Caribbean Latin festival Pal Mundo in the Netherlands has launched itself by booking both El Rey del Reggaeton (Don Omar) and The King of Bachata (Romeo Santos). While Don Omar just didn´t show up because of a conflict with his tour manager, Romeo Santos gave a big show that saved the festival.
Nonetheless it were the artists on the two secondary stages that compensated for the numerous rookie mistakes of the festival and the poor shows by Elvis Crespo, Jowell & Randy and Tony Dize on the main stage. It was a shame the crowd preferred to stay in the large indoor stage which had the best atmosphere, disregarding artists like Luis Miguel del Amargue, Alison Hinds and Carimi.
I am very curious to see how this festival develops itself in the coming years. They should realize that the soul of a festival can not solely be generated by big artists that attract a more main stream audience. Yet it is Romeo’s powerful performance that combats this thesis.
Two weeks ago merengue-star Elvis Crespo has released his 10th studio album, One Flag. It can be claimed that the Latin Grammy Award-winning singer’s fame is still attributable to his first single, Suavemente – the merengue counterpart of Aventura’s Obsession. However, the American-born Puerto Rican artist is able to exceed this previous success with this new CD.
The most sticky songs on the album are featured: Pegaito Suevecito featuring Fito Blanko from Panama and Sopa De Caracol featuring the popular American-Cuban Pitbull. No Hay Compromiso, among with the majority of the other songs on the album, has those typical pounding merengue beats indeed without concessions.
This album is another example of the trend that, with the increasingly prominent presence of uptempo electronic beats, different latin and caribbean genres such as reggaeton, merengue and dancehall are mingling together into a new blend of urban latin pop. Bembe De Infieles is the best example of this.