A blackout during a concert by the reggaeton artist Yomil in Santiago de Cuba once again highlighted the fragility of the national electrical system and its direct impact on the country's cultural life amidst an ongoing energy crisis.
The incident, which occurred during a nighttime performance of the popular urban artist, caused confusion among the audience and a temporary interruption of the show, as seen in a video shared on social media by the independent communicator Yosmany Mayeta Labrada.
It is not an isolated incident: concerts by artists such as Ivette Cepeda, Frank Delgado, Cándido Fabré, or the Orquesta Aragón have also been affected by power outages in various parts of the country in recent months. Even groups like the Septeto Santiaguero have been forced to cancel scheduled performances.
The case of Yomil is of particular interest, not only because of his appeal among young audiences but also due to the ambiguity of his stance towards the Cuban regime. Although he has avoided openly defining himself as either an opponent or a supporter of the regime, his participation in debate spaces promoted by official cultural entities has sparked controversy and criticism from various sectors, including the exile community.
His presence, alongside figures such as Yulien Oviedo, at meetings organized by official entities to discuss the role of reparto and other urban genres, suggests an official strategy to co-opt popular artists and link them with their propaganda apparatus.
This evolution contrasts with the attitude that the government maintained for years towards reggaeton and its derivatives, labeled as "vulgar" and "alien to national identity".
Now, in light of the undeniable popularity of the genre and its social roots, media and spokespeople of the regime —including Lis Cuesta, wife of the designated ruler— have shifted from censorship to praise, even calling to “culturally appropriate” the urban movement.
The electrical precariousness, however, puts visible limits on that effort. Amid the worst energy crisis the island has experienced since the 1990s, blackouts not only affect homes and productive centers but also the already dwindling entertainment sector.
For many Cubans, attending a concert represents a rare opportunity for escape or distraction, which is hampered by the lack of basic guarantees.
Thus, while the regime tries to use artists like Yomil to cleanse its image before a disenchanted youth, the reality of blackouts—with their impact on culture and leisure—once again exposes the structural severity of a crisis that even music cannot conceal.
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