By Francisco Avecedo
HAVANA TIMES – Over a week has passed, but one of the most discussed topics related to Cuba continues to be the concert by urban music artist Bebeshito in Miami, held on the night of December 28 at the Pitbull Stadium.
The venue was nearly full, marking a significant event in the history of Cuban music. However, controversy soon followed due to the absence of any mention of Cuba’s current situation and because the event was featured on the state-run National Television News and other official media outlets.
Firstly, it’s interesting to analyze how the official press decides who to ignore and who to feature in their official platforms. To begin with, the artist received no recognition on Cuban radio or television while living on the island, despite being well-known among followers of his genre.
A recent example involves the late artist Taiger, whom Bebeshito also honored during the concert. Taiger’s death and its related circumstances received considerable coverage in Cuban media. A similar situation now arises with Bebeshito’s concert.
Far more prominent figures, such as Celia Cruz, Willy Chirino, or Jose Feliciano, were given space in national media unless it was to criticize them occasionally. Even when Feliciano collaborated with Silvio Rodríguez on the evocative “Venga la esperanza,” his presence in official media was sketchy.
Today, other artists, such as Amaury Gutierrez, El Chacal, El Funky, Aldo el Aldeano, and many others, who take a much more direct stance against communism, are completely ignored. This is why the attention paid to this particular concert raised eyebrows.
It is undeniable, and highly encouraging, that such events empower Cuban musicians, demonstrating that no barriers are insurmountable. It is undoubtedly a significant achievement for a generation that has managed to globalize its genre and penetrate international markets—something previous generations could not accomplish.
The most cynical minds speculate that State Security is orchestrating controversy to divide the exile community, sowing doubts about the artist’s integrity to provoke extra-musical debates. While this theory doesn’t entirely disappear, it loses some weight when considering who was behind the show.
The primary organizers included the children of former Deputy Minister of Culture Fernando Rojas, a staunch communist, and even Raul Castro’s grandson and bodyguard, Raul Guillermo Rodriguez Castro, known as “El Cangrejo.”
Reggaeton artist Chocolate MC, considered the father of the genre, did not overlook this detail. After congratulating his colleague, he stated: “There are things you don’t know: there are dark hands behind that concert. I’m very happy with what Bebeshito achieved, but I’d be happier if the Cuban government wasn’t involved.”
It’s also worth mentioning that Bebeshito could never have gathered a similar audience in Cuba, as he lacked government support and allowing him a platform would have been politically inconvenient. Thousands of Cubans awaiting even a small spark to ignite could have been dangerous.
Moreover, economically speaking, no matter how much is charged in Cuba, it cannot compare to the earnings in the United States.
Additionally, most sponsors promoted packages for delivering goods to families in Cuba and travel services, indirectly benefiting the dictatorship during this critical economic crisis. This alone could justify the official media’s interest.
The most critical voices cannot forgive the silence surrounding Cuba’s human rights and freedoms, as many expected the artist to use his platform to address political issues.
I am among those who believe that the audience was mostly opposed to the dictatorship, and such a message would have been well-received. However, it’s also not something to overdramatize; Bebeshito will have time to speak up if he truly feels it.
This silence contrasts sharply with statements from other Cuban artists, such as Gente de Zona, who have used international events to show solidarity with Cuba’s fight for freedom.
“This is ‘Down with the Dictatorship,’” the group suggested to the newcomer, but they seem to forget they also took their time to radicalize their positions. For this reason, the criticism seems a bit exaggerated.
Another notable moment was when attendees began chanting “¡Sufre Otaola!” referring to the controversial Cuban presenter Alexander Otaola, who repeatedly cast doubt on whether the concert would take place.
The influencer questioned the urban artist’s ability to fill the stadium, alleging tickets were being given away. On stage, Bebeshito made no reference to these chants.
For some, it’s a joke—a Cuban form of mockery. But underlying it is a rejection of one of the fiercest critics of the dictatorship, which is a victory for State Security.
The apparent conscious decision to focus solely on his art, avoiding turning his career into an ideological battleground, is valid from a personal perspective. It also entails some risks to his safety or that of his family, creating tensions and putting him on a razor’s edge.
That’s why I won’t come down hard on Bebeshito. He simply needs time; this seeming indifference will change as he gains distance. That would be the best outcome, and then we’ll see if he appears on the Cuban government’s news. Or, come to think of it, he’ll likely make the headlines anyway. If he adopts a more radical political stance, the official media will claim he succumbed to the designs of the Miami mafia. The government always finds a way to spin the narrative.
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