- 3 hours ago
A conversation with Kidd Voodoo and Quevedo about how reggaeton transcends borders and genres—and how embracing that evolution has shaped their careers and artistic trajectories.
The 2026 Billboard Latin Music Week takes place from Oct. 19-22 at the Faena Forum Miami Beach, serving as a dynamic platform celebrating the heartbeat of Latin music and culture, with a packed week of programming that includes artist conversations, panels, live performances, hands-on workshops, brand activations, networking opportunities and more. Latin Music Week also coincides with the 2026 Billboard Latin Music Awards, set for Thursday, Oct. 22, airing live on Telemundo and Peacock.
The 2026 Billboard Latin Music Week takes place from Oct. 19-22 at the Faena Forum Miami Beach, serving as a dynamic platform celebrating the heartbeat of Latin music and culture, with a packed week of programming that includes artist conversations, panels, live performances, hands-on workshops, brand activations, networking opportunities and more. Latin Music Week also coincides with the 2026 Billboard Latin Music Awards, set for Thursday, Oct. 22, airing live on Telemundo and Peacock.
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MusicTranscript
00:00So I accepted the reggaeton as part of my soul and I believe that I'm nothing without the reggaeton.
00:11I listen to that song and I want to fight all the time.
00:14Yes, I too.
00:16I'm so good.
00:17Well guys, for me it's a great pleasure to be here with these powerhouses of urban music.
00:27I love to have this perspective of these different parts of the world about the urban music.
00:39I would like to start with how you discovered the reggaeton or the rap latino?
00:45Who were the first artists that you heard of this genre?
00:50Well, I would like to say it like the first time I heard of reggaeton or rap, but I think
00:59it's something that comes from the street, from the cars, from what you hear from there.
01:04I remember that when I was a kid I had a friend of mine, he had a great friend of
01:09mine, and he always taught us songs of Ñejo, of Ñengo, of reggaetoneros.
01:15And at first I didn't understand it, I never heard of anything like that.
01:20And so, a little bit, we went frickeando, we appeared YouTube and all of that.
01:25And I found all of those songs, and I was just enamored of the culture.
01:28And what age did you have?
01:3011? 10?
01:32By there, yes.
01:33Yes, for my side, I remember very well who was the one who listened to it.
01:39In Chile there was a very strong boom of Yadiel, The Incomparable.
01:43So, very hard with that.
01:45I remember that, well, I was born with my little sister, my little brother,
01:48and the two times that they were born we were waiting for songs of Yadiel.
01:53And Don Omar, too.
01:55So, that's the memory I have.
01:57And those are the roots of reggaeton that I have now and that I respect.
02:02Now, we are celebrating the Semana de la Música here in Miami.
02:07I'm interested to know how this city has impacted the careers of you.
02:12If, in any way, in your production, in your songwriting, in musical videos, in how they look.
02:18Or if not, it's okay, too.
02:20I feel like...
02:21I'm talking super high, of repente.
02:23I feel like...
02:26I feel like...
02:27I feel like, at least,
02:30since I started to sound and I've been growing up in my career,
02:34I've been able to come here,
02:36especially to know people in the industry,
02:38to know the industry of itself,
02:41to make videos.
02:42And for me, in fact,
02:43it's like in all places where I go.
02:45And for me,
02:46to travel and get out of my comfort zone,
02:48it's like...
02:49It's useful to inspire me,
02:51to understand other things,
02:53to listen to new things.
02:54So, to me,
02:55it's like the rest of the places.
02:59Of course.
02:59There are many connections here in Miami.
03:01To me,
03:02to expand the map of collaborations,
03:05the understanding that I had
03:07of how music only works in Chile.
03:09When I got here,
03:10I realized that,
03:11well,
03:11this is the place of international export
03:13that has the reggaeton,
03:15the same salsa
03:16that I was talking about before.
03:18So,
03:19that,
03:20more than anything,
03:21it made me a boom in my head.
03:23Now,
03:24Quevedo,
03:25the By Fall,
03:25the album that you released this year,
03:27was named as Billboard
03:29among the best albums
03:31from 2026 to the moment.
03:33I think it was number 4 in the list.
03:35I love that that album
03:37we know your side
03:40of your growth.
03:42It has a lot of identity,
03:44a lot of culture,
03:46a lot of new rhythms.
03:48I would like to know
03:49how you grew up in Gran Canaria
03:52what was the concept of the By Fall.
03:55In fact,
03:56the By Fall means
03:57a local expression
03:58for a baby goat,
04:00a baby goat,
04:01a baby,
04:02in fact,
04:03here you have a tattoo.
04:04A baby goat.
04:06Well,
04:07I feel that
04:08the Canaries
04:09and the people here,
04:10we live in islands,
04:13we are 8 islands,
04:14and in that aspect,
04:16I feel that
04:17Canaries has been
04:18a place
04:19fundamental
04:20for
04:22to introduce
04:23Latin rhythm
04:24in Europe,
04:25and I feel that
04:26many Latin artists
04:27throughout the history
04:29of their careers
04:30have started
04:31that way
04:32to Europe
04:32for Canaries,
04:34and also
04:34for the connection
04:35that we have with Latin America,
04:36a lot of people,
04:38from Canaries
04:38from there to here.
04:40And I don't know,
04:42I feel that
04:42at the level of music,
04:43we have a very unique culture
04:45in which it is very varied,
04:47but very unique
04:48and especially
04:49very related to me
04:50with the festivities,
04:52with the festivities,
04:52with the festival.
04:55And I don't know,
04:56I think that
04:56in many times,
04:57I feel like
04:57when I started thinking
04:59about what album
05:00I wanted to make
05:01after what I did
05:03earlier,
05:04and I had in the head
05:05the Baifu,
05:06I feel that
05:08when,
05:10when we are now,
05:12all globalized,
05:13we have access to
05:14too much information,
05:16there is internet,
05:17you can inspire yourself
05:19from anything,
05:20you can see a lot of things,
05:23you can see a lot of things
05:23on all internet.
05:25And I feel like
05:25one of the things
05:26that we are unique
05:27is to be where we are,
05:30and at the end,
05:30that is,
05:31a large part of my personality
05:32is
05:33because I grew up in Canaries,
05:34I feel like
05:35it's a very specific thing
05:37of the people
05:37who live there.
05:39So,
05:39I felt like
05:40that I owe myself
05:42and that
05:45I also wanted to
05:46learn that way
05:47and say,
05:47well,
05:48I want people to know
05:49this part of me
05:50that I feel that
05:51many times,
05:51especially in this part
05:52of the world,
05:54many people say,
05:55well,
05:55yes,
05:56he is from Spain,
05:56I feel Canary,
05:58I don't know,
05:59I would like people
06:01to understand it more.
06:02Well,
06:03so we can understand it
06:04a little more,
06:05Joyce or Linda,
06:06can you play
06:07song number one,
06:08please?
06:13Yes.
06:14Let's see,
06:16here we go.
06:20Yeah.
06:29The Beat,
06:30he reached the number one
06:32this year
06:32in the list of
06:33Spain's songs
06:34in Billboard,
06:35three weeks ago.
06:36It was also named among the best songs of the year, according to Billboard.
06:43In Vaifo, you also have another merengue with Elvis Crespo, called La Graciosa.
06:48That was 15 weeks in number one in Spain.
06:52You also have a song with Tony Tuntun, which is a salsa.
06:56I would like to know how it was to experiment with these...
07:01Well, I know that these influences come from the island, but how was it to experiment without losing your urban
07:08essence?
07:08Or to be afraid of what fans would think?
07:12I think when I do a song, I never think of that.
07:15Obviously, with a lot of respect, I try to do what I like to do and, above all, try new
07:24things.
07:24Obviously, respecting the culture, respecting where it comes.
07:27And I think that with the album, what I thought was about to make a song that...
07:35If I went out on the island, at any town party party,
07:38if I put it all together, I would feel like I didn't do it.
07:42Or they could be songs that would have already come out.
07:44Obviously, the majority of the rhythm, like you said, Tony Tuntun, Galdare Salsa, Merengue,
07:50with Elvis, are genres that are from other countries.
07:53But I think that in Canarias, one of the strong points that we have is that...
08:02Before this globalized world, in which everyone listens to everything,
08:06we always had connected a lot with the Latin rhythms,
08:09and it doesn't make us something new, which I feel that in other places, maybe.
08:13And it's something that has always been in us, and I think that it's part of our essence,
08:17despite not being of us, despite not being of us.
08:22Joyce, can you cue song number two, please?
08:52And especially in a country like Chile, where there is very strong rock in Spanish,
08:57the prisoners, the bunkers, the law...
08:59How was that transition of gender, can you say?
09:03And when did you know that you were accepting reggaeton in Chile?
09:10Look, the transition for me from rock to reggaeton
09:15was something that I tried not to pass in my life for a long time,
09:19because I refused to accept that rock had already passed through its peak.
09:26So I tried it, I tried to do jazz, I tried to do bossa nova, I tried to do rock
09:32in Spanish,
09:34of all that was a range of the instrumental, but it wasn't until the pandemic happened.
09:39And I was two years old in a piece, without doing anything with my guitar,
09:45that I grabbed the love necessary to the reggaeton.
09:49Because, in Chile, there is this regular conduct that one ends up studying fourth middle school
09:56and has to go to the university of one.
09:58It's a very direct thought, like if someone doesn't follow that regular conduct,
10:05it's a bit criticable.
10:07So, I was this person that didn't want to follow that conduct regular.
10:11So, I was going to do reggaeton, and it should have been my third reggaeton
10:15that already sounded very strong.
10:17And I said, I don't understand.
10:19I was going to do seven years doing rock, and I've never sung a song.
10:23I took the reggaeton and I went to the third song.
10:26So, I said, maybe I'll do better than what I thought.
10:29And I started, I started, I started, and I started.
10:31And in a couple of years, it was the pandemic.
10:34The people in Chile, the only thing I wanted to do was the world in general.
10:37We all wanted to dance.
10:38We had thought a lot.
10:40So, I accepted the reggaeton as part of my soul
10:42and I think I'm nothing without the reggaeton.
10:46But that's it.
10:48It's been a pretty fun way to experiment with the rock that were my roots
10:53and the reggaeton, which for me today is everything.
10:56Well, I think something that both have in common in their music is that historically when we think
11:03in urban music, in reggaeton, the lyrics are like women, street, front, but I feel that this new generation
11:13is doing a very good job to show their more vulnerable side,
11:18to talk about personal things.
11:19And I think that that's important to connect with the people.
11:22I think, son of Volcan, we can see a more personal side of yours.
11:27Also, your EP, Euphoria.
11:29You have songs for your mom, your dad.
11:32You have songs for your mom, your dad.
11:32What is it that we are now, these generations,
11:36are more open to certain topics?
11:41I feel like, obviously, the reggaeton has a part of the street, you know,
11:48its roots are from there and I think that you have to respect it.
11:51And, in fact, it's beautiful because how a lot of people are expressed.
11:55But I think also, with the step of the time and how things move forward,
11:59I think it's beautiful to change certain topics, certain topics that can be repetitive
12:06and also allow you to talk about other things, especially to be more one.
12:11And I think that, in the moment in which we are now,
12:14helps to connect with your audience, demonstrate who you are
12:17and let you know in many aspects what you think and what you feel.
12:22And I also love the songs of Maleanteo, because I love them.
12:26I also like to hear from my favorite artists
12:29that moment in which I feel that I know more as a person
12:34or any experience that you want to share with me,
12:36that is beyond the dance or the Maleanteo, etc.
12:39So, for me, it's something brutal.
12:43And I hope that every time it happens more.
12:45And I hope that every time it happens more.
12:46And I think that every time,
12:46talking about the experiences of each other,
12:48makes the artists more unique.
12:51And I think that it's important.
12:52Of course, I feel that people totally identify with a romantic song.
12:58It's okay.
12:59If we all go to dance and everything,
13:00but we all have introspective moments.
13:04And being able to occupy the reggaeton,
13:05which is usually called a genre that is more like for dance,
13:08for joy, also to bring you to reflect,
13:11to think about your things,
13:13to feel like a mirror with an artist who also feels the same as you,
13:17is very important.
13:19Joyce, can you cue song number three, please?
13:24But you know that it's not good,
13:27good,
13:28that I'll call you again,
13:29baby, patito and solté.
13:30I see here, Kid Voodoo doing his fingers.
13:33From here, a collaboration between you.
13:35I don't know.
13:36It has to come out.
13:37I see that I'm dancing.
13:40I'm sure, I'm sure.
13:42Now, in the list of Chiles Songs of Billboard,
13:45Kid Voodoo has achieved 38 entries,
13:47including four number ones.
13:51And this, Ponte Luquita, with Katais,
13:53is one that was nine weeks at the top.
13:57I think this song is the best example
14:00of how this new generation is also supporting
14:04and collaborating with female artists.
14:07This was very difficult in the times of the past.
14:09We see Evie Quinn,
14:10who was the only representative
14:12among all these men.
14:14But now we're seeing a Quevedo
14:17with a Bargyal,
14:19a De La Rose, for example,
14:21and also Kid Voodoo.
14:23Why is it important to collaborate
14:26and being with your colleagues in the songs?
14:33I feel like, in the moment in which we are,
14:38I don't give a look.
14:41I feel like women,
14:42at least in Spain,
14:44they're all very hard.
14:44They're all very hard.
14:46They're all very hard.
14:46I love their projects.
14:48And I think that maybe
14:49that you're saying
14:50that in the past
14:53it was more difficult for women
14:56to triumph in the gender,
14:57for me,
14:58in my opinion,
14:59has made that
15:00they all have a very solid project.
15:03I feel like
15:03I feel like
15:06sometimes men
15:07are very simple
15:09in some aspects
15:12like the 360 Projects
15:15and I feel like women
15:17have been much harder.
15:18I feel like women
15:19have been much harder.
15:20have a lot of people
15:21and that has made it
15:21that now, at least in all,
15:23there are huge exponents.
15:26I feel incredible
15:27and I hope that
15:28it's more and more.
15:28I feel like
15:30with the time
15:30everything is much better
15:33in that sense.
15:33But, let's see,
15:34I think
15:36that now
15:36in all countries
15:38there are incredible projects
15:39and women
15:41who are representing
15:43the best way possible.
15:45Of course.
15:46I think
15:47it's the same thing.
15:48I've never made a difference
15:49for that.
15:50I really like
15:50the music
15:52of any voice
15:53that is good.
15:54In Chile
15:55I feel like
15:56it's still a lot.
15:57It's still not
15:57as it should be
15:59for men
16:01and women
16:02to call it
16:02in general.
16:03I would like it to happen.
16:05But, well,
16:06my side of my side
16:06has always been very recurrent.
16:08I don't know.
16:09In the last song
16:10In Conditioning
16:11with Mon Laferte
16:12you know,
16:12things that I
16:14in a moment
16:14that happened.
16:17I think
16:18that always
16:19the positive way
16:19is the collaboration,
16:20the union.
16:21I feel like
16:22the Chile market
16:24has been growing
16:25rapidly
16:26lately.
16:27and it's true,
16:29right now,
16:29we are meeting
16:30urban artists
16:32from Chile
16:32men.
16:34But,
16:34who are some of those
16:35girls that we should
16:36be listening to
16:38from your country?
16:39Of course.
16:39I can name a lot.
16:40Well, Catays
16:41that already
16:41sounded.
16:43Solfía
16:43is also very good.
16:45We have a Luz
16:46La Cruz.
16:47We have a Mon Laferte
16:48who in Mexico
16:49is also very big.
16:52Maria Jose Quintanilla
16:54who is also
16:54another style of music
16:55that is not urban.
16:57And, well,
16:58that's it.
16:58In reality,
16:59I've had the chance
16:59to make a song
17:01with all of them.
17:02I know them very well.
17:04Joyce,
17:05can you cue
17:05the last song, please?
17:20In 2022,
17:23the Visarap session
17:24reached number one
17:25on Billboard charts
17:27in the Latin Airplay,
17:28in the Billboard Global 200
17:30and Billboard Global
17:31excluding US.
17:33In addition,
17:33it was your first hit
17:34in the Billboard Hot 100
17:36that covers
17:37all the genres.
17:39I think, obviously,
17:40with this success,
17:42a lot of people
17:42started to know Quevedo
17:43and also, personally,
17:45to Visarap.
17:45I started to know
17:46Visarap with this song.
17:49When did you realize
17:50that they had
17:51a global hit
17:53in the hands?
17:55When it came out,
17:56I think.
17:58When it came out.
17:59When it came out.
18:00No, no, no.
18:01I obviously
18:03I felt like
18:03it was a good song.
18:04If not,
18:04we would have taken it.
18:05But, obviously,
18:08I can't wait.
18:11I can't wait.
18:12I can't wait.
18:12I can't wait.
18:13I do a lot of songs
18:14that I like.
18:15I like.
18:15I don't think
18:17I think they do
18:17like they can't go.
18:19Or the other way.
18:20So, obviously,
18:22I had expectations
18:23because of the fact
18:24that it was with Visarap
18:24and Visarap
18:25in that moment
18:25was very locked.
18:28But, obviously,
18:29the hit that was
18:30that I was not aware
18:31of what was going on.
18:32I was aware
18:33of when I was
18:33to hear it
18:35all the time
18:35it was a bit repetitive.
18:38What...
18:40What represents
18:41this song for you
18:43years later? Because I feel that this success came to you very early in the career.
18:49Yes, yes, yes. It was very early, the truth. When I started to live with music, it was in
18:55January of that year, the 2022, and in summer, this song came out. And I don't know, I've
19:00passed through many moments. I've loved it, I've been back to love it, I've been back to
19:04odiating it.
19:06But why?
19:07Because this song is like a song that I've heard, I think. I've heard it too. But
19:12a day of today, I'm in a point that I love it again, I promise. Hace poco I talked to
19:16Bisa, I said that now I listen to it. Obviously, it's the song that changed my life, and I
19:22always tend to love it. But it's true that I have it there. But yes, yes.
19:30Now, when you look at the Billboard charts in Spain and Chile, something that I admire
19:38a lot of those charts is that the country of you are very self-consumers. They are very
19:45fans. Those who are always dominating the charts of Chile's songs and Spain's songs of Billboard
19:50are you themselves, are your colleagues. Almost never is an artist from outside. And I think
19:57that it's very important that artists have the opportunity to create community first in the
20:03country of one and have that support. In the radio, in the songs. What should we
20:10know today about how the urban scene is in their respective countries?
20:16I think that in Chile, what I can say is that it's very learned. As you say, people go to
20:22the concerts, go to the artists. What the artists say, people are there with them. This
20:30merchandising is also very important for them. And things like that. Well, what I have to
20:34live from last year, the festival of Viña is very powerful. The audience takes you to
20:41take and it won't let you go. For wherever you are, whatever you want to do. I was
20:49a couple of years ago, and there were a lot of people who followed me. I didn't have
20:54published my birthday. So, at that level of intensity, people who are
21:00going to have to die. I don't know. I don't know. I don't know. I don't know. I don't know.
21:04It's a bit. It's not, it's not me. It's. It's not me. I don't know. You can get
21:12At least, I mean, I think. If the person who is
21:14for now, I think, in Canada is coming out of a
21:16generation brutal that has to sound like a lot in Canada and the rest of
21:20Spain and in Spain, you know. And I also think that, I mean, the
21:25scene of the underground scene, I think that I don't really
21:28feel like it's not underground. I think I'm going to be
21:30to sound mainstream, you know.
21:32I think, I don't know, in Spain one thing that I really like is
21:35that there are many different proposals
21:40and I feel that there is a public for everything, you know.
21:44If you want to listen to people more reggaeton,
21:48there are people who make incredible reggaeton,
21:50people more trap, different proposals, more indie, etc.
21:53So I really like that of the consumption of people in Spain,
21:58that I feel that they don't close the doors
22:00when they want to listen to new genres.
22:03And that also allows artists to experiment more things,
22:06that many artists come out doing different proposals.
22:09And that, as a public, is something that I thank you
22:11and I think it allows us to all to experiment
22:14and, above all, to listen to ourselves and say,
22:17I like this, then I do this.
22:18And not to be afraid of any limits when experimenting.
22:22Now, to finish, I think I'll leave you some fan questions,
22:27but, what comes next to you?
22:30I know that there is a gira in 2027.
22:32What can we expect from each other?
22:35I have a stadium in December,
22:37I have a tour in summer, also in Chile.
22:41I have a tour in the international tour,
22:43so I'm going to leave my house for a while to rest and play it.
22:48Mote con huesillo.
22:49Mote con huesillo.
22:51I hope I don't expect you to go on.
22:53I like to wait for anything youeps until the tour.
22:54I guess.
22:56I really want to be
22:58slow to prepare good.
23:00And as he said, before the tour
23:01and all that you have to do to do as well,
23:04and the year that comes you can answer it,
23:06through Spain,
23:07through the islands,
23:08through Latin America,
23:09The United States.
23:11Okay.
23:12Give us reasons for questions for the audience.
23:16Soft.
23:16How are you? I'm a artist. I moved to Miami for a year ago. I heard you do Voodoo. I
23:25think you work with someone called Melody.
23:28Yes.
23:28Yes, that's my engineer.
23:31Well, a question for both of you.
23:35Like you from Canarias, from Chile, the fields are difficult to cross the borders of different parts of the world.
23:42And if it's like that, how do you fight?
23:46First of all, thank you for the question.
23:50Responding by my part, me has costed a lot to go out of Chile.
23:54Because there is also a geographical issue of that Chile is far away from everything.
23:59So, the travel that I take are 10-12 hours of travel.
24:04With one no happens nothing, but at the same time I travel in a month.
24:08Mentalmente, if something happens, I want to rest and nothing.
24:12So, nothing, nothing.
24:13But there is nothing to do.
24:14The things are going to work with a lot of effort.
24:17I think that in that aspect, it's a mess.
24:21It's a mess.
24:22It's a mess.
24:22It's a mess.
24:23That's a mess.
24:26It's a mess.
24:51and the mentality that you have to put is one of the best moments that have been for that.
24:56There is a lot of time.
24:58Hello, how are you?
25:00Here, I like it.
25:02My name is André, I am a Colombian artist.
25:06We also come to Berklee College of Music,
25:08so we are pure musicians.
25:10I just wanted to ask you a couple of your creative process
25:14and also for the musicians of Berklee.
25:17How do you start that?
25:19What is the important part?
25:22For example, the beats, how do you go through that?
25:26Your top line is incredible.
25:28How do you do that in the creative process?
25:32For my side, it is a topic that goes very arraigado to what I feel.
25:38If I feel very happy, I want to make music very happy.
25:42I have a lot of time to make music from the emotions that I am not feeling.
25:47So I start from there.
25:49And then, I can put eight songs
25:52and I take one or two weeks to destroy those songs
25:56and to love them again and to destroy them again.
25:58And sometimes I don't leave them with none,
26:01but sometimes I leave them with all, you know?
26:03I really like that in the songs that I do,
26:07there is a coherence of messages.
26:09Like, if this first song says that I don't like to travel 15 hours in a plane,
26:16the last one has to say the same thing.
26:18I try to take care of that a lot.
26:23I personally, it depends on the day.
26:26I have one way or another, you know?
26:29I never...
26:31When it comes to creative, I try not to put barriers or limits.
26:36I feel that there are days where I am going to write a letter
26:38and I write the letter and I write the letter
26:40and then the other day I go to the studio
26:41and I throw top lines,
26:43what is the first thing that comes to me.
26:47And, on the contrary of what he says,
26:49it happens something that I feel like
26:50I'm contradicting a lot of songs, you know?
26:52Really.
26:53And I think it's part of...
26:56It's part of my project.
26:59Like, in fact, I do many things at the same time.
27:01And I'm sure that he also.
27:03But...
27:04I don't know,
27:05I don't have limits to say what I feel.
27:07I don't know what I want at all
27:09a certain way.
27:11I don't know.
27:11I don't know.
27:12I don't know.
27:12I do not know what to do.
27:15No, I'm sorry.
27:16I don't know what that means.
27:17I don't know what I want.
27:19I don't know.
27:20I can tell you about it.
27:21I mean, it's better than what I want.
27:24I think, yeah.
27:26I'm sorry.
27:26My only one is.
27:29I'm sorry.
27:30I'm sorry.
27:31I'm sorry.
27:31I'm sorry, well, it's been a bit later.
27:33I have a question for the rest of my life.
27:36When you or the producer or the management team announced a tour,
27:41what do you think would be one of the most important things that can be
27:46those fans that pay an upgrade or an experience VIP
27:50more than a look and greet?
27:52What do you think they can bring to the fans that they can bring to the fans
28:01that they have that memory?
28:07Very good question.
28:09Well, I think the main thing is that if someone pays a ticket to see a artist
28:15it's the experience.
28:16Everything goes with the experience.
28:18That it's a good concert.
28:21I don't know, feel emotion.
28:23I think as a first person I have to understand that in several ways.
28:26I'm a person who is very good for me.
28:28It's hard to express myself.
28:30But recently in the shows I've been in Peru,
28:35in Argentina,
28:37I'm going to happen a little bit hardcore
28:40of a person.
28:41So I'm going to transform myself.
28:43I've also got a tour in Spain.
28:46I've got three people in the scenario to cry.
28:49I don't know, I think it's good to give fans the memories
28:52that they never forget.
28:53That way.
28:56I'm living in a long run.
28:56And obviously you can accompany things from your creative universe as artist.
29:00I don't know, merchandising.
29:03I am a fan, for example, of many British bands, and I still have some of them from 15 years
29:11ago.
29:11I think that is a very important part.
29:15I think what he says is the most important thing is to connect with the public in that moment,
29:22and to be focused 100% on bringing the best experience that I can.
29:27At least when I'm in a show or whatever, I don't have the best voice of the world,
29:36nor am I the best musician for nothing.
29:40But if I think something I have, with my lyrics and the way I interpret things,
29:45I connect with my people, with my audience and the people that listen to me.
29:49I think that with being connected with them and feeling a connection with me and I with them,
29:55we all will be content to home and with an abilities.
30:00Well, thank you very much, Kevedo, and Kevudo.
30:04Thank you very much.
30:05Thank you very much.
30:08You