BIME Bogotá Recap: Voices Shaping the Future of Latin Music
From Tokischa’s Radical Intimacy to Zeta Bosio’s Enduring Legacy
At this year’s BIME Bogotá, the conversations that lingered longest weren’t the loudest—they were the most honest. Whether through the raw self-reclamation of Dominican rapper Tokischa, the strategic insights of the International Booking panel, or the generational wisdom of Zeta Bosio, what emerged was a collective portrait of Latin music at a crossroads: fearless, fragmented, and globally in motion. Across genres, languages, and stages, one theme pulsed beneath it all—authenticity as both a method and a mission.
While we weren’t able to attend artist showcases or music performances due to scheduling logistics, this recap zeroes in on the essence of what matters most to our audience: deep industry insight, sharp panel conversations, and firsthand knowledge from the Latin music sphere’s most influential voices.
Whether you're an artist, manager, or fan of global music ecosystems, this is your front-row seat to the ideas shaping the future of Latin sounds:
Tokischa: Radical Honesty, and the Freedom to Start Again
Dominican rapper Tokischa is not a typical pop provocateur. Sitting down with Billboard VP and Latin music authority Leila Cobo, the artist delivered an unfiltered, emotionally grounded look at the transformation that has defined her journey—from the chaos of survival to the clarity of selfhood.
The conversation opened with talks on “Sol”, not just the name of her acclaimed 2024 track, but a word that encapsulates a spiritual and artistic awakening. “I’ve felt like the sun,” Tokischa shared. “Because I’ve brought light to the people I love”. That radiance now anchors her creative mission: to share knowledge, healing, and independence—not just through music, but through real structural support for artists.
This same ethos runs through her upcoming debut full-length album, a project she describes not as a departure, but as a return. “I went back to the roots. To who I was before the noise,”, she explained. “To my teenage self, the girl who ran away from home at 18, found love and music at the same time”. The album, still untitled, explores three stages of that inner evolution: survival, liberation, and artistic sovereignty. What began in pain has blossomed into self-understanding.
Throughout the conversation, Tokischa spoke with rare candor about her early life—being raised between households, struggling with economic precarity, and learning to navigate the music business on her own terms. She recalled working in call centers, balancing survival with creative hunger, and eventually turning to alternative forms of income to finance her music career. While the industry often skims over these complexities, Tokischa addressed them head-on: “I’ve had to create my own path. No one gave it to me. And everything I’ve lived is now part of my art”.
As for the more visible aspects of her persona—bold lyrics, sensual image, and her refusal to apologize—she roots them in freedom. “I’ve always known how to say no”, she said, in response to those who once urged her to tone it down. “Being explicit, being real, being me… it’s how I honor my story. If I change that to make people comfortable, then I’m betraying myself”.
There’s a deep tenderness, too. When asked about her relationship with her mother, Tokischa lit up. She spoke about moving her to Santo Domingo, buying her plants, sewing machines, and eventually, an apartment. “She’s my queen,” she smiled. “Everything I am is because of her.” Her words revealed a woman shaped as much by rebellion as by care.
Later, when artists and fans in the audience asked how to stay authentic in the face of judgment, Tokischa was clear: “Know yourself. Respect your intuition. Love your truth. And never let the noise outside drown out the voice inside”.
As she closed the event with an unreleased track, mellow and vulnerable, it was clear: this isn’t just a new era for Tokischa. It’s a new offering. One that honors her past while writing toward something freer, fuller, and defiantly her own.
Global Bookings & New Frontiers for Latin Artists
While Tokischa’s conversation with Leila Cobo offered one of the most intimate and revealing artist spotlights of the event — touching on everything from creative independence and artistic evolution to the realities behind exclusive content platforms and survival in a volatile industry — our editorial focus remained anchored in the International Booking for Latin Artists panel, where the structural dynamics of artist development across borders were explored in greater depth.
Hosted by Jesús Lara, founder of Fundamental LLC and a veteran of over 25 years in media, artist development, and live events, this panel gathered four key figures from the global music industry to explore how Latin artists are breaking borders and redefining the global stage.
Joining Mr. Lara were:
Andrea Valencia of live event promoter Breakfast Live (Colombia)
Mauricio Ojeda of YouTube Music Latin America
Elena Beltrami, Director of Como No and La Linea Festival (UK)
Hugo Díaz Barreiro, founder of ECO Live and booking agency TSM (Mexico)
Where Is Latin Music Thriving Internationally?
Hugo Díaz opened the discussion by highlighting the U.S. as the most active and promising market for Latin urban acts, particularly in hip hop. "We tour the U.S. a lot with artists like Gera MX” he noted. “There’s an established Latino audience that deeply connects with the genre”.
Still, Díaz pointed out a recurring challenge: “The audience remains primarily Latino. Crossing over to non-Spanish-speaking audiences is still difficult — especially with genres like hip hop, where lyrics play such a key role”.
Andrea Valencia emphasized the opportunity not just in the U.S. but across Europe. “Spain, the UK, France, Portugal, and even Japan and Australia are showing genuine appetite for Latin music”, she said. She cited her company’s Medellín-based festival La Solar as proof of this global demand, mentioning that attendees came from 32 countries, with 30% from outside Latin America. “The curiosity and appetite for Latin sounds are real. That opens the door for independent acts to reach new audiences”.
What Role Has YouTube Played in Globalizing Latin Music?
Mauricio Ojeda of YouTube Music LATAM explained that the platform has been essential in “democratizing distribution” and breaking barriers of language and geography.
“Several years ago in the UK, Spanish-language music was practically invisible — maybe people knew ‘La Macarena’ or Shakira's World Cup anthem in English”, he said. “Now it’s different. New generations of Brits are discovering Latin artists on YouTube — not just diaspora communities, but local audiences too”.
He underscored that YouTube allows for a two-way cultural exchange. “It’s not just Latin artists being discovered abroad — bands like Hinds are mixing English and Spanish, going viral, and building audiences on both sides of the Atlantic”.
Ojeda also encouraged artists and teams to build real strategy around content, suggesting that Spain and Mexico can be launchpads for broader international presence, especially when paired with the right platform and audience data. “To reach the U.S. market, the bridge—undeniably—is Mexico. For Spanish-language artists, Mexico remains the springboard”.
With 65 million Latinos living in the U.S., Spanish-language music dominates YouTube’s global charts. But Ojeda cautioned: “Each artist needs a tailored strategy. A Latin act might begin locally, building their home fanbase first, but others writing in English might aim straight for global”.
What’s Holding Artists Back?
After laying out the opportunities, the panel shifted to challenges. Elena Beltrami (Como No / La Linea Festival, UK) emphasized the need for strong foundations:
“When I plan out my festival, I look for artists who already have an organic base in their home country. This reflects in diaspora communities in the UK.
I also need to see them perform live at showcases like the ones here at BIME — that tells me if they’re ready”.
She added that submissions should include:
High-quality live video recordings
Clear artist bios
Electronic Press Kits with consistent branding
Recent milestones like a Tiny Desk Concert, Spotify playlist support, or strong social engagement
Elena stressed that “one-off gigs in London don’t make sense without a plan”, especially given how expensive and competitive the UK market can be. “It has to be part of a bigger picture — a strategy, not a dream”.
Breaking Abroad Means Spending First
Hugo Díaz (ECO Live) spoke candidly about the real costs of international touring:
“Let’s be honest: going to the U.S. to play is an investment. It’s rare to make money in the early stages”.
In his work with hip-hop artists like Gera MX, large touring crews (DJs, live musicians, roadies) are standard — and costly. Yet most shows abroad happen in 500–1000-cap venues, not arenas. That means less revenue and more adaptation: stripping down shows while keeping impact.
“The management team must work closely with the artist to design a tour setup that translates well—both in their hometown, where they have all the bells and whistles, and abroad, where things must be more compact”.
He emphasized that creative design is now as critical as logistics. “You should always be thinking about how to compress the essence of your show into something that is tight, mobile, and still powerful”.
He also flagged a growing concern: artists and fans alike are worried about immigration enforcement at concerts in the U.S. “We haven’t seen arrests at shows yet, but there’s fear. Artists don’t want fans deported just for attending”.
Hugo also encouraged pairing tours with media or promo content: “There’s more than just Tiny Desk. It could be podcasts, YouTube Music sessions, or creative collabs. That turns your tour into a full campaign, not just a string of dates”. “Don’t forget markets outside the U.S.”, he added. “Colombia, Spain, even Japan—these are places where you may feel more welcome and where there are real incentives for artists”.
Visas, Logistics, and Local Laws
The conversation then shifted to the logistical and legal barriers facing international artists. Andrea Valencia (Breakfast Live) outlined some of the biggest hurdles:
Working visas (especially for the U.S. and UK)
Taxation laws by country
Transporting crew and gear across borders
Adapting shows to smaller venues
“Sometimes less is more. If you can’t bring the full production, make sure what you do bring still delivers.”
Andrea stressed the value of partnering with trustworthy local promoters: “The promoter is your guide. If your main show is unfeasible, no one will back you up”.
She also emphasized the importance of timing: “Apply for visas early. If you miss those deadlines, the entire tour can fall apart”.
Elena added that UK bureaucracy is getting worse: “Now artists from Colombia and other countries need a newly imposed visa and an ETA (electronic travel authorization) — that adds cost and time”. These administrative changes have affected even well-established festivals.
To underscore the point, Hugo shared numbers: “Getting a U.S. visa for a crew of 10–15 people could cost around $15,000–$18,000 USD, and depending on the type of visa your management or legal team is able to secure, the duration of these visas might not be able to guarantee you additional tours before you need to renew or apply again”.
That means the visa itself is already a major expense — even before flights, hotels, or backline. He warned that many artists go into tours in the red, especially for showcases like SXSW, which are often unpaid: “You're not making money — you're spending it. But it's a long-term play. You’re building visibility and connections.”.
Jesús Lara added: “Austin during SXSW is the most expensive time of year. Add legal costs, travel, production, and lodging — and you have a real risk if you don’t plan well”.
Get Creative: “Kayak Touring” and Outside-the-Box Strategy
In a lighthearted moment, Mauricio Ojeda shared the story of JW Francis, an indie bedroom recording artist who kayaked down the Mississippi, stopping to perform in towns along the way — building a fanbase, writing an album, and crafting a unique narrative.
“You don’t have to be conventional. Think about what your story is. That’s what builds long-term loyalty”.
Showcasing and Strategic Pitches
Elena Beltrami (La Linea Festival, UK) reiterated the importance of showcases and timing:
“Only reach out when you’re ready. As a booker, I get many proposals from artists who haven’t researched my festival. Understand the event, the audience, and be sure your live show and profile are truly ready”.
Her key advice:
Build a strong organic fanbase
Deliver a high-quality live performance
Apply to showcases with a clear, strategic pitch
Mauricio Ojeda (YouTube Music) added:
“Start with your genre’s core territory. Not everyone needs to break the U.S.—maybe your sound connects more in Spain or Argentina”
He also urged artists to think of win-win relationships with promoters: “Do your homework. They should profit too”.
Adding to this point, Andrea Valencia also emphasized the need for trusted strategic partners, and she underscored the importance of press and community outreach: “You need solid partnerships with experienced promoters who understand international logistics. Digital strategy is essential, but don’t forget traditional promotion—press tours, interviews, radio. It all supports a deeper fan connection”.
She also warned: “Don’t skip the development phase. Viral success doesn’t replace a catalog or a stage-ready show. You can have a TikTok hit, but if you only have one or two songs, you’ll lose the crowd halfway through a festival set”.
Q&A: Artist, Manager, and Promoter Alignment
During the Q&A, Alejandra Lara, an event promoter from Guatemala, raised a critical issue: the disconnect between managers, promoters, and market realities in smaller Latin American countries.
“Sometimes, a high-profile band is assumed to do well in Guatemala, but the audience doesn’t convert. As promoters, we take the hit and end up giving away tickets to make the venue look full”.
She described challenges with managers who refuse press or interviews, hurting local credibility and sales. Her question:
“How do we improve communication and synergy between artist teams and local promoters?”
Hugo Díaz responded with empathy:
“Great promoters are often the biggest fans of the artists. They know their local audience and are willing to risk everything to bring the artist. So managers must filter things like press requests based on value, not just instinct”.
He encouraged well-researched media plans:
“Don’t waste time on irrelevant press—but pitch podcast appearances or local shows with engaged audiences. That can move tickets”.
Final Takeaways: Top 3 Tips From the Experts
Start Local, Build Smart
“You need a fanbase at home first. Without it, it’s tough to grow abroad”, said Elena.View Touring as Investment, Not Profit
“First tours won’t pay — they plant seeds”, added Hugo.Get Your Team and Strategy in Order
Andrea emphasized: “A good promoter and travel plan are everything. One bad tour can kill future opportunities”.
Zeta Bosio: On Legacy, Reinvention, and the Sound That Changed Latin Rock
Few of BIME’s moments were as anticipated—or as rich—as the frank, heartfelt conversation between Zeta Bosio, legendary bassist of Soda Stereo, and Julio César Escovar, director of Bogotá’s iconic rock station Radioacktiva. For many in the room, this wasn’t just a talk. It was a pilgrimage through decades of Latin American music history—narrated by one of its architects.
Zeta, ever the philosopher-musician, opened the session by reflecting on music as a human invention both technical and spiritual. He traced its power not only through mathematics and vibrations, but through mystery: “What music produces in us goes beyond explanation”, he said.
This balance of analytical depth and poetic musing set the tone for a conversation that covered everything from early band rituals to industry-defining decisions.
Before Soda: Vinyl, Cassettes, and Sonic Pilgrimages
Long before Soda Stereo became a continental phenomenon, Zeta recalled the magic of discovering records—sharing them like sacred texts. “Listening to a full album was like watching a movie”, he said. In the pre-digital era, music was tactile, communal, and full of reverence. Before they were bandmates, he and Gustavo Cerati exchanged cassettes, dissected albums, and fantasized about sounds they couldn’t yet reproduce in their own country.
He recounted his teenage discovery of vinyl — not as a format, but as ritual. Sharing music back then wasn’t about popularity. It was a sacred, almost underground practice. The way they discovered early records by The Police, Duran Duran, or U2 was through whispered recommendations, pilot smuggling networks, and cassettes passed like coded messages between bandmates.
“Back then, if everyone had access to what we were listening to, maybe Soda wouldn’t have sounded so new”, Zeta admitted. The band’s early edge came partly from scarcity—being among the few with access to British post-punk and new wave imports. Their sound was a synthesis of inspiration and isolation.
Soda Stereo: Building a Map Where None Existed
One of the most powerful takeaways from the talk was Soda’s pioneering role in the Latin American live music circuit. “There wasn’t a touring culture in Latin rock”, Zeta explained. “We had to invent that map”. From chaotic gymnasium shows in Colombia—one with mismatched speakers and a stuck door—to landmark performances at Viña del Mar in the late 80s, Soda laid the groundwork for what touring Latin bands would become.
But what truly elevated Soda Stereo wasn’t just their boldness—it was their intentionality. Zeta emphasized the band's decision to stay true to their Spanish-speaking identity, even when tempted to chase the American market. “We recorded two songs in English, but they lost something essential. The phrases didn’t carry the same emotional weight”. It was a gamble—but one that safeguarded the band's poetic depth and cultural resonance.
Legacy, Reinvention, and the Post-Soda Years
Soda’s final records, Dynamo and Sueño Stereo, showed a sonic evolution that was radical even by today’s standards. Zeta noted how Cerati’s lyrics matured into something closer to poetry, and how the band increasingly took control of their production, pushing Argentina’s studio standards forward. He delved deep into the technical limitations of early Argentine studios — faulty wiring, vintage equipment from the ‘40s, missing compressors. “We had five different engineers working the same session — none of them knew what the last guy had done”, he said, laughing. But Soda didn't use those constraints as excuses. Instead, they used them as fuel to take over the production process. "We were one of the first groups to tell labels, ‘If you're not going to maintain your studio, we’ll find a better one.’”.
This DIY mindset carried into their sound evolution. While their debut leaned heavily on post-punk aesthetics, albums like Dynamo and Sueño Stereo were genre-defying sound experiments that remain untouchable in depth and sophistication. Zeta credits this to their increasing technical control and refusal to conform to commercial expectations — even as offers to go “full Anglo” rolled in.
When Soda disbanded, Zeta didn’t retreat—he reinvented. From cable TV to radio, to championing underground music scenes, he remained a cultural curator. “I got into festivals when no one else in Argentina was paying attention. I brought back bands no one had heard of yet”. His journey wasn’t just about nostalgia—it was about staying in motion. In 2006 he launched the cult TV series Rock Road, filming European festivals long before they became South American staples. “I told Much Music, ‘I don’t want a studio show. Let me take a camera to Glastonbury, to Reading. Let me show people what they’re missing out on.’” he said.
That initiative laid the groundwork for regional giants like Quilmes Rock and Personal Fest, festival franchises Zeta helped shape directly. He was more than a legacy musician — he was a cultural bridge, introducing Argentina to a modern festival ethos when none existed.
Now, Zeta has come full circle: crafting live DJ sets that remix Latin rock classics into club bangers, and touring smaller venues with intimate shows that blend nostalgia with reinvention. “I get to play bass live, mix tracks I love, and give people a new way to experience rock en español”, he said. A full-circle moment that’s less retirement, more reimagination.
The Legacy of Soda: Not Just Music, But Method
Perhaps the most moving moments came when Zeta spoke about preserving Soda Stereo’s legacy, both through their 2020 pandemic borderline Cirque du Soleil tour Gracias Totales, and a yet-unannounced 2025 project. “Soda wasn’t just a band. We were a collective, a way of doing things”, he said. “We had our own rules. And our own world”.
When asked if it was hard to revisit the songs, Zeta said:
“I’m 60. I thought, ‘Am I really going to die without playing these songs live again?’ That wasn’t an option”
Zeta also shared that a fan in the U.S. once told him, “We don’t know what you guys are singing, but we feel it”. That moment captured something powerful: music can connect with people even if they don’t understand the words. Through old-school memories, bold tours, and staying true to his style instead of changing it to fit trends, Zeta shows us that music is both where you come from — and what keeps you going.
“The Rock Star is Vintage Now”
Asked about the future of Latin rock, Zeta was blunt: “Rock isn’t dead. But it’s no longer the rebellion. It’s the craft”. In an era where reggaetón, trap, and urban genres dominate airwaves and TikTok algorithms, he sees rock as becoming a more niche — but no less vital — expression. “It’s like analog photography or vinyl. There’s a warmth and authenticity you can’t fake”.
He praised new Argentine acts like Conociendo Rusia, Usted Señálemelo, and Bándalos Chinos for keeping that spirit alive. “They’re doing psych, funk, pop-rock. It’s not formulaic. They’re building something new — and that’s what matters”.
He also acknowledged the shifting metrics of success. “We used to chase radio airplay. Now it’s a video on TikTok that can bring a forgotten band back into the spotlight overnight”, he said, referencing how a viral clip had recently revived interest in the band Styx. “It’s all chaos now. But beautiful chaos”.
On AI, Atomization, and Staying Grounded
Zeta’s take on AI in music was refreshingly pragmatic. “AI is here to stay. Those who don’t use it are just fundamentalists”, he said. Yet he also stressed the irreplaceable value of human feel — especially in an industry increasingly favoring fast production and even faster disposal. “What we used to take a month to craft, now we throw out in an afternoon”, he said.
He also noted the atomization of audiences — “We used to all think the same; now it’s a million micro-narratives”— and encouraged artists to embrace this by building their own tribes, not aiming to please the masses.
Final Notes: Advice for the Next Generation
Zeta left emerging artists with this:
“Today, originality wins. Don’t worry about doing it 'right.' Do it your way. We succeeded partly because people didn’t know what we were referencing. You don’t have that luxury anymore. So make sure no one can confuse you for anyone else”.
As the session ended, it wasn’t just the story of a band that had come full circle — it was a roadmap for what’s next. In a world that’s louder, faster, and more fragmented than ever, Zeta reminded us that what lasts isn’t always what’s perfect — it’s what’s true and authentic.
From fierce independence to global collaboration, from analog memories to algorithmic reach, the artists and thinkers at BIME Bogotá reminded us that Latin music is not just expanding—it’s evolving. With creators rewriting what it means to be vulnerable and bold, executives pushing for more equitable global platforms, and regional icons showing that legacy is built through reinvention, one thing is clear: the future of Latin music isn’t coming. It’s already here—and it’s deeply, unmistakably human.
In the coming weeks, we’ll be releasing audio snippets from these conversations—moments you’ll want to return to, reflect on, and share. We’re also gearing up for major updates on the Mapas Podcast, where these and other voices shaping the future of music will appear in long-form conversations that dig even deeper.
Stay tuned—this is just the beginning.
Thank you Marco for this report on the talk with Zeta at BIME Bogotá. Of course he is incredibly humble, the way they always were. I learned so much from Soda. My first-time ever in a recording studio was when Soda was recording Doble Vida in New York. (Talk about luck!)
I hope that a lot of people will read this and remember- or learn- what Soda did, beyond even their music, as you say:
“There wasn’t a touring culture in Latin rock”, Zeta explained. “We had to invent that map”. From chaotic gymnasium shows in Colombia—one with mismatched speakers and a stuck door—to landmark performances at Viña del Mar in the late 80s, Soda laid the groundwork for what touring Latin bands would become.
Not to mention the pioneering videos. Out of the ashes of that dark period in Argentina they imagined and laid the path for what was to come in a way that no one else did.
https://www.youtube.com/watch?v=ZNzYr4U7Zs8