An oral history of Nacional Records, the indie label that has shaped Latin alternative for 20 years

Twenty years ago, Tomas Cookman launched Nacional Records in Los Angeles, and it quickly became known as the leading label for Latin alternative music in the United States.

Cookman launched his label with the bright and captivating first solo album by Andrea Echeverri, the singer from the influential Colombian band Aterciopelados. He then released “Tijuana Sessions Vol. 3,” the highly awaited second album from the electronic music group Nortec Collective. Interestingly, the band never actually made a “Vol. 2.”

Launched in March and July of 2005, Nacional Records quickly became known as a trendsetting label for Latin music. However, it wasn’t defined by a particular sound, but rather a unique and forward-thinking perspective. Over the years, Nacional discovered and supported rising stars like Ana Tijoux, Bomba Estéreo, and ChocQuibTown, took chances on innovative artists, and attracted established legends such as Manu Chao, Aterciopelados, Fabulosos Cadillacs, and Los Amigos Invisibles. The label also released noteworthy albums by international artists like Tom Tom Club and Tokyo Ska Paradise Orchestra. This work resulted in over 100 Grammy and Latin Grammy nominations, and Nacional helped create the Latin Alternative Music Conference, held annually in New York City.

As rock alternatives faded in popularity during the 2010s, with trap and reggaetón taking center stage, Nacional adapted its focus. It broadened its musical selections to include genres like tango, Mexican music, and urban styles.

To mark its 20th anniversary, Nacional Records has released a special compilation called “The Story of Nacional Records.” This two-LP vinyl set features 51 tracks hand-picked by the label’s founder, Cookman, and is available now.

Here’s the story of Nacional, a small but successful record label, told through the voices of the people who created it, as shared with De Los.

Thomas Cookman, the founder of Nacional Records, believes his company’s story is deeply rooted in Los Angeles. He chose to build the label here, has remained based in L.A. ever since, and has helped cultivate a thriving music scene for artists in the city. He expresses a strong affection for Los Angeles and has no desire to live anywhere else.

I’ve always been such a fan of Aterciopelados, and I remember hearing about their early days touring with incredible bands like Los Fabulosos Cadillacs, Café Tacvba, and Maldita Vecindad. Back then, they were with BMG, but it was tough getting attention from major labels unless you were a huge star like Luis Miguel. It was a really challenging time for artists, and I’ll always be grateful for how Tomas stepped up and helped them when they needed it. He really believed in them, and it made all the difference.

Starting and running a record label is challenging, and it was even tougher 21 years ago. Before services like Apple and Spotify existed, recording and making physical copies of albums was much more costly. We used to mail albums to around 800 people with each release, which added up quickly. Seeing all those boxes head to the post office was incredibly satisfying – it really felt like we were making progress.

As a fan, I’ve always appreciated how Tomas works with artists. He really gets what makes them special and gives them the space to grow and evolve. It’s not about changing who they are, but helping them become the best version of themselves. He seems to really focus on nurturing that initial spark that first caught his attention, which is amazing to see.

I began my career as a musician. Clem Burke, the drummer for Blondie, managed me and produced my first record. I learned the ropes performing at the CBGB club in New York City – that was my real school.

Julio Briceño, the singer from Los Amigos Invisibles, explained that by the time they joined Nacional Records, they’d already seen the advantages of working with a bigger label – they’d previously been with David Byrne’s Luaka Bop. They tried being completely independent for one album, but ultimately decided they could reach a wider audience with the support of a label’s connections and marketing expertise.

Craig Kallman, now the CEO of Atlantic Records, offered to help me launch my own label. He arranged a meeting at ADA [Alternative Distribution Alliance], where I received $500,000 – though it wasn’t a huge amount. I used the funds to sign artists like Nortec Collective and Aterciopelados, but the money didn’t last very long.

Cheo, who used to play guitar and write songs for Los Amigos Invisibles and is now a solo artist with Nacional, describes Tomas, the head of the record label, as a bit like a powerful, old-school boss – but in a funny way. What Cheo finds really interesting about everyone at Nacional is that they genuinely love music, even though they’re running a business. Tomas regularly sends him new music and playlists. When Cheo decided to revisit some classic Amigos Invisibles tracks, it was Tomas who suggested releasing them as a series of EPs. Even Jennifer, someone who works at the label, offers helpful advice – like suggesting what he should wear onstage. Cheo says their opinions are always spot-on.

I always really appreciated how honest Cookman was. He never made promises he couldn’t keep – he was super down-to-earth. He genuinely liked our music, and he was always upfront with us. He’d tell us straight up, “I don’t have the money for a full album production.” But then he’d encourage us to record it ourselves, and he’d handle licensing and promotion after that. It was a really cool, transparent way to work.

I was lucky to already have an established company. Before getting involved with Nacional, I was managing artists such as Gustavo Cerati, La Ley, and Fabulosos Cadillacs, so the necessary systems were already in place. We quickly expanded from planning Manu Chao’s tour to also working on the new Aterciopelados album.

Briceño was a big reason we decided to work with him. Our first show at the Latin Alternative Music Conference (LAMC) was in Central Park. While we were with Nacional, we had the chance to open for Manu Chao and perform with great bands like Aterciopelados and Illya Kuryaki and the Valderramas. He really added a level of experience and influence that we lacked previously.

Rapper Ana Tijoux was really struck by her first visit to the Nacional offices in North Hollywood. She loved the space’s unique look – a blend of Chicano, Mexican, and other Latino styles, all located in the heart of Los Angeles. She was also impressed by the artists they represented when she joined them, including Manu Chao, Aterciopelados, and ChocQuibTown – a sign of their excellent taste.

I first met Ana when she was a Chilean rapper and a single mom, and I immediately recognized her talent. It’s incredibly rewarding to see artists succeed, but when they don’t, I often find myself frustrated, wondering why others can’t appreciate their potential.

Those were fantastic times. Tomas had a small house in L.A. and was incredibly generous, letting us stay there and even lending us a car. Communication was different then – no WhatsApp! – so we relied on detailed printed directions to get around. We recorded some excellent albums with Nacional, and they’d provide us with cellphones for our tours in the U.S. Everything was so well managed, and Jennifer often joined us on tour. We all became close friends through those experiences.

Bostich and the Nortec Collective emerged as part of a wave of new musical styles. Technology played a key role for us, enabling us to reimagine traditional norteño music and create something fresh. Looking back, it’s clear that everyone on the label was focused on experimentation and unique combinations of genres. Before 2004, major festivals mainly featured rock, reggae, or electronic music. But after 2005, artists felt free to mix any and all styles together.

As someone who loves music and the people who make it, running an independent label means you need those breakthrough songs to keep things going. When a song isn’t getting radio play, international sales and getting music placed in things like movies or commercials – what they call ‘sync licensing’ – become really important. The sync world has always been great to my label, Nacional. It’s amazing when you land a deal, like a 7-Eleven commercial, and can actually pay an artist like Ana Tijoux a substantial amount – $50,000 in that case – and still keep the label afloat. The best part is, even though it’s been seven years since we released an Ana Tijoux record, she still gets fantastic royalty checks a couple of times a year, and honestly, that makes me incredibly happy.

Nacional Records successfully combined the authenticity of an independent label with mainstream appeal from the very beginning. Its artists frequently performed on KCRW’s popular “Morning Becomes Eclectic” program, and the label’s unique artistic vision earned recognition from both the Grammy and Latin Grammy Awards. Echeverri’s first album, the label’s first release, received nominations from both award shows, and Aterciopelados’ “Oye” won a Latin Grammy in 2007 – the first of many awards to come.

For me, the highlight of my time with Nacional was when “Commercial” won a Latin Grammy in 2009 – the label really made that happen. I was also nominated as a composer that year for “La Que Me Gusta.” I was going through a divorce and felt burnt out from the intense touring with Los Amigos, so I decided to go to the Latin Grammys as a break. It was there I spoke with Tomas, and that conversation finally gave me the push I needed to leave the band and start my solo career.

Let me tell you, Tomas was absolutely crucial to Nortec Collective’s early success. He connected us with Because Music, a fantastic French electronic label, and that relationship opened doors we never thought possible. Thanks to him, our albums found an audience in France, and more importantly, we got our first chance to tour Europe. Honestly, without Tomas, none of that would have happened – he was a real catalyst for us.

As a longtime fan, I’ve noticed how much tougher it is for labels like Nacional these days. Twenty years ago, things were simpler, but now music changes so quickly! We’re constantly hit with new sounds and artists, and honestly, a lot of them disappear just as fast. It’s a really volatile landscape now.

Similar to many independent record labels with limited funding, Nacional saw several of its successful artists leave for larger companies that could offer more financial support.

We’ve seen artists leave over time – groups like Bomba Estéreo, ChocQuibTown, and Diego García. In each instance, they received offers around $200,000 and came to me asking what we could do to match it. My response was to wish them well and thank them for their time with Nacional. I understood we couldn’t compete financially because I have significant financial obligations like payroll and royalties to cover.

Briceño explained that they eventually felt being signed to Nacional wasn’t really making a significant difference. They decided to return to being independent, and the results were nearly the same. He still respects the label and its impact on the Latin music scene.

Being recognized as a Nacional artist was a great experience for me, but after a while, I felt ready for a change. It felt like a natural progression, and I still have very fond memories of that period.

We worked with Cheo, a member of Los Amigos Invisibles, who was looking for new opportunities. He played me a gorgeous song called “Todo el Día en la Cama,” and we knew we had to release it. I’m thrilled he’s able to support himself through his music again. Artists like Cheo, who dedicate so much passion and effort to their craft, deserve to make a living doing what they love.

I’ll never forget a dinner I had at Tomas’ house with Vicentico, Kevin Johansen, and Jorge Drexler. It was a really special night. Looking back on my time with Nacional, I just feel grateful and remember so many wonderful moments.

The record label has stayed successful by changing with the times and the increasingly diverse music scene. They’ve proven adaptable through strong management – for example, representing popular Argentinian rapper Trueno – and by working with artists who create albums meant to be experienced as complete works, such as the indie rock band Él Mató a un Policía Motorizado.

Tomas is deeply motivated by his love of music – the energy and potential he finds in every song drives his work. I’ll never forget when we began collaborating with Bomba Estéreo, and he pointed out Li Saumet, saying, “She’s a star.” That moment really resonated with me.

For most entrepreneurs, it’s about the excitement of creating something and achieving success, with financial gain as a bonus. But for me, as a music lover, it’s much more personal – it’s simply what I’m meant to do. I discovered I was better at managing artists and running a record label than actually performing, and that’s the path music led me down. The opportunity wasn’t the main reason; my passion for music always came first, and I learned the business side as I went.

2025-12-05 00:03

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