biography vicente fernandez

“Vicente Fernández is the (Frank) Sinatra of ranchera music. He’s the supreme singer; the man who does things his way.” -The Houston Chronicle 10/11/91-

It was early fall 1991 when Vicente Fernández was in Houston, Texas, on another one of his U.S. tours. On the morning of Fernández’s concert at the city’s historic Hofheinz Pavilion, the top-of-the-page headline in the national newspaper, The Houston Chronicle, heralded Fernández as “The Sinatra of Rancheras.”

For decades Fernández had been recognized and honored for his accomplishments in the world of music. But up until October 11, 1991, no one had ever declared that as a singer, Fernández was on equal footing with perhaps the greatest singer in American pop history.

In a career spanning five decades, Fernández has been awarded every honor and accolade in the entertainment world and beyond. He has won Grammys and Premio Lo Nuestro awards. He’s regularly topped the charts in Billboard and has been recognized with lifetime achievement awards, hall of fame honors and even a star on Hollywood’s Walk of Fame.

With his trademark charro outfit, wide sombrero and impeccable backing mariachi ensemble, he has performed on the world’s biggest and most prestigious stages. He has headlined Mexico City’s Auditorio Nacional and the Plaza de Toros Mexico to New York City’s Madison Square Garden and Radio City Music Hall.

Many considered Fernández to be Mexico’s fourth gallo, or singing rooster.

The other three are considered the greatest all-time singers in Mexico. But they all died young – Jorge Negrete at 42 in 1953, Pedro Infante at 39 in 1957 and Javier Solis at 34 in 1966. It was into this profound artistic void that Fernández stepped in 1966.

For more than 40 years, Vicente Fernández has maintained his standing as Mexico’s greatest living singer, coupling an operatic range with a deep understanding of ranchera music’s rural roots. Through the years he inspired hundreds of imitators, but none could ever match his operatic power and range. In the dozens of Mexican movies he starred in, Fernández often played a role that suited him perfectly-that of the proud charro, or Mexican cowboy.

As a world-class singer, Fernández always combines impeccable musicianship, provocative songs and his great vocals to deliver unforgettable performances. He was and continues to be prolific, influential, and ultimately a critical player responsible for shaping the growth and development of the modern ranchera genre. For his artistic integrity, his tireless dedication, and unending enthusiasm, Fernández will be noted in history books as one of the fundamental and influential pioneers of ranchera music and a towering figure in the evolution of Regional Mexican music.

His towering discography comprises over 100 albums. He’s influential in the way that he’s shaped the growth and development of ranchera music. Through the hundreds of songs that feature his voice, Fernández is certain to be the associated of Mexican pride and artistry around the world.

JALISCO ROOTS Vicente “Chente” Fernández was born February 17, 1940, in the town of Huentitán El Alto, Jalisco, México. His parents were the rancher Ramón Fernández and the homemaker Paula Gómez de Fernández. At age 8 he received a guitar and quickly learned to play it. He also started studying folkloric music. “Some of my earliest memories, from when I was 6 or 7, are of going to see Pedro Infante movies and telling my mother, ‘When I grow up I want to be like them.’”

He entered a singing contest in Guadalajara when he was 14, and won first place. That win gave him the confidence to start performing in restaurants and weddings.

In early 1963, his mother, Paula Gómez de Fernández, died of cancer at the age of 47. Later that year, on December 27, he married María del Refugio “Cuquita” Abarca Villaseñor, his neighbor in Guadalajara. The couple would go on to have four children: Vicente, Gerardo, Alejandro and Alejandra.

Working to further his career, Fernández, then 24, was tapped as vocalist by two of Guadalajara’s best mariachis – Mariachi Amanecer de Pepe Mendoza and Mariachi de José Luís Aguilar. Through his work with these groups, he was introduced to Felipe Arriaga. During that time he performed regularly on the mariachi-themed radio program titled Amanecer Tapatío (Guadalajara Morning). Soon, Arriaga and other influential friends convinced him to move to Mexico City, Mexico’s political, business and cultural capital.

By late 1965, Fernández was pitching himself to the major labels based in the city. He was always turned down, but he began hanging around CBS Studios in hopes of landing an audition. Eventually Fernández got his foot in the door at XEX, the clear-channel AM powerhouse known as the most listened-to radio station in Mexico. XEX exposed him to a nationwide audience.

MUSICAL DESTINY A few months later, Fernández’s trajectory changed forever. In the early morning hours of April 19, 1966, Javier Solís, the most popular bolero-ranchero singer in Mexico, died from complications following gall-bladder surgery. Just one week later, the record companies that had turned Fernández away were starting to call him. In summer 1966, Fernández signed with CBS México (now Sony Music) and recorded his first hits: “Tu Camino y El Mío,” “Perdóname” and “Cantina del Barrio.” Fernández’s recording career had begun. Other hits followed, including “Soy de Abajo,” “Ni en Defensa Propia” and “Palabra de Rey.”

Not content to just make records and perform live, Fernández also branched out into movies. His first film was Uno y Medio Contra el Mundo. Three years later, he had his first hit starring role in La Ley del Monte. The movie’s title song was also a hit for Fernández. Among his successful albums of the early 1970s were El Rey, El Hijo del Pueblo, and Para Recordar. He was building a body of work that would showcase his expressive voice and define modern mariachi music.

THE KING OF RANCHERA MUSIC By 1975, Fernández was admired by mariachi fans, but he wasn’t yet an iconic figure. But that was soon to change. In 1976, the composer Fernando Z. Maldonado wrote a different kind of ranchera. A ranchera about a macho guy who accepts his guilt in a failed relationship. It was a new theme, and it struck a nerve: “Volver, Volver” became a ranchera anthem. An incorrigible ladies’ man, Fernández personified the protagonist of the song. It was a magical combination of music, lyrics and voice. By the end of 1976, “Volver, Volver” had broken sales records and was being played from cars, houses and jukeboxes all over the Spanish-speaking world. Finally, Fernández was unquestionably an international star.

The Mexican music press in the early 1980s dubbed Fernández El Ídolo de México (Mexico’s idol) and the moniker stuck. On stage, he became known for his humble refrain: “As long as you don’t stop clapping, your Chente won’t stop singing.”

Between recording and touring Fernández carved out a place for his family. In 1980 he built a 1,250-acre ranch near Guadalajara, called Los Tres Potrillos (The Three Fillys) in honor of his three sons. Surrounded by an irrigation canal, the ranch has the feeling of a cocoon.

Entering his fourth decade of recording, in the 1990s, Fernández continued to add to his canon of classics with hits like “Aunque me Duela el Alma” (1995), “Me Voy a Quitar de En Medio” (1998), and “La Mentira” (1998), the theme song of the popular ranch-centered telenovela. He garnered a star on the Hollywood Walk of Fame and was inducted into Billboard’s Hall of Fame.

An interpreter first and foremost, Fernández only occasionally writes songs, usually leaving this job to the experts. “I’ve always said there aren’t great composers – there are great songs,” Fernández says. “And I’ve never claimed to be a songwriter. It’s a tough job. However, some ideas and inspirations have come to me and when that happens, I’ll pick up a pen and jot them down.”

On September 17, 2002, he was named Person of the Year by the Latin Academy of Recording Arts and Sciences, the producers of the Latin Grammys. The honor paid tribute to his artistic achievements and his support of the National Hispanic Scholarship Fund. Never forgetting his humble roots, Fernández also remembers his fans who live in small towns and isolated areas of Mexico, performing free shows at country fairs.

When the subject of retirement comes up, Fernández says he will know when he’s reached his limit. In contrast to Frank Sinatra, he says he won’t retire more than once. He also won’t perform if he can’t give his best to his fans. “I don’t feel my age. Maybe that’s because I live and work on a ranch and practice clean living,” Fernández says. “The people have given me so much, and my love for them is so great, that I’ve thought carefully about the day I will retire.”

THE LIVING LEGEND GROWS… As a singer, Vicente Fernández is at the top of his game. The proof is in his recent achievements, which more typically resemble those of a young, rising star than someone who’s been recording and touring for over 40 years.

In 2006, after three years away from the recording studio, Vicente Fernández released his comeback album La Tragedia Del Vaquero (The Tragedy of the Cowboy), featuring 14 brand-new songs. A keepsake and instant classic in the mariachi music canon. This album produced the hits “Lejos De Mi Tierra,” “La Tragedia del Vaquero,” and “Qué Chulada de Mujer.” Also in 2006, in preparation for Vicente Fernández’s 40th anniversary as a recording artist – Sony Music released a three-CD collection of his greatest hits, titled The Living Legend (‘La Leyenda Viviente’). Containing 35 classics, along with the new song “Me Quedan Todas,” this collectors’ ítem was avidly sought out by fans in the U.S. and Mexico. Regional Mexican and Latin pop radio, meanwhile, sent “Me Quedan Todas” to the top of the airplay charts. For 2007, his official 40th-anniversary year, El Rey embarked on one of the biggest Latin-music tours in U.S. history. And he returned with another exciting new studio album – Para Siempre, which within three months of its release was certified RIAA Double Platinum (Latin) in the U.S. and Puerto Rico. The album’s first single “Éstos Celos” spent over three months at No. 1 on the principal Regional Mexican airplay charts. The song finished the year as the most-played Regional Mexican song of 2007 in the U.S., while Para Siempre received a nomination for Best Ranchera Album at the 2008 Grammys.

The success of Para Siempre continued with its title track. It was the principal song for Televisa’s blockbuster telenovela “Fuego en la Sangre,” which has produced the network’s highest ratings ever.

In 2008, his achievements became even more impressive with the release of his live CD/DVD Primera Fila, which was the top-selling musical DVD of the year in the U.S. in any genre. He won a Latin Grammy in fall 2008, and in 2009 continued his awards-season streak with a Premio Lo Nuestro and a Billboard Latin Music Award.

Staying at the forefront of mariachi music, he released his latest studio album, Necesito de Ti (I Need You), in July 2009, as the title-track first single climbed the charts.

THE VICENTE FERNÁNDEZ GÓMEZ ARENA In order to enshrine his love and admiration for horses, for country life and for music, Vicente Fernández in 2005 built the Vicente Fernández Gómez Arena for Performances and Horsemanship. This 11,000-capacity area is located on his Los Tres Potrillos (Three Fillys) ranch outside Guadalajara. Ultra-modern and completely enclosed, the facility is popular for rodeos, sporting events and concerts. In 2005 it was the site of the LXI Congress and Vicente Fernández National Charro Championship.

MORE POPULAR AND INNOVATIVE THAN EVER IN THE 2010s As the 2010s dawned, Vicente Fernández remained ubiquitous, prolific and always interesting. He wrapped up the 2000s with the December 2009 re-release of Necesito de Ti in CD+DVD configuration, featuring 13 audio and video tracks. It earned Platinum certification in Mexico, and Gold in the U.S.

One of most the most important Latin albums of 2009, Necesito de Ti received multiple recognitions for its quality and popularity. Mexico’s Premios Oye awarded him three trophies in November 2009. In 2010, Necesito de Ti was awarded the American Grammy for Best Ranchera Album. Later in the year, he also won Univision’s Premio Lo Nuestro for Ranchera Artist of the Year, and two Billboard Latin Music Awards.

Dipping into the plentiful well of Vicente Fernández’s greatest moments, Sony Music in 2010 released Un Mexicano en la Mexico, a DVD of his iconic September 15, 1984, concert at Mexico City’s Plaza de Toros bullring. There, he performed to a standing-room only crowd of 54,000 for over two hours as rain continually threatened to dampen the proceedings. But, legend has it, none other than the Aztec god Tlaloc kept the showers at bay, setting the stage for a historic performance.

Right back on the scene with another groundbreaking studio album, Vicente Fernández in September 2010 released El Hombre Que Más Te Amó (The Man Who Loved You Most). Despite having nothing to prove, Fernández still made a major step forward, serving as producer for the first time in his career and tapping the talents of young, aspiring songwriters. Quite a risk, but the results speak for themselves – El Hombre Que Más Te Amó won the 2011 Latin Grammy for Best Ranchera Album.

LEGACY Vicente Fernández is still the most popular singer, not just in the ranchera genre, but in all of Regional Mexican music.

With a tremendous and still-growing discography, a powerful voice and unforgettable music, Fernández pushes the boundaries of mariachi music and influences absolutely everybody. His longevity, his dedication to his craft and his faithful devotion to his fans make him beloved in Mexico and around the world.

As a pioneer, Vicente Fernández is to Mexican music what Hank Williams is to country, B.B. King is to blues and Woody Guthrie is to folk.

THE LATEST In 2011, Vicente Fernández outdoes himself again with Otra Vez (Once Again), released in November. Recording took place in the Mexican states of Jalisco and Morelos at studios belonging to Vicente Fernández himself and those of his producer Joan Sebastian. A collaboration of virtuosos, Otra Vez marks the second time that Joan Sebastian has produced El Rey – thus the title! Joan Sebastian also wrote all of the songs on Otra Vez.

We enjoy a rhythmic treat on first single “Volcanes Dormidos” (Sleeping Volcanoes), which finds Vicente Fernández incorporating electric guitar into his ranchera music for the first time. It’s a beguiling fusion, and one that only maestros like Vicente Fernández and Joan Sebastian could pull off.

So once again – Otra Vez – we salute Vicente Fernández, who is synonymous with studio perfection, vocal passion and an inimitable style. Like fine wine, he improves with the years. And he is a maestro for every aspiring artist.

He’s “El Rey,” the Living Legend – he is Vicente Fernández

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Vicente Fernández, ‘El Rey’ of Mexican Ranchera Music, Is Dead at 81

A beloved Mexican singer, Mr. Fernández was known for his powerful operatic range and marathon performances, delivered in a signature charro outfit and intricately embroidered sombrero.

By Christine Chung

Vicente Fernández, the powerful tenor whose songs of love, loss and patriotism inspired by life in rural Mexico endeared him to generations of fans as “El Rey,” the king of traditional ranchera music, died on Sunday morning. He was 81.

His death was announced in a post on his official Instagram account , which did not give a cause or say where he died. He had been hospitalized for months after a spinal injury he sustained in August, according to previous posts from the account.

Accompanied by his mariachi band, Mr. Fernández brought ranchera music, which emerged from the ranches of Mexico in the 19th century, to the rest of Latin America and beyond. In his signature charro outfit and intricately embroidered sombrero, a celebration of the genre’s countryside origins, he performed at some of the largest venues in the world.

He recorded dozens of albums and hundreds of songs over a career that spanned six decades. His enduring popularity was reflected in a series of industry accolades, including a place in the Billboard Latin Music Hall of Fame, a star on the Hollywood Walk of Fame, three Grammy Awards and eight Latin Grammy Awards. He sold tens of millions of copies of his albums and starred in dozens of movies.

He was known for giving epic, hourslong concerts, communing directly with his fans and taking swigs from bottles of alcohol that were offered to him. Known fondly as “Chente,” he would tell his audiences that “as long as you keep applauding, your ‘Chente’ won’t stop singing.”

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Vicente Fernández, a Mexican musical icon for generations, dies at 81

Mexican singer Vicente Fernandez performs at AmericanAirlines Arena on October 10, 2010 in Miami, Florida. (Photo by Olivia Salazar/WireImage)

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Vicente Fernández’s romantic rancheras and timeless folk anthems defined the grit and romance of his turbulent homeland, songs of love, heartbreak and working-class heroes that made him a cultural giant for generations of fans throughout Latin America and beyond.

With his buttery baritone and ornate sombreros, embroidered jackets and slim trousers, he stood as a constant for decades, a source of comfort in good times and bad.

But time finally caught up with a performer who seemed eternal.

In poor health in recent months, Fernández died Sunday at 81, according to an announcement on his Instagram page. A cause of death was not specified.

At the singer’s palatial ranch near Guadalajara, mourners and mariachis gathered to belt out his songs and place flowers outside the stately brick entrance gate Sunday. In other parts of the country, fans blasted his music from their cars and wept openly in the streets.

“I cried,” said Rosa María Hernández, a 40-year-old homemaker in Mexico City. Every member of her family, from her children to her 89-year-old grandmother, are fans of Fernández, she said. “We’re all in pain. Vicente Fernández was one of the greatest artists God gave to Mexico.”

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Dec. 12, 2021

Armando López Estrada, an architect in Mexico City, echoed the sentiment.

“His songs have accompanied me in all my joys and my sorrows,” he said. “Mexico and the world will miss him.”

On Twitter, President Andrés Manuel Lopez Obrador described Fernández as “a symbol of the ranchera song of our time, known and recognized in Mexico and abroad.”

Fernández, who performed his final live show at Mexico City’s Azteca Stadium in 2016, had a variety of health ailments in recent years, including liver and prostate cancer. In 2013, he was forced to cut short his farewell tour after being hospitalized with a pulmonary embolism. On numerous occasions, fictional reports of his death surfaced on the internet, leading the singer at one point to release a video in which he humorously declared, “When I die, I’ll let you know.”

Across Los Angeles, fans mourned Vicente Fernández

They blared his songs from speakers in homes and cars and at shops and restaurants. Mourners piled flowers and candles around his star at the Hollywood Walk of Fame.

During a career that began on the street corners of Guadalajara, the self-taught troubadour recorded more than 50 albums, all in Spanish, and sold tens of millions of copies, nearly half in the United States. He toured relentlessly, created the themes for wildly popular telenovelas and starred in more than two dozen movies throughout the ’70s and ’80s.

In 1998, he received a star on the Hollywood Walk of Fame — his greatest prize, he once said, because he considered it a gift from his fans. But as late as 2016, the inveterate performer was still drawing accolades: Fernández took home the Grammy Award for regional Mexican album for the live recording of his final show, titled “Un Azteca en el Azteca” (“An Aztec at the Aztec”).

Blessed with an operatic voice and a stately sense of showmanship, Fernández was renowned for blending musical virtuosity with heartthrob theatrics, folkloric traditions with mass-market appeal. He was widely viewed as the last of a breed, the final entry in Mexico’s pantheon of crooning matinee idols. His nicknames were appropriately epic: El Número Uno, the People’s Son, the King of Mexican Song. But to his legions of fans, he was “Chente” — short for Vicente — a presence so ubiquitous and long-running, he could, like a member of the family, be invoked with a simple nickname.

In fact, Fernández, decked out in his embroidered ensembles, complete with engraved, gold-plated pistol, served as the embodiment of Mexico itself — at least an older, idealized Mexico. Backed by a full mariachi band, he sang of ranches and cantinas, honor and patriotism, saluting those who were penniless but happy, heartbroken yet proud.

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As Fernández approached his prime, however, the Mexico he represented began to unravel. The 1990s brought the North American Free Trade Agreement, the Zapatistas and a parade of horrors beginning with the narco wars. Globalization was reshaping the music industry; Mexican radio came to feature more American top 40 than ranchera, the rural ballads that were Fernández’s bread and butter.

Rather than embrace contemporary styles, Fernández dug in his heels.

“When you’re a ranchera singer, you represent your country,” he once told The Times. “It’s a God-given gift.”

Fernández’s most significant feat may be that he managed to stay relevant, preserving a vernacular genre without being reduced to a novelty act. He seemed to reintroduce himself to a new generation every decade while never straying from the fans who made him a titan.

“The way people look at Vicente, he’s part of their identity: As long as he’s OK, they’re OK,” his record promoter, Sony Discos Vice President Jose Rosario, said at the time.

Entretenimiento

Muere Vicente Fernández, la leyenda que desafió a la historia, a los 81 años

“Lamentamos comunicarles su deceso el día domingo 12 de diciembre a las 6:15 am. (Hora de México).

That role would get its greatest test in 1998, when kidnappers ambushed Fernández’s eldest son and namesake, 33-year-old Vicente Jr., as he left his father’s ranch on the outskirts of Guadalajara. For nearly four months, they held him hostage. Their demands spiraled into the millions. To pressure Fernández, they chopped off two of Vicente Jr.’s fingers.

Although he was distraught, Fernández kept the ordeal secret. He refused to file a police report or cancel any concerts. In part, it was a pragmatic move; the kidnappers had warned him to not make trouble. But Fernández had his own reasons for wanting the show to go on. He was the quintessential old-school performer, an entertainer who lived to sing and sang to live.

Only after Vicente Jr. was freed — unharmed but for his fingers — did Fernández publicly reveal what had happened. Despite the tragedy, he remained fiercely devoted to his native land. “I will not leave Mexico,” he told the Televisa network at the time. “From my country, they will only take me out feet first.”

The story propelled Fernández into U.S. headlines, marking his introduction to many in the English-speaking world. But for millions of Latin Americans — including those living in the United States — Fernández was already a legend on par with the likes of those other mononymous crooners Elvis and Sinatra.

Born Feb. 17, 1940, Vicente Fernández Gomez spent his earliest years in Huentitán El Alto, a rural settlement on the fringes of Guadalajara, where his parents raised cattle. A fifth-grade dropout, the young singer grew up milking cows and birthing calves; as a teenager in Tijuana, he washed dishes, shined shoes, tended bar and laid bricks.

Although he would later become a multimillionaire — with his own Learjet and a swimming pool in the shape of a guitar — Fernández clung to his salt-of-the-earth bona fides. “There are two kinds of people in the world,” he would tell audiences, “the poor rich ones and the rich poor ones.”

The song he considered his most autobiographical — “El Hijo Del Pueblo” (“The People’s Son”), written by legendary singer-songwriter José Alfredo Jiménez — echoed those themes:

It is my pride to have been born in the most humble of neighborhoods, Far from the bustle and false society.… I go through life very happy with my poverty Because I don’t have money, I have a lot of heart.

Appreciation: 10 essential songs of ranchera legend Vicente Fernández

What made Vicente Fernández so consistently spectacular across four decades? Start with these songs.

Fernández’s musical career began just as humbly, without the benefit of voice lessons or star-making machinery. At 21, he returned to Guadalajara and joined the throng of mariachis in the plaza at San Juan de Dios Church, where he spent two years singing for tips. Later, he graduated to the restaurant circuit, then a slot on a live Opry-like radio show. But when he auditioned for his first record contract, the big Mexico City labels treated him like a rube. “They told me that I should go sell peanuts,” Fernández recalled.

Mexican music, up to that point, had been dominated by a succession of mustachioed cowboys, their roguish charms and silken voices marketed as symbols of national identity: Jiménez, Jorge Negrete, Pedro Infante, Javier Solis. Each died at the height of their careers, and before hitting middle age. It was the loss of Solis — during gallbladder surgery, in 1966 — that opened the door for Fernández; within a week, he got a call from CBS Records. Fernández signed with the label, which later became Sony, the company he remained with his entire career.

He soon gained fame for his dexterous baritone, as thick and pliable as putty. He could wail and whimper, chortle and coo, often dropping his microphone midsong and finishing the verse in a naked roar. Whether performing in a Mexican cockfighting pit or a pricey Vegas lounge, he always began with the same promise: to keep singing as long as his audience kept applauding. Frequently, that would mean a marathon of three or four hours, leaving him bathed in sweat, soaked by kisses and showered with booze.

It was the romantic “Volver, Volver” (“Return, Return”), which he first released in 1972, that launched him to international stardom — a searing ballad of a man who longs to returns to the arms of the woman he loves. The song is now a staple of Latin American song (and drunken late-night revelry), reimagined by myriad mariachi acts, European vocalists and the L.A. band Los Lobos, who included a rocked-out version of the tune on albums and concerts.

Unlike the other ranchera kings — none of whom lived past their 40s — Fernández spent a lifetime atop the throne. Over the course of his career, he won three Grammy Awards and eight Latin Grammys, along with innumerable Mexican and other Latin American honors. In 2002, he was honored as person of the year by the Latin Academy of Recording Arts & Sciences, organizer of the Latin Grammys.

For decades, he reigned as one of the most bankable acts in Los Angeles, selling out a string of shows every year at the Pico Rivera Sports Arena and the Universal Amphitheatre. When his Hollywood star was unveiled, a record 4,500 people turned out.

“He represents the maintenance of a culture, the heart and soul of the masses,” said Steve Loza, a professor of ethnomusicology at UCLA. “You want to feel proud of who you are? You want to tell your kids what it is to be Mexican and never lose it? All you have to do is listen to Vicente.”

Ricky Martin, Gloria Estefan, Mario Lopez mourn Vicente Fernández: ‘Voice of a culture’

Fans have taken to social media to honor Vicente ‘Chente’ Fernández, the 81-year-old Mexican singing legend whose death was announced Sunday.

His most important partner throughout his life was his wife, María del Refugio Abarca Villaseñor, known as Cuquita, the Guadalajaran neighbor whom he married in 1963, and with whom he had four children: Gerardo, Alejandra, Vicente Jr. and Alejandro. The latter two, like their father, became singers — with the handsome, baritone-voiced Alejandro, whose music straddles pop and Mexican traditional styles, achieving a large measure of international stardom. Alejandro, dubbed “El Potrillo,” or the Colt, would often join his father onstage for duets, with the mournful “Perdón,” whose lyrics begged the forgiveness of a beloved, becoming a staple.

To his fans, Fernández sometimes seemed ageless — his thin mustache and long sideburns remaining preternaturally black — but he was keenly aware of time. He retired from the movie business in 1991, mindful that his on-screen magnetism had begun to fade. But he remained a magnetic stage presence until the end, even when his movements were slowed by age, his voice hollowed by time. At his final concert at Azteca Stadium, as was his custom, he held aloft a glass of tequila while belting out “Volver, Volver,” blowing kisses to the ebullient crowd.

Fernández often spoke of wanting his life to end onstage, a sentiment that inspired one of his favorite songs, “Una Noche Como Esta” (“A Night Like This One”):

If singing like this I have earned your affection, I would be happy if, singing like this, One day, I die .

Times columnists Carolina A. Miranda and Gustavo Arellano in Los Angeles and staff writer Kate Linthicum and special correspondent Cecilia Sanchez in Mexico City contributed to this report.

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Vicente 'Chente' Fernández, 'El Rey' of ranchera music, has died at 81

Adrian Florido

Vicente Fernández performs onstage during the 20th annual Latin Grammy Awards in 2019. Kevin Winter/Getty Images for LARAS hide caption

Vicente Fernández performs onstage during the 20th annual Latin Grammy Awards in 2019.

Vicente Fernández, an icon of traditional Mexican music, has died. He was 81. The announcement from his family did not give a cause of death, but the singer had been hospitalized since August, after a fall at his Guadalajara ranch in the central state of Jalisco required an emergency spinal surgery.

While in the hospital, he had also been diagnosed with Guillain–Barré syndrome, an autoimmune condition in which the immune system attacks the body's nerves, his family had reported to media. Following months of steady improvement, his health had taken a turn for the worse in recent days.

Fernández was largely considered the last living legend of the Mexican ranchera, the style of song deeply rooted in the values and traditions of rural Mexico. He sang about honor and courtship, cockfights and rodeos, love and heartbreak – all while dressed in the elegantly embroidered costume of the charro, Mexico's chivalrous cowboy, and accompanied by a full mariachi ensemble.

Fans worry over ranchera icon Vicente Fernández, who remains hospitalized

Over a six-decade career, his voice became synonymous with Mexico itself. His velvety baritone was instantly recognizable, and his songs worked their way into the daily lives of Mexicans and lovers of Mexico the world over – the soundtrack to wedding parties and quinceañeras, baptisms, birthdays and funerals.

He was also the quintessential symbol of the Mexican macho. His thick mustache, dyed black long after his hair had turned white, was punctuation under the brim of his shoulder-wide sombreros. At concerts he wore a pistol on his hip, and he sang for hours, drenching himself in sweat. Just as it appeared he might be wrapping up, he'd take a swig of tequila, and sing some more.

"He would sing as long as people wanted him to sing," said Leila Cobo, vice president at Billboard magazine. "And I think that commitment to his fans that said, 'I'm yours for the taking,' just had a huge impact."

In many ways his image was a perfect fit for and a product of Mexico's patriarchal culture. But Fernández also dispensed with some of the expectations that Mexican culture places on its men – that they be walls of stoicism, suppressing emotion. His songs dripped with an uncommon vulnerability, and in many of them, he openly wept, gasping for breath as he drowned in the pain of a bitter heartbreak.

"He would sing these songs with so much pathos and so much emotion, that grown men would cry, and he would cry," Cobo said. "Perhaps because he was such a macho man, he could cry. And that made him all the more iconic and legendary."

'The Living Legend' of Mexican Ranchera Music

Fernández was born in 1940, in a small town in the central ranching state of Jalisco. As a boy his family moved to Tijuana, where he worked odd jobs – washing cars, digging ditches, shining shoes, and pouring the foundation for the homes in some of that city's early suburbs.

He started singing in bars and restaurants at 19, and eventually made his way back to Guadalajara and Mexico City, where he convinced label executives to record his music. His first hit, in 1969, was "Tu Camino y El Mío," a nostalgic ballad about an unrequited love.

Transmito mi pésame a familiares, amigos y millones de admiradores de Vicente Fernández, símbolo de la canción ranchera de nuestro tiempo, conocido y reconocido en México y en el extranjero. — Andrés Manuel (@lopezobrador_) December 12, 2021

Over the decades he'd have many more. He recorded dozens of albums that sold millions of copies, and won three Grammys.

But he always emphasized his humble origins, and felt an affinity with Mexico's poor, working-class, and rural people. He performed in massive concert arenas as well as in bullrings and cockfight pits.

And he became an important icon for Mexican immigrants to the U.S. and around the world – who found that his music transported them to the ranches and towns they'd reluctantly left behind in search of opportunity abroad.

Mexico's "King of Mariachi" Makes New Fans North of the Border

His longevity and popularity as a singer was remarkable, spanning generations, said Jose Anguiano, a professor in popular music at California State University, Los Angeles. His immense popularity even among young Mexicans and Mexican-Americans today, Anguiano said, owes in large part to the timelessness of his recordings, but also to the way Mexican families have relied on his music to constantly renew their pride in Mexico and in Mexican culture.

"He was singing not just to us but to our uncles, our parents, and our grandmothers as well," Anguiano said. "So there's this immense sense of loss for what he means to the culture."

• Vicente Fernandez

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Vicente Fernández, revered Mexican singer, dies at 81

FILE - Vicente Fernandez performs at the 20th Latin Grammy Awards on Nov. 14, 2019, in Las Vegas. The Mexican singer died early Sunday, Dec. 12, 2021, relatives reported. He was 81 years old. (AP Photo/Chris Pizzello, File)

FILE- In this file photo of Saturday, April 16, 2016, the Mexican singer Vicente Fernandez performs at a free concert at Azteca Stadium. Fernández, the regional Mexican music star whose powerful voice immortalized songs like “El rey”, “Volver, Volver” and “Pity that you are alien” while inspiring new generations of performers like his son Alejandro Fernández Jr., He died early Sunday, Dec. 12, 2021, relatives reported. He was 81 years old. (AP Photo/Marco Ugarte)

FILE - Vicente Fernandez, center, performs with his son Alejandro Fernandez, right, and grandson, Alex Fernandez, at the 20th Latin Grammy Awards, on Nov. 14, 2019, in Las Vegas. The Mexican singer died early Sunday, Dec. 12, 2021, relatives reported. He was 81 years old. (Foto AP/Chris Pizzello, archivo)

FILE - Vicente Fernandez performs at a free concert during Valentine’s Day in Mexico City’s on Feb. 14, 2009, file photo, singer. On Tuesday, Oct. 8, 2016. The Mexican singer died Sunday at 81 years of age in Guadalajara, Mexico, his family announced in a statement. (AP Photo/Claudio Cruz, File)

FILE - Mexican singer Vicente Fernandez drinks “Aguardiente,” a Colombian liqueur derived from sugar cane, during a concert in Cali, Colombia, Feb. 21, 2009. Fernandez, a beloved Mexican singer who was awarded three Grammys and nine Latin Grammys and inspired a new generation of performers, including his son Alejandro Fernández Jr. has died. (AP Photo/Christian Escobar Mora, File)

Miguel del Toro Chavez a fan of the Mexican singer Vicente Fernandez holds a book with an image of him outside of a hospital in Guadalajara, Mexico, Sunday, Dec. 12, 2021. The Mexican singer died, relatives reported. He was 81 years old. (AP Photo/Refugio Ruiz)

A Mariachi band waits for clients at Pepe Guizar square or “Plaza de los Mariachis” in Guadalajara, Mexico, Sunday, Dec. 12, 2021. Vicente Fernandez, the beloved Mexican singer who was awarded three Grammys and nine Latin Grammys and inspired a new generation of performers, including his son Alejandro Fernández Jr. has died. (AP Photo/Refugio Ruiz)

Fans of the Mexican singer Vicente Fernandez take a selfie with a statue of Fernandez, at Pepe Guizar square or “Plaza de los Mariachis” in Guadalajara, Mexico, Sunday, Dec. 12, 2021. Fernandez, a beloved Mexican singer who was awarded three Grammys and nine Latin Grammys and inspired a new generation of performers, including his son Alejandro Fernández Jr. has died. (AP Photo/Refugio Ruiz)

Fans of the Mexican singer Vicente Fernandez meet around a statue of him at Pepe Guizar square or “Plaza de los Mariachis” in Guadalajara, Mexico, Sunday, Dec. 12, 2021. Fernandez, a beloved Mexican singer who was awarded three Grammys and nine Latin Grammys and inspired a new generation of performers, including his son Alejandro Fernández Jr. has died. (AP Photo/Refugio Ruiz)

FILE - Mexico’s “King of Ranchero” Vicente Fernandez, left, is embraced by his son Alejandro during a tribute gala honoring him as the 2002 Latin Recording Academy person of the year in the Hollywood section of Los Angeles, Tuesday, Sept. 17, 2002. Vicente Fernandez, the beloved Mexican singer who was awarded three Grammys and nine Latin Grammys and inspired a new generation of performers, including his son Alejandro Fernández Jr. has died. (AP Photo/Kevork Djansezian, File)

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MEXICO CITY (AP) — Vicente Fernández, an iconic and beloved singer of regional Mexican music who was awarded three Grammys and nine Latin Grammys and inspired a new generation of performers, including his son Alejandro Fernández, died on Sunday. He was 81.

Fernández was known for hits such as “El Rey,” and “Lástima que seas ajena,” his command of the ranchera genre and his dark and elegant mariachi suits with their matching wide-brimmed sombreros.

His music attracted fans far beyond Mexico’s borders. Songs like “Volver, Volver” and “Como Mexico no hay dos” were extremely popular among Mexican immigrant communities in the U.S. because of how they expressed the longing for the homeland.

“It was an honor and a great pride to share with everyone a great musical career and give everything for the audience,” Fernández’s family said on his official Instagram account. “Thank you for continuing to applaud, thank you for continuing to sing.”

Fernández, known also by his nickname ″Chente,″ died at 6:15 a.m. in a hospital in Jalisco state, his family said. In August, he had suffered a serious fall and had been hospitalized since then for that and other ailments.

Beginning early on Sunday, people began posting messages, many of them recalling the lyrics to one of the favorite mariachi requests at parties and restaurants that goes “I am still the king.”

Music greats such as Gloria Estefan, Ricky Martin, Pitbull and Maluma took to social media to post heartfelt condolences, some citing how his music influenced them. Famous country singer George Strait said he was “one of my heroes.”

“I am broken hearted. Don Chente has been an angel to me all my life,” Ricky Martin said. “The only thing that gives me comfort at this moment, is that every time we saw each other I told him how important he was to me.”

Mexican President Andrés Manuel López Obrador also expressed his condolences, calling him “a symbol of the ranchera music.”

On Sunday night, his widow, María del Refugio Abarca Villaseñor, along with his children, grandchildren and hundreds of relatives and friends said goodbye to Fernández at his favorite place, his ranch.

The earth of Los Tres Potrillos ranch on the outskirts of Guadalajara vibrated when his fans in the stands and mariachis on a stage covered with flowers bid goodbye the giant of Mexican music. The song “Mexico Lindo” opened the public funeral at Los Tres Potrillos. His iconic charro hat was perched on the coffin. His private burial was to take place on Monday.

The timing of his death was also highlighted by fans as Fernández often sang on Dec. 12 to mark the Catholic pilgrimage to the Basilica of Our Lady of Guadalupe in Mexico City, an event that attracts vast crowds. The commemoration was being held on Sunday after it was canceled last year because of the pandemic.

Vicente Fernández Gómez was born on February 17, 1940 in the town of Huentitán El Alto in the western state of Jalisco. He spent most of his childhood on the ranch of his father, Ramón Fernández, on the outskirts

The artist sold more than 50 million records and appeared in more than 30 films. In 1998, he was given a star on the Hollywood Walk of Fame.

In April 2016, he said goodbye to the stage before about 85,000 people in Azteca Stadium in Mexico City. Spectators had traveled from northern Mexico as well as the United States, Colombia and other Latin American countries for the occasion.

Associated Press writer Adriana Gomez Licon contributed to this report from Miami.

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Who is Vicente Fernández? A Mexican musical legend celebrated in the U.S.

Update: Vicente Fernández passed on Dec. 12 after remaining hospitalized for four months. Read more .

Don Vicente Fernández, also known as "El Charro de Huentitán" and the "King of Rancheras" is present in more than just your Mexican parents' vinyl collection. Throughout his career, Chente, as he is lovingly referred to by his fans, has distinguished himself by taking Mexican music around the world throwing the longest concerts on the most renowned stages — making a name not only for himself but also for the popular love ballads and ranchera music that characterize México.

Five years after he announced his farewell from the stage, his songs continue to be an inspiration to people in Latin American countries, México and the U.S., shaping cultures and musical tastes as his rancheras cast stories of sorrow, hope, love and especially Mexican pride for all to enjoy.

As the world waits on news of his recovery after a fall that left him in critical condition this week , we tell you a little bit about the Mexican mariachi icon that has forever left his mark in the music scene in the U.S.

A Mexican legend celebrated in the US

Fernández was born in 1940 in a town called Huentitán El Alto, in the state of Jalisco.

His career in music started at an early age, winning talent shows and serenading young women alongside the mariachis of his town. As soon as he got the green light from CBS México, now known as Sony Music, in 1966, he hit the ground running and hasn't stopped since.

Chente recorded more than 100 albums, sold over 70 million copies, starred in 34 films in Mexican cinema and recorded more than 300 songs. He went on to produce great hits like "Volver, Volver," "Por Tu Maldito Amor," "Hermoso Cariño" and "El Rey," a song that very much does justice to his moniker as King of Rancheras.

But the kid from Huentitán El Alto never forgets that all he has achieved is thanks to those who have supported him: his family, his studio and, of course, his fans.

“As long as you don't stop clapping, your Chente doesn't stop singing," he would tell his fans while he belted out his songs on stage. True to his word, he was known for having concerts that lasted at least 4 hours.

He did just that in 2016 when he said his goodbye to the stage during a free farewell concert in México City at Azteca Stadium. After that he retired to his home, a ranch called Los Tres Potrillos, just outside of Guadalajara. He hasn't stopped composing music though.

Chente has received countless honors, especially as his music made its way to the U.S.

He was awarded the Mr. Amigo Review Award in Brownsville, Texas, in 1977. In 1982, he received the keys to San Antonio, Texas, from then-Mayor Henry Cisneros. He received a star on the Hollywood Walk of Fame in 1998 and was inducted into the Hall of Fame by Billboard magazine.

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In the fall of 1999, Fernández toured promoting his new CD, “Eternamente” in which he paid tribute to the distinguished group “Los Dandys” from Mexico. That year, Fernández was nominated for the Billboard Lifetime Achievement Award at the Latin Rhythm Awards at the Universal Amphitheater in Los Angeles.

In 2000, Fernández performed “Cielito Lindo” at the Republican National Convention in Philadelphia.

Chente stayed on the charts for many years, with two albums of his greatest hits. "Historia de un ídolo Volumen I," a 17-song album released in 2000, included some of his hits like “Lástima que Seas Ajena," “Me Voy a Quitar de en Medio” and “Nos Estorbó la Ropa.”

Thanks to these productions he received the RIAA Double Platinum certification.

He also received the Billboard Latin Music Award for Greatest Hits Album of the Year for "Historia de un ídolo Volumen II," presented in 2002, containing hits “El Rey," “De Qué Manera te Olvido” and “Volver, Volver."

That same year, he again achieved success with his single “El Ayudante” from his album “Más con el Número Uno."

Also in 2001, Fernández and his son Alejandro Fernández appeared on the “Lazos Invencibles” tour, the first tour they had done together in eight years. At the same time, Vicente Fernández Jr., another of Fernández's sons, presented his first album with norteño themes entitled “El Mayor de los Potrillos," influenced by his father's career.

In September 2002, he was honored as Person of the Year by the Latin Recording Academy for his artistic achievements and for his donation to the National Scholarship Fund for Hispanics. He also helps his followers who live in the countryside, performing for free at fairs in small Mexican towns.

In 2006, after three years without recording, Fernández released the album “La Tragedia del Vaquero,” a studio album with 14 unreleased songs — a true gem in the repertoire of Mexican mariachi music.

From that production came hits such as "Lejos de mi Tierra," "La Tragedia del Vaquero" and "Qué Chulada de Mujer." The song "La Tragedia del Vaquero” was certified Platinum in the United States for its high sales.

In 2007, Chente celebrated the first 40 years of his artistic career with one of the most successful tours in the history of any Spanish-speaking artist in the United States.

In addition, his next album, “Para Siempre,” was certified as a Diamond Plus Gold Record in México and six Platinum Records in the United States.

This album managed to transcend in the musical field, being worthy of a Diamond recognition for more than 500,000 copies sold in México alone, Diamond Record in Colombia, and special recognition for more than 1.5 million copies sold internationally. In the United States, the album is considered the best-selling Latin album of 2008.

Chente has won three Grammys. One in 2010 for Best Regional Mexican Album “Necesito de Ti.” Another in 2015 for the same category. And finally, in 2017, the recording of his final performance on stage in 2016, titled “Un Azteca en el Azteca (En Vivo),” landed him his most recent Grammy.

From 1989 to 2014, he was awarded eight Latin Grammys, 14 Premios Lo Nuestro awards and a handful of Billboard awards.

Vicente Fernández

Iconic figure in Mexican musical history, known as El Rey de la Música Ranchera.

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Vicente Fernández, Mexican Singer and ‘King of Rancheras,’ Dead At 81

By Julyssa Lopez

Julyssa Lopez

Vicente Fernández, the famed Mexican singer and actor, died on Sunday after months in the hospital following a fall at his ranch outside Guadalajara. He was 81.

His death was confirmed on his social media accounts, where his family had been updating fans on his condition and dispelling near-constant rumors of his death. He had undergone surgery for a cervical spine injury and spent weeks in intensive care, using a ventilator for respiratory support. He was briefly transferred out of intensive care, but returned after experiencing respiratory inflammation at the end of November. The night before his death, the family had shared that his condition was critical.

“Rest in Peace, Mr. Vicente Fernández,” a post read on Sunday. “We regret to inform you of his death on Sunday, December 12 at 6:15 a.m.”

“It was an honor and a great pride to share with everyone a great musical career and to give everything for his audience. Thank you for continuing to applaud, thank you for continuing to sing,” the message continued.

Fernández had battled other health problems over the years, including liver and prostate cancer.

Fernández’s career spanned five decades, during which he recorded more than 50 albums, filmed dozens of movies, and won three Grammys and eight Latin Grammys. He was born in 1940 and grew up in Huentitán El Alto, outside of Guadalajara, on his parents’ cattle farm. As a child, he fell in love with the films of the popular Mexican actor and singer Pedro Infante and took up guitar, going on to compete in amateur music contests in Guadalajara as a young boy. He dropped out of fifth-grade and moved to Tijuana, where he found work as a waiter, janitor, and dishwasher.

In his early 20s, Fernández returned to Guadalajara and began busking at local mariachi plazas. He looked out for a big break for years; it was finally in 1966 that he signed with CBS Records (later Sony Records), marking the start of a recording career that was prolific and rooted in classic ranchera balladry.

Fernández’s expansive catalogue includes beloved originals such as “Volver Volver,” “Mujeres Divinas,” “Por Tu Maldito Amor,” and “Aca Entre Nos,” as well as interpretations of other hits such as “El Rey” and “La Differencia.” He starred in a run of films starting in the 1970s, with Tacos Al Carbón. In 1998, he received a star on the Hollywood Walk of Fame.The singer was known lovingly by his nickname Chente, as well as “El Rey de la Música Ranchera” (“the king of ranchera music”), picking up the mantle from ranchera greats such as Infante and Javier Solís.

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However, he was also the subject of controversies throughout his life: In 1998, his eldest son, the singer Vicente Fernández Jr., was kidnapped and held ransom for nearly four months. Two of his fingers were cut off until he was eventually freed; Fernández kept the whole thing a secret and didn’t reveal the story until later. In 2021, he apologized after photos surfaced of him touching a fan’s breast without consent.

Fernández’s children, who include Vicente Jr. and Alejandro Fernández , embraced music as well and have gone on to have major careers, following the footsteps of their father. In 2019, he came out of semi-retirement to perform alongside his two sons and his grandson, Alex Jr., at the Latin Grammys . The showcase of three generations of the famed ranchera family was considered one of the standout moments at the awards ceremony. Fernández’s final album, 2020’s  A Mis 80’s,  included a final track dedicated to his grandson.

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Vicente Fernández at 2002 Latin GRAMMYs

The Everlasting Legacy of Mexican Ranchera Icon, Vicente Fernández

As the world mourns the Mexican icon in the wake of his Dec. 12 passing, the impact of his six-decade career continues to live on

As one of the most illustrious charros ever, Vicente “Chente” Fernández globalized ranchera music with fervor and a gigantic heart. 

His unmatched vocal prowess — an electrifying vibrato that would easily turn thunderous in an instant — had the capacity to permeate deep into the soul of any bystander. His timeless, passionate ballads, like “Por Tu Maldito Amor” or “Acá Entre Nos,” were easily capable of wrenching out tears, even to the toughest of men. His chivalrous image exemplified that of a true Mexican caballero, earning several powerful nicknames throughout his career: "El Charro de Huentitán" (The Charro from Huentitán), "El Ídolo de México" (The Idol of Mexico), and "El Rey de la Música Ranchera" (The King of Ranchera Music).

After the world lost the 81-year-old Fernández on December 12, the reaction among the Mexican music community reflected the indelible mark he made. Mexican superstar Christian Nodal paid tribute to the Mexican idol in his opening number during a show in Fresno, California, the night of Fernández’s passing. “Today the mariachi, cinema, Mexican race, and our culture are mourning because we all know this great man planted a seed for all of Latin America, and for the entire world,” Nodal said.

In a similar spirit, the prodigious ranchera wunderkind Ángela Aguilar — granddaughter to the late, great Antonio Aguilar — honored Chente in a heartfelt post on Instagram . “But you are still the King,” she wrote. “A great honor to have known you. A great privilege to have received your affection. You will be eternal, accompanying us always with your melodies. My deepest condolences to your family, friends, and fans. May you rest in peace, fly high.” Her father, Pepe Aguilar, echoed her sentiment in his own post : “A great among the greats! Now his oeuvre has become eternal!”

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Perhaps the most heart-wrenching tribute came from Fernández’s son (and star in his own right) Alejandro Fernández. “The lights never shone brighter in the sky,” he captioned a candid photo with his father . “Without a doubt, I could not have asked for a better father, friend and teacher. Thank you for showing me the way. And though we will miss you daily, your spirit and voice will live forever in your family, your town, and your people. I love you, pa’.” 

Born on February 17, 1940, Vicente Fernández Gómez grew up in the village of Huentitán El Alto in the municipality of Guadalajara — the globally-recognized capital of mariachi music and charrería, an equestrian tradition. Thanks to Fernández’s monumental success as a singer and actor, the artform ascended far and wide, becoming a symbol of Mexican culture. It’s a style that’s often characterized by men decked in elegant embroidered suits, paired with cowboy boots, large sombreros, and occasional horses in tow. For Chente, it was a way of life. While this culture dates back nearly a century ago (at the tailend of the Mexican Revolution, when rural street performers began inventing the sound), legends like him have helped give rancheras and mariachi music everlasting life.  

His legacy expanded beyond music, too: Starring in more than 40 films, the Mexican superstar made his first appearance on the big screen in 1971, at the tailend of the Golden Age of Mexican Cinema. Back then, it was customary to see male protagonists also be spectacular singers, just like other greats before him, including Pedro Infante, Jorge Negrete, Javier Solís, and Antonio Aguilar. 

Read More:  GRAMMY Rewind: Watch A Suave Vicente Fernandez Thank All Of Latin America At The 3rd Latin GRAMMY Awards

But long before he reached worldwide stardom, young Vicente already knew of his destiny at a mere 6 years old, when he told his mom, “When I grow up, I’m going to be like them,” referring to Negrete and Infante while watching a classic Mexican film. With that goal in mind, he began picking up the guitar and learned the local folk songs of his birth town at just 8 years old. 

By his teenage years, Fernández and his family migrated to Tijuana where he became a jack of all trades. Working blue-collar jobs to get his start, he garnered large appeal with his colleagues upon revealing his impressive singing abilities. He soon became a wedding and party singer and fronted local mariachi bands. After being rejected by several big record labels, in 1966 CBS México bid on the future King of Ranchera music — and the rest is history. 

With an immense discography comprising over 100 albums (which span six decades, from 1965 to 2018), Fernández accumulated nine Latin GRAMMYs and three GRAMMY Awards throughout his highly prolific career. In 2002, Chente was recognized as the Latin Recording Academy Person of the Year. 

Just two years ago, El Rey stepped out of retirement to sing alongside his son and grandson Alejandro and Alex Fernández at the 2019 Latin GRAMMYs. The electrifying performance  showcased an impeccable range and power for a man wearing no ear monitor headphone, and who was 79 years old at the time. 

Throughout his 64-year career, Vicente Fernández left an everlasting impression on his countless fans, admirers and beyond. He left behind an eternal legacy that will continue to transcend generation after generation of regional Mexican newcomers and ranchera lovers alike. ¡Arriba, El Rey!  

The Latin Recording Academy And The Recording Academy Remember Vicente Fernández

Photo: Jeff Kravitz/FilmMagic

GRAMMY Rewind: Kendrick Lamar Honors Hip-Hop's Greats While Accepting Best Rap Album GRAMMY For 'To Pimp a Butterfly' In 2016

Upon winning the GRAMMY for Best Rap Album for 'To Pimp a Butterfly,' Kendrick Lamar thanked those that helped him get to the stage, and the artists that blazed the trail for him.

Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.

A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.

This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly . Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system. 

"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."

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He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.

"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly .

"Hip-hop. Ice Cube . This is for hip-hop," he said. "This is for Snoop Dogg , Doggystyle . This is for Illmatic , this is for Nas . We will live forever. Believe that."

To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal , Anna Wise and Thundercat ). He also won Best Music Video for the remix of Taylor Swift 's "Bad Blood." 

Lamar has since won Best Rap Album two more times, taking home the golden gramophone in 2018 for his blockbuster LP DAMN ., and in 2023 for his bold fifth album, Mr. Morale & the Big Steppers .

Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes. 

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Photo:  Rachel Kupfer  

A Guide To Modern Funk For The Dance Floor: L'Imperatrice, Shiro Schwarz, Franc Moody, Say She She & Moniquea

James Brown changed the sound of popular music when he found the power of the one and unleashed the funk with "Papa's Got a Brand New Bag." Today, funk lives on in many forms, including these exciting bands from across the world.

It's rare that a genre can be traced back to a single artist or group, but for funk, that was James Brown . The Godfather of Soul coined the phrase and style of playing known as "on the one," where the first downbeat is emphasized, instead of the typical second and fourth beats in pop, soul and other styles. As David Cheal eloquently explains, playing on the one "left space for phrases and riffs, often syncopated around the beat, creating an intricate, interlocking grid which could go on and on." You know a funky bassline when you hear it; its fat chords beg your body to get up and groove.

Brown's 1965 classic, "Papa's Got a Brand New Bag," became one of the first funk hits, and has been endlessly sampled and covered over the years, along with his other groovy tracks. Of course, many other funk acts followed in the '60s, and the genre thrived in the '70s and '80s as the disco craze came and went, and the originators of hip-hop and house music created new music from funk and disco's strong, flexible bones built for dancing.

Legendary funk bassist Bootsy Collins learned the power of the one from playing in Brown's band, and brought it to George Clinton , who created P-funk, an expansive, Afrofuturistic , psychedelic exploration of funk with his various bands and projects, including Parliament-Funkadelic . Both Collins and Clinton remain active and funkin', and have offered their timeless grooves to collabs with younger artists, including Kali Uchis , Silk Sonic , and Omar Apollo; and Kendrick Lamar , Flying Lotus , and Thundercat , respectively.

In the 1980s, electro-funk was born when artists like Afrika Bambaataa, Man Parrish, and Egyptian Lover began making futuristic beats with the Roland TR-808 drum machine — often with robotic vocals distorted through a talk box. A key distinguishing factor of electro-funk is a de-emphasis on vocals, with more phrases than choruses and verses. The sound influenced contemporaneous hip-hop, funk and electronica, along with acts around the globe, while current acts like Chromeo, DJ Stingray, and even Egyptian Lover himself keep electro-funk alive and well.

Today, funk lives in many places, with its heavy bass and syncopated grooves finding way into many nooks and crannies of music. There's nu-disco and boogie funk, nodding back to disco bands with soaring vocals and dance floor-designed instrumentation. G-funk continues to influence Los Angeles hip-hop, with innovative artists like Dam-Funk and Channel Tres bringing the funk and G-funk, into electro territory. Funk and disco-centered '70s revival is definitely having a moment, with acts like Ghost Funk Orchestra and Parcels , while its sparkly sprinklings can be heard in pop from Dua Lipa , Doja Cat , and, in full "Soul Train" character, Silk Sonic . There are also acts making dreamy, atmospheric music with a solid dose of funk, such as Khruangbin ’s global sonic collage.

There are many bands that play heavily with funk, creating lush grooves designed to get you moving. Read on for a taste of five current modern funk and nu-disco artists making band-led uptempo funk built for the dance floor. Be sure to press play on the Spotify playlist above, and check out GRAMMY.com's playlist on Apple Music , Amazon Music and Pandora .

Say She She

Aptly self-described as "discodelic soul," Brooklyn-based seven-piece Say She She make dreamy, operatic funk, led by singer-songwriters Nya Gazelle Brown, Piya Malik and Sabrina Mileo Cunningham. Their '70s girl group-inspired vocal harmonies echo, sooth and enchant as they cover poignant topics with feminist flair.

While they’ve been active in the New York scene for a few years, they’ve gained wider acclaim for the irresistible music they began releasing this year, including their debut album, Prism . Their 2022 debut single "Forget Me Not" is an ode to ground-breaking New York art collective Guerilla Girls, and " Norma " is their protest anthem in response to the news that Roe vs. Wade could be (and was) overturned. The band name is a nod to funk legend Nile Rodgers , from the "Le freak, c'est chi" exclamation in Chic's legendary tune "Le Freak."

Moniquea 's unique voice oozes confidence, yet invites you in to dance with her to the super funky boogie rhythms. The Pasadena, California artist was raised on funk music; her mom was in a cover band that would play classics like Aretha Franklin’ s "Get It Right" and Gladys Knight ’s "Love Overboard." Moniquea released her first boogie funk track at 20 and, in 2011, met local producer XL Middelton — a bonafide purveyor of funk. She's been a star artist on his MoFunk Records ever since, and they've collabed on countless tracks, channeling West Coast energy with a heavy dose of G-funk, sunny lyrics and upbeat, roller disco-ready rhythms.

Her latest release is an upbeat nod to classic West Coast funk, produced by Middleton, and follows her February 2022 groovy, collab-filled album, On Repeat .

Shiro Schwarz

Shiro Schwarz is a Mexico City-based duo, consisting of Pammela Rojas and Rafael Marfil, who helped establish a modern funk scene in the richly creative Mexican metropolis. On "Electrify" — originally released in 2016 on Fat Beats Records and reissued in 2021 by MoFunk — Shiro Schwarz's vocals playfully contrast each other, floating over an insistent, upbeat bassline and an '80s throwback electro-funk rhythm with synth flourishes.

Their music manages to be both nostalgic and futuristic — and impossible to sit still to. 2021 single "Be Kind" is sweet, mellow and groovy, perfect chic lounge funk. Shiro Schwarz’s latest track, the joyfully nostalgic "Hey DJ," is a collab with funkstress Saucy Lady and U-Key.

L'Impératrice

L'Impératrice (the empress in French) are a six-piece Parisian group serving an infectiously joyful blend of French pop, nu-disco, funk and psychedelia. Flore Benguigui's vocals are light and dreamy, yet commanding of your attention, while lyrics have a feminist touch.

During their energetic live sets, L'Impératrice members Charles de Boisseguin and Hagni Gwon (keys), David Gaugué (bass), Achille Trocellier (guitar), and Tom Daveau (drums) deliver extended instrumental jam sessions to expand and connect their music. Gaugué emphasizes the thick funky bass, and Benguigui jumps around the stage while sounding like an angel. L’Impératrice’s latest album, 2021’s Tako Tsubo , is a sunny, playful French disco journey.

Franc Moody

Franc Moody 's bio fittingly describes their music as "a soul funk and cosmic disco sound." The London outfit was birthed by friends Ned Franc and Jon Moody in the early 2010s, when they were living together and throwing parties in North London's warehouse scene. In 2017, the group grew to six members, including singer and multi-instrumentalist Amber-Simone.

Their music feels at home with other electro-pop bands like fellow Londoners Jungle and Aussie act Parcels. While much of it is upbeat and euphoric, Franc Moody also dips into the more chilled, dreamy realm, such as the vibey, sultry title track from their recently released Into the Ether .

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Photo: Steven Sebring

Living Legends: Billy Idol On Survival, Revival & Breaking Out Of The Cage

"One foot in the past and one foot into the future," Billy Idol says, describing his decade-spanning career in rock. "We’ve got the best of all possible worlds because that has been the modus operandi of Billy Idol."

Living Legends is a series that spotlights icons in music still going strong today. This week, GRAMMY.com spoke with Billy Idol about his latest EP,   Cage , and continuing to rock through decades of changing tastes.

Billy Idol is a true rock 'n' roll survivor who has persevered through cultural shifts and personal struggles. While some may think of Idol solely for "Rebel Yell" and "White Wedding," the singer's musical influences span genres and many of his tunes are less turbo-charged than his '80s hits would belie.  

Idol first made a splash in the latter half of the '70s with the British punk band Generation X. In the '80s, he went on to a solo career combining rock, pop, and punk into a distinct sound that transformed him and his musical partner, guitarist Steve Stevens, into icons. They have racked up multiple GRAMMY nominations, in addition to one gold, one double platinum, and four platinum albums thanks to hits like "Cradle Of Love," "Flesh For Fantasy," and "Eyes Without A Face." 

But, unlike many legacy artists, Idol is anything but a relic. Billy continues to produce vital Idol music by collaborating with producers and songwriters — including Miley Cyrus — who share his forward-thinking vision. He will play a five-show Vegas residency in November, and filmmaker Jonas Akerlund is working on a documentary about Idol’s life. 

His latest release is Cage , the second in a trilogy of annual four-song EPs. The title track is a classic Billy Idol banger expressing the desire to free himself from personal constraints and live a better life. Other tracks on Cage incorporate metallic riffing and funky R&B grooves. 

Idol continues to reckon with his demons — they both grappled with addiction during the '80s — and the singer is open about those struggles on the record and the page. (Idol's 2014 memoir Dancing With Myself , details a 1990 motorcycle accident that nearly claimed a leg, and how becoming a father steered him to reject hard drugs. "Bitter Taste," from his last EP, The Roadside , reflects on surviving the accident.)

Although Idol and Stevens split in the late '80s — the skilled guitarist fronted Steve Stevens & The Atomic Playboys, and collaborated with Michael Jackson, Rick Ocasek, Vince Neil, and Harold Faltermeyer (on the GRAMMY-winning "Top Gun Anthem") —  their common history and shared musical bond has been undeniable. The duo reunited in 2001 for an episode of " VH1 Storytellers " and have been back in the saddle for two decades. Their union remains one of the strongest collaborations in rock 'n roll history.

While there is recognizable personnel and a distinguishable sound throughout a lot of his work, Billy Idol has always pushed himself to try different things. Idol discusses his musical journey, his desire to constantly move forward, and the strong connection that he shares with Stevens. 

Steve has said that you like to mix up a variety of styles, yet everyone assumes you're the "Rebel Yell"/"White Wedding" guy. But if they really listen to your catalog, it's vastly different.

Yeah, that's right. With someone like Steve Stevens, and then back in the day Keith Forsey producing... [Before that] Generation X actually did move around inside punk rock. We didn't stay doing just the Ramones two-minute music. We actually did a seven-minute song. [ Laughs ]. We did always mix things up. 

Then when I got into my solo career, that was the fun of it. With someone like Steve, I knew what he could do. I could see whatever we needed to do, we could nail it. The world was my oyster musically. 

"Cage" is a classic-sounding Billy Idol rocker, then "Running From The Ghost" is almost metal, like what the Devil's Playground album was like back in the mid-2000s. "Miss Nobody" comes out of nowhere with this pop/R&B flavor. What inspired that?

We really hadn't done anything like that since something like "Flesh For Fantasy" [which] had a bit of an R&B thing about it. Back in the early days of Billy Idol, "Hot In The City" and "Mony Mony" had girls [singing] on the backgrounds. 

We always had a bit of R&B really, so it was actually fun to revisit that. We just hadn't done anything really quite like that for a long time. That was one of the reasons to work with someone like Sam Hollander [for the song "Rita Hayworth"] on The Roadside . We knew we could go [with him] into an R&B world, and he's a great songwriter and producer. That's the fun of music really, trying out these things and seeing if you can make them stick. 

I listen to new music by veteran artists and debate that with some people. I'm sure you have those fans that want their nostalgia, and then there are some people who will embrace the newer stuff. Do you find it’s a challenge to reach people with new songs?

Obviously, what we're looking for is, how do we somehow have one foot in the past and one foot into the future? We’ve got the best of all possible worlds because that has been the modus operandi of Billy Idol. 

You want to do things that are true to you, and you don't just want to try and do things that you're seeing there in the charts today. I think that we're achieving it with things like "Running From The Ghost" and "Cage" on this new EP. I think we’re managing to do both in a way. 

** Obviously, "Running From The Ghost" is about addiction, all the stuff that you went through, and in "Cage" you’re talking about  freeing yourself from a lot of personal shackles. Was there any one moment in your life that made you really thought I have to not let this weigh me down anymore ? **

I mean, things like the motorcycle accident I had, that was a bit of a wake up call way back. It was 32 years ago. But there were things like that, years ago, that gradually made me think about what I was doing with my life. I didn't want to ruin it, really. I didn't want to throw it away, and it made [me] be less cavalier. 

I had to say to myself, about the drugs and stuff, that I've been there and I've done it. There’s no point in carrying on doing it. You couldn't get any higher. You didn't want to throw your life away casually, and I was close to doing that. It took me a bit of time, but then gradually I was able to get control of myself to a certain extent [with] drugs and everything. And I think Steve's done the same thing. We're on a similar path really, which has been great because we're in the same boat in terms of lyrics and stuff. 

So a lot of things like that were wake up calls. Even having grandchildren and just watching my daughter enlarging her family and everything; it just makes you really positive about things and want to show a positive side to how you're feeling, about where you're going. We've lived with the demons so long, we've found a way to live with them. We found a way to be at peace with our demons, in a way. Maybe not completely, but certainly to where we’re enjoying what we do and excited about it.

[When writing] "Running From The Ghost" it was easy to go, what was the ghost for us? At one point, we were very drug addicted in the '80s. And Steve in particular is super sober [now]. I mean, I still vape pot and stuff. I don’t know how he’s doing it, but it’s incredible. All I want to be able to do is have a couple of glasses of wine at a restaurant or something. I can do that now.

I think working with people that are super talented, you just feel confident. That is a big reason why you open up and express yourself more because you feel comfortable with what's around you.

Did you watch Danny Boyle's recent Sex Pistols mini-series?

I did, yes.

You had a couple of cameos; well, an actor who portrayed you did. How did you react to it? How accurate do you think it was in portraying that particular time period?

I love Jonesy’s book, I thought his book was incredible. It's probably one of the best bio books really. It was incredible and so open. I was looking forward to that a lot.

It was as if [the show] kind of stayed with Steve [Jones’ memoir] about halfway through, and then departed from it. [John] Lydon, for instance, was never someone I ever saw acting out; he's more like that today. I never saw him do something like jump up in the room and run around going crazy. The only time I saw him ever do that was when they signed the recording deal with Virgin in front of Buckingham Palace. Whereas Sid Vicious was always acting out; he was always doing something in a horrible way or shouting at someone. I don't remember John being like that. I remember him being much more introverted.

But then I watched interviews with some of the actors about coming to grips with the parts they were playing. And they were saying, we knew punk rock happened but just didn't know any of the details. So I thought well, there you go . If ["Pistol" is]  informing a lot of people who wouldn't know anything about punk rock, maybe that's what's good about it.

Maybe down the road John Lydon will get the chance to do John's version of the Pistols story. Maybe someone will go a lot deeper into it and it won't be so surface. But maybe you needed this just to get people back in the flow.

We had punk and metal over here in the States, but it feels like England it was legitimately more dangerous. British society was much more rigid.

It never went [as] mega in America. It went big in England. It exploded when the Pistols did that interview with [TV host Bill] Grundy, that lorry truck driver put his boot through his own TV, and all the national papers had "the filth and the fury" [headlines].

We went from being unknown to being known overnight. We waited a year, Generation X. We even told them [record labels] no for nine months to a year. Every record company wanted their own punk rock group. So it went really mega in England, and it affected the whole country – the style, the fashions, everything. I mean, the Ramones were massive in England. Devo had a No. 1 song [in England] with "Satisfaction" in '77. Actually, Devo was as big as or bigger than the Pistols.

You were ahead of the pop-punk thing that happened in the late '90s, and a lot of it became tongue-in-cheek by then. It didn't have the same sense of rebelliousness as the original movement. It was more pop.

It had become a style. There was a famous book in England called Revolt Into Style — and that's what had happened, a revolt that turned into style which then they were able to duplicate in their own way. Even recently, Billie Joe [Armstrong] did his own version of "Gimme Some Truth," the Lennon song we covered way back in 1977.

When we initially were making [punk] music, it hadn't become accepted yet. It was still dangerous and turned into a style that people were used to. We were still breaking barriers.

You have a band called Generation Sex with Steve Jones and Paul Cook. I assume you all have an easier time playing Pistols and Gen X songs together now and not worrying about getting spit on like back in the '70s?

Yeah, definitely. When I got to America I told the group I was putting it together, "No one spits at the audience."

We had five years of being spat on [in the UK], and it was revolting. And they spat at you if they liked you. If they didn't like it they smashed your gear up. One night, I remember I saw blood on my T-shirt, and I think Joe Strummer got meningitis when spit went in his mouth.

You had to go through a lot to become successful, it wasn't like you just kind of got up there and did a couple of gigs. I don't think some young rock bands really get that today.

With punk going so mega in England, we definitely got a leg up. We still had a lot of work to get where we got to, and rightly so because you find out that you need to do that. A lot of groups in the old days would be together three to five years before they ever made a record, and that time is really important. In a way, what was great about punk rock for me was it was very much a learning period. I really learned a lot [about] recording music and being in a group and even writing songs.

Then when I came to America, it was a flow, really. I also really started to know what I wanted Billy Idol to be. It took me a little bit, but I kind of knew what I wanted Billy Idol to be. And even that took a while to let it marinate.

You and Miley Cyrus have developed a good working relationship in the last several years. How do you think her fans have responded to you, and your fans have responded to her?

I think they're into it. It's more the record company that she had didn't really get "Night Crawling"— it was one of the best songs on Plastic Hearts , and I don't think they understood that. They wanted to go with Dua Lipa, they wanted to go with the modern, young acts, and I don't think they realized that that song was resonating with her fans. Which is a shame really because, with Andrew Watt producing, it's a hit song.

But at the same time, I enjoyed doing it. It came out really good and it's very Billy Idol. In fact, I think it’s more Billy Idol than Miley Cyrus. I think it shows you where Andrew Watt was. He was excited about doing a Billy Idol track. She's fun to work with. She’s a really great person and she works at her singing — I watched her rehearsing for the Super Bowl performance she gave. She rehearsed all Saturday morning, all Saturday afternoon, and Sunday morning and it was that afternoon. I have to admire her fortitude. She really cares.

I remember when you went on " Viva La Bam "  back in 2005 and decided to give Bam Margera’s Lamborghini a new sunroof by taking a power saw to it. Did he own that car? Was that a rental?

I think it was his car.

Did he get over it later on?

He loved it. [ Laughs ] He’s got a wacky sense of humor. He’s fantastic, actually. I’m really sorry to see what he's been going through just lately. He's going through a lot, and I wish him the best. He's a fantastic person, and it's a shame that he's struggling so much with his addictions. I know what it's like. It's not easy.

Musically, what is the synergy like with you guys during the past 10 years, doing Kings and Queens of the Underground and this new stuff? What is your working relationship like now in this more sober, older, mature version of you two as opposed to what it was like back in the '80s?

In lots of ways it’s not so different because we always wrote the songs together, we always talked about what we're going to do together. It was just that we were getting high at the same time.We're just not getting [that way now] but we're doing all the same things.

We're still talking about things, still [planning] things:What are we going to do next? How are we going to find new people to work with? We want to find new producers. Let's be a little bit more timely about putting stuff out.That part of our relationship is the same, you know what I mean? That never got affected. We just happened to be overloading in the '80s.

The relationship’s… matured and it's carrying on being fruitful, and I think that's pretty amazing. Really, most people don't get to this place. Usually, they hate each other by now. [ Laughs ] We also give each other space. We're not stopping each other doing things outside of what we’re working on together. All of that enables us to carry on working together. I love and admire him. I respect him. He's been fantastic. I mean, just standing there on stage with him is always a treat. And he’s got an immensely great sense of humor. I think that's another reason why we can hang together after all this time because we've got the sense of humor to enable us to go forward.

There's a lot of fan reaction videos online, and I noticed a lot of younger women like "Rebel Yell" because, unlike a lot of other '80s alpha male rock tunes, you're talking about satisfying your lover.

It was about my girlfriend at the time, Perri Lister. It was about how great I thought she was, how much I was in love with her, and how great women are, how powerful they are.

It was a bit of a feminist anthem in a weird way. It was all about how relationships can free you and add a lot to your life. It was a cry of love, nothing to do with the Civil War or anything like that. Perri was a big part of my life, a big part of being Billy Idol. I wanted to write about it. I'm glad that's the effect.

Is there something you hope people get out of the songs you've been doing over the last 10 years? Do you find yourself putting out a message that keeps repeating?

Well, I suppose, if anything, is that you can come to terms with your life, you can keep a hold of it. You can work your dreams into reality in a way and, look, a million years later, still be enjoying it.

The only reason I'm singing about getting out of the cage is because I kicked out of the cage years ago. I joined Generation X when I said to my parents, "I'm leaving university, and I'm joining a punk rock group." And they didn't even know what a punk rock group was. Years ago, I’d write things for myself that put me on this path, so that maybe in 2022 I could sing something like "Cage" and be owning this territory and really having a good time. This is the life I wanted.

The original UK punk movement challenged societal norms. Despite all the craziness going on throughout the world, it seems like a lot of modern rock bands are afraid to do what you guys were doing. Do you think we'll see a shift in that?

Yeah.  Art usually reacts to things, so I would think eventually there will be a massive reaction to the pop music that’s taken over — the middle of the road music, and then this kind of right wing politics. There will be a massive reaction if there's not already one. I don’t know where it will come from exactly. You never know who's gonna do [it].

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Graphic: The Recording Academy

Hear All Of The Best Country Solo Performance Nominees For The 2023 GRAMMY Awards

The 2023 GRAMMY Award nominees for Best Country Solo Performance highlight country music's newcomers and veterans, featuring hits from Kelsea Ballerini, Zach Bryan, Miranda Lambert, Maren Morris and Willie Nelson.

Country music's evolution is well represented in the 2023 GRAMMY nominees for Best Country Solo Performance. From crossover pop hooks to red-dirt outlaw roots, the genre's most celebrated elements are on full display — thanks to rising stars, leading ladies and country icons.

Longtime hitmaker Miranda Lambert delivered a soulful performance on the rootsy ballad "In His Arms," an arrangement as sparing as the windswept west Texas highlands where she co-wrote the song. Viral newcomer Zach Bryan dug into similar organic territory on the Oklahoma side of the Red River for "Something in the Orange," his voice accompanied with little more than an acoustic guitar.

Two of country's 2010s breakout stars are clearly still shining, too, as Maren Morris and Kelsea Ballerini both received Best Country Solo Performance GRAMMY nods. Morris channeled the determination that drove her leap-of-faith move from Texas to Nashville for the playful clap-along "Circles Around This Town," while Ballerini brought poppy hooks with a country edge on the infectiously upbeat "HEARTFIRST."

Rounding out the category is the one and only Willie Nelson, who paid tribute to his late friend Billy Joe Shaver with a cover of "Live Forever" — a fitting sentiment for the 89-year-old legend, who is approaching his eighth decade in the business. 

As the excitement builds for the 2023 GRAMMYs on Feb. 5, 2023, let's take a closer look at this year's nominees for Best Country Solo Performance.

Kelsea Ballerini — "HEARTFIRST"

In the tradition of Shania Twain , Faith Hill and Carrie Underwood , Kelsea Ballerini represents Nashville's sunnier side — and her single "HEARTFIRST" is a slice of bright, uptempo, confectionary country-pop for the ages.

Ballerini sings about leaning into a carefree crush with her heart on her sleeve, pushing aside her reservations and taking a risk on love at first sight. The scene plays out in a bar room and a back seat, as she sweeps nimbly through the verses and into a shimmering chorus, when the narrator decides she's ready to "wake up in your T-shirt." 

There are enough steel guitar licks to let you know you're listening to a country song, but the story and melody are universal. "HEARTFIRST" is Ballerini's third GRAMMY nod, but first in the Best Country Solo Performance category.

Zach Bryan — "Something In The Orange"

Zach Bryan blew into Music City seemingly from nowhere in 2017, when his original song "Heading South" — recorded on an iPhone — went viral. Then an active officer in the U.S. Navy, the Oklahoma native chased his muse through music during his downtime, striking a chord with country music fans on stark songs led by his acoustic guitar and affecting vocals.

After his honorable discharge in 2021, Bryan began his music career in earnest, and in 2022 released "Something in the Orange," a haunting ballad that stakes a convincing claim to the territory between Tyler Childers and Jason Isbell in both sonics and songwriting. Slashing slide guitar drives home the song's heartbreak, as Bryan pines for a lover whose tail lights have long since vanished over the horizon. 

"Something In The Orange" marks Bryan's first-ever GRAMMY nomination.

Miranda Lambert — "In His Arms"

Miranda Lambert is the rare, chart-topping contemporary country artist who does more than pay lip service to the genre's rural American roots. "In His Arms" originally surfaced on 2021's The Marfa Tapes , a casual recording Lambert made with Jack Ingram and Jon Randall in Marfa, Texas — a tiny arts enclave in the middle of the west Texas high desert.

In this proper studio version — recorded for her 2022 album, Palomino — Lambert retains the structure and organic feel of the mostly acoustic song; light percussion and soothing atmospherics keep her emotive vocals front and center. A native Texan herself, Lambert sounds fully at home on "In His Arms."

Lambert is the only Best Country Solo Performance nominee who is nominated in all four Country Field categories in 2023. To date, Miranda Lambert has won 3 GRAMMYs and received 27 nominations overall. 

Maren Morris — "Circles Around This Town"

When Maren Morris found herself uninspired and dealing with writer's block, she went back to what inspired her to move to Nashville nearly a decade ago — and out came "Circles Around This Town," the lead single from her 2022 album Humble Quest .

Written in one of her first in-person songwriting sessions since the pandemic, Morris has called "Circles Around This Town" her "most autobiographical song" to date; she even recreated her own teenage bedroom for the song's video. As she looks back to her Texas beginnings and the life she left for Nashville, Morris' voice soars over anthemic, yet easygoing production. 

Morris last won a GRAMMY for Best Country Solo Performance in 2017, when her song "My Church" earned the singer her first GRAMMY. To date, Maren Morris has won one GRAMMY and received 17 nominations overall.

Willie Nelson — "Live Forever"

Country music icon Willie Nelson is no stranger to the GRAMMYs, and this year he aims to add to his collection of 10 gramophones. He earned another three nominations for 2023 — bringing his career total to 56 — including a Best Country Solo Performance nod for "Live Forever."

Nelson's performance of "Live Forever," the lead track of the 2022 tribute album Live Forever: A Tribute to Billy Joe Shaver , is a faithful rendition of Shaver's signature song. Still, Nelson puts his own twist on the tune, recruiting Lucinda Williams for backing vocals and echoing the melody with the inimitable tone of his nylon-string Martin guitar. 

Shaver, an outlaw country pioneer who passed in 2020 at 81 years old, never had any hits of his own during his lifetime. But plenty of his songs were still heard, thanks to stars like Elvis Presley , Kris Kristofferson and Waylon Jennings . Nelson was a longtime friend and frequent collaborator of Shaver's — and now has a GRAMMY nom to show for it.

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Vicente Fernández

• Born February 17 , 1940 · Huentitán El Alto, Jalisco, Mexico
• Died December 12 , 2021 · Guadalajara, Jalisco, Mexico (complications from an operation)
• Birth name Vicente Fernández Gomez
• Height 5′ 7″ (1.70 m)
• Vicente Fernández was born on February 17, 1940 in Huentitán El Alto, Jalisco, Mexico. He was an actor and producer, known for La ley del monte (1976) , El Arracadas (1978) and Matar o morir (1984) . He was married to María del Refugio Abarca Villaseñor. He died on December 12, 2021 in Guadalajara, Jalisco, Mexico.
• Spouse María del Refugio Abarca Villaseñor (December 27, 1963 - December 12, 2021) (his death, 4 children)
• Children Alejandro Fernández Vicente Fernandez Jr.
• His moustache
• His powerful baritone voice
• He was awarded a Star on the Hollywood Walk of Fame for Recording at 6160 Hollywood Boulevard in Hollywood, California.
• Vicente Fernandez thought of giving his fingers to his son, Vicente Fernandez Jr. when the amputee (his son) was kidnapped in 2008. But when Vicente consulted an orthopedist, he indicated that the transplant would not be successful.
• Has three sons Vicente, Gerardo and Alejandro Fernandez.
• He lives in a ranch called "Los Tres Potrillos" which is located 12 miles away from Guadalajara - Chapala in Mexico.
• He is known as "El Rey de Mexico" because of the way he plays music.

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Vicente Fernández: Exclusive BTS Clip Of ‘Un Azteca En El Azteca’ Concert in Mexico City

Latest news, 25 latin songs to celebrate mother’s day.

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Know the Difference Between Corridos, Norteño and Sierreño? Our Mexican Music Dictionary Breaks Down the Genre’s Styles

• Aug 22, 2023 11:36 am

Vicente Fernández’s Legacy Continues With New Album ‘Le Canta a los Grandes Compositores de México’: Exclusive

• Aug 8, 2023 2:05 pm

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• By Griselda Flores
• Feb 17, 2023 10:40 am

From ‘Dos Corazones’ to ‘El Ultimo Beso,’ Here Are All of Vicente Fernandez’s Biggest Billboard Hits

• By Jessica Roiz
• Dec 12, 2022 11:53 am

Jaime Camil Wasn’t Afraid to Play Vicente Fernandez on Netflix’s ‘El Rey’

• By Sigal Ratner-Arias
• Oct 11, 2022 12:45 pm

Hispanic Heritage Month: 37 Songs That Tell the Story of Regional Mexican

• Oct 3, 2022 11:35 am

17 Latin Songs For Your Mother’s Day Playlist: Vicente Fernandez, Greeicy, Aventura & More

• By Billboard Staff
• May 5, 2022 1:46 pm

Juanes, Ruben Blades & More Latin Artists React to Their 2022 Grammys Wins

• Apr 4, 2022 2:05 pm

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