Latin Touring Goes International Panel | 2022 Billboard Latin Music Week
Because we, the urban artists, represent the hood, we represent, it was born in the hood. the people who have no chance, people who dreamed big Good afternoon to everyone, welcome to our panel. I believe that without a doubt, first, Winsin and Yandel here with us.
[APPLAUSE] I don't know if you guys, [ENGLISH]. I am Hans Schafer, I work with Live Nation. I'm in charge of the whole division of [ENGLISH]. Among them, with these guys. And today I'm Marc Ventosa, from the Last Tour, from a promoter from Spain.
Well, Spain no. We have offices in South America as well. And I handle the booking part. Well, thank you so much for being here with us. We wanted to touch some points. Forgive my Spanish, I go between Spanish and English.
But to begin with, it's been a giant year for touring. More tickets than ever have been sold in unexpected markets, in expected markets. all forms, new artists long-time artists. It's been a huge year. I don't know if, Hans, you want to comment a little on the climate of ticket sales right now.
Yes, it's definitely the biggest thing we've seen in the history of our music at the level of selling concerts, of selling tickets not just of one genre, but all genres really are exploding And from the indie, the urban, the Mexican regional, the sound is definitely changing and assimilating for a generation that has already lived here 20 years and they do more of them, but it has been seen that today is a record year at Latin level and the trend is that it will continue to grow. Well. Incredible. And, Marc, Spain too, that is, it's been a big year, isn't it? Yes, in Spain it has been like the same. There are more and more festivals, a lot of tours a lot of tours that were confirmed in 2020, but yes. And there are many concerts now.
Many sell very well and others cost more to buy tickets now for the amount there is. It's a bit extreme. Either it sells a lot or it doesn't work.
Exactly. Because people have a limit to what they buy. Exactly. Then, they can't go to everything. Exactly. And there are artists who cost less and there are others that costs a lot now, because of the number of concerts there are, there are many tours.
And you think this type, this volume is going to go on for the year to come or start to fade No, I think we still have a year of this big volume for next year, yes. In other words, I think it has been the cycle, say, that we were used to it was delayed with everything of the pandemic, that many artists, because they started more or less equally. And they've all started going out. and I think we're missing another year to stabilize a cycle between music and going out on tours. And in Spain? Yes, well, for next year there is a lot of tour still. I think after -- There have been several cases that have been a bit of a disaster, it's going to be a little more controlled I think, next year.
I have that feeling. Yes. OK. Well, I have a very good memory. In my previous life I was a promoter and made the first arena show for a reggaeton artist at Staples Center with these guys in 2008. And it was a before and after in music.
Because first of all, no one had seen him. Because his previous show was a place of half the Staples Center and no one had. Then, there was a lot of fear towards reggaeton at the time and they didn't believe so much, but let them count it because it was historic. You guys.
Well, first thanks to everyone here and everyone who every day fights for art, for collaborating, for continuing to grow. That's the mentality of the real successful person. First, thank Rebeca. Rebeca has always been an ally, not just of Winsin and Yandel, but of the movement In 2008, when at that time it was A.G. With Rebeca, I worked with them. us going to Staples was like a dream come true. And it made us scared because we were used to doing smaller venues But also in 2008 we learned that the one who gets to do very big things is the one who dares to do what nobody dares to do.
And that was what Winsin and Yandel did. I want to thank you, Rebeca, for being a visionary. What's happening today -- No, thanks to you. -- it's thanks to you and Randy and the people who believed. Nothing, I think 2008 was also a year of growth for Winsin and Yandel. We were not ready to face 14, 15,000 people in front.
We were used to another volume. And it was a year of growth and it was a beautiful year in our career. Well, good morning to everyone. Overjoyed to be here, Live Nation, Rebeca, you are part of the story of Winsin and Yandel. We are very happy to have them here and to remain in place in the business, to continue with the head above.
Very happy. Now Wisin and Yandel, as it comes with their tour. That Live Nation has thrown the ball with us. They have behaved in an incredible way, with a respect. Thanks to the people of Latin America we have already done 40 concerts all over Latin America and it was a success. Now it's up to USA.
USA we’ll be playing our new album Now that it comes out on Friday, the 30 comes out the new record, "The Last Mission." That they will enjoy new music and old music. We're going to let them travel.
As the business has changed since 2008 so far, it's impressive what's happened in music. It's awesome. And it's also gratifying to see people who from the beginning believed.
Because and with a lot of respect I say it, there are people who today follow the movement because it has been successful, but it did not live through the process. And it's not wrong because every day people want to get closer to what they succeed. But people must be publicly acknowledged that when no one believed, they dared. Because doing a multitudinous concert of this kind of caliber is not easy. It's hard. There is a lot of responsibility involved.
And here are people who work every day, who are the ones behind these concerts that thousands of people, millions of fans enjoy. So, I go back and repeat, I want to thank you. Rebeca, we want you a lot and thank you. I tell you because when you told me we were going to do the Staples is like, what? But it was given and on that day, that was the day I understood that the movement was going to do great things and that it was going to conquer the world.
That was the day I truly opened my eyes and understood what we were doing, so thanks to Rebeca and the good people of Live Nation who are always there with us. Look, I think thanks to you for taking the risk as well. Because it is also you who have to stand at the arena and defend all those decisions.
But for me, when I get to reflect how, that was a before and after because what is now supercommon and so far is bigger. Like what's happening with Bunny, which Hans is now going to talk about, which are stadiums in the United States, it was like a signal to companies, to the public, to the market, that Latinos were present. And they wanted their music and wanted to go to the best places to watch their shows. And they came in volume, in quantity. That is, it wasn't an underground thing.
And that moment was the moment the reggaeton was mainstream. And it was thanks to this gentlemen that there is, for me, this demand for reggaeton, was at that time with that music. It was the revolution.
It was so many important things that happened. It was that radio began to support reggaeton nationally in pop stations like -- For me it was the moment that, that is, they put the flag like that here we don't -- here nobody is going to take us away. And we went from Staples Center to Madison Square Garden, to American Airlines Arena. And then we go into markets like Kansas City, like Detroit, like Toronto.
I was in Toronto this week with Rosalía and they talked to me like, the first Latin show was Winsin and Yandel. Wow, thank you for bringing that show. Then, they opened many markets, many doors. And that was something so important, beyond you, to the genre. It was a signal to everyone. And now it's like -- It is precious to see where we are now with bad bunny and how far we come, everything has come, but the truth, it was you.
Honestly. No, please. A cheer for these guys. Look, we when we started in music, being brief, we did big business with multinationals.
Obviously, we didn't know the business, but the only money coming at the time was the shows, we saw an American show and they were looking for power, literal, copying great things being able to take our show to another level. Dreaming. And in this kind of venue, which I just mentioned rebeca. When we came to the venues, our eyes watered because it was something new to us and we did not understand what was happening. But if anything we did and were prepared to do a competitive show with any artist of any language.
I think when you go to the studio and you do big things and produce big things, it has to be a combination where that person who was impacted by your content, go to a show and understand that you're great. And understand it when you watch your show and understand what you can do on stage They're different things. There are great artists in the studio and there are artists who don't have a great show. Winsin and Yandel tried to take care every day and to invest what it takes to do a big show. And I think that's what has kept us here. Because every time we go to do a concert, we try to give it everything and the person who buys a ticket says, I’ll go back to see them.
And I think that's the difference. It's not going to pick up a buck. It's going to pick up new fans.
That's the mentality. Not and I think you have also always had the mindset of investing in yourself. Even if you had a great seal supporting them, respecting them, even if you had all the team of the world, that is, you always need more, we are going to put on our side. That's right.
And that's something that fans always appreciated. And that's why they're still here after, 14 years later, that [ENGLISH] is like superimpossible that I went through. And they keep doing it, year after year, filling the sites. Because fans appreciate what they give to the show. It's not a casual thing.
That I think is something that -- They see on stage as sacred and give everything to the stage And on return, fans keep coming back and multiplying. That's right. Look, I have been impressed because we have an already 24 year trajectory. Then, I never thought at this point that the tour was so successful. I did think before the pandemic that it could be successful because we were working for that, but it came through the pandemic and like it took out all the plans. We already suspended the album, the tour, then, we were nervous We started the tour without a record, without new music.
And when I saw that the tickets were being sold, I said, wow then the job we did before is what is being reflected now. Yes. And people are supporting and they want to listen to our music from before and how they know we do good shows, as they come together. But it's amazing, no record, no music. Now, at least, USA, you will enjoy new music and a new album.
And we're going with everything, really so. Yes, the record comes out on Friday. [APPLAUSE] But hey, then, I wanted to talk a little bit about what's going on with Bad Bunny today because I think for the genre it's amazing.
And not only for reggaeton, but for the entire Latino community has been such a historic and epic thing. And Hans, tell us a little bit about that success. Yes. And the truth I'd like to start with almost last year, talking about how the growth of this industry has been going on -- What has been seen is that we have been breaking the barriers. That is, the barrier of what was thought to be impossible. And the Bukis last year was a demonstration that -- That was crazy, right? It was crazy.
The Bukis came back, and how many tickets did they sell with that? That we sold more, that is, it made a gross of 50 million in 9 shows. 50 million was entered, 9 shows. And every time I went to the stadium, I asked, hey, does any other Latino play in this stadium? In Chicago they were first. At SoFi they were first. I started to notice how that, wow this isn't so, they're not used to.
We don't have stadium shows in America. It's a bit, excuse me to interrupt you, it's a little bit what happened here, it's like, they were the first ones who dared. Perhaps you also sell in a stadium. Perhaps there are so many Latinos in so many places that they want to see such a show.
And no one dared, so -- And no one dared and we saw it with that and then, this year with Bad Bunny has been madness. That is, it's the highest gross in all the Stadiums Where we've gone, with the exception of Boston and Dallas, but the records have been broken. He's the first artist, he's the only artist to do 2 shows in Miami at the Hard Rock Stadium. It really is for me as a way of what we're seeing these doors open and it becomes possible for other artists.
In the same way as what we've seen. That is, it is 14 years that with the use of Winsin and Yandel and not only that they remain in force, but we are living the most successful tour of his career. Breaking. That is, they are at the height of their career. That is, we sold and the people of Puerto Rico showed it by selling 14 shows in 2 days.
Really, it really shows that we're here, that this comes for long. And the investment, both from the company for our part, is to give and to lend that service and really have an investment in Latino that doesn't go away and we're showing that the numbers speak for themselves. amazing. Congratulations, the truth.
We talked a little about the subject of Spain. Spanish artists turning to this side of the puddle and vice versa. Marc, tell us a little about your perspective on the artists that work outside of Spain and the artists who are Latinos who work in Spain.
Yeah, I think there's been a very beast change over the last 3 years, 4 years. Climb a poc -- Ah, yeah. A very beast change in the last 3, 4 years. For example, we do 7 festivals. One of them is Bilbao BBK Live. And again, headliners were always Anglo-Saxons.
So, in 2019, was it? It was the first time a Spanish artist was headliner, which was Rosalía. And there was never this past. That is, it was like -- And the following year we confirmed Bad Bunny as a cartel head. Then, in Spain, a little bit still happens, but now much less, but at that moment still reggaeton looked like, in festivals like that, it looked like a style like that it didn't square there. And in announcing Bad Bunny we had like a backlash, it was like -- And then, the next year, this year couldn't be Bad Bunny, was balvin and it didn't happen anymore.
And we knew it was a way to open up market for these artists from being at festivals that they wouldn't normally be. And it's like a style that's dominating the world right now and it's super interesting. It's interesting as the theme that still, to this day, reggaeton remains as a theme. Like people discuss it, like it's undeniable where it's come, but how good that already these things are normalizing.
That's why. Precisely because of this we wanted to -- It's like that in the end, there are some people who come in like listening to rock or listening to Anglo-Saxon music that they didn't realize this is amazing. The reggaeton revolution is incredible, really. [INGLES] I know, when I was working with Balvin, we did Coachella and people were afraid that if they were going to get people to the stage at that time and they were 80,000 people. Then we did Lollapalooza and it was and happened the same.
Step with Rosalía, frame. In these places like they don't expect a Latino, an artist in Spanish is going to pull the same. And what they don't understand is that they are no longer just Latinos who like Latin music. That is, it's already a lot more mainstream than it was 10 years ago. Of course. for me it has ceased to be Latin music for Latinos, but it is music for everyone right now.
Already. I remember the first time the Sonar, the Sonar of Barcelona, I remember many years ago that Diplo played gasolina. [ENGLISH] And it was like -- I remember. " You know, it was like a mega-strong. And people were saying, "hostia." And then, years later, all of this is happening.
Yes. You know? Then, you, festival, [ENGLISH]. What do they prefer? Wow look, it's that festivals are rich. I think festivals give you the opportunity that you can't buy an expensive ticket from the people, to have an accessible price and you can enjoy a show that you may never see. And that I like because we urban artists represent the hood, it was born in the hood. In people who have no chance, in people who dreamed of doing great things.
But it's also good to do this kind of tour, right?, arenas and in stadiums because you also realize the affection and respect that people have for you. It's not about selling the ticket anymore, it's about you seeing 30,000 people singing your songs. A song that came out 20 years ago, "Noche de Sexo," "Rakata," "Miraal Well," "Pam Pam," "Greater than me."
Songs that -- "Wet Kisses." "Wet Kisses." That we come with a version now with Rosalía that is spectacular. They're themes that people sing and we say, wow that awesome the power that music has. Because they are topics that were not made videos to many of them.
And today they sing in a stadium and the whole stadium sings it. I think the job has been a job in relief. The urban movement has been that. We have always fostered unity. And that's what makes the movement continue to strengthen and that we continue to do great things. One example, Rosalía made a track on her new album inspired by a theme that Winsin and Yankee made in 2004.
And he did it 18 years later. His inspiration was a track that was born in 2004. That's the power of music. That's the power of music. And the power of talented people who grab as referent a theme, a classic and takes it to what she can do. And I think that's the rich thing about urban music.
That we can merge and we can do different things without ceasing to be one or without losing your essence. And there's the magic, that's where you sell tickets. When you know that the Winsin and Yandel concert is going to go Yankee, it's going to go Rosalía, it's going to go Rauw, it's a plus and it gives you that opportunity of you too and say, I have to be there, I have to be part of that party. Yes, because the truth is that you were as well as those who invented, like many things, to bring, invite and have guests at your shows. That was something that I -- No and I thank Chris Brown, T-Pain, Chris Brown, T-Pain, 50 Cent, R-Kelly, who are we left with? Ja rule Akon. Akon.
Many American artists who have collaborated with us and who believe in the project. You who prefer, festival or [ENGLISH]? I like festivals because I feel like I'm like with the village there and it feels the heat, it feels all there. Everyone singing, stacked. You know, they can't or with them.
It's nice to see that, but it's also nice to be in stadiums, you know and being in colisees because there feels the affection as more closed, more intimate. But I love it, I love singing to the public. I think they are all special, that everyone has something in particular and I feel very happy for the support. The power and I want to add some of what Yandel is saying. There are times we get down below and there are 200 people waiting for us at the hotel and many of them travel 15 hours to watch a show. Or they fly.
That sacrifice, we as artists have to have it well present. Because they make inhuman sacrifices. And there you also understand that there is a very big responsibility in us, in the artists, for that. There are 10 people or 30,000, we try to give a memorable show because all those people who bought a ticket, behind buying the ticket there is a great sacrifice.
And I want to thank all of the Latinos at heart. Because I know that many can buy a ticket, but others don't. And they do it with sacrifice for the support and respect they have for us. And this tour is going to be memorable for that, because I know it's going to be a party since it starts until it's over. The other day we were in Ecuador and I was going on the way, we were going for the show. And for the moment I see one, on the sidewalk, many kiosks, many kiosks, had like, without lying, like 100 kiocos of running with clothes of Winsin and Yandel.
And I, wow I don't earn a weight here, with all of this being sold here. But that I feel like they are people who also need and are looking for the return to be able to bring food for their home. Then, because it's like it's okay, we forgive them. But I think that what Yandel says is important because you see 50 kiosks selling your clothes, maybe without permission, but you realize the impact that we also have in society. The culture.
And of the culture. Of which people decide to go print shirts to sell it and look for it. That's being Latino. I think that's what it's about, hand. [APPLAUSE] I think it's important to touch on what you say about the ticket price.
Because I want to talk a little bit about that. This year has been extremely difficult to turn because all the costs are on the roof. That is, a flight. I don't know how many people have, 50 and peak traveling with you.
The flights. The hotels are very expensive. You all know. Renting a car is expensive, imagine a bus. No, no and a parenthesis, Rebeca.
And forgive me to interrupt you, adding to your own. We go with 50 and so many in the staff. And every person, to make sure something and give the credit to all the people who work in the touring, each one comes out on the tour in 55,000 to 60,000 dollars. Each one.
And it's 55 people. That's ripping off. That is, there you have it. That is only the staff.
That's without lights, no video. Scenery, with nothing. Without the stage without all the production, he [ENGLISH], all that. Then, it has become very expensive and unprofitable for the artist. That is, it's something else, from my point of view, it's because there's already so much expectations about an important production, now I'm going to play that, but they don't dare to do a show that's not at the level they want to give. And then the costs are what they are.
Then, they are doing this more than anything like a branding. That's right. Truth? That is, because already -- It's important because people think, alas, why are there such expensive tickets? But they take away, they don't take what you think for the house. I don't know and you guys can talk about that, they have a huge [ENGLISH], but the costs are also huge because the productions are huge and the amount of people, how many people are travelling with bad Bunny? Cent and peak? 170 people. Imagine. I wanted to play that space to give some perspective.
And in Spain also tickets are not usually very expensive. That is, people do not have the same economic availability as they have in the United States. The same, that is, the artists want to carry some important productions, then, the market collapses a little, right? If, in fact, prices in Spain are rising a lot from the tickets and there are a lot of people who can't afford it now. Yes. That is, EUR 140 tickets, because not everyone can pay them there.
Here it's different, I think, in America, but there's going on. We now, for example, take out the Black Pink sale. Last week, 2 weeks ago. They are the most expensive entries ever in Spain, I think.
It's an arena and entrance -- How much? The cheapest, the same, was 60, but the most expensive was 900. And there were a lot of 900. There were many tickets of 500 euros. Many.
Then, hostia, it sold out in minutes. And it sold out. It sold out in minutes. wow how good.
But, but. They're hot. Yes, but I think it is happening, that there are many tours, many artists and everyone wants to bring very interesting productions. But in the end, the market is the market. That is, people have what they have to go to concerts. So, I ask this, would you be willing to do a tour in clubs, without production? So, from you to you with the audience.
Do they want to do that kind -- That's our world. We were born there and it was what we did. But I want to add something and this is good for people to know, there has to be an alliance between artist and promoter.
For me to be able to go back to a country, I need the promoter who took me not to cancel. That on the contrary, that even if they go, they can again tell me, I have the money to bring you back. Not for what we charge, but for the kind of show we're providing. And that's good for people to know. wow, those people did 90 shows, but it's 90 shows where the expenses are awesome.
When we go to the numbers, it's important that all of these things know because behind a show like the Winsin and Yandel, daddy Yankee and Bad Bunny, there's a gigantic machinery. And when I see the numbers, which I did 4 years ago we didn't do touring, from "The People's Champions" and I see today's numbers, they are literally almost double. On the buses -- The investment is giant. That is why it is so necessary to sell an arena and to put an affordable price and that we too can arrive with an affordable price to be able to throw the money back because if not, no artist will be able to turn. Then, they're going extinct what the tours are.
If we can have multitudinous concerts, one another, but tours as such, 80, 90, 100 shows, it's going to be impossible to do. If prices are not adjusted. Exactly. I wanted to talk a little bit about for me from the phenomenon of Ralphs Be From your land.
It's a particular case because he's a Spanish boy who hasn't had a main stamp. That is, it hasn't had a stamp backeking it out. And he has been able to reach, fill tickets, but I don't know if he made 2 palaces in Mexico, I don't know how many stadiums in Argentina. Here he made a good tour of places of 2,000 people. How do you see the success of Ralphs there? Do you have any as -- I find it super interesting how what's going on with him. I don't know.
Yeah, I think they're doing this more and more, don't they? That is, there are many artists who are working without stamp, with management, but with no money behind it and they are killing it. And artists that don't need to have like big investments and it's going on. There is another case in Spain that has passed since the pandemic, which is Rigoberta Bandini. He's an artist who's a very small team and he's suddenly selling out of arenas. And it's depleting sands in a very short time. Not with the prices we're talking about before, but this had never happened, you know? And they have no stamp.
And it's self-edited everything. So, this is happening more and more. But in the end he is the artist. If you have a, if what you do is very interesting and very unique, then you can do this.
It's what I feel, that as at the end of the day the music always wins. Like what, he makes good music and people look for him for that. Like what happens with Rosalía in a certain way. As there is a reality that in America there is a trend more urban artists are the ones selling the tickets. So, I think that has been a bit of the issue with Spain as well. That many of the artists who come in there don't make urban music, yet Ralphs always does it in his own way.
That is, it doesn't try to sound like a boricua, whatever it is, it does it in its own way. And it's working a lot. That is, it seems like, I don't know, a teaching for those who always say how, there are no more Spanish artists turning here, I think that -- Totally. No, totally.
It's a key example that, just like, it wouldn't have been possible to see it 10 years ago. really? From having this success a bit by the access of the music, with the streaming platforms. And then the work that the artist does. In the end, the song is the main thing about it.
Yes. If the song isn't, it's very hard that the train can go ahead and you can have a real career. And I think Ralphs is showing that he's doing it his way.
Clearly with an influence of urban music that has become global, but assimilating it and giving it as with its interpretation. And it is seen in Argentina, in Mexico, that is, sales are very great for an artist who had never stepped on the ground. It had never come out. And we're going to continue to see this. And if there's an investment at least for our side, to take the right steps, plus. Which is a conversation, I think, important.
It's something that Wifin and Yandel has done very well. It is, what he says, we start in the clubs. That was where the first house was. And taking those steps is key in an artist of any genre. It doesn't have to be Latin any. And if we have seen some artists who have skipped some steps.
And, usually, that doesn't usually last or help really how to foster a closeness with the fan, that you can't have if you don't see him in a club, you can't have it if you don't see him in a theatre. You can't have that intimacy, starting your career. And Ralphs was part of the strategy as this year of coming, an uncle who is used to making arenas in his country, to come to make a site of 1,500; 2,000 people. You have to have a lot of humility and you have to have a lot of faith that tomorrow that investment is going to be given for the big. Speaking a bit of the clubs, I, my first time singing at a club was that I stopped working from barber.
[LAUGHTER] Because I charged 7 pesos, then, I was from 8:00 until 12:00 in the evening, towards 90, 100 pesitos. And at the disco, when we went, that was the first show we were the DJ and Wifin and I charged 500 for singing 3 songs. So, I said, guau, how much do I earn myself? 200 pesos with 3 songs. Boy, I'm going to stay here.
Forget to trim. [LAUGHTER] And from there forward the rest is history. But if we start in the clubs giving him strong, strong.
All Puerto Rico. Visiting all the discos, all the quinceañeros, all the hamlets, all the festivities. It was hard work. Before we put on sale a concert and we had to go to this place to buy the ticket.
If you wanted a ticket, you had to go to this disk store. Now the technology gave the fan opportunity for the phone in 5 seconds to buy a ticket. But that's why I insist on that, promoters and artists have to have an alliance. If you want to last a lot in the movement and want to do great concerts and keep visiting cities for many times. We were now in Latin America where we went to sites that I wasn't going for 10 years ago. And we went and the stadiums were filled, but it's because we didn't go with the intention of collecting the pile of money.
No, we went to thank the people and that the promoter could enjoy and be able to make an alliance where eventually he feels comfortable in my business and can turn. And I think that's what you need to look for because neither the ticket has to be -- That was the magic of the urban movement. That tickets cost $5. 10 dollars. And I'm not saying that's going to happen now, we're talking 20 years ago, but we beat the people who love us, the people of the neighborhood.
We have to be careful with that, not to ride out the ticket or try to do events where it is only for one sector. Because urban music represents the people. I think you live that stage only once and you have to enjoy it. That is, you don't have to rush it.
Enjoy the process of clubs, it is chevere. We have like 2 minutes and I want to talk a little bit about what comes with you with "The Last Mission." Look, we came out on Friday with the puck. A spectacular record. With big mergers.
Rosalía in "Besos Mojados," a new remix. Rauw Alejandro, Ozuna, Jennifer Lopez, Chencho Corleone. J Balvin, first -- J balvin is on the record. On a superdisk. Jhay Cortez.
Sean Paul. Sean Paul. Tiny.
All the producers, Looney, Nesti. We made a record and we did it with the heart. I hope he likes it. The tour kicks off this coming Thursday, Friday and Saturday. Is it the ultimate mission or continues the -- We have to breathe a little already.
We worked too hard. Obviously, the destination knows him Christ, but after this tour, it's almost 90 concerts, we're going to take a break. But in the meantime, I hope you enjoy the record that we did with the heart. And the tour that's going to be a rumba. The one who has gone to concerts by Wifin and Yandel knows that we are going to have a good time.
It's the last mission, but we don't know when it's over. [LAUGHTER] I liked it. Well, nothing, any questions? Any questions before that -- Yes.
If you have to -- Microphone? What's your question? My question is for Yandel. Greetings. What would you advise an artist who is coming to begin, as well as me, what advice would you give you to be able to stay on this path and be a successful person like you and you, Yandel, have done right now? Being successful is a process. We are not born successful. Sometimes tripping is necessary to be able to find the way. I think if they tell you, a tip you want to give you, if they tell you to arrive at 09:00 in the morning, it arrives at 8:00.
That's going to give you a result. That's good advice. You're going to be fine. And he continues to work hard, with discipline.
It's a process. Enjoy the road. Great. Wanting is power, daddy.
Get up early every day. Tie up the cabinets and go to the street to work. Which is as unique.
It's like unique. Working hard. Thank you very much. Thank you for being here with us today.