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Cazzu expands her ruling on the Billboard Argentina Hot 100 as her chart-topping single “Con Otra” adds a third consecutive week atop the ranking (dated May 10). It’s the second-longest command of the year, after La T y La M’s “Amor De Vago,” featuring Malandro de América, dominated for 12 weeks between January and April (the latter holds at No. 4 for a second week).

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Cazzu also adds her 19th entry and fourth song of her No. 4-peaking album Latinaje, as “Mala Suerte,” bows at No. 76.

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Back in the top 10, Beéle, Westcol, and Ovy On The Drums’ “W Sound 05: La Plena” holds steady at No. 2 for a second week, while Emilia, TINI, and Nicki Nicole’s “Blackout” maintains its No. 3 position.

Brazilian Dennison de Lima Gomes, better known as DENNIS, scores his first entry and top 10 on the the Billboard Argentina Hot 100, thanks to the remix of “Motinha 2.0,” with Luísa Sonza and Emilia, which debuts at No. 5, the Hot Shot Debut of the Week.

“Motinha 2.0” gives Sonza her second top 10. Her first arrived also through an Emilia collab, as “Bunda” reached No. 3 in March. Plus, Emilia continues with the second-most top 10s since the chart launched in 2018, after Maria Becera’’s 29 top 10s to date.

The week’s Greatest Gainer honors belongs to Lali and Miranda!, whose pop duet “Mejor Que Vos,” vaults a staggering 38 spots, leaping from No. 52 to No. 14.

Five other songs debut on the chart, starting with Oro600, Pablo Chill-E, Duki and Quevedo’s “Nena Sad (RMX)” which arrives at No. 25.

Elsewhere, Lali places two simultaneous entries: “33,” with Dillom, opens at No. 29, while “Loco un Poco,” with Turf, starts at No. 88. Plus, Rodrigo’s “Amor de Alquiler (En Vivo)” debuts at No. 58.

Lastly, Uruguayan rock band La Vela Puerca, makes it Billboard Argentina Hot 100 debut with “Zafar” at No. 86.

Edén Muñoz’s impressive track record of No. 1 hits on Billboard’s Regional Mexican Airplay chart endures, as “Mi Primer Día Sin Ti” climbs from No. 3 to No. 1 for its first week atop the chart dated May 10. This latest milestone marks his eighth champ, all achieved within a span of three years. His first leader came in May of 2022 with “Chale!”

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“Mi Primer Día Sin Ti” lands at the summit after a 29% gain in audience impressions, translating to 7.3 million earned in the U.S. during the April 25-May 1 tracking week, according to Luminate.

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“I’m happy that ‘Mi Primer Día Sin Ti’ is leading the chart just because I know many will relate to it and will become part of their life soundtrack,” Muñoz tells Billboard.

By notching his eighth ruler on Regional Mexican Airplay, and fifth as a soloist, Muñoz joins two other solo singers who have achieved eight or more No. 1s in the 2020s decade. Alejandro Fernández continues to lead with 12 champs, followed by Christian Nodal with 10. Among all acts, Muñoz breaks a tie with Carín León for the seventh-most leaders, a list where Calibre 50 leads with 13 No. 1s overall this decade.

Here’s the list of the acts with the most No. 1s on the chart in the 2020s:

No. 1s, Artists13, Calibre 5012, Alejandro Fernández12, Grupo Frontera10, Banda MS de Sergio Lizárraga10, Christian Nodal10, Grupo Firme8, Eden Muñoz

“‘Mi Primer Día Sin Ti’ is a ballad with the banda sound and some elements that make it feel different, yet still packed with emotion,” says Muñoz. “The song is one of those ballads that comes from my heart every so often but remains timeless.”

The song reaches the summit with Greatest Gainer honors, given weekly to the song with the biggest gain in audience impressions among the list’s 40 songs. The song ejects Los Ángeles Azules and Thalia’s “Yo Me Lo Busqué,” which drops abruptly from No. 1 to No. 15, after a 46% decline in weekly impressions.

“Mi Primer Día Sin Ti” also pushes 14-3 on the overall Latin Airplay chart, for its first week in the top 10. It becomes Muñoz’s ninth top 10 — all achieved since 2022.

Cazzu has a lot to celebrate this week with the arrival of her debut studio album, Latinaje, on the Billboard charts. The album comes in at Nos. 4 and 48 on the Top Latin Pop Albums and Top Latin Albums rankings, respectively (charts dated May 10).

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“I’m a bit ignorant about managing badges or when one earns medals, it’s a strange feeling,” Cazzu tells Billboard. “But being on the charts makes me very happy because I think that basically determines that people are liking the album, so it fills me with great satisfaction.”

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Latinaje was released April 24 on Dale Play/Rimas and marks her first entry on any album chart after multiple visits across other songs charts. The 14-track set launches with 3,000 equivalent album units earned in the U.S. in the week ending May 1, according to Luminate. Most of the LPs opening sum stems from streaming activity, which translates to 4.5 million official on-demand streams of the set’s songs.

“The album is full of moments like with [the album’s first single] ‘La Cueva’ which I didn’t want to release,” says Cazzu. “It took a lot of work from my friends and my team to convince me it was a beautiful song. It was decided at the last minute. We shot a video, I didn’t like it, we shot another one in three days, we made a super-quick announcement, and the next day it came out. And well, I was amazed at how well the song did.”

In addition to giving her a No. 27 high on the multi-metric Hot Latin Songs chart, which blends streams, radio airplay and digital sales into its formula, “La Cueva” debuted and peaked at No. 2 on Latin Digital Song Sales in January.

“The recording process was so long,” Cazzu remembers. “It was supposed to be an album of collabs, but we changed our minds. It told one story, but it ended up telling another. ‘Con Otra,’ for example, was supposed to be a merengue, and we ended up making a cumbia.”

“Con Otra” is the latest hit on the songs charts for Cazzu, as the tune rallies 45-29 on the overall Latin Airplay chart, after launching at No. 36 on the April 6-dated ranking. The song marks Cazzu’s second visit there, following “Tú y Tú,” with Los Ángeles Azules and Santa Fe Klan, which landed at No. 5, her first top 10. That collaboration was a major achievement for Cazzu, earnin a No. 1 hit on the Regional Mexican Airplay chart, where it ruled for one week in 2023.

Elsewhere, Latinaje opens at No. 48 on the all-genre Top Latin Abums, for the Argentinian’s first appearance there.

About the song she relates with the most: “I love ‘Odiarme,’ it has a lot of Cazzu, of that romantic darkness that I love, but ‘Engreído’ has strong trap lyrics, and the music is a bolero, it is a very beautiful collaboration.” The song is her first pair-up with Venezuelan Elena Rose.

Myke Towers and Benny Blanco take “Degenere,” their first ever collaboration, to No. 1 on Billboard’s Latin Airplay chart (dated May 3). The song, rising 5-1, marks Blanco’s first champ on the overall Latin radio ranking after two chart visits and the 14th No. 1 for Towers.

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“Myke’s such a talent and a star,” lanco tells Billboard. “He knew exactly what to do on this song the moment I turned the beat on in the studio… he’s like a magician sometimes… the song just appears out of thin air… he’s incredible.”

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“Degenere,” added to the deluxe edition of of Towers’ album La Pantera Negra, was released on Oct. 17, 2024, via One World International/Warner/Warner Latina. The original version of the album was released on Aug. 22, 2024, and earned Towers his fifth top 10 entry on the Top Latin Albums chart, where it debuted and peaked at No. 7.

“It’s an honor to achieve another Billboard No. 1, especially with a song like ‘Degenere,’ created alongside a genius like Benny Blanco,” Towers adds. “His vision and creativity were essential in the shaping of this song that continues to bring us so much satisfaction. Thanks to my team, the fans, and everyone who makes these dreams possible. We keep writing history.”

“Degenere” reaches the summit in its 21st week, after two weeks in the top 10, thanks to a 20% boost in audience impressions, to 7.8 million, earned in the U.S. during the April 18-24 tracking week, according to Luminate.

With the track, Towers secures his 14th No. 1 on the Latin Airplay chart. It’s the second hit from the deluxe edition of the Pantera album to reach the top spot, following “Otra Noche” featuring Darell, which spent one week at No. 1 in February.

Blanco, meanwhile, secures his first ruler, after “I Can’t Get Enough,” with Tainy, Selena Gómez and J Balvin, reached No. 37 high in 2019.

“Degenere” also ascends 3-1 on Latin Rhythm Airplay. On that list it marks Towers’ 14th No. 1 and gives Blanco his first chart-topper.

Prince Royce collects his 36th top 10 on Billboard’s Tropical Airplay chart with the bilingual bachata, “How Deep Is Your Love,” as the song debuts at No. 6 on the chart dated April 26. It also opens in the top 10 on the new Hot Tropical Songs chart. Explore Explore See latest videos, charts and […]

Seven weeks after landing at No. 1 on Billboard‘s Latin Pop Airplay chart, Danny Ocean and Kapo‘s hit “Imagínate” has climbed to the top spot on the overall Latin Airplay chart (rising 7-1), dated April 26. The track additionally continues atop both Latin Pop Airplay and Latin Rhythm Airplay, for a seventh and second week, respectively.

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“Imagínate” rules the overall Latin Airplay ranking after a 35% boost in audience impressions, to 8.4 million, earned in the U.S. during the April 11-17 tracking week, according to Luminate. The song, released Nov. 7, 2024, via Atlantic/Warner Latina, debuted at No. 48 in January, and makes its way to the top of the chart in its 17th week.

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Coincidentally, both Ocean and Kapo secure their second No. 1 on the overall Latin Airplay chart. Previously, Ocean led for one week with “Amor” in June 2024. Kapo, meanwhile, replaces himself atop the list, after “Más Que Tú,” with Ozuna, reached No. 1 last week, chart dated April 19. The latter falls to No. 3 following a 15% dip in audience impressions (to 7.1 million).

The last act to replace itself at No. 1 was Grupo Firme, when the band’s “El Beneficio De La Duda” ejected its collaboration with Thalia, “Te Va a Doler” (chart dated July 2024).

“Imagínate” continues making its rounds atop two other Latin radio rankings: over on the Latin Pop Airplay chart, it holds strong at the summit for a seventh consecutive week, tying with Shakira’s “Soltera” for the most in 2025 so far. The latter has spent a total of 14 total weeks at No. 1 between 2024-25.

On Latin Rhythm Airplay, “Imagínate” rebounds to its No. 1 for a total of two nonconsecutive weeks in charge, Ocean’s sole No. 1 to date, and Kapo’s third.

Thanks to its radio draw, the song also holds steady at its No. 3 peak on the third iteration of the new Hot Latin Pop Songs chart. Plus, it also moves up on the airplay-, streaming-, and digital sales-blended Hot Latin Songs chart, where it jumps 35-32.

If there’s one act that might’ve seemed unexpected at this year’s Coachella Valley Music & Arts Festival, it’s Los Mirlos, the iconic Peruvian group whose distinct blend of psychedelic cumbia conjures the mysticism and vibrant energy of the Amazon jungle.

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In their native country, Los Mirlos (named after the blackbirds of the Peruvian jungle) are legends, who have carved out a legacy that transcends generations. Today, founder and lead vocalist, Jorge Rodríguez Grández, plays alongside his two sons, Jorge L. Rodríguez (musical director, pianist and guitar) and Roger Rodríguez (vocalist and guiro), who joins occasionally. They are joined by Danny Johnston (lead guitar), Dennis Sandoval (bass), Carlos Rengifo (percussion), Genderson Pineda (drums) and Junior Soto (second vocalist).

Beyond Peru’s borders, the seven-member group remains relatively unknown, much like many folk-rooted acts around the globe that thrive primarily within “world music” circles. Yet, the band took to the Sonora tent at Coachella in Indio, California, for two consecutive weekends, captivating a crowd of nearly 5,000 fans with electrifying performances that seamlessly fused echo-laden keyboards and hypnotic electric guitar riffs into their signature psychedelic cumbia sound.

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“It’s been extraordinary,” a tired Rodríguez Grández tells Billboard from Washington D.C., hours after the group’s second Coachella set. “We are so happy that they reached out to us, because we have been promoting our Amazonian cumbia vigorously, it’s what we represent. We come from Moyobamba in Peru, then moved to Lima, and have been recording since 1973. We never stopped.”

After the Coachella announcement, a furor followed: Los Mirlos had made history as the first Peruvian band to perform at the festival, bringing Amazonian cumbia to the global stage. It was a testament to the unwavering support from their dedicated fanbase over the years for the group’s untamed and profound echo of the jungle spirit.

Hailing from the lush landscapes of Moyobamba in Peru’s San Martín region, with a population of approximately 120,000 citizens (about the same as the Coachella capacity per day), Los Mirlos emerged in the 1970s as trailblazers of Amazonian cumbia, not only introducing this pulsating style to the world 50 years ago but also cementing their status as cultural pioneers.

Although Los Mirlos are well-known in neighboring countries, they have sporadically played in the U.S. Conversations to play at Coachella began after the festival’s team sought them out, tracking down the group’s manager to initiate the collaboration in 2023. “They were looking for us,” Rodriguez Grández remembers. “They wanted us to perform in 2024. They reached out to Javier, my son, our manager, in 2023, but we didn’t have enough time to get our working visas. So, we were on standby and resumed the conversation in 2024.”

Months before the initial Coachella conversation, the documentary La Danza De Los Mirlos — the directorial debut of Peruvian Álvaro Luque, written by Jorge Ossio Seminario and Emanuel Giraldo Betancur, which preserves the soul of the Amazon in its every beat through rare archival footage and intimate interviews — was released in August 2022.

“It was chosen by the board of filmmakers for the 26th Lima Film Festival, presented at the Gran Teatro Nacional,” Rodriguez Grández shares. “Of course, the director was very flattered that out of 300 films, they chose ours.”

The timing proved to be a boon, with a call from Coachella coming just after. “Alvaro Luque spent close to four years traveling and documenting Los Mirlos,” Mario Giancarlo Garibaldi, Artist Relations for Los Mirlos tells Billboard. “He finally released the documentary in late 2022, and it has been the catalyst for this new era. It made public the true story of the group and how charismatic and relentless Jorge Rodriguez, its leader and founder, has been.”

Los Mirlos

Jason Sullivan for DUPLA

Beyond the documentary release, however, the Los Mirlos brand was already firmly established. “We’ve performed at many festivals before,” Rodriguez Grández states. “We’ve been at Vive Latino in Mexico, the Luminato Festival in Toronto and the Cordillera Festival in Bogotá last year. But before the pandemic, we were at the Pitoonkatonk festival in Pittsburgh. We’ve even made it to Ruido Fest in Chicago. Plus, Los Mirlos’ record productions have been widely promoted in Latin America. This is in addition to social media and Spotify, which has been a strategic ally in helping our music spread worldwide.”

With their unmistakable sound, Los Mirlos brought their psychedelic cumbia (or chicha) beyond borders, solidifying their place as one of Peru’s most iconic bands. Their beats continue to resonate far and wide, inspiring a new wave of artists who draw from their pioneering melodies to keep the vibrant tradition of Amazonian cumbia thriving.

“We’ve collaborated with Renata Flores, Hit La Rosa, and other emerging acts,” Rodriguez Grández adds. “It’s a joy to team-up with young acts who have a different fanbase but who identify with Los Mirlos. There are also many established groups, orchestrated bands such as Agua Marina, Grupo 5, Armonía 10 from the north, other groups from the Amazon that are outstanding. We’re paving the way for other bands to have the opportunity to get to Coachella like us. That’s what happened in 1980 in Argentina, the first country we traveled to with our Amazonian cumbia. We spread our music throughout the country during the decade of 1980-1990, even until 1993, when other musical groups arrived.”

But to get to that next level of stardom is not just about availability, presence and collaborations — artists in Latin America, especially emerging bands, face insufficient resources and struggle due to lack of government financial support to help them access resources and build their presence and audience reach.

“Governments in Latin America provide financial support, through the Ministry of Culture like in Mexico,” Rodriguez Grández says. “In Peru, there is support, but lacks a bit. Outreach is as important, which is now happening more, where artists need to register to receive financial support. But it needs to be expanded further, as many groups don’t have the opportunities that Los Mirlos have. Our brand is recognized and well-positioned in the market, but emerging bands need more government support.”

Los Mirlos

Jason Sullivan for DUPLA

While Los Mirlos have built a strong reputation, it’s taken time to create pathways for their development, something achieved through dedication and a deep connection to their cultural roots. Their signature style is a clear subgenre of cumbia that blends hypnotic tropical rhythms with the rawness of the traditional Amazonian sounds, infused with psychedelic undertones.

“Our legacy is to maintain the original style of psychedelic Amazonian cumbia that emerged in ’73, which we continue to enjoy,” Rodriguez Grández adds. “The day I step aside, my children will continue with that style, because the world has shown me it is what it likes: the sound of the guitars that identifies the group, its personality, its identity. My grandchildren will come later, too; that’s my wish.”

It’s a true family affair, with even grandkids coming together to take part in rehearsals and share in the musical tradition. “My grandchildren are already attending rehearsals, playing the guiro — a Latin American percussion instrument — and the drums, and are learning to play the guitar too, and that’s nice, because one can rest easy knowing that this will continue: that’s the wish. Many along the way have asked me, ‘Don Jorge, why don’t you add trumpets, trombones, or saxophone? It would give it more weight…’ But no, I’ve kept it that way, buoyed by the synthesizer to vary some songs, but the essence is based on that bewitching guitar that gives our music its charm.”

In between the double-boiler Coachella sets, clad in flashy Amazonian-urban-styled uniforms co-designed with Adidas, Los Mirlos packed The Roxy Theatre in Los Angeles on April 14. As part of their Ayahuasca Tour 2025, they delivered a sold-out intimate show, serving as opening act for Seun Kuti & Egypt 80, one of the many renowned acts within their growing orbit. Adding to the desert energy, they met Camilo Lara of the Mexican Institute of Sound, and a handful of impassioned DJs who have included The Mirlos’ songs in their sets. “My joy would have been completed had I met Lady Gaga, at least for a photo,” Rodriguez Grández jokes.

Los Mirlos

Jason Sullivan

As for why “Ayahuasca Tour”: “We represent the jungle, and Ayahuasca is an ancient medicinal plant from our Amazon region,” explains Rodriguez Grández. “It’s a bark with healing properties, that guided by a shaman, extracts all the negativity of the body. Our song ‘Un Traguito de Ayahuasca’ has a positive message that conveys this.”

What’s next for Los Mirlos? “Well, we haven’t been to Japan, we want to visit Australia also,” muses Rodriguez Grández. “We are dropping a mastered version of our album El Milagro Verde on May 2nd, with new and classic songs produced by us. Also, a larger project is on the works, with very well-known artists, collaborations of new and classic songs. That’s going to be a bomb worldwide, I hope.” The album will be released via the independent label Revancha, founded by Peruvians Gino Pezzia and Alejandro León, with Marthin Chan as their new business A&R.

Rodriguez Grández says he would like Los Mirlos to be remembered with love, in every corner of the world: “The affection people have for us is great, and I feel very grateful to God because he gives us the opportunity to reach other generations; because their parents, grandparents, uncles danced to our music, now the youth is dancing as well.”

Los Mirlos

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Natti Natasha earns her first No. 1 as a soloist, unaccompanied by another artist, on Billboard’s Tropical Airplay chart with “Desde Hoy” which jumps 2-1 for its first week atop the April 19-dated ranking. It’s her first return to the summit in over five years.

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“Desde Hoy” takes the lead on Tropical Airplay, with the week’s Greatest Gainer honors, after a 9% gain in audience impressions, up 6.6 million, earned in the U.S. during the April 4-10 tracking week, according to Luminate. The song is the opening track off Natti’s fourth studio album, Natti Natasha En Amargue, her maiden entrance and first top 10 on the Tropical Albums chart (No. 6 debut and peak, Feb. 22 dated list).

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“Desde Hoy” marks Natti Natasha’s first No. 1 on Tropical Airplay in over five years. Her previous chart-topping hit, “La Mejor Versión de Mí,” her first collaboration with Romeo Santos as a co-billed artist, ruled the chart for 15 weeks between 2019-2020. Rewind to 2019, and her featured role on Don Omar’s “Dutty Love” reigned for one week then.

Notably, with “Desde Hoy” reaching No. 1, Natti joins an elite group of female artists who have topped the Tropical Airplay chart as soloists, unaided by any other act, during the 2020s decade. Before Natti, Rosalía’s “Despechá” reigned for four weeks in 2022, while Karol G most recently made history with “Si Antes Te Hubiera Conocido.” The latter broke the longest-leading record by surpassing Prince Royce’s 29-week reign with “Carita de Inocente” (chart dated Feb. 8). Ultimately, “Si Antes” dominated Tropical Airplay for 31 weeks between 2024-25.

With the new No. 1 by a woman, let’s review all the female artists who have led Tropical Airplay this decade, either as solo acts or through collaborations;

Title, Artist, Peak Date“La Mejor Versión de Mí,” Natti Natasha & Romeo Santos, Oct. 26, 2019“Víctimas Las Dos,” Víctor Manuelle & La India, May 29, 2021“La Fama,” Rosalía Featuring The Weeknd, May 14, 2022“Te Espero,” Prince Royce & Maria Becerra, May 28, 2022“Despechá,” Rosalía, Oct. 1, 2022“Monotonía,” Shakira + Ozuna, Dec. 3, 2022“El Pañuelo,” Romeo Santos & Rosalía, Feb. 4, 2023“Así Es La Vida,” Enrique Iglesias & Maria Becerra, Dec. 9, 2023“Si Antes Te Hubiera Conocido,” Karol G, July 20, 2024“Desde Hoy,” Natti Natasha, April 19, 2025

“Desde Hoy” also makes progress son the overall Latin Airplay chart, where it climbs 9-5

Ozuna and Kapo‘s debut collaboration is making waves, as “Más Que Tú” claims the No. 1 spot on Billboard‘s Latin Airplay chart (dated April 19). Colombian artist Kapo achieves a career milestone as he celebrates his first-ever chart-topping hit on the overall Latin radio ranking. Meanwhile, Ozuna continues as one of the chart’s top performers, adding a 35th No. 1 to his ledger.

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“Más Que Tú,” released Feb. 12 on Nibiru/Sony Music Latin, jumps 3-1 after earning 8.3 million audience impressions in the U.S. in the tracking week ending April 10, according to Luminate. That is a 14% gain in impressions from the week prior. The song ejects another Puerto Rican-Colombian pair-up from the lead: Yandel and Feid’s “Habláme Claro,” falls 1-13 with a 43% decline in audience (to 5.2 million), after one week in charge.

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Thanks to “Más Que Tú,” Ozuna reaches a new milestone, securing his 35th chart-topping hit on Latin Airplay since the chart’s inception in 1994. He ranks just behind J Balvin, who holds the record with 37 No. 1 hits. The latest chart-topping track comes a year after Ozuna last claimed the peak with “Baccarat,” which spent one week at No. 1 in March 2024.

Kapo, meanwhile, scores his first No. 1 on his sixth chart visit. The Colombian has earned four top 10s, including two No. 2-peaking songs, “Ohnana” last November and “Imagínate,” with Danny Ocean, on the April 5-dated list. The song drops 4-7 on the current ranking.

Notably, in 2025 so far, 11 songs have reached the top on the Latin Airplay chart. While Shakira (“Soltera”) and Karol G “(Si Antes Te Hubiera Conocido”) mark the only female presence among those winners, five of those emerge from collaborations between male soloists; all one-week rulers. Here’s the recap of the male collabs:

Title, Artist, Peak Position“Doblexxo,” J Balvin & Feid, March 15“Khe?,” Rauw Alejandro & Romeo Santos, March 29“Háblame Claro,” Yandel & Feid, April 12“Más Que Tú,” Ozuna & Kapo, April 19

Elsewhere, “Más Que Tú” also improves on the Latin Rhythm Airplay chart, where it jumps 2-1 for its first week atop.

All charts (dated April 19, 2025) will update on Billboard.com tomorrow, April 15. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

The late Dominican Rubby Pérez singer-songwriter returns to the Billboard charts as his 2021 album, Rubby Pérez ¡Grandes Éxitos! debuts at No. 7 on the Tropical Albums chart (dated April 19). The 30-song set launches with 2,000 units equivalent album units earned in the U.S. during the April 4-10 tracking week, according to Luminate. Pérez died on April 8 in Santo Domingo, Dominican Republic, after the roof of the Jet Set nightclub collapsed during one of his performances. He was 69.

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It’s the merengue artist’s first appearance on any Billboard albums chart in over three decades. He was last on an albums chart when his self-titled set peaked at No. 15 on the Top Tropical Albums chart in 1987.

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“It’s been 25 years, a lifetime together, filled with beautiful memories,” Enrique Paulino, Pérez’s international manager tells Billboard. “The most important thing for me was his humility and his outpouring of affection for his audiences.”

Out of Rubby Pérez ¡Grandes Éxitos! album’s unit sum earned in the week ending April 10,1,000 units were attributed to streaming activity. That translates to 1.6 million official on-demand streams for the set’s songs; a resurgence that comes two days after Pérez’s passing. The remaining negligible amount come from traditional album sales and track-equivalent units.

“Rubby quietly did thousands of deeds, such as buying medicine for people with cancer and various other illnesses,” Paulino adds. “He bought pets and schoolbooks for children. He was greatly loved in his country, Dominican Republic, and Venezuela. I want you to always remember him with his beautiful smile and his love for everyone.”

Pérez also achieved success on the Tropical Airplay chart, landing four entries over the years. Among them, “Tu Vas a Volar” reached a career-high at No. 9 in 2001. Most recently, Pérez collaborated with Romeo Santos, Toño Rosario and Fernandito Villalona on “15,500 Noches,” featuring Ramón Orlando, which peaked at No. 15 in 2022.

All charts (dated April 19, 2025) will update on Billboard.com tomorrow, April 15. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.