Tour 2019! - Nuevas Fechas!!!



08/05/2019 - USA, Stanford CA - Bing Hall Stanford University
10/05/2019 - USA, Los Angeles CA - Disney Concert Hall
11/05/2019 - USA, Escondido CA - California Center for the Arts Concert Hall
16/05/2019 - USA, San Francisco CA - SF Jazz Center
17/05/2019 - USA, San Francisco CA - SF Jazz Center
18/05/2019 - USA, San Francisco CA - SF Jazz Center
19/05/2019 - USA, San Francisco CA - SF Jazz Center
21/05/2019 - USA, Seattle WA - Meany Center for the Performing Arts
21/06/2019 - España, Pontevedra - Pazo Da Cultura / Ciclo Voices 2019
26/06/2019 - España, Barcelona - BARTS / Guitar BCN Festival 2019
29/06/2019 - España, Pamplona - Sala Zentral
02/07/2019 - España, Madrid - Rialto Madrid
13/08/2019 - USA, Alexandria VA - The Birchmere
10/10/2019 - USA, UC Davis CA - Jackson Hall

PASADOS
2019
03/02/2019 - Mexico, Oaxaca Santa María Huatulco - Festival Nudista Zipolite
12/02/2019 - Argentina, Buenos Aires - Teatro Colon / Sinfónico
14/02/2019 - Argentina, Buenos Aires - Palermo / Festival Unicos
21/02/2019 - Mexico, Pachuca de Soto - Auditorio Gota de Plata
23/02/2019 - Mexico, Toluca - Teatro Morelos
26/02/2019 - Mexico, Oaxaca - Universidad La Salle
02/03/2019 - Mexico, Puebla - Auditorio Comaltepec
08/03/2019 - Panamá, Teatro Anayansi / Centro de Convenciones Atlapa


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La historia detrás de "Cariñito".

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Una noche de 1979 Rodolfo Aicardi llegó feliz a los estudios de grabación de Discos Fuentes y le dijo a Pedro Muriel: “Tengo el éxito para este año. Lo escuché en Ecuador y vamos a grabarlo”. En un casete estaba la interpretación de una orquesta peruana, “Los hijos del sol”. Escucharon las dos estrofas que tiene la canción: “Lloro por quererte / Por amarte y por desearte/ Lloro por quererte/ Por amarte y por desearte /Ay cariño ay mi vida. Nunca pero nunca/ Me abandones cariñito/ Nunca pero nunca/ Me abandones cariñito”. Eso era todo. Nada más decía la letra, pero tenía sentimiento. De inmediato Pedro Muriel –el grabador de más de 300 grandes éxitos de Discos Fuentes—llamó al equipo de Los Hispanos. El maestro Luis Carlos Montoya, experimentado arreglista para los temas tropicales se encargó de los arreglos. Ya había dado resultado con “Boquita de Caramelo” que había servido de resurgimiento para Rodolfo y ahora tendrían otro gran éxito. Lo presagiaban. Luis Carlos Monto...
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Lila Downs Sings About Detained Children in New Manu Chao Cover

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When I think of social justice singer/songwriters, especially an artist that advocates for Latinos and indigenous people, there’s one that always comes to mind: Lila Downs. The Mexican songstress, by way of Oaxaca, has been bringing audiences prideful Mexican culture and music since the early ’90s. Her music resonates because of her powerful lyrics and voice, and she’s using that to bring awareness to the injustices happening at the border. Her new single titled “Clandestino” revamps the Manu Chao original to bring a beautiful rendition in which she takes on immigration by targeting the U.S. government and their appalling treatment of undocumented children. According to a press release statement, Downs “airs political grievances with U.S.-Mexico immigration policies and the detention centers holding migrant children.” In the song, she poses the question “If we don’t fight for the children, what will become of us?” The song will be featured on her new album Al Chile set to be re...
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Border Review by World Village

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Lila Downs - Border / Narada World It's only a year since Downs issued her last, remarkable album. But she obviously has a lot to say, and her third release focuses on the Mexican border and the migrant workers. Musically it's her most adventurous outing to date, experimenting with form and feel. And like all experiments, not everything works. In fact, where she harks back to the jazziness of her debut she seems weakest. It's when she's taking chances, as on the hip-hop inflected "Sale Sobrando," that things really take off, while the acerbic "Smoke" and an odd, bust mostly compelling medley of "Pastures Of Plenty/This Land Is Your Land/Land" not only fits in thematically, but pushes a couple of sonic envelopes too. Downs's voice continues to grow, both physically and as an artist. And the fact that she's willing to risk so much so often is all to her lasting credit. FUENTE
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