categories – the pair got back to business on their Big Ass Stadium tour with a stop in Arlington, Texas’s AT&T Stadium, just outside of Dallas. But, most importantly, the stop was just a 20-minute drive south from Post’s hometown of Grapevine (where, as a young kid, he and his family moved to from Syracuse).
And while Posty’s love for his hometown runs deep, his love for the Dallas Cowboys runs deeper. Post even welcomed his dad onstage, telling the crowd how he worked at the Cowboys’ current and former stadium for a total of 14 years. To which Post’s dad said: “Let’s go Cowboys!”
Following a rousing opening set from Sierra Ferrell, it was Jelly Roll’s turn to warm up the sold-out stadium. “Y’all, get ready for your hometown hero,” Jelly repeated throughout his own set, hyping up his pal Posty throughout his hour-long performance.
By the time Post took the stage, emotions were already running high. He took a moment to tell the crowd he’ll be 30 this July, and that the milestone birthday has had him feeling reflective of late. “I’m the most grateful mother f—er on the face of this planet,” he said, speaking of his decade-long career. “You have given me the strength to keep going.”
He later said that though this was only the fourth show on his Big Ass Stadium Tour, “so far this has been the most beautiful experience of my life, ladies and gentlemen.” And for many in the crowd, the same was surely true for them. During “Goodbyes,” one fan even offered Posty a bouquet of flowers, which he happily reached for and cradled as he walked down the stage.
“I’m having the fucking time of my life,” he said, with a Texas-sized grin. “Seriously.”
Below are the best moments from his hometown show.
Sierra Ferrell’s Very Special Guest
Led by two entertainment companies in the Dolan family portfolio, music stocks collectively eked out a small gain this week, marking their fifth consecutive weekly gain after a Trump tariff-induced two-week slide in early April.
Sphere Entertainment Co. shares jumped 18.9% to $28.05 after the company’s quarterly earnings on Thursday (May 8) showed that the Sphere venue’s cost management helped offset a 12.8% decline in revenue. CEO James Dolan told analysts he isn’t concerned about a possible downturn in tourism from a sluggish U.S. economy or a drop in international visitors. “When it comes to concerts,” he said, “demand exceeds capacity, so we have room to absorb any issues.”
MSG Entertainment, another Dolan family-controlled company, rose 7.7% to $33.59 after the company’s quarterly earnings report on Tuesday (May 6) showed a 6% revenue increase and steady consumer spending despite a decrease in event-related revenue due to fewer events. JP Morgan maintained both its “neutral” rating and $41 price target.
The 20-company Billboard Global Music Index (BGMI) rose 0.8% to 2,717.17, its second-highest mark and its first time above 2,700 since it closed at a record 2,755.53 the week ended Feb. 14. With five consecutive weeks in the black, the BGMI is up 10.2% since President Trump announced his tariff policy and set off a stock sell-off.
Music stocks outperformed the Nasdaq composite (down 0.3%), the S&P 500 (down 0.6%), the U.K.’s FTSE 100 (down 0.5%) and South Korea’s KOSPI composite index (up 0.7%). China’s SSE composite index gained 1.9%.
Universal Music Group, which reported earnings on April 29, received a healthy bounce this week, gaining 4.5% to 25.86 euros ($29.10). That brought its year-to-date gain to 13.0%.
Warner Music Group (WMG) shares fell 8% on Thursday after its quarterly earnings release and finished the week down 9.6% to $30.26. WMG stock was likely impacted by a 0.3% decline in streaming revenue, a metric closely watched by investors. The decline took WMG’s year-to-date loss to 11.8%. Numerous analysts reacted by decreasing their WMG price targets: Morgan Stanley (to $31 from $32), Barclays (to $28 from $31), UBS (to $38 from $41) and TD Cowen (to $36 from $41).
Radio companies enjoyed a positive week amidst uncertainty about the U.S. advertising market. The greatest gainer of the week was iHeartMedia, which jumped 18.9% to $1.06 ahead of the company’s first quarter earnings release on Monday (May 12). Year-to-date, the radio giant’s shares have fallen 40.8%. SiriusXM rose 5.4% to $20.47.
K-pop companies had a mixed week. YG Entertainment spiked 9.9% after the company reported large increases in both operating income and net profit in the first quarter. Elsewhere, HYBE rose 2.1% while SM Entertainment, which announced earnings on Wednesday (May 7), fell 0.9% and JYP Entertainment dropped 1.8%.
Secondary ticketing marketplace Vivid Seats (which is not listed on the BGMI) fell 33.9% to $1.79 after the company’s first quarter revenue plummeted 14% due to what CEO Stan Chia called “softening industry trends amidst economic uncertainty.” While Live Nation previously told investors it’s seeing strong demand for events later in 2025, Vivid Seats painted a different picture. The company suspended guidance for the full year and said it expects industry volumes to be flat or decrease in 2025. Previous guidance called for mid-to-high single-digit growth.
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Ras Baraka, the longstanding mayor of Newark, N.J., was arrested Friday at an ICE detention facility in the city he governs. On the X platform, many are outraged that Mayor Ras Baraka was arrested and charged with trespassing for simply looking to examine the conditions of the facility alongside members of Congress.
Local outlet The Star-Ledger reports that Mayor Ras Baraka, 55, was at the Delaney Hall ICE detention facility in Newark, flanked by Democratic Party U.S. Reps. Rob Menendez, LaMonica McIver, and Bonnie Watson Coleman, all of whom represent New Jersey districts. Mayor Baraka and the members of Congress were there to inspect the facility, which Baraka says was constructed without proper building permits, and wanted to conduct oversight measures.
Menendez, McIver, and Watson entered a building located at the facility, but Baraka was barred from entering the building despite being the mayor of the city where the facility is housed. As the congressional members were leaving and walking towards a gate where Baraka stood, officers instructed the mayor to stand outside the gate. One of the congress members’ aides reportedly heard ICE agents discussing arresting the mayor.
A chaotic scene ensued with Rep. Watson in the middle of the fracas. Corporation Counsel Kenyatta Stewart, Newark’s top lawyer, was next to Baraka but was not arrested by ICE officers. U.S. Attorney Alina Habba framed Baraka’s actions as trespassing despite not being inside the building that the Congress members were allowed to enter.
“The Mayor of Newark, Ras Baraka, committed trespass and ignored multiple warnings from Homeland Security Investigations to remove himself from the ICE detention center in Newark, New Jersey this afternoon. He has willingly chosen to disregard the law. That will not stand in this state. He has been taken into custody. NO ONE IS ABOVE THE LAW,” Habba wrote in a statement on X.
Assistant Secretary Dept. of Homeland Security Tricia McLaughlin added in a statement, “Members of Congress storming into a detention facility goes beyond a bizarre political stunt and puts the safety of our law enforcement agents and detainees at risk. Members of Congress are not above the law and cannot illegally break into detention facilities. Had these members requested a tour, we would have facilitated a tour of the facility. This is an evolving situation.”
New Jersey Gov. Phil Murphy has supported Baraka’s efforts to uncover the details of the for-profit detention center, which houses about 1,000 people. The facility was built for detained immigrants as part of President Donald Trump’s crackdown on immigration.
“Mayor Baraka is an exemplary public servant who has always stood up for our most vulnerable neighbors,” Gov. Murphy said in a statement. “I am calling for his immediate release by federal law enforcement.”
Congresswoman Watson Coleman shared on MSNBC that Mayor Baraka will be released by the authorities. Baraka’s rep told Hip-Hop Wired via an email statement that their side is monitoring the situation and will provide details as they develop.
On X, reactions to the arrest of Mayor Ras Baraka have cropped up. We have some of them listed below.
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Photo: Getty
Taylor Swift has been hit with a subpoena that officially drags her into the tense legal drama between her friend Blake Lively and Lively’s It Ends With Us director and co-star Justin Baldoni. And the pop star’s reps aren’t happy, saying the move is “designed to use Taylor Swift’s name to draw public interest by creating tabloid clickbait instead of focusing on the facts of the case.”
The subpoena, reportedly sent to Swift by Baldoni’s legal team, makes her a witness in the messy legal battle over alleged sexual harassment, retaliation and defamation stemming from It Ends With Us, which was released last year.
But Swift’s representatives say she has no place in the fight between Baldoni and Lively.
“Taylor Swift never set foot on the set of this movie, she was not involved in any casting or creative decisions, she did not score the film, she never saw an edit or made any notes on the film, she did not even see ‘It Ends With Us’ until weeks after its public release, and was traveling around the globe during 2023 and 2024 headlining the biggest tour in history,” a spokesperson for Swift tells Billboard.
“The connection Taylor had to this film was permitting the use of one song, ‘My Tears Ricochet,’” Swift’s rep adds. “Given that her involvement was licensing a song for the film, which 19 other artists also did, this document subpoena is designed to use Taylor Swift’s name to draw public interest by creating tabloid clickbait instead of focusing on the facts of the case.”
The It Ends With Us litigation dates back to December, when Lively brought claims alleging Baldoni sexually harassed her on the set of the film and then orchestrated a public relations smear campaign to retaliate against her after she complained.
Baldoni vehemently denied the claims and countersued Lively for defamation and other wrongdoing in January. Baldoni’s suit said Lively leveraged her close relationship with a “megacelebrity friend,” presumed to be Swift, to take control of the movie.
The Baldoni filing includes text messages concerning an alleged meeting attended by “Ryan and Taylor,” seemingly referencing Swift and Lively’s husband, Ryan Reynolds. In one message sent by Lively, the actress called Swift and Reynolds her “most trusted partners,” comparing them to the “dragons” in the show Game of Thrones.
“The message could not have been clearer,” Baldoni’s lawyers wrote in the countersuit. “Baldoni was not just dealing with Lively. He was also facing Lively’s ‘dragons,’ two of the most influential and wealthy celebrities in the world, who were not afraid to make things very difficult for him.”
Baldoni and Lively’s lawyers did not immediately return requests for comment Friday (May 9).
It’s no secret that Canadian festivals have been facing hard times.
The post-lockdown years have seen high-profile festivals filing for creditor protection, like Montreal’s comedy behemoth Just for Laughs; scrambling to reorganize or downsize programming, like Toronto Jazz Festival and Calgary’s JazzYYC, after TD withdrew sponsorship; or cancelling editions altogether, like Toronto food and culture festival Taste of the Danforth.
Of course, major festivals closed before the pandemic, too, for a range of reasons. And many festivals wind down naturally, through generational or leadership shifts. But Erin Benjamin of the Canadian Live Music Association agrees that festivals are facing a difficult landscape in the years after 2020.
“COVID ripped up the playbook,” she tells Billboard Canada.
“The cost of goods and services and labour and talent is extremely high,” Benjamin adds. “And it continues to go up.”
Audience habits have shifted, too. She notes that festival-goers are definitely buying tickets later, leaving event planners with cash flow troubles.
In its 2025 Hear and Now report, the Canadian Live Music Association states that in 2024, the problem stretched beyond Canada. “Cancelled tours and festivals due to lower ticket sales, rising costs, and environmental impacts has led to overall industry decline,” the authors write. “High prices for top acts are exhausting fan budgets leaving less for mid-range artists.”
International mega-music festivals aren’t immune. After slow ticket sales in 2024, more than half of Coachella’s 2025 general admission attendees bought tickets through payment plans.
When festivals shut down, people lose a connection to local history and a chance to meet their neighbours. Benjamin adds that arts workers lose livelihoods, while local communities lose economic impact.
If the live industry is facing hurdles, it’s also true that music tourism is still a popular vacation choice. “We’ve got to capitalize on that music tourism piece here in Canada,” Benjamin says. “We have incredible infrastructure already. We need to take care of our infrastructure, need to continue to create opportunities for artists.”
Benjamin adds that each level of government — municipal, provincial and federal — has a role to play in harnessing that potential.
Every festival faces its own particular set of circumstances that help secure or shut down the next edition. But it’s clear that conditions across the industry are putting pressure on festivals, from Newfoundland to British Columbia.
For a list of festivals that have closed or called for support, head here. – Rosie Long Decter
Craig “Big C” Mannix Joins CMRRA as Industry Relations Consultant – Community Engagement
The Canadian Musical Reproduction Rights Agency (CMRRA) is making a key hire to reflect the diversity of Canadian music.
Craig “Big C” Mannix has joined the CMRRA as industry relations consultant – community engagement.
An influential figure in the Canadian music industry, Mannix has served as vp of Black music at Universal Music Canada; held roles at Sony Music Entertainment, EMI Music Canada and Virgin Records Canada; and had a founding role with ADVANCE, Canada’s Black Music Business Collective. He has also played a key role in developing the careers of major Canadian names like Kardinal Offishall, K-os and Pressa.
The CMRRA is one of the leading reproduction royalty distribution agencies in Canada. It distributed $96 million in royalties in 2024, a 23% increase from 2023. That growth was significantly driven by music on TikTok, where royalties increased by 126%. Mannix looks to continue working with creators moving forward.
The CMRRA also reported a 50% increase in international revenues, highlighting the importance of global potential in the current Canadian music landscape. Mannix’s role specifically focuses on community engagement and deepening relationships with underrepresented music communities.
“I’m thankful for the opportunity to work with CMRRA. My love for music and art is what brought me into this business over 35 years ago — and it’s what’s kept me in it,” says Mannix about his latest career chapter. “I’ve always focused on driving culture with integrity, passion, and decency. I’m looking forward to connecting with more creators and communities through this new role.”
CMRRA is turning 50 this year. In a special industry newsletter, president Paul Shaver celebrated the organization’s growth.
“We have over 7,000 clients worldwide and a well-earned reputation across the industry for being efficient, technology-forward, client-focused, and trustworthy,” Shaver wrote in the newsletter. “Many of these clients represent hundreds or thousands of songwriters, further amplifying our global reach and impact.”
As global reach improves, it’s also important to focus on the communities that exist within the country. Royalty distribution is an important sector of the country’s music industry, and CMRRA is making strides to open it up to the full diversity of Canadian musicians. – Stefano Rebuli
Toronto Music Experience to Open a Permanent Museum by 2029
Toronto’s music scene is getting its own museum.
The Toronto Music Experience (TME) has unveiled plans to launch a permanent cultural home by 2029, commemorating the city’s worldwide impact through music.
The TME announced plans for its expansion on Monday (May 5) at a private event at Live Nation’s The Lounge in Toronto featuring artists including Rush’s Alex Lifeson, Jully Black and Lorraine Segato.
The organization announced that it has been granted charitable status, which means it can go ahead with fundraising, partnerships and community engagement as part of its five-year plan towards its permanent home.
TME’s goal is to highlight Toronto’s musical past, present, and future through immersive exhibits, pop-up activations, live performances and education initiatives. It aims for a storytelling approach, highlighting the achievements that have shaped the city’s music scene, from its historical Indigenous roots to the global impact of superstars like Drake, The Weeknd and Rush.
The museum fulfills the city’s need for a hallmark representation of its impactful musical legacy that is currently missing.
“We don’t have a museum devoted to what is arguably Toronto’s biggest cultural phenomenon, its biggest international export,” TME board director and longtime music journalist Nicholas Jennings told Billboard Canada in November 2024. “This is an untapped area for the city, and there is a need for it, because we’re losing some of these stories.”
TME has been actively telling these stories through a number of exhibitions in partnership with Friar’s Music Museum, located in a Shopper’s Drug Mart at Yonge and Dundas, the former home of the Friar’s Tavern music venue. TME hosted its first-ever live show experience with the Sound of Rhythms & Resistance concert at TD Hall in November 2024, serving as an extension of its “Rhythms & Resistance” exhibit in 2021.
“The success of the two exhibits that we’ve held at Friar’s has shown us that there’s an appetite and a market for something more permanent,” Jennings said.
TME wants to incorporate a mix of production, retail and café spaces as well as pop-up exhibits, pairing music education alongside interactive experiences featuring memorabilia.
“Our mission is to build an experiential space where artifacts meet immersive experiences in tribute to the artists, communities, and cultures that make our city sing,” says Denise Donlon, a music industry and broadcast executive and member of TME’s advisory board. “It’s a powerful way to celebrate our past and inspire the next generation of creators.” – SR
Volbeat tops Billboard’s Mainstream Rock Airplay chart with “By a Monster’s Hand,” which rises a spot to No. 1 on the May 17-dated list.
The tune reigns as Volbeat’s 11th ruler on Mainstream Rock Airplay and first since “Shotgun Blues” led for three weeks beginning in December 2021.
With 11 leaders, Volbeat ties for the 10th-most No. 1s in the Mainstream Rock Airplay chart’s 44-year history.
Most No. 1s, Mainstream Rock Airplay:20, Shinedown18, Three Days Grace15, Five Finger Death Punch14, Foo Fighters14, Metallica13, Disturbed13, Godsmack13, Van Halen12, Linkin Park11, Papa Roach11, Volbeat
Volbeat first led Mainstream Rock Airplay in July 2012, for two weeks, with “Still Counting.” In between the commands of “Shotgun Blues” and “By a Monster’s Hand,” the band reached the chart twice, led by a No. 8 peak for “Temple of Ekur” in 2022.
Concurrently, “By a Monster’s Hand” remains at its No. 7 high on the all-rock-format, audience-based Rock & Alternative Airplay chart with 2.8 million audience impressions in the week ending May 8, according to Luminate.
On the most recently published multimetric Hot Hard Rock Songs chart (dated May 10, reflecting data from April 25 through May 1), “By a Monster’s Hand” ranked at No. 25, after reaching No. 10 in March. In addition to its radio airplay, the song earned 403,000 official U.S. streams.
“By a Monster’s Hand” is the lead single from Gods of Angels Trust, Volbeat’s ninth studio album, due June 6. Its predecessor, Servant of the Mind, debuted at No. 2 on the Top Hard Rock Albums chart in December 2021 and has earned 133,000 equivalent album units to date.
All Billboard charts dated May 17 will update on Billboard.com on Tuesday, May 13.
Jackson Wang spilled the tea exclusively to Billboard News on his upcoming album MAGIC MAN 2, hitting the stage with Ciara at Coachella and more in a new interview on Friday (May 9). Explore Explore See latest videos, charts and news See latest videos, charts and news Speaking to Billboard‘s Tetris Kelly, the K-pop idol […]
The festival business has struggled to find its footing this summer, but one production company is finding success in the festival space with a new strategy: smaller, lighter footprint events.
Tomorrow, Activated Events will open its sixth Boots in the Park festival for 2025 in Santa Clarita, Calif., with Old Dominion headlining and support from Nate Smith, Josh Ross, Mackenzie Porter, Noah Rinker and more. The one-day festival combines food, beverage and live music, with a price tag of $59 for general admission (GA) when tickets first go on sale in January, with the price steadily climbing as the event gets closer (GA tickets are currently priced at $119, with VIP tickets going for $255.)
The Boots in the Park brand is the culmination of Activated Events president Steve Thacher‘s decade-plus in the music business, first with the launch of Wet Electric in 2010 — a Las Vegas-style dance and electronic show held at waterslide parks in the southwest. That evolved into the launch of Coastal Country Jam in Huntington Beach, Calif., and then Boots in the Park starting in 2017.
“Our festivals are more boutique than some of the other major country and mainstream festivals,” Thacher tells Billboard. Indeed, Boots in the Park events range in size from 10,000 to 20,000 and don’t include camping or overnight visitors.
In 2025, Activated will host Boots in the Park festivals in Bakersfield, Calif.; San Diego; Las Vegas; Fresno, Calif.; Albuquerque, N.M.; and Tucson, Ariz. Thacher notes that Activated works closely with city leaders to create “a more intimate and personalized experience than some of the larger festivals.”
“Our fans love that they can enjoy 10 hours of some of the best country music and still sleep in their own beds at the end of the evening,” Thacher tells Billboard, noting that Boots in the Park’s California festivals all take place one to two months after the massive Stagecoach country music festival in Indio, Calif., that’s regularly attended by more than 80,000 fans.
“We think there is a place for both boutique festivals as well as large festivals to exist in the same market,” Thacher says. “The benefits of being an independent festival producer has allowed my team and I to really know our events, brands, and customers extremely well. It also allows our creative side to come out. When we come up with a fun idea, whether it be a new art installation, a fun festival activity, discover a new venue or curating amazing lineups, we get to have fun letting our creativity run wild.”
Being independent, however, does come with its challenges, especially when it comes to booking talent and competing against the big corporate promoters with much larger budgets.
“Fortunately, all of the artists that have played our festivals appreciate the level of production, hospitality and full houses of fans,” says Thacher. “This has made the country artists want to come back and continually play Boots In The Park, Coastal Country Jam and The Smoke Show. “We have developed the trust and respect of the artists, management and agents in Nashville and they feel confident that the artist will be well looked after when they play our events.”
One of the keys to their festivals’ success, Thacher explains, is making sure fans feel like they’re getting a good value for the money they spend on tickets.
“Boots In The Park is more than just a music festival, it’s a full day of immersive experiences. Beyond the incredible live performances, fans can jump into line dancing lessons, sample a variety of 101 unique whiskeys at our curated tastings, and compete in cornhole tournaments for a chance to win exclusive meet-and-greet opportunities with the artists,” he says. “The event also features interactive art installations that add a creative and memorable touch, making it a well-rounded celebration of music, culture and community.”
Boots in the Park takes place this Saturday in Santa Clarita. For more, visit bootsinthepark.com.
