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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 Máximo Grado (Somos Leyenda), Fito Paez (Novela), Venesti (Origen) and Natanael Cano (Recordando Ariel Camacho). Plus, Emilia, Tini and Nicki Nicole team up for “blackout,” an electro-pop cheeky collaboration powered by fast-paced merengue rhythms that redefines what […]
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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Máximo Grado, Somos Leyenda (Warner Music México)
The album’s cover art is enough indication that Somos Leyenda is bound to be revolutionary. In the middle of the Eugène Delacroix-inspired artwork, you have Máximo Grado’s frontman Christian Felix waving a flag in triumph surrounded by a powerful battalion comprised of some of the biggest powerhouses in regional Mexican music today, including Carín León, Natanael Cano, Luis R Conriquez, Junior H and Fuerza Regida, to name a few — all featured as collaborators on the album. Released via Warner Music México, the 15-track set cements Máximo Grado’s stronghold on música mexicana and a legacy that has not only stood the test of time but has also influenced a new generation of Mexican hitmakers along the way.
The LP includes reimagined versions of Máximo Grado’s accordion-powered corridos, including “Gallos y Caballos,” “La Guera y La Morena,” “Yo Soy Ivan” and “Unas Heladas.” Besides the aforementioned artists on the album, Somos Leyenda also includes collabs with Grupo Firme, Eden Muñoz, Tito Double P, Netón Vega, Belinda, Los Dareyes de la Sierra, Alfredo Olivas, Grupo Marca Registrada, Codiciado and Legado 7. The significant number of artists who jumped on the project is a nod to the the genre’s collective effort to grow the regional Mexican music global movement. — GRISELDA FLORES
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Emilia, Tini & Nicki Nicole, “blackout” (Sony Music Latin)
When Argentine powerhouses Emilia, Nicki Nicole and Tini unite, they deliver an electrifying collaboration titled “blackout.” This riveting track, part of Emilia’s upcoming new EP, emerges as a vibrant anthem that radiates desire, confidence and unapologetic feminine energy. The song bursts with a dynamic electro-pop backdrop, seamlessly merging vibrant, fast-paced merengue rhythms that invite listeners to get up and dance. The lyrics and melodies not only celebrate physical attraction but also reframe the notion of “being hot,” transforming it into a bold and empowering statement of independence and self-confidence. — INGRID FAJARDO
Natanael Cano, Recordando Ariel Camacho (Live) (Los CT Records/Rancho Humilde)
It’s no secret that Natanael Cano holds deep admiration for Ariel Camacho, the fallen sierreño idol who passed away far too soon at the age of 22. Cano, a key figure in the corridos tumbados movement, credits Camacho — as do many other youth from the booming música mexicana explosion — as a major inspiration behind his groundbreaking sound and career. Recorded during a live performance in Guadalajara’s palenque alongside Camacho’s band, Los Plebes del Rancho, Recordando Ariel Camacho captures Cano’s heartfelt homage through ten tracks that reimagine the late artist’s legacy. Highlights include fan favorites like “El Karma,” “Hablemos,” and “Te Metiste,” paired with new versions of classics such as “El Toro Encartado.” “Ariel Camacho inspired me and so many others,” Cano stated in the 2024 documentary The Global Rise of Mexican Music. “He’s the only person I’ve ever cried for in my life. I admired him, and I still admire him. I never got to meet him”. — ISABELA RAYGOZA
Fito Páez, Novela (Sony Music España)
Fito Páez gifts fans a fascinating rock musical with Novela, a 25-song project he spent more than 35 years writing, between 1988 and 2024. The work tells the magical story of Villa Constitución, a town in the province of Santa Fe, Argentina, where a strange circus arrives to revolutionize the lives of its inhabitants. Through songs like “Universidad Prix,” “Cuando el Circo Llega al Pueblo,” “Superextraño,” and “El Triunfo del Amor,” Páez introduces us to his singular characters: The school’s dean, Rectitud Martirius; the witches Maldivina and Turbialuz; the young protagonists of the love story Loka (daughter of the circus owner) and Jimmy (singer of a rock band), and more.
“Fantastic adventures, disturbing cabarets. Neighbors darks and freaks. Characters with anguish, tragedies, lights and shadows, who spend their days in the limit between a town and a poor circus that defines the antagonism and the staging of daily life and its reaction to supernatural events that constantly happen, among them, the appearance of love,” the production notes summarize. Co-produced by Páez with Gustavo Borner and Diego Olivero, and recorded between Abbey Road in London and 5020 Studios in Madrid, the album arrives with the uplifting focus track “Sale el Sol,” which, like other songs on the set, works perfectly on its own. But the magic occurs collectively: It’s impossible to listen to Novela without having the whole movie playing in your head. – SIGAL RATNER-ARIAS
Venesti, Origen (AP Global Music)
After scoring his first Billboard Latin Music Award last Fall (for Latin pop song of the year with “No Es Normal,” featuring Maffio and Nacho), the rising Colombian artist returns to his roots with Origen, his second album. The set, featuring a roster of local Colombian talent, from DJs to rappers, marries Venesti’s signature melodic urban sound to Afro Caribbean rhythms, from the Pacific Coast’s currulao (in the catchy “Taca Tu Tacu”) to the Afro Pop of “Felina,” featuring Nacho. The mixes are layered and subtle, yet convincing. This is an artist coming into his own with a singular sound that touches many borders. — LEILA COBO
Debi Nova, “Tu Manera de Amar” (Sony Music Latin)
An infectious drum and bass line invites the listener to move from the first chords of “Tu Manera de Amar,” the electrifying new love song from Debi Nova. “If you could feel what I feel, you would reach high, to the sky” the Costa Rican singer-songwriter sings over a soft, surrounding pop-rock rhythm. “Your way of loving is what I want.” “‘Tu Manera de Amar’ is a kind of ritual for me, a cleansing, a dance, a shaking off of everything I want to leave behind and the perfect beginning for this new era,” she wrote on X. “So I hope you shake it off and dance to it and make it your own.” For example and inspiration, just watch her dance in the video. – S.R.A.
Check out more Latin recommendations this week below:
Buoyed by the meteoric rise and popularity of Latin music, Billboard is expanding its Latin chart offerings with four new 25-position genre rankings, which — effective with the lists dated April 12 (to post on Billboard.com Tuesday, April 8) — will employ the same model as the streaming-, airplay- and sales-based Hot Latin Songs chart.
The new Hot Latin Songs sub-genre charts — Hot Latin Pop Songs, Hot Regional Mexican Songs, Hot Latin Rhythm Songs and Hot Tropical Songs — aim to recognize the achievements of Latin artists based on today’s consumption methods: across audio and video streaming platforms, at radio and via purchased tracks in the U.S., with data according to tracker Luminate.
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“We are thrilled to see these sub-genre charts become a reality,” says Salomon Palacios III, Universal Music Latino svp marketing and artist strategy. “The implementation of these charts continues to demonstrate the growth of Latin music and all of its diverse sub-genres and, as a result, a need to have additional charts beyond Hot Latin Songs. These sub-genre charts provide additional spaces to highlight the successes of more emerging artists from different Latin sub-genres, allowing these artists more opportunities to reach new achievements and enrich their narratives, storytelling and overall awareness.”
The new charts will also serve as a complement to the continuing airplay and album rankings for Latin pop, regional Mexican, Latin rhythm and tropical.
Here’s a recap of all Billboard Latin charts (all updated weekly on Billboard.com), in order of their premiere dates:
Launch Date, ChartJune 29, 1985, Latin Pop Albums, Regional Mexican Albums, Tropical AlbumsSept. 6, 1986, Hot Latin SongsJuly 10, 1993, Top Latin AlbumsOct. 8, 1994, Latin Pop Airplay, Regional Mexican Airplay, Tropical AirplayNov. 12, 1994, Latin AirplayMay 21, 2005, Latin Rhythm AlbumsAug. 13, 2005, Latin Rhythm AirplayJan. 23, 2010, Latin Digital Song SalesApril 20, 2013, Latin Streaming SongsApril 12, 2025, Hot Latin Pop Songs, Hot Regional Mexican Songs, Hot Latin Rhythm Songs, Hot Tropical Songs
Yolanda Saldívar, the 64-year-old woman who was sent to prison for the murder of Latin music superstar Selena in 1995, has been denied parole, the Texas Board of Pardons and Paroles announced Thursday (March 27) in an official statement posted on its website.
“After a thorough consideration of all available information, which included any confidential interviews conducted, it was the parole panels determination to deny parole to Yolanda Saldivar and set her next parole review for March 2030,” the statement reads. “The reason provided by the panel for denial was the Nature of the Offense: The record indicates that the instant offense has elements of brutality, violence, assaultive behavior or conscious selection of victim’s vulnerability indicating a conscious disregard for the lives, safety, or property of others, such that the offender poses a continuing threat to public safety.”
In October 1995, Saldívar was sentenced to life in prison with the possibility of parole in 30 years after being found guilty of murdering the tejano music icon, whose full name was Selena Quintanilla. It was initially reported that Saldívar had begun the review process earlier this year since she was up for parole on March 30.
The Quintanilla family and the late star’s widower, Chris Pérez, issued a statement just after the board announced its decision. “Today, we are grateful that the Texas Board of Pardons and Paroles has chosen to deny parole for Yolanda Saldívar,” the post reads. “While nothing can bring Selena back, this decision reaffirms that justice continues to stand for the beautiful life that was taken from us and from millions of fans around the world far too soon.”
One of the most consequential artists of her generation, Selena revolutionized Latin music with her tejano twist on norteño music and hip-swiveling techno-cumbias that showcased her versatility. With anthems like “Amor Prohibido,” “Bidi Bidi Bom Bom,” “Como La Flor” and “No Me Queda Más,” to name a few, Selena’s music has endured decades after her death.
On the Billboard charts, Selena earned 24 entries on Top Latin Albums, 16 of which hit the top 10 and seven of which hit No. 1 — among them Amor Prohibido, which spent 20 weeks at the top in 1994, and the posthumous Dreaming of You, which spent 40 weeks at the top in 1995. On the Regional Mexican Albums and Latin Pop Albums charts, the late artist placed seven and six titles at No. 1, respectively. Amor Prohibido topped the former chart for nearly 100 weeks.
Read the family’s entire statement on the parole decision below:
La T y La M’s “Amor De Vago,” featuring Malandro de América, rebounds for an 11th week at No. 1 on the Billboard Argentina Hot 100 chart (dated March 29). The song trades places with Jombriel, Ryan Castro, Jotta and Alex Krack’s “Parte & Choke (remix),” which dips 2-1 after one week in charge. Explore […]
Fernando Cabral de Mello has been named CEO of Sony Music Entertainment Brazil, Sony Music Latin Iberia announced on Thursday (March 27). His appointment comes as part of a new organizational structure for Sony’s operations in the country. The “newly unified entity” will encompass Sony Music Brazil, Som Livre and also oversee the joint venture […]
Yailin La Más Viral is no stranger to making headlines, whether it’s for her high-profile love affairs or her bold reinventions, such as surgically changing her eye color. But in early March, the Dominican rising star drew attention in a whole new way with a career-making achievement: She made history by selling out her first headlining concert at New York’s iconic United Palace for two consecutive nights, becoming the first Dominican woman to do so, and the third Latina after Karol G and Becky G, the venue’s CEO confirmed to Billboard Español.
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“I feel very proud and it was something very important,” Yailin tells Billboard Español, reflecting on her growing success and the overwhelming support she has been receiving from the Caribbean community and beyond in the U.S. “It’s a very big pride to do it as a Dominican, as a woman, representing the Dominican youth, and the gender of us; the support that the fans gave me and putting my culture on high.”
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At just 22 years old, Yailin is not just commanding stages but living up to her moniker — “the most viral” — with her latest breakout hits. Released in November 2024, “Bing Bong” has amassed an astonishing 175 million views on YouTube to date, with an additional 75 million streams on Spotify. On this track, inspired by a spontaneous encounter with Brazilian artist Veigh during Billboard. Latin Music Week in Miami, Yailin dips into Brazilian funk and infuses her signature Dominican dembow flair. The result? A fresh and infectious sound that’s all her own, provocative and unapologetically original. The song earned a spot on Billboard’s Hot Latin Songs chart, debuting at No. 28 — her first solo chart achievement. Meanwhile, tracks like “Silla” and “Chapa” — all three produced by Puyalo Pantera and Yailin — continue to rack up ten of millions of streams.
Adding to her growing buzz, she further made waves online when she was seen celebrating New Year’s Eve in Santo Domingo alongside Spanish superstar Rosalía. “I had my first encounter with Rosalia when I was in a relationship with Catta’s father,” she says in reference to Anuel AA and their daughter Cattleya. “[Rosalia] was a very warm person, she gave me her friendship, despite everything that was going on. We kept communicating and we created a friendship.” Around the NYE holiday, she also sang “Obsesión” alongside bachata megastar Romeo Santos when Aventura came to Dominican Republic Olympic Stadium in the Dominican Republic. “It was something very important, Romeo is someone very important for us,” she adds.
Yailin (whose real name is Georgina Lulú Guillermo Díaz) grew up in Santo Domingo, immersed in the rich sounds of her island, such as dembow. “The carnival music from here, with drums and things like that, was always something I heard here,” she recalls. “My dad passed away when I was little, and music always influenced me because of him. He always listened to Ana Gabriel, which is why I identify with Ana Gabriel so much. There was a dance they called el baile de Pakitín, where you danced with your hands and feet. And those were the things that influenced me the most.”
Like many rising Latin artists, Yailin looked to the icons of reggaetón and pop culture for inspiration, imagining herself on the same level as the legendary figures she grew up listening to. “You know, I’m not that old. I used to listen to Puerto Rican reggaetón artists like Daddy Yankee. Then we started listening to music in the Dominican Republic from American artists like Beyoncé, those people. You always think when you’re [very young] that one day you’re going to be something big just like them,” she says. Her ambition fueled her journey as she ventured into music, despite the challenges of breaking into a male-dominated genre.
Yailin La Más Viral
Christopher Nunez
Her rise has been anything but ordinary, with much of her early public recognition stemming from her high-profile romantic relationships. In 2022, she became involved with superstar Anuel AA, shortly after his highly publicized split from Karol G. Their whirlwind relationship led to a marriage and the birth of their daughter, Cattleya. During this time, Yailin also collaborated with the Puerto Rican rapper, appearing on “Si Tú Me Busca,” which scored her her first Billboard chart entry, reaching No. 12 high on Hot Latin Songs.
By 2023, Yailin and Anuel AA separated, and she began to face life as a young single mother. She began collaborating with Tekashi69 — a controversial rapper with a history of legal troubles — on tracks like the bilingual “Shaka Laka” and the romantic-leaning “Pa’ Ti,” which fueled rumors of a romantic connection, as she navigated public scrutiny. The latter track, however, secured her her first top 10 on Hot Latin Songs, debuting and peaking at No. 6 that year in July. This year, she inked a deal with Roc Nation.
“I always say that God takes you on a path where you can learn,” she says. “Those things that happened to me, I think they were kind of forging me into who I am. But I know that God put me through that, so that I can be who I am today.”
“Bing Bong” marks her first chart appearance as a solo artist. Its success is particularly special to her, as it serves as both a creative milestone and a personal one. The inspiration behind the track was none other than her daughter. “Catta was the one who did the ‘aayyyy…’ [heard in the song]. She is the inspiration for ‘Bing Bong,’” she shares with pride. Being a single mother and balancing her demanding career hasn’t been easy, but her child has become her driving force. “Catta is like the engine of my life, like the motor. Everything I do is so that she can have a future and a very different life than the one I had.”
From her new grey eyes to her striking pink hair and daring outfits, the singer’s bold style is yet another way she showcases her individuality. “My look, the different things I do to myself, I change them a lot because I really like experimenting to see where I find myself,” she explains. “One of my goals is for my fans to identify with the style I have, [clothes] to be able to use it day to day, and for it not to be too expensive, so they feel good and can be different.”
As she continues growing her career, Yailin is focused on leaving an impact — not just as an artist, but as a humanitarian, of helping single mothers and children in need, even expressing her desire to one day adopt. “I have plans to help single mothers. I want that to be on my record, that I can make a plan, a foundation, something to support young single mothers,” she says, also adding, “I’ve always had a dream of adopting a baby.”
“The first thing I always want is for people to remember me as a girl who came from low-income backgrounds, who came from the bottom, from the Dominican Republic, who made it, who was able to go out and represent her country, and that this helps to put my country on high,” she says. “And as a person, that they remember me as the best mother Catta could have. May I always be seen as someone who loves her family, who is very grateful to her fans, and who appreciates the support. I see myself in the future as one of the most remembered artists of the Dominican Republic, who inspired many young people and that they know that I will always be the same Yailin.”
Name: Georgina Guillermo Díaz
Age: 22
Recommended Song: “My song ‘Bing Bong’ is like the seal of Yailin La Más Viral, because it was the song where I found myself. But if I can tell you the most important song that I have recorded, apart from that one, is ‘Mía,’ because it is the song for my daughter, where I express what she means to me.”
Biggest Accomplishment: “Many great things can come and go in life, but being Catta’s mom is my greatest accomplishment. [Professionally], I still feel like my biggest accomplishment hasn’t yet arrived.”
What’s Next: “For Yailin, la chivirica, putona, toda la chivirica, a lot of music and many surprises are coming. We have many projects: to bring out a makeup and clothing line. That the fans can identify with me, see that I wear this [clothing] and that it is not so expensive. To finish an album and do an international tour.”
With her bubbly charm, dazzling aura and universal appeal, Selena Quintanilla revolutionized the Tejano genre in the ‘80s and ‘90s by lacing her authentic Mexican roots with bold new sounds such as R&B, pop, dance and rock. Known as the Queen of Tejano, she shattered ceilings in a genre that was dominated by men, and made history along the way. After earning four of her eventual seven No. 1 Hot Latin Songs hits in 1994 — “Donde Quieras Que Estes,” “Amor Prohibido,” “Bidi Bidi Bom Bom,” and “No Me Queda Más” — the Mexican-American powerhouse was well on her way to a major mainstream crossover before she was tragically shot dead on March 31, 1995, at the age of 23.
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However, her music has stood the test of time — and, throughout the years, she’s influenced a new generation of hitmakers, making her a bona fide Latin icon in pop culture 30 years later. As a testament to her enduring legacy, Mexican-American artist Becky G speaks with Billboard about her love and admiration for Selena, and how she’s influenced her own career. Read her heartfelt as-told-to essay below:
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I was born in 1997. That was two years after Selena’s passing.
My mom actually remembers when they were doing the casting calls for the movie…she actually wanted to audition. Everyone loved Selena and identified with her. Having such a young mom, she naturally played for me the music she would listen to. I may not have vivid memories of Selena, but this is the way she was introduced to me. I even have baby videos listening to her music. She’s always been a part of my life.
She’s influenced my career in so many ways. As a performer, she represented so much more than just herself. She started building a bridge for the 200 percenters like myself, who [are] no eran de aqui ni de alla (neither from here nor from there). Growing up, that identity crisis used to feel like such a curse for me. I felt that I wasn’t enough, and I felt that I had to sacrifice parts of myself to be accepted on this or that side. What Selena embodied was authenticity. She was so authentic in her sense of humor, the dreams that she had, and the way she connected with her family and fans. That’s something that we, as fans, crave today from our favorite artists, but it’s a lot easier said than done.
At Coachella in 2023, I decided to pay tribute to her. A part of me does it for Little Becky, because I think what Little Becky saw in Selena was that dreams can come true, and it’s almost a celebration of being here and of her. First and foremost, I think it’s important that we recognize who came before us, and for me, it’s a beautiful thing to pay respect to the people you know you wouldn’t be here without. I truly feel that I wouldn’t be here without Selena.
Throughout the years, I’ve been very blessed to have had many, many loving interactions with the Quintanillas. Suzette even became a pretty good friend of mine. This last tour that I was on, she came to see it, and she’s always been super supportive. I actually met [her] mom and dad at the Fiesta de la Flor Festival in Corpus Christi, and I’ll never forget that her dad couldn’t believe that I was going to perform without a band. I was just getting started! It’s always one of those things that he would tease me about. It’s been really cool to keep up with them. They’re truly dedicated to continuing her legacy, and I admire that about them.
Now, going back to the word authenticity, she represents something that still resonates and is relevant today, which is that 200 percent identity. You should always be yourself no matter what, pochos and all! I feel that from the way she showed up in interviews to the way she did some of her most iconic performances to personal stories you hear from her loved ones, there was a common thread: it was her genuine kindness.
As an artist, you are overworked, you are depleted of your energy… but when you’re meant for it, you really do it with gratitude. Selena lived in abundance and was always giving back to the community, and always had the best of intentions. So many artists throughout the years since her passing may have reminded us of her essence, but there will never be another Selena. She was one of a kind — and that’s what makes a true superstar. Selena’s legacy is to admire, to respect, and to continue protecting, because she’s a light to so many of us.
Shakira tops Billboard’s monthly Top Tours chart for the first time, earning $32.9 million from 282,000 tickets sold in February, according to figures reported to Billboard Boxscore.
The Top Tours ranking in recent times has been repeatedly led by acts who have crowned the list previously. P!nk returned for her fourth victory in October, followed by Coldplay’s fifth in November. Trans-Siberian Orchestra popped up for a fifth time in December, and then Coldplay returned to the summit in January.
Shakira follows Bad Bunny, Los Bukis, and RBD among Latin artists who have topped the monthly ranking, making her the first solo Latin woman to hit No. 1.
Not only is this Shakira’s first month at No. 1, but it’s also her very first appearance on the 30-position chart. The tally’s first edition covered the biggest tours of February 2019, which was three months after the wrap of her previous outing, 2018’s El Dorado World Tour.
Shakira kicked off Las Mujeres Ya No Lloran World Tour on Feb. 11 at Rio de Janeiro’s Estadio Nilton Santos with a $2.9 million gross with 35,200 fans. Her pace accelerated throughout the month, to $6.4 million in Sao Paulo on the 13th, to $11.3 million in Atlantico, Colombia, on the 20th and 21st, and finally to $12.3 million during a double header at Bogota’s El Nemesio Camacho (Feb. 26-27). The two Colombia stops finish at Nos. 3 (Bogota) and 6 (Atlantico) on Top Boxscores.
For almost 30 years, Shakira has been a reliable sellout act in arenas, while flirting with stadiums. Her 2025 outing thrusts her into major-market stadiums, almost exclusively, for the first time. So while her Latin American dates across the 21st century have averaged $1 million to $1.5 million per show, her February shows paced $5.5 million and 47,000 tickets each night.
Las Mujeres Ya No Lloran World Tour continues in Mexico, Chile and back to Columbia through April, before taking Shakira to the U.S. and Canada through the end of June. Including two rescheduled dates in Lima, Peru, in November, the tour will likely soar passed $200 million in total grosses, potentially tripling her career earnings by the end of 2025.
Tyler, the Creator follows on Top Tours at No. 2 with the first shows from Chromakopia: The World Tour. It’s his highest ranking ever, having previously hit No. 10 in March 2022, plus two other top 20 appearances in autumn 2019. He’s only the third rapper to rank as high since the chart’s launch, following Post Malone (No. 1 in October 2019 and February 2020) and Travis Scott (No. 2 in October 2024).
Across 14 shows in February, he grossed $29 million and sold 188,000 tickets. The Chromakopia outing isn’t Tyler’s first rodeo in arenas, though it does continue an alarming rise among the ranks of headliners. Averaging $2.1 million per night, the tour doubles 2022’s Call Me If You Get Lost Tour ($993,000). That tour did the same to 2019’s Igor Tour ($414,000), which itself had two-timed the pace of 2017-18’s Flower Boy Tour ($177,000). For kickers, that run quadrupled 2016’s Okaga, CA Tour ($41,700).
That’s a consistent rise that has grown Tyler’s per-show earnings potential almost 50 times over, over the course of less than a decade. His March schedule is busier than February’s (17 shows vs. 14), before the tour travels to Europe, back to North America and then to Australia and Asia before the end of September.
February’s 10 highest grossing acts are evenly spread across country, Latin, pop, rap and rock. Even among pop and rock, each with multiple acts in the upper tier, there is diversity: that of language and geography between ATEEZ (No. 7) and Ed Sheeran (No. 8), and a generational gap to separate the Eagles (No. 5) from Linkin Park (No. 9).
Mexico City and Australia split the prize atop the monthly venue rankings. The former’s Autodromo Hermanos Rodriguez crowns Top Stadiums, powered entirely by Electric Daisy Carnival’s $20.9 million over Feb. 21-23. Auditorio Nacional rules Top Venues (5,001-10k capacity) with a broader stroke of 22 shows during the 28-day window.
Sydney’s Qudos Bank Arena is No. 1 among venues with a capacity of 15,001 or more, thanks in large part to multi-night runs by Drake and Billie Eilish. And Brisbane Entertainment Center wins the 10,001-15k category with $17.2 million from 13 shows.
Thanks to substantial tours from Tyler, the Creator, Kylie Minogue, Kelsea Ballerini and more, AEG Presents presides over Top Promoters. The global touring giant earned $201.8 million and sold just under two million tickets from a reported 687 shows in February.
Rauw Alejandro and Romeo Santos, friends for years, had long talked about collaborating together.
Nearly four years ago, it almost happened, but schedules, tours and other releases intervened. Now, the duo’s first ever collab, “Khé?” hit No. 1 on Billboard’s Latin Airplay chart, becoming the first No. 1 for either of them since 2023. The achingly romantic, yet immediately catchy and danceable track is the fourth from Rauw’s new album, Cosa Nostra, to hit the chart, and the first to climb No. 1, thanks in part to a lilting beat that allows it to flow between formats.
Ironically, “Khé?” wasn’t even destined to be in the set.
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As Rauw told Billboard in an exclusive conversation, he originally wrote the song for his 2021 album Vice Versa. “I was preparing a song for Romeo and I went to the studio to work with [producer] Mr. Naisgai and [singer/songwriter] Elena Rosa, who wrote the chorus,” he said, during a break from rehearsals for his massive Cosa Nuestra arena tour, which kicks off April 5 in Seattle.
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“We were looking for that Romeo flow, that would work for a collab with him. And that’s how we came up with the ‘Se nota tanto, que me está matando’ chorus. We tried to empathize with Romeo’s feeling, and I’d been doing bachata since Day 1 because I’m a bachatero. Then, when I showed it to Romeo, he loved it.”
Santos really did love it, but he was busy with other projects. But Rauw had faith. He never released the song, saving it instead for a rainy day. When he began recording Cosa Nuestra, he again reached out to Santos to brainstorm ideas. It was Santos who finally said: “Remember that song we did years ago? That’s the hit.”
Due to scheduling conflicts, they worked via Zoom, with Santos helping in the production –as he likes to do—and ended up incorporating an African kizomba beat into the song’s tropical and reggaetón fusion.
“Romeo loves kizomba, and since I was hanging out in jazz clubs and speakeasies in New York City, we added a touch of New York jazz,” says Rauw.
The two finally did meet up, in New York City, to film the video, a nostalgia-infused black and white ode to old Broadway that features both artists dancing in the steps of an old cinema and in the subway.
“It’s some of my best visual work, and I can’t wait to sing it live,” says an enthused Rauw. “I’m one of those people that believes God’s time is perfect. Artists have their calendars, and I always understood that, from the very beginning of my career. You have to respect other artists’ time. Many things have to fall into place for a collaboration to happen or be successful. But we always had a beautiful relationship. We have long phone conversations. And he’s fan. He doesn’t record with many people, only with the top. So, I feel honored to record with Romeo, the legend. It had happened. Because Romeo and Rauw are the guys for the babes. That’s the truth!”