After becoming a household name in his native Cuba—as one of the biggest exponents of Reparto music right now—Bebeshito officially arrived in Miami last October with his all-or-nothing mentality.
A mentality so strong it had him performing for 20,000 people at the Pitbull Stadium located in Miami’s Florida International University (FIU) three months later—and soon, conquering the coveted Kaseya Center.
“When I was preparing to come to the United States, my mind was set on doing a concert at the Kaseya Center, but I was told that it was hard for Cuban [artists] to do a show at that venue,” he tells Billboard of giving his first concert at the FIU campus on Dec. 28, 2024 instead. “However, I was very clear that I wanted to do something big because I had a lot going for me: I was the No. 1 artist in Cuba.”
The artist born Oniel Ernesto Columbie Campos recalls one of his earlier performances when he was in the seventh grade: “My friends and I had a rock band in the countryside with invented instruments,” he laughs. From 2020 to 2022, Bebeshito briefly formed part of a duo with artist Wolkis, and was part of many collaborations: “I was in many songs that were popular, but I wasn’t popular,” he admits.
Until, he found two strategies that best worked for him: going solo and doing reparto covers. [Reparto is a musical genre that derives from the “repartos/barrios” or housing projects in Cuba that fuses urban music with traditional Cuban rhythms and is powered by the clave instrument.]
His first breakout hit was “Una Pila de Partes” (2022), his version of Aitana’s 2021 hit “Berlín.”
“In Cuba, it’s common to cover famous songs and make them into reparto,” he explains. “I was a fan of Aitana. I really like her harmonies and her way of singing. I did about four or five Aitana covers at the beginning, and they always worked. That’s what ultimately made me known in the country.”
He says that he originally wanted to reach fame by doing only covers, but a fan made him realize he had to create his own music if he wanted a fruitful and longevity career.
In October 2022, he inked a record deal with Planet Records, helmed by music executive Roberto Ferrante, who’s also credited for producing some of Bebeshito’s biggest hits today under his new “repaton” sound.
Since 2024, Bebeshito has placed various entries on the Billboard charts: “El Punto” with Charly & Johayron and El Taiger peaked at No. 7 on Latin Digital Song Sales last October; “Marca Mandarina,” “Tacto Que Llegó El Reparto,” and “Mano” all entered Hot Tropical Songs in April; while “Tacto” also peaked at No. 25 on the Tropical Airplay chart in May.
“I feel like this is my best song,” he says of the rhythmic “Tacto.” “It has everything: feeling, joy, and the guaracha, as we Cubans say. Many people relate to it because it’s a genre made in Cuba. Reparto is lived [on the island] and sung in the streets. This song is like saying, ‘watch out, the Cubano is here.’”
On August 9, Bebeshito will finally live his dream of performing at the Kaseya Center, and making reparto history along the way. He’s been preparing for almost a month with rehearsals and dance practices “to do something I’ve never done before,” he notes. “The goal isn’t to sell out, it’s to put on the show of my life. If it sells out, great, I won’t have to prove anything anymore.”
Below, learn more about July’s Billboard Latin Artist on the Rise:
Name: Oniel Ernesto Columbie Campos
Age: 28
Recommended Song: “Tacto Que Llegó El Reparto”
Biggest Accomplishment: Since his arrival to the states last October—and following his first trek across Europe—Bebeshito has toured Tampa, Las Vegas, and Houston, to name a few U.S. cities, but nothing compared to his show in Miami’s Pitbull Stadium.
“I had my doubts, but we sold 21,000 tickets,” he says. “I was always sure I was going to fill it, but I was scared because I’d never perform at a stadium. In Cuba, I filled the streets with 10,000 to 15,000 people, but it doesn’t compare. It was all or nothing!”
What’s Next: “I’m working on a lot of things: new songs, I’m preparing a second European tour for next year, and I hope I can sing in Cuba again. I miss the Cuban public because they were the people who made me.”
For now, he’s also committed to fueling to the success reparto music is having. “People from other countries don’t understand our music very well, but it’s a matter of adapting,” he expresses. “I think if we, our colleagues in the genre, unite more, something incredible can happen. If you look back five years, there’s been a huge evolution in every aspect. I see a lot of future for reparto music.”
