genre latin
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This week, Billboard’s New Music Latin roundup and playlist — curated by Billboard Latin and Billboard Español editors — features fresh new music, including albums by Luck Ra (Que Sed), Gepe (Undesastre Deluxe: Cerodrama) and Arthur Hanlon (2 Manos, 1 Mundo). Plus, Silvestre Dangond and Carín León team up for their hypnotizing new collaboration “Cosas Sencillas,” powered by vallenato’s signature accordion melodies, which was […]
New Music Latin is a compilation of the best new Latin songs and albums recommended by Billboard Latin and Billboard Español editors. Check out this week’s picks below.
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Luck Ra, Que Sed (Sony Music Latin)
Following his debut Que Nos Falte Todo, which was Spotify’s most-streamed album of 2024 in Argentina, Luck Ra drops his sophomore set Que Sed. Argentina’s breakout star, born Juan Facundo Almenara Ordónez, continues on the same streak that made him a household name: lyrics about heartbreak backed with feel-good, party melodies and his captivating falsetto vocals. Seriously, there’s no time to be moping over an ex with tracks titled like “Que Idiota,” “Un Clavo” and “Por El Ex No Se Llora.” On the 14-track set, Luck Ra reeled in collaborators Nicki Nicole, Kenia Os, Lola Indigo, Ke Personajes, Dread Mar I, Ulises Bueno and Tiago PZK, who’s on the focus single “Fue Culpa Tuya.” It’s also home to his previously-released notable team-ups with Chayanne (“Un Siglo Sin Ti”), Elvis Crespo (“Suavemente”) and Maluma (“Hola Perdida Remix”).
Que Sed, which loosely represents his ambitious thirst and hunger in the music industry, puts the country’s cuarteto or cuartetazo movement on the map — a musical genre born in Córdoba similar to merengue — fused with urban, reggae and cumbia beats. “It’s very exciting to see the fruits of our labor come together. This album is an expression of my roots, with an eye reaching international markets,” says Luck Ra, one of Billboard’s 2025 Latin Artists to Watch. “It’s made with appreciation and love for the fans, and with an immense passion for music.” — JESSICA ROIZ
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Ela Taubert, “¿Cómo Haces?” (Universal Music Latino)
Colombian singer-songwriter Ela Taubert pays a meaningful tribute to her mother in “¿Cómo Haces?,“ the latest single from her debut album Preguntas a Las 11:11, to be released on May 9. With a mid-tempo pop rhythm driven by drums and guitar, the 2024 Latin Grammy winner for best new artist sings to that unconditional person who has always been with her, through thick and thin. The music video is an emotional collage of images of Ela in concert and backstage with her mother, as well as spending time with fans. In a powerful ending, the track concludes with a version of the chorus recorded live during a show with the crowd singing along at the top of their lungs. – SIGAL RATNER-ARIAS
Servando & Florentino feat. Maelo Ruiz, “No te Vayas” (Goalz Music – OPJR)
The Primera brothers, Servando & Florentino, joined forces with romantic music icon Maelo Ruiz for “No Te Vayas.” This single is another preview of their awaited album, SE BUSCAN: VIVOS O INMORTALES. The track masterfully revives the authentic essence of salsa. From the first verse, Maelo Ruiz’s distinctive and soulful voice commands attention as he shares heartfelt lyric. His delivery interlaces beautifully with the harmonious and sweet high vocals of Servando & Florentino, creating a rich tapestry of sound that reflects their musical heritage. — INGRID FAJARDO
Gepe, Undesastre Delux: Cerodrama (Altafonte)
Gepe’s two-disc album Undesastre Deluxe: Cerodrama is a testament to reinvention. Building on his tenth studio album Undesastre, this deluxe edition adds three new tracks that delve into themes of transformation and healing with a whimsical essence. “NOstás,” a nylon guitar ballad, captures feelings of longing with poetic prose, while “Cumbia Chica” (featuring emerging Chilean singer-songwriter Beléncha) brings festive energy with a dash of reggaetón. On the hip-hop-tinged “Otro Plan,” rapper Bronko Yotte delivers an introspective verse alongside the Santiago de Chile musician. Disc two also spotlights “La Cueca del Canario V.2,” originally released in February, enriched by Niño de Elche’s flamenco artistry. Fluidly genre-hopping and packed with memorable hooks, Gepe deftly blends tradition with innovation, crafting music that is heartfelt, danceable, and undeniably human. — ISABELA RAYGOZA
Rauw Alejandro, “Carita Linda” (Sony Music Latin)
Rauw’s first single since releasing his Top Latin Albums chart-topping LP Cosa Nuestra, “Carita Linda” is at its core a love letter to Puerto Rico — both sonically and lyrically. Powered by a hypnotizing fusion of bomba with urban beats, the single — penned by the artist himself and produced by Dímelo Ninow — continues Rauw’s commitment to elevating tropical music. The song’s lyrics capture an instant connection between two souls who are meeting for the first time, and that deep yearning for eternal love. Rauw debuted the song on April 5 during his Cosa Nuestra Tour stop in Seattle, where he sang “Carita Linda” for the first time. — GRISELDA FLORES
Banda MS & Luis Antonio López “El Mimoso,” “Sé Sincera Corazón” (Lizos Music)
Two of Sinaloa’s greatest banda exponents come together for this collaboration, with a ranchero-focused style. Written by Omar Tarazón and Sergio Lizárraga, “Sé Sincera Corazón” speaks of a relationship that is fading and of being at a crucial point to either continue it or end it. “Be sincere, heart/ Where is the arrow pointing/ Let’s revive love/ Or do we let it die?” they sing with great feeling. The union of Banda MS with Luis Antonio López “El Mimoso” is undoubtedly a pleasant surprise. The feeling they give it is the icing on the cake, which invites you to accompany it with a tequila. — TERE AGUILERA
Silvestre Dangond & Carín León, “Cosas Sencillas” (Sony Music Latin)
When Urumita, Colombia (Silvestre Dangond) meets Hermosillo, Sonora (Carín León), a new vallenato anthem emerges. The two hitmakers unite for the first time in this exciting collaboration — a partnership that was inspired by a spontaneous meeting during the renowned Vallenato Festival in Valledupar, Colombia last year. During the festival, Silvestre invited Carín to his home to enjoy a parranda with other Colombian musicians and composers. From this gathering, the idea for their collaboration was born. The song features beautiful accordion melodies that blend Silvestre’s high vocals with Carín León’s raspy tones. — I.F.
Yeisy Rojas, “Inmigrante y Qué?”
Latin Grammy-nominated Cuban artist Yeisy Rojas returns with a single, released independently, about the migrant experience and the importance of celebrating our roots, embracing our identity, and breaking down prejudices during times of tension for many immigrants in the U.S. “We live working, fighting for a dream/ You call me an immigrant, I proudly answer/ Immigrant, so what? / I bring my joy and my pain too,” Rojas sings over a contagious and sophisticated fusion of Cuban rumba, funk, salsa and hip-hop. “‘Inmigrante y Qué?’ is a song that seeks to make visible the stories of struggle and hope of those who have had to leave their homeland to build a new life,” Rojas tells Billboard Español, adding that “migrating is not a shame, but an act of courage and a source of pride.” — S.R.A.
Check out more Latin recommendations this week below:
Junior H is set to take the stage at Coachella, just a year after debuting at the event as a guest of his friend Peso Pluma. One of the most important exponents of new regional Mexican music today, Junior, known for global hits such as “Lady Gaga,” ‘Ella,” and “Tres Botellas,” will debut his own set on April 13 and 20.
“It’s a pride, it’s very nice to represent Mexico, represent the genre and share with people who like my music — although the goal is to go and win new fans,” Junior H tells Billboard Español ahead of the festival’s first weekend. “Coachella is a stage where artists from many countries perform. So, I’m very excited and of course it’s a challenge and a great opportunity.”
Although he said that he will not have guests and that his show will be shorter than what he normally presents in his concerts, the artist behind Hot 100 hits such as “Y Lloro”, “Fin de Semana” and “Bipolar” promises to give “the best of my repertoire.”
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Over the past five years, Junior H (whose real name is Antonio Herrera) has been carving a steady path since the days when he was discovered by the Los Angeles-based independent record label Rancho Humilde. Today, he has his own label, Sad Boyz Entertainment.
“La Letra Muda”, as he is also known, knows what it is like to be in front of large crowds. In May 2023, he twice packed the Plaza Mexico in Mexico City, with its 50,000 capacity — a long way from his early days of having a mostly social media-based following.
“That moment was really the beginning, where we realized we have real fans — not followers. It was awesome,” he says. “Then we jumped to the Foro Sol and it was beautiful. Later we came to the United States to very big places, so I’m infinitely grateful.”
With the concept of his 2023 album Sad Boyz 4 Life II, which reached No. 2 on the Billboard Top Latin Albums and Top Regional Mexican Albums charts, Junior H had a quick connection with young people — who had known him as a performer of corridos tumbados, but found his new style to have deeper, more sentimental themes. The 23-year-old singer was born in Guanajuato, also the land of singer-songwriter José Alfredo Jiménez, so ranchera music was part of his childhood. And as a teenager, thanks to his sisters, he listened to Edén Muñoz — with whom he collaborated on “Abcdario” a couple of years ago, fulfilling a longtime dream in the process.
More recently, the group Máximo Grado, considered a standard-bearer in corridos, released his Somos Leyenda album, on which Junior H made an appearance. “Since I was a kid I’ve been a fan of theirs. The song I participated with, ‘El Hombre del Equipo,’ I used to sing it when I was doing lives during the pandemic,” he recalls. “[The group’s leader] Christian Felix used to see them, and that’s why he invited me. I’m fortunate to have accomplished things I never imagined. That’s why now I want to help other artists who are starting out with my record label.”
Junior H will now add CEO of Sad Boyz Entertainment to his career resumé. His first signed talent is the artist Gael Valenzuela, on whose new song (“El Chore,” released Apr. 10) he also appeared. Find that below.
Renowned singer-songwriter Silvio Rodríguez has announced a tour across five South American countries later this year, sharing the news in an Instagram post on Thursday (April 10).
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“Hey, friends! I’m Silvio Rodríguez, and I just wanted to share this quick message to announce an upcoming tour through Latin America,” he said in the video. “It’ll be in five countries, running from late September to early November of 2025. The countries, in this order, are Chile, Argentina, Uruguay, Peru and Colombia. That’s all for now! We’re really excited about this, and I hope you all are too. Thank you so much.”
This marks his first performances outside of Cuba since 2022, when he gave concerts in Mexico — including one in Mexico City’s Zócalo before an audience of 100,000. The announcement also sets his return to South America after last touring the region in 2018 with concerts in Chile and Argentina.
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The nueva trova artist will be joined on tour by Emilio Vega (vibraphone), Jorge Aragón and Malva Rodríguez (piano), Niurka González (flute and clarinet), Jorge Reyes (double bass), Rachid López (guitar), Maykel Elizarde (tres guitar) and Oliver Valdés (drums), according to Cuba Noticias 360.
His most recent release, Quería Saber — his 21st studio album — was released last June.
Silvio Rodríguez is a pioneer of la nueva trova, a music movement that emerged in Cuba in the late 1960s blending poetic lyrics with social and political themes. One of his most recognizable hits include “Ojalá,” “Quien Fuera,” “Te Doy Una Canción” and many more. His profound storytelling and evocative melodies have inspired generations, establishing him as one of Latin America’s most iconic and influential artists.
See his announcement below:
Deorro and Santa Fe Klan team up for “La Bandera,” a cumbia banger that fuses rap and EDM, resulting in an explosive track that will get any party going. The pair’s new collaboration, released Thursday (April 10), is a celebration of Mexican culture and Mexican pride, from signature cumbia dance moves to the streetwear that […]
The desert will be the place to be this weekend and the next with Coachella in full swing in Indio, Calif. This year’s two-weekend festival will run April 11-13 and 18-20, and will be co-headlined by Lady Gaga, Green Day, Post Malone and Travis Scott.
While the aforementioned artists are top billings, there’s a handful of Latin artists that you’ll want to check out if you’re attending this year. From Venezuelan band Rawayana to corridos hitmaker Junior H, indie pop artist Judeline and música mexicana star Ivan Cornejo, there’s something for everyone throughout the three days. Other Latin acts on the roster include, Arca, The Marías, El Malilla, Ca7riel & Paco Amoroso, Alok and Gustavo Dudamel with the LA Phil. Check out the artists’ schedules here.
Anitta was set to perform this year but pulled out of her performance slot last month over “unexpected personal reasons.”
“I was really looking forward to being at Coachella this year, but due to unexpected personal reasons, I won’t be able to perform,” the Brazilian superstar wrote on X. “I’m truly grateful to the festival for the invitation, their understanding, and continued support. I hope to have the opportunity to join you all in the future and share that special moment together.”
In previous years, Bad Bunny, Karol G, Becky G, Natanael Cano, Kali Uchis, Peso Pluma, Eladio Carrión, Carla Morrison, Banda MS, Los Fabulosos Cadillacs and Grupo Firme, among many other Latin artists, have performed at Coachella.
Below, find the ultimate guide to Latin artists at this year’s Coachella in alphabetical order:
Alok
The President of Mexico, Claudia Sheinbaum, wants to encourage young artists — especially those in the trending genre of corridos tumbados — to create songs that don’t glorify violence or drugs. That’s why this week she announced México Canta (or Mexico Sings), a binational contest aimed at shifting the focus of Mexican music to themes like “love, heartbreak and peace.”
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This is the first initiative launched by the Mexican government to use music as a way to counteract the glorification of violence and the fascination some young people have with joining criminal groups, drawn by the promise of a flashy, luxurious lifestyle — all happening amid the wave of violence affecting certain regions of the country.
“While the contest won’t solve this issue overnight, and we’re not neglecting the underlying causes — for that, there’s a whole national security program — we felt it was important to create creative spaces through culture for Mexican and Mexican-American youth who are passionate about music,” explains Claudia Curiel de Icaza, Mexico’s Secretary of Culture, to Billboard Español.
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In her opinion, many young Mexicans see their dreams of breaking into the music industry crushed, because they don’t have instruments or professional recording equipment. “Organized crime takes advantage of this situation and starts funding musicians,” says the official. “No one hires you if you don’t have a solid music production to stand out. This program aims to provide that professional support.”
The presidential initiative is backed by a segment of the country’s music industry, including major players like Virgin Music Group and Fonovisa/Universal, the Mexican Society of Authors and Composers (SACM), the Mexican Association of Producers of Phonograms and Videograms (AMPROFON), among others.
Registrations will be open at mexicocanta.gob.mx from April 28 to May 30. The grand finale will take place on Oct. 5 in the Mexican state of Durango.
A Billion-Dollar Industry
According to Curiel de Icaza, another goal of the México Canta contest is to attract a portion of the creative industry in the United States to promote Mexican creative industries. This effort is part of Plan México, a joint strategy between the Mexican government and the private sector to attract investments and boost national growth, especially amid the tariff policies of U.S. President Donald Trump.
The minister highlighted the importance of Mexican music, which generates “$2 billion in the United States, of which $500 million stays in Mexico,” she said, adding that Mexico currently ranks tenth in the global music industry market, according to the International Federation of the Phonographic Industry (IFPI), and No. 8 in digital consumption.
“More than 70% of Latin music consists of corridos, and many of them glorify violence,” she stated.
In the past, Sheinbaum has clarified that her government is not looking to promote censorship but rather to preserve traditional Mexican music while emphasizing other values.
This initiative was announced just days after outrage erupted in Mexico over the projection of images of a criminal leader during a concert by the corridos group Los Alegres del Barranco at an auditorium at the University of Guadalajara, which led to the U.S. revoking the work and tourist visas of the band’s members.
Here’s everything you need to know about the binational México Canta contest.
Who can participate?
All young Mexican and Mexican-American performers between the ages of 18 and 34.
How can you participate?
With songs or performances in genres like mariachi, norteño, banda, corrido, tropical, duranguense, campirano, bolero, among others, as well as fusions with rap, rock, pop, and hip-hop. Participants can perform in indigenous languages, Spanish, or Spanglish, with original songs up to 3 minutes long.
In which cities will participants be selected?
In the U.S.: Chicago, Houston, and Los Angeles.
In Mexico: Tijuana, Mexico City, and Oaxaca.
Where can the contest be followed?
On the Mexican government’s public channels and official social media platforms.
What are the prizes?
Regional winners will receive mentorship from a group of specialists.
For Best Song, the prize is a contract with a national, international, or independent record label.
The Best Performer will be awarded a record deal and the opportunity to record an album.
The winner of the Jury Prize will receive a record deal and the opportunity to record an EP (6 songs).
In our franchise The Stars Behind the Stars, Billboard Latin and Billboard Español editors share stories that have yet to be told, directly from those who aren’t often in front of the spotlight. Think “todo lo que no se ve detrás de cámaras,” or “everything that happens behind the scenes.” These unsung heroes are essential to an artist’s team and its foundation. Today, we highlight the founder of Yellow Studio, Julio Himede.
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For her Las Mujeres Ya No Lloran World Tour, Colombian superstar Shakira turned to Yellow Studio to create a monumental stage design. Tasked with bringing her themes of resilience, empowerment and identity to life, the New York-based design agency meticulously crafted a visually stunning experience, filled with transformative elements and emotionally resonant storytelling.
“[Shakira] described wanting a monumental, clean screen where she could project all her messages from her latest album,” Julio Himede, founder of Yellow Studio, tells Billboard Español. The team, led by Himede and senior designer Damun Jawanrudi, worked closely with the artist to ensure every detail — from massive video displays to a show-stopping inflatable wolf centerpiece — all captured her vision and captivated audiences worldwide.
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Specializing in designing tours for high-profile celebrities, and entertainment events, the agency has created stages for the likes of the Grammy Awards, the BRIT Awards, the 2023 Eurovision Song Contest, the 2024 EE BAFTA Awards, and the VMAs. With a tight-knit team of designers, architects, renderers, and production managers, Yellow Studio thrives on bringing artists’ creative visions to life. “The concept revolved around resilience and empowerment,” Himede explains — noting how Shakira’s album, Las Mujeres Ya No Lloran, inspired the show’s visuals, like the metaphorical use of gemstones to symbolize strength and transformation.
Julio Himede
Murray Hall
In this Q&A, the Salvadorian-Australian designer dives into the creative journey behind Shakira’s tour, explaining how the team “wanted to capture that sense of belonging and identity,” transforming the stage into a powerful metaphor for survival and fortitude, while fostering a connection between the performer and her audience.
Talk to me about the first stages of working together with Shakira.
We started about a year ago, in March or April. We flew over to Miami and met with Shakira and our creative directors, The Square Division, for our first meeting. From Yellow Studio, we had one of our senior designers, Damun Jawanrudi and myself. She described wanting a monumental, clean screen where she could project all her messages from her latest album. From the beginning, it was a great, close collaboration. Shakira was heavily involved as an artist, [with] a big visual voice in the process.
Please describe the concept of your stage design in relation to her latest album themes.
Like we do for any project, we started with the research: “The Bible,” so to speak. We listened to her latest album, Las Mujeres Ya No Lloran, breaking down the meanings and the overall concept. The main theme revolved around resilience and female empowerment, with a lot of metaphors about gemstones, which symbolize how women are resilient. That concept became the main source of inspiration for many of the visuals in the show.
Shakira Las Mujeres Ya No Lloran Tour
Leonardo Ferraz and Cu4tro
Let’s break down some specific songs.
“Te Felicito” is the first act of the show. Leading up to it, we use a lot of earthy tones and imagery tied to the concepts of a desert and gemstones, symbolizing a woman surviving and rising from the earth. The colors are very tone-on-tone, creating a grounded aesthetic. The transition into “Te Felicito” drew inspiration from the music video, which Shakira was passionate about. We incorporated vibrant props and transformed the stage with monochromatic pinks and purples — tones meant to evoke seduction and candor.
Another one that stood out was the visuals for “La Loba,” the “She-Wolf.”
The wolf has a big representation for Shakira’s identity. Fans around the world often see themselves as part of the “Wolfpack,” a concept that has grown stronger over the years. For Shakira, the wolf is deeply tied to who she is, and that connection resonates with her fans. It’s bigger than just the song itself; it’s a feeling. So we wanted to capture that sense of belonging and identity during the show — the idea that when you come to the concert, you’re part of the Wolfpack, and Shakira is La Loba.
That theme runs throughout the two- to three-hour performance in various ways. Early on, you might see visuals on the video screens featuring a beautiful wolf alongside two cubs, symbolizing Shakira and her two children. Later, you’ll hear wolf howls incorporated into the performance. At the encore, when she sings “She Wolf,” we reveal a giant inflatable steady-foot wolf that rises up, becoming the show’s centerpiece, bringing the metaphor full circle.
We finish with the Wolf as a powerful statement of survival and resilience. I think the audience connects to the strength and significance of that message.
How involved was Shakira working with the segments of her sets?
She was very involved and knew what she wanted. Shakira is extremely experienced and professional — not just with her choreographed dance moves and her ability to sing to a large crowd, but also in knowing what her fans want. She wants to offer a new experience to her audience.
From the beginning, we came up with the idea of [having] a stage playground that would be clean, minimal and monumental — that could be transformed into elements she could play with or dance on.
Shakira Las Mujeres Ya No Lloran Tour
Leonardo Ferraz and Cu4tro
We started with sketches and drawings. Then we moved into physical models. We presented three or four different scale models to her, [as if] playing a doll house. Shakira herself was able to cut things, put them together and turn them upside down.
We explored ideas like hydraulics, leaves that could [emerge and recede], and the potential of the passerelle (the large runway-style stage extension). The video screens are a major feature of the setup. They’re monumental but can split apart, rise and fall, and transition from displaying striking landscapes to impactful lighting effects.
On her 2017 El Dorado World Tour, the snake prop was costly to transport. Lessons from that experience that helped shape the design and logistics for this show?
There’s a lot of people who have worked with her for a long time, with a lot of experience from previous shows. They were able to give us really good words of advice about that. The wonderful wolf that we have, the big sculpture at the end, is an inflatable that literally goes down into a suitcase, which is amazing. In a matter of 15 seconds, it can be inflated into a 30-foot sculpture, which is incredible — the technology that we have now — and we’re able to pack it into a very small box. That’s [one of the] wonderful tricks and technology that we are able to take advantage of.
What do you think fans connect with the most during the show? What would you say is the peak moment of the experience?
Shakira knows her fans better than any of us on the [team], and she really knows how to balance really high-energy songs that get the audience going. But then she’s able to come back to a small, acoustic or a cappella performance. Whether it’s 120,000 people in São Paulo, or 60,000 — the entire stadium is connected and focused on her.
It feels like an immersive connection when Shakira sings from the catwalk. We also gave the audience colorful light-up bracelets, which, though are not new, [enhance the sense] of community, like you’re a part of the Wolfpack. It is a fun way to make everyone feel like they’re part of this incredible performance.
Shakira Las Mujeres Ya No Lloran Tour
Leonardo Ferraz and Cu4tro
Alma Joselin Holguín, a 48-year-old lawyer from the Dominican Republic, went to the Jet Set nightclub on Monday (April 7) with her husband to watch Rubby Pérez in concert. She details the venue’s ambiance inside and the exact moment its roof collapsed. Both Holguín and her husband survived the tragedy. Here’s her story, in her own words, exclusively on Billboard.
It was a very joyful night. Rubby Pérez gave his 100%; I had never seen him perform before, and I wanted to see him because he has several songs that remind me of my teenage years. It was my second time, after almost 30 years of not going to Jet Set, and my husband’s first. The club started filling up around 10:40 p.m., and at one point there were up to 700 people. The truth is, that night Rubby had the crowd happy, dancing, singing. Everyone was enjoying the moment, taking selfies. The crowd was very happy.
I didn’t see anything unusual from where we were sitting. We were opposite of the stage, near a bar by the entrance and about 35 meters from an emergency exit. In fact, they offered us a VIP table near the stage, and we declined to avoid the large groups of people. We were just enjoying the concert from where we were. We didn’t feel the need to go near the stage or onto the dance floor because it was too crowded.
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The orchestra started playing around 11:38 that night, and after an hour, it was all over. Around 12:40 a.m., I was one of the first people to call 911. I got through right away, and I said, “The roof of the Jet Set just fell. It’s crushing everyone. Send all the ambulances you can!”
All in all, we weren’t hysterical at the time.
Jet Set Club survivor, Alba Holguín and her husband, at the Rubby Pérez concert moments before roof collapse.
Alba Holguín
I remember there was a deathly silence, like a void in the air. The ceiling collapsed with a single blow, the entire roof fell with the irons, with the lights, it collapsed with everything! It landed at the same level as where we were sitting. It fell almost at our feet. I remember the dust rising, I remember that silence, and then the people screaming. The only thing I thought at that moment was, “My God, the ceiling fell on people!”
We had to unblock the emergency exit because they had chairs and tables blocking it—when they moved all that, a group of about 30 people managed to get out with us. I had no feelings at that moment; it was a mechanical thing: protect ourselves, sort things out, and leave.
Today I feel tired and burdened because I slept very poorly. Emotionally, I feel a certain gratitude, a certain peace for being alive. Sadness for everything that’s happening. I’ve tried not to watch too much news so as not to expose myself further emotionally. Yesterday and today I went to work, trying to make more sense of the fact that my husband and I were blessed with a protection that we believe is divine, and we came out without a scratch, without anything.
We’re trying to carry on with life as normally as possible because at the end of the day, it’s like feeling like I have a mission in life. I was blessed with the opportunity to bear witness. I survived a tragedy, and it was because of God’s love, a divine protection.
A Colombian court has ruled that Karol G, J Balvin, Maluma, Feid, Blessd, Ryan Castro and DFZM violated children’s rights in their song “+57.” Keep watching for the full story. What do you think of the court’s ruling? Let us know in the comments below. Tetris Kelly: A Colombian high court has ruled a song […]