How Mayor Mayer Mizrachi Managed to Bring Premios Juventud 2025 to Panama

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In the franchise “The Stars Behind the Star,” the editors of Billboard Latin and Billboard Español share untold stories about those who are not usually in the spotlight. Think of “everything that happens off-camera” or “everything that happens behind the scenes.” These unsung heroes are essential to an artist’s team and foundation. Today, we highlight Panama City’s Mayor Mayer Mizrachi for hosting the first-ever edition of Premios Juventud in his country.

“Panama is shining!” That’s a phrase we heard multiple times during the week of Premios Juventud 2025, which took place on September 25 in Panama City. Part of Mayor Mayer Mizrachi’s motto, “The City That Shines,” aims to emphasize its tourism and cultural potential.

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Mizrachi, a charismatic figure who became the youngest mayor in his country’s history at 36 in 2024, decided to attend the Latin Grammys ceremony in Miami that year, marking his first experience on the red carpet. During the event, he met the Univision team, which sparked an initial conversation that eventually led to an invitation.

“Panama didn’t know how beautiful it was, how eclectic and differentiated it is from the rest of Central America and the Caribbean,” Mizrachi said with satisfaction. According to a report by the Panamanian newspaper La Estrella de Panamá on the local economic impact, Premios Juventud generated between 2,500 and 3,000 temporary jobs, increased hotel occupancy to approximately 75%, and boosted activity in restaurants and shopping centers.

For TelevisaUnivision, the broadcast — which included acclaimed performances by Panamanian artists like Erika Ender, Los Rabanes and Nando Boom — broke multiplatform records, achieving a year-over-year increase of +58%, with over 450 million total interactions across TV, social media, digital platforms, and ViX.

Via Zoom from his home in Panama City, Mizrachi spoke with Billboard about how the opportunity to host the first-ever edition of Premios Juventud outside the U.S. came to be. (He did so while sitting next to a new box of cereal, with which he planned to do one of his famous “unboxings“—the kind that initially made him popular on social media before becoming mayor, earning him thousands of followers.)

After that first connection at the 2024 Latin Grammys, how did the government respond to the idea of investing in Premios Juventud?

It was a risk for everyone. When the government of President José Raúl Molino — who produced and invested in the event — was presented with the idea and went to the Assembly to request the budget allocation to pay for it, there was a lot of questioning. “Hey, but there are things we could do with that money. There are basic needs, and you want to spend it on a concert?” There were many, many doubts about whether this was a reasonable investment, whether it was a legitimate use of public funds. There was also a clear lack of understanding of the impact this could have.

I knew it was going to be important, but I didn’t know it was going to be so important for so many. I didn’t know it was going to be significant for the foreigners who came. I didn’t know it would stand out compared to other instances where these events have been produced, like in Miami or other cities. And I didn’t know that part of the secret sauce was going to be Panama — Panamanian culture, the people of Panama. And I think that was quite moving.

How has this decision been perceived after seeing the economic impact it had?

No one questions the investment, no one questions the way Mayer went to the [Latin] Grammys. Everyone thanks President Molino, thanks the participants who made this possible — from private companies to the central government. And now they’re asking, “What’s next? What’s coming?” They asked me that yesterday. Where before they said, “Do you think Panama needs this with so many problems?” now they say, “Hey, what’s next?” because they realized this brings significant economic impact and enhances the national talent industry. It motivates local talent to say, “I’m going to step up my game to one day be on that stage.”

In a way, it was like hearing sounds that aren’t always as present in the U.S. How did it feel to you?

Look, that opening act was a tribute to Panamanian culture. It was still a celebration of Latin entertainment. You had salsa, then Sandra Sandoval from Panama, and then you had Panama’s rockstars: Erika Ender, Los Rabanes and then Nando Boom, who was one of the pioneers of reggaetón. Panama shone. That has always been my motto — that Panama is going to shine. After Premios Juventud … what you feel now in Panama is an atmosphere of patriotic renewal.

Why do you think people have connected with you not just as a mayor but as a public figure?

I, regardless of what happens, will continue contributing to my country and to the people. I like helping. But it was never about handing things out either, because I personally see that as a form of populism — “Instagram populism.” And I don’t think it’s about being political. I think in this era of social media, we see people and personas where maybe many stay on the surface. And more than ever, people long to connect with something real, and not necessarily something perfect. On the contrary, it’s precisely because it’s imperfect that it feels real.

What music is playing in your famous Cybertruck?

Do you want to laugh? First of all, I’m in a country phase. One of the songs I have on repeat is “Ordinary” by Alex Warren. [Also] “Holy Water” by Jelly Roll. I love Jelly Roll — he’s the best. And “Last of My Kind” by Shaboozey.