Miche Fest is canceled for 2025
A statement from the Michelada Fest team, posted Tuesday on the festival website and social media, said in part that 'we've made the difficult decision to cancel Michelada Fest 2025,' and attributed the reason to concerns over visas and travel for music artists:
'Due to the uncertainty surrounding artist visas and the rapidly changing political climate, we're no longer able to guarantee the full experience we had dreamed up for you with all your favorite artists. Although we tried to push through, it became clear that we wouldn't be able to deliver the full lineup as planned.'
This summer's lineup, announced in early April, included headliners Grupo Firme, Danny Ocean, Anitta, Luis R. Conriquez and a Sunday performance by Netón Vega. Tickets went on sale April 4. Organizers promised prompt refunds for ticket buyers:
'Refunds are our top priority. Full refunds will begin immediately to everyone who purchased tickets through our website or Ticketon. Refunds will go back to the original form of payment. Please allow up to 7-15 business days for processing.'
The annual Miche Fest is put on by BIG INDIE, Zamora Live and VivaTuMusica. The first was in Harrison Park in 2019; last summer's event at Oakwood Beach reportedly had a daily attendance of some 10,000 people.
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Los Angeles Times
6 hours ago
- Los Angeles Times
Latin Grammys 2025 predictions: Bad Bunny, Natalia Lafourcade and Rauw Alejandro among the frontrunners
This year promises to be one of the most exciting editions of the Latin Grammys. As the Latin Recording Academy prepares to unveil the nominations for the award's 26th edition on Sept. 17, the eligibility period — from June 1, 2024 to May 31, 2025 — includes a number of high-profile albums that not only contributed to the ongoing Latin music boom on a global level, but also pushed the movement forward with their radical choices and genre-defying sounds. Now a vital part of the Latin pop DNA, the urbano genre continues to redefine and challenge itself, while the rootsy strains of música Mexicana have deservedly gained a privileged seat on the table like never before. The fields of folk, rock, electronica and tropical are still expanding, and artists such as Bad Bunny, Rauw Alejandro, Becky G, Fuerza Regida and Natalia Lafourcade are vying for awards with some of the most ambitious albums of their careers. De Los assistant editor Suzy Exposito and contributing writer Ernesto Lechner discuss their predictions on the songs and albums that are most likely to be nominated. The following conversation has been edited for length. Ernesto Lechner: This seems to be an easy year in terms of the two obvious candidates for Latin Gammy history. Bad Bunny's 'Debí Tirar Más Fotos' is the kind of album that defines not only the year it came out — 2025 — but also the entire decade. And Natalia Lafourcade's mystically tinged 'Cancionera' finds the perennial Grammy favorite at the apex of her craft. Going back to Benito's masterpiece, its conceptual gravitas is almost grander than the songs themselves. Suzy Exposito: I'm really gunning for Album of the Year for this one. The amount of thought and intention that he placed on this record. The cultural significance of the songs, not just in terms of the history of Puerto Rico, but the way in which he directly engages with the Caribbean diaspora at large through salsa. E.L.: I love how lovingly he delves beyond salsa to also include plena. He goes back to Rafael Cortijo — the roots, the very essence of boricua culture. And the album has this Beatles-like quality where it's incredibly commercial — a No. 1 record, the album that everybody is listening to — but there's no compromise on the artistic front. It's an ambitious, fully realized statement. S.E.: Is any album by Benito just another Bad Bunny album? I don't think he dabbles in filler the way other artists do. E.L.: The photo of the plastic chairs on the cover could have been taken in the suburbs of Lima, or San Salvador, or Medellín. Benito makes such an inclusive, pan-Latin statement. Which brings me to nominate the title track, 'Debí Tirar Mas Fotos,' as a perfect contender for Song of the Year. S.E.: When I first heard it, I started to cry. It's a very sentimental song. I was recently in Puerto Rico and went to a plena jam session. It was happening in the street, and you could see people of all ages playing together, singing traditional songs, drinks in hand. There was something really beautiful and timeless about that communal experience. E.L.: A similar passion for music permeates Lafourcade's 'Cancionera.' Recorded live on analog tape, it has a pristine, wooden-floor kind of warmth. She embodies this mystical character, the cancionera, and it's a very mature album. I love 'Cocos en la Playa' — a frisky, beautiful tropical song that's so lovely and authentic. For my money, it's going to be a battle between those two albums in all the major categories. S.E.: I feel that Natalia Lafourcade is the conservative choice at the Latin Gammys, and it feels bizarre to say it. This is a woman who was making pop-rock in the 2000s. She is a virtuosa, and a master of her craft, but her nomination is predictable because now she represents the gold standard for the Latin Academy. E.L.: She's definitely the safest choice between the two. Besides Benito and Natalia, there are a few albums that could very well appear in the major categories, and one of them is Cazzu's 'Latinaje.' S.E.: That album is such a statement piece. I loved seeing Cazzu break away from the Latin trap sound that she defined and blending it with other things. She's a great songwriter, and her transformation is fascinating. I think this is the year when many young people are going back to their roots, and then making something new out of it. E.L.: I had a conversation with Cazzu a few months ago and told her that 'Latinaje' made me feel vindicated. As a fellow Argentine, I've always felt that we're an integral part of Latin America. She proved it with this beautiful love letter to so many essential genres. There's salsa, merengue, South American folk, and 'Dolce,' a gorgeous corrido tumbado about that infamous red dress that went viral. And she did it all so genuinely. S.E.: It may be hard for her, because she came up as an MC. I wonder if the Latin Academy will know in what categories to place her, since this is such a multi-genre album. I mean, she's an international girl. E.L.: And of course, Rubén Blades has a new album out, and it's beautiful as always. 'Fotografías' is another sumptuous, big band salsa session. It combines new compositions with songs that Rubén had given to fellow Fania artists in the '70s, and now recorded them himself. S.E.: That's a great move on his part. 'Hey, remember those songs? Yeah — I wrote them!' It sounds ridiculous to say that Rubén is another safe choice, but I can see him in all the big categories. Which brings me to another artist who made a salsa-influenced album: Rauw Alejandro and 'Cosa Nuestra.' E.L.: I love the Afro-Caribbean vibe on 'Cosa Nuestra' and the silky duet with bachata star Romeo Santos on 'Khé?' I feel this one has been overshadowed a little by Benito's 'Debí Tirar Más Fotos.' My favorite Rauw Alejandro album remains 2021's 'Vice Versa' with the awesome, '80s influenced mega-hit 'Todo De Ti.' S.E.: My favorite song on 'Cosa Nuestra' is 'Se Fue,' the duet with Laura Pausini, which is also like a moody '80s song. Raúl has made it a point to polish up his nostalgia for old forms of music. Michael Jackson is one of his most influential artists. By the way, we should mention Fuerza Regida and their ninth studio album, '111XPANTIA.' They have never been nominated for a Latin Grammy, so I'm rooting for them because they have experimented in a really bold way. Their lead singer, Jesús Ortiz Paz, has shown a lot of intention behind his creative decisions beyond making the same corridos or mining from the same old '90s rappers. Their music is cheeky; sonically, it pushes boundaries. E.L.: You're never gonna have a bad time with this new wave of música Mexicana stars, considering the staggering melodic richness of their songs and the immediacy of the lyrics. S.E.: On that note, I think it's time for Ivan Cornejo to get a Latin Grammy nod for 'Mirada' — the production has this ethereal quality that sounds so mature and progressive for the genre. I also want to applaud DannyLux for his ambitious 'Leyenda,' which is a psychedelic take on sierreño music, à la George Harrison. E.L.: What about Becky G? Last year I was asked to write about 'Encuentros,' and I just had to surrender to the elegance of this pristine música Mexicana session. Her voice sounds huge on this record. S.E.: I really hope they don't silo her in the música Mexicana categories, because this is a very mature album for her. She grew up singing mariachi music with her family, so it's a beautiful full circle moment for her. E.L.: 'Encuentros' would be a perfect Album of the Year candidate because it celebrates the music of her grandparents but at the same time transcends it. I love that Becky said she's never looking back after recording her two traditional albums of rancheras and lush Mexican pop. This brings me to a more general observation: I believe we're experiencing an era of absolute splendor, and the Latin Grammys nominations are bound to reflect that. It's like every single Latin American country has blossomed, wearing its most elegant clothes and throwing some amazing parties. The richness and breadth of the music being recorded throughout the continent is off the charts. S.E.: I agree. Creatively, the last couple of years have been the most exciting for Latin music in a really long time. I think we're going to remember the 2020s for the bold decade that it is.
Time Business News
12 hours ago
- Time Business News
AEGROR: A Dark Force in Atmospheric Black Meta
Among the multitude of artists and bands that are associated with extreme metal, the place of AEGROR underlines the feeling of darkness, despair, and conceptuality. AEGROR consists of members, hailing from Kerken, Germany, and was formed back in 2009. and has established a unique profile in the underground metal scene. The name of this band, based on the Latin translation of the word disease, is a door into their thematic world- the world which is focused on the issues of inner struggles, insanity, and horrors of metaphysics. AEGROR harmonizes the primitive ferocity of the black and death metal genres with melody and atmospheric influences, thus becoming an interesting force in the field of Atmospheric Black Metal and even Post Black Metal. The band expands beyond its experimentation with sounds to philosophical and psychological connotations found in the discography, which has earned the band credence. The Concept Behind AEGROR: Plaguebreeder and Beyond The music of AEGROR is extremely conceptually based on a fictional character called Plaguebreeder, which is an interdimensional beast that wants to breach the human world. Although it is fictitious, Plaguebreeder represents extremely real fears: pandemics, the mess of society, and mental breakdowns. Such levels of storytelling provide AEGROR with a screen-like advantage, with each album being a chapter of a horror epic. What is unique about AEGROR is that they employed this character to extract metaphors out of what happens in real life. Whether it is the psychological effect of isolation, a disorder called global health crisis, or internal struggles of the human psyche, AEGROR changes abstract fears into beautiful musical worlds. The Early Years: De Morbis and Forgotten Tales AEGROR had its official release in 2010 with the album De Morbis. Strongly influenced by black/death music of the 90s, this release paved the way to their characteristic sound: violent but intelligent, anarchic, and organized. Raw in its recordings but sophisticated in its mood and theme, the album put the band on the map as a group of serious artists right away. In the next year they released Forgotten Tales EP that demonstrated more progressive and emotional approach taken by them. This EP served to draw a bridge between their older violent music and the more mature one, more melodic. It was also the breakthrough of the transition, and AEGROR began to invest even more deep into the Atmospheric Black Metal aesthetics, attempting to frame the play with layering soundscapes, non-heavy guitar passages, and depressing themes. The Turning Point: Dead Man's Diary Their sound had grown a lot of growing at the time when AEGROR launched Dead Man Diary in 2017. The improved production, enhanced songwriting, and more definite conceptual path saw the positive reception of both underground collectors and critics alike. But there were also in-team conflicts within the band. Creative differences and line-up issues took AEGROR to the brink of breaking up. They nevertheless did not give up the project, with founding member and vocalist Narthaas leaving together with guitarist Abyssus. Rather, to enable them to have a higher degree of freedom and creativity, they rearranged AEGROR as a duet. It was this decision that would precondition their most significant work ever. Rebirth and Recognition: Reign of Disease (2025) Later, AEGROR reappeared on May 16, 2025, with a third studio album, Reign of Disease. The album became an independent release, an action that showed how much confidence they had in the material. Having a mixture of modern Black Metal ideas intertwined with their fundamental atmospheric and melodic roots, Reign of Disease was a breakthrough. The album title song received enormous popularity, having even entered the charts on several streaming platforms in Europe, an achievement hard to attain for an underground metal band. The album was based on decay, loss of identity, and existential fear, served with heavy riffs, harsh vocals, ambient sounds, and high, soaring melodies. That did not take long, and soon the band got the attention of Black Lion Records( Sweden,) which signed AEGROR soon after the release. AEGROR's Artistic Vision and Influence AEGROR and their songs do not only work due to their music, but because they introduce the ideas that have the power to affect both our fantasy and realistic lives. Their inclusion of horror, character pathologicalness, and sociopolitical metaphors endows their work with a sense of near-literacy. Coming to a scene where brute force and speed can easily be the main idea, AEGROR brings a certain complexity, feeling, and contemplation. Being in the Atmospheric Black Metal and Post Black Metal scenes, they became one of the torchbearers of a genre that favors mood and message above all. Their songs encourage people to face their fear not only of death or illness, but of what they hold. Conclusion: The Future of AEGROR Having published three major releases, having a devoted fan base, and having a brand-new partnership with a well-established label, AEGROR is now ready to leave its mark on the sphere of European extreme metal. They may have the potential to evolve but still adhere to their dark sources, which means that their future is guaranteed to be relevant, influential, and unfazed in their artistic ways. To the listeners of heavy, emotionally-charged, concept-driven metal music, there is more to AEGROR than a band. TIME BUSINESS NEWS
Boston Globe
3 days ago
- Boston Globe
Sekou McMiller's ‘Urban Love Suite' celebrates social dance with Jacob's Pillow world premiere
With the support of NAACP Berkshires, McMiller — a Chicago-born and New York-based African Diasporic dance and music scholar/educator — immersed himself in the Berkshires' robust Afro-Latin community. He led workshops at a local elementary school and dance club. During a 'cultural exchange,' McMiller combined his own choreography with the celebratory traditions that local workshop participants offered him. McMiller incorporated some of the movement generated in this Pittsfield engagement into the new work, and it will live on in the choreography after it leaves the Berkshires. 'It's a love letter to the Black and brown communities,' McMiller said in a phone interview this week, 'the beautiful music and dance that has been created from hip-hop to samba to New York Mambo.' Advertisement So, despite the formal venue, you can expect this Jacob's Pillow performance to feel like a party. Advertisement 'Urban Love Suite' celebrates the relationships between different African diasporic communities through their dance and music traditions, 'their nuanced differences, their similarities and their shared roots from the continent of Africa,' McMiller said. To develop the work, with the support of the NAACP Berkshires, Sekou McMiller immersed himself in the Berkshires' robust Afro-Latin community. Pictured, Sekou McMiller and Friends' Sekou McMiller and Marielys Molina. Elyse Mertz The work also celebrates how a dense city can bring many cultures into close proximity, he said, creating opportunities for exchange that are unique to the urban experience. It can, as he put it, yield 'amazing fruits of music and dance.' 'Like New York City Mambo, which was done in New York, Harlem, where you had that cross pollination of Lindy Hop and jazz and tap dancers, with the Latin dancers coming directly from Cuba, but then [they] create a new way of doing the dance that only could have been done in an urban city like New York.' McMiller's point is that proximity can be challenging yet generative. You might not always be in the mood to listen to your neighbor's playlist, but after the fourth or fifth time through, you might find your hips moving to the beat, reluctantly familiar with the rhythms your neighbors prefer. McMiller, a classically trained flutist and jazz musician, is also the curator at the National Jazz Museum in Harlem. He reveres the intimate entanglement of music, movement, and social gatherings, and collaborated with music director Sebastian Natal on a score grounded in Afro-Latin jazz to be performed live alongside the dancers. 'Love Suite' draws parallels between parading traditions like Uruguayan candombe and New Orleans' second line, and layers party dances from Cuba, Puerto Rico, Chicago, and New York. It also highlights the roots of these movement forms in cultural traditions from Nigeria, Senegal, and Burkina Faso — the region the colonialist machine favored for the capture, export, and exploitation of human beings as a resource, who became the ancestors of Afro Caribbean, Afro Latin, and African American communities. Advertisement 'They're social dance in nature,' McMiller said, 'so they're not born of a studio. They're born from culture. They're born from parties. They're born from celebrations. They're born from traditions and rituals.' After noticing a lack of social dance in the Jacob's Pillow archive, artistic and executive director Pamela Tatge has made efforts to uplift dance artists working inside those traditions — with the help of her curatorial team. 'If we are charged with representing the breadth of dance in the world, to not center social dance would be a mistake,' said Tatge in a recent phone interview. It's complicated to bring these dances to the stage because social dance is a participatory art, and The Theater fosters an inherent separation between the audience and performer. McMiller is up for the challenge, and his solution: improvisation in both music and dance. 'It's call and response from beginning to end. I allow my choreography to be a call to the dancers to then respond … so at some point you won't be able to tell the difference between improv and choreography,' McMiller explained. 'So every night, it's same format, different show.' 'Love Suite' will also disrupt the performer-observer relationship by dancing among the audience and inviting attendees onto the stage. Performance is a call too, that asks the audience to respond. 'I hope this pushes people to get out there and come join us,' McMiller said, 'to not just spectate with us, but become an active participant in this life.' Advertisement URBAN LOVE SUITE At Jacob's Pillow's Ted Shawn Theatre, Becket, July 30 to Aug. 3. Tickets start at $65. 413-243-0745, Sarah Knight can be reached at sarahknightprojects@
