I was sixteen when I first stepped on a professional stage, opening shows for global superstars like Daddy Yankee and Don Omar as Latin music began its worldwide takeover. It was everything I had worked for. But standing in those venues, I kept thinking about the business behind the music. I walked away from performing, studied Music Business at the University of Westminster in London, and founded Vive Da Music. I spent the next decade inside the machinery of the industry, building catalogs, structuring rights, and working with Sony, Universal, BMG and Live Nation as Latin music scaled globally. What I found was a paradox. Latin music was generating over 1.2 billion dollars in streaming revenue, outpacing every other genre. Yet in sync, film, television, advertising and games, it remained almost invisible. Not because the demand was absent. Because the infrastructure had never been built. The industry had been treating Latin music as a single genre for decades. It is not. It is an entire ecosystem of regional sounds, subgenres and cultural identities that discovery tools and licensing workflows were never designed to handle. That is the gap I decided to close. Today I lead Synclat, the first Latin Music Sync Engine, built around cultural intelligence, deep metadata and modern licensing infrastructure to connect the world's fastest growing music culture with the global sync market. Latin music is not underperforming. It is underbuilt. And I am here to change that.
