Skip to main content

Entertainment Post

From the Red Carpet to Your Playlist, UnoTopic Is a Canadian Artist to Watch

By: Matt Emma

The Canadian artist, managed by SALXCO, brings bilingual ambition, romantic appeal, and a genre-blending sound to his growing presence in entertainment.

UnoTopic is stepping into the spotlight, and his latest movie premiere appearance offers a fresh introduction to an artist worth getting to know. Taking to the red carpet, the Canadian artist brought his music career into a setting where film, fashion, and entertainment meet. For anyone discovering him through that appearance, his catalog offers a closer look at the creativity behind the public presence.

Managed by SALXCO, UnoTopic is developing a musical identity that moves between late-night romance, upbeat energy, and songs made for going out. Recording in both Spanish and English, he approaches his sound with room to experiment. His songs can accompany different moments in a listener’s day, from a beach afternoon to a night at the club or a quiet drive home.

Asked which release feels like the moment he found his sound, UnoTopic points to “OTRA VEZ EN EL CLUB.”

“It’s not just one sound. It has multiple different genres in it,” he explains. “There are some unreleased songs that represent it too, but out of everything I’ve released, I would go with that one.”

The track also brought a response he had not anticipated. According to UnoTopic, it earned approximately 150,000 Spotify streams in its first week, giving him an early indication of how quickly listeners were connecting with the release.

“I honestly just released it because I wanted to put it out,” he says. “I was surprised by how fast everyone responded to it and how many people liked it.”

That instinct to follow a song’s potential carries into his studio process. Most sessions begin with a beat, followed by a melody, with lyrics coming last. Building the music in that order allows him to explore how a track feels before deciding exactly what he wants to say. However, his surroundings can sometimes provide the starting point.

“Sometimes it can start with a feeling too, especially if I’m in a different country or a certain environment and I’m catching a particular vibe,” he says.

His collaborations reveal how that openness translates into finished records. For “LUNITA MIA REMIX,” UnoTopic wanted to bring in an artist connected to the Mexican reggaeton scene. Daizak felt like a natural fit: UnoTopic admired his music and heard a connection between their styles, with Daizak bringing a stronger reggaeton influence to the pairing.

“I felt like our styles would be a good mix, so bringing him onto the remix made sense,” he explains.

Other songs require more extensive revision. “ENTRE TODAS,” with Ronny J, changed considerably between its earliest version and the final release. UnoTopic recalls changing the beat approximately six times and the melody about twice. The process offers a glimpse into the work behind a song he now recommends for its upbeat, feel-good energy.

His decision to release “3 AM” involved a different kind of reconsideration. Initially, UnoTopic was unsure about the track, partly because it was in English. Encouragement from the people who heard it helped him move past that hesitation.

“Everyone I showed it to told me it was a great song and that I should release it,” he says.

Looking back, he considers the decision a successful one. By his estimate, “3 AM” reached approximately one million streams on YouTube within its first month and a half. The experience also encouraged him to think more seriously about expanding his English-language output.

“I think I need to start doing more music in English,” he says.

There is a softer side to his catalog as well. UnoTopic singles out “CADA NOCHE” as a release he wishes more people would revisit. He describes it as a slower, romantic R&B song in Spanish, offering a different mood from some of his other music.

“It’s not reggaeton, and it’s not really pop,” he explains. “I feel like more people should go back and listen to it.”

Looking ahead, UnoTopic says he has enough unreleased material for an entire album. One song he is particularly excited about uses a recognizable, Indian-inspired beat and a sample he says has also appeared in music by Pitbull and Karol G. He has already shared a snippet on TikTok, giving listeners a preview while the full track remains unreleased.

Despite the revisions and decisions involved in making music, his test for whether a song is ready is straightforward.

“If I can listen to it 30 times without getting annoyed by it, then I know it’s ready.”

For first-time listeners, his recommended introduction captures the range he is building: “OTRA VEZ EN EL CLUB” for going out, “ENTRE TODAS” for an upbeat mood, and “LUNITA MIA” for a late-night drive. Together, those tracks offer an entry point into an artist whose next chapter includes more music, more experimentation, and a growing willingness to trust his own sound.

Concentration Without Protection Is Exposure: A Planning Guide for Entertainment Careers

By: Dr. Tamara Patzer

In brief: A New Orleans tax attorney explains how concentration of income and reputation creates exposure for people in entertainment, and how structure, insurance and a coordinated team reduce it. The feature draws on the book’s rules about concentration, lawsuits and plaintiffs, and on federal data about top-earner tax shares.

A hit series, a franchise role, a chart-topping song or a signature brand can change a family’s finances in a year. The same success can leave the whole household resting on a single contract, a single name and a single stretch of public attention. Todd M. Villarrubia, a New Orleans attorney who focuses on tax and estate planning, has a sentence for that situation in Entrepreneurial B.E.A.S.T. Mode™: “Concentration without protection is not strength; it’s exposure.”

What does concentration look like in entertainment?

It looks like a career with a few big sources of income and a lot of dependence on them. An actor may earn most of a year’s income from one project. A writer may rely on one studio. A performer may rely on a single tour cycle. The book describes the same pattern in business: “Most of their balance sheet is illiquid and concentrated in a single asset: their company.”

In entertainment, the single asset is often a person. The person’s name, face and voice are the business. That makes the concentration personal in a way that is hard to separate, and it raises the stakes for any plan.

How big are the numbers at the top?

Large enough to attract attention. The Tax Foundation’s analysis of tax year 2023 data found that the top 1 percent of filers, who had adjusted gross income above about $676,000, paid 38.4 percent of federal income taxes. The Federal Reserve’s distributional accounts, reported through FRED, show about $60.3 trillion of net worth held by the top 1 percent in the second quarter of 2026.

Those figures describe a group, and they say little about any one career. They do show that people with high visible incomes are a significant part of the tax base and a visible target for claims. The author notes that the entry point is lower than people think: “Membership doesn’t require a Gulfstream; it simply requires having built or accumulated significant financial power.”

Why do public figures face more claims?

Because they are easy to find and easy to imagine as wealthy. The book puts the risk in blunt terms: “Plaintiffs do not seek fairness; they seek deep pockets.”

A person with a public profile has a larger pool of people who might bring a claim, rightly or wrongly. Injuries at events, contract disputes, employment claims, online statements and property accidents can all lead to suits. Each of them is easier to manage when assets are held in sensible structures and insurance is in place, and each is harder when everything is held in one personal name.

What does protection actually involve?

A layered approach. The book calls asset protection “an architectural discipline,” not a purchase: “Asset protection is not a one-time purchase; it is an architectural discipline.” In practice, that means several pieces working together: a company that holds the career income, a separate structure for real estate, adequate liability and umbrella insurance, clear contracts and good records.

The timing matters. The book is direct: “These vehicles must be established before claims arise to provide effective protection; they offer no protection against existing liabilities.” A structure set up after a problem appears may not help. A structure set up in a quiet year, for ordinary reasons, usually has a better chance.

Is asset protection the same as hiding money?

No. Asset protection is not about secrecy, and courts and regulators look closely at structures that appear to exist only to evade a creditor. A legitimate plan is transparent, properly reported and consistent with the law. Anyone considering these steps should seek legal advice and avoid shortcuts promoted online.

How should income be treated for tax purposes?

With help. Royalties, residuals, endorsement fees and investment income can each be treated differently. The IRS describes a 3.8 percent net investment income tax that can apply when modified adjusted gross income exceeds $200,000 for single filers or $250,000 for married couples filing jointly. Whether it reaches a particular stream of income depends on its character and on the person’s facts.

An accountant who works with entertainment clients will know these distinctions. The attorney will know the entity and contract side. Neither can do the other’s job, and the best results come when they plan together.

What should a person with concentrated income do first?

Build a cushion and a second leg. A cushion means cash and conservative holdings that can cover several months or years of expenses. A second leg means income or assets that do not rely on the first source: real estate, a business that can run without the star, or a diversified portfolio.

Then put the team together. The book calls out the weakness of the usual arrangement: “The estate attorney drafts documents but doesn’t coordinate with the tax strategy.” Ask your attorney and accountant to meet, and ask them to share the same list of contracts, entities and accounts.

What is the long view?

Careers rise and fall, and a good plan assumes both. The book gives the reason in one line: “Wealth is rarely lost through a failure to earn; it is lost through a failure to protect.” The best use of a strong year is to make the next ten years safer. That might mean paying off debt, funding insurance, setting up the right entities and investing a fixed share of every large payment. None of it is glamorous. All of it protects the person who is glamorous. A manager or agent can open doors, but the household’s safety net is a separate job, and it belongs to a team that answers to the artist and the family and not to the next deal.

Common questions

Do I need a company if I am an employee of a studio? Possibly, depending on how you are paid and on what you do outside the studio. Seek legal advice.

Does insurance replace structure? No. They do different jobs. Insurance pays for covered losses, and structure helps limit what a claim can reach.

Is it too late if I am already in a dispute? Protection set up after a claim is likely to be limited. Talk to an attorney about what remains possible.

Sources

  1. Tax Foundation, Who Pays Federal Income Taxes? Tax Year 2023
  2. Federal Reserve Distributional Financial Accounts, Net Worth Held by the Top 1% (FRED)
  3. Internal Revenue Service, Topic no. 559, Net Investment Income Tax

About the author. Dr. Tamara Patzer is a publisher and former newspaper editor. She was on the staff of The Charlotte Sun when it was named a 2005 Pulitzer Prize finalist for its Hurricane Charley coverage.

About the source. Todd M. Villarrubia is an attorney with an LL.M. in Taxation and a Juris Doctorate. He is an Accredited Estate Planner, a Board Certified Expert in Estate Planning and Administration, and a Fiduciary Investment Advisor Representative. He is the author of Entrepreneurial B.E.A.S.T. Mode™. Wealth Planning Law Group, 101 W. Robert E. Lee Blvd., Ste 404, New Orleans, LA 70124. Phone: 504-982-8207; email: todd@lawealthplan.com; website: https://lawealthplan.com/?utm_source=newsanchored&utm_medium=entertainment-post&utm_campaign=family-office

Disclaimer: Sponsored feature written on behalf of Todd M. Villarrubia. This article is general information, not legal or tax advice, and reading it does not create an attorney-client relationship. Results vary.