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Myke Towers secures his 13th No. 1 on Billboard’s Latin Airplay chart as “Otra Noche,” featuring Darell, surges 13-1 for its first week atop on the chart dated Feb. 22. It’s the biggest jump of 2025 so far, out of the four songs that have ruled the tally.
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“Otra Noche” rallies to the top after a 36% surge in audience impressions, to 7.8 million, earned in the U.S. in the Feb. 7-13 tracking week, according to Luminate.
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The recent airplay boost for “Otra Noche” is perhaps due in part to Towers’ upcoming participation at SBS’ Calibash festival on March 7, with SBS’ WSKQ (New York) among the biggest supporters of the song, with the most plays for the tracking week, while Univision’s WXNY (New York), KAMA (Houston) and KDXX (Dallas), and SBS’ WMEG (Puerto Rico) round up the top five stations by spin count.
As “Otra Noche” takes the lead, it ejects Bad Bunny’s “El Clúb” from No. 1 after two weeks in charge. The latter drops 4-1 with a 17% dip in impressions.
“Otra Noche” gives Towers his 13th No. 1 on Latin Airplay in 2025. He previously reigned with “La Capi” in May 2024. Darell, meanwhile, returns to the summit after five years; “Otra Trago,” with Sech, Nicky Jam, Ozuna and Anuel AA, ruled for one week in 2019.
As “Noche” surges 13-1, it becomes the largest jump out of the four songs that have ruled Latin Airplay, and the only one to jump more than one slot to the top. Shakira’s “Soltera,” Bad Bunny’s “El Clúb” and Karol G’s “Si Antes Te Hubiera Conocido” all rose 2-1. The last song to have a larger jump to No. 1 came on the July 20, 2024, chart, when “Perdonarte Para Qué?” by Los Angeles Azules y Emilia climbed 15-1.
“Otra Noche” was the fourth single from Towers’ fifth studio album, La Pantera Negra, released August 2024 on Warner Latina. The album debuted at Nos. 7 and 2 on Top Latin Albums and Latin Rhythm Albums, respectively, last September.
Paquita la del Barrio will be honored at Premio Lo Nuestro 2025 with an emotional performance by Pepe Aguilar and his children Leonardo y Ángela Aguilar, Billboard can exclusively announce Wednesday (Feb. 19).
The iconic Mexican ranchera singer, known for denouncing macho culture and attitudes in songs like “Tres Veces Te Engañé,” “Rata de Dos Patas” and “Las Rodilleras,” died this week at her home in Veracruz, Mexico, at age 77.
“Honoring the legacy of Paquita la del Barrio for me is a great responsibility and a true privilege. Her voice was an echo in the soul of our people, and her courage in telling stories paved the way for many generations,” Pepe Aguilar said in a statement, adding that he hopes “that this tribute is as significant with the depth of her spirit.”
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“Paquita la del Barrio taught us that a woman’s voice should never be silenced — she always sang what she felt, without fear and without excuses,” added Ángela Aguilar. “I had the incredible honor of opening her concerts when I was younger, witnessing firsthand the magic she created on stage. Having her as part of [my family’s show] Jaripeo Sin Fronteras was just as special — a true testament to the impact she has had on generations of artists.”
Meanwhile, Leonardo Aguilar expressed: “All my life I have been surrounded by powerful women — whose strength, resilience and passion have shaped who I am. Paquita la del Barrio personified that strength, breaking barriers and giving a voice to those who needed it most.”
With a career spanning over five decades, Paquita la del Barrio was an idol in popular music. In 2011, she received the Billboard Regional Mexican Music Award “La Voz,” and 10 years later, in 2021, she was recognized with the Lifetime Achievement Award at the Billboard Latin Music Awards for her exceptional career.
Born in Veracruz, Mexico, Francisca Viveros Barradas (her real name) discovered her powerful voice as a child while singing at school festivals. In the 1970s, she formed the duo Las Golondrinas with her sister Viola, and in 1984, she released her debut album, El Barrio de los Faroles, as Paquita la del Barrio. Since then, she recorded over 30 albums, which sold more than 30 million copies, with hits that also include “Las Mujeres Mandan,” “La Última Parada,” “Me Saludas a la Tuya,” “Soltero Maduro, Chiquito” and “Hombres Malvados,” among others.
In its 37th edition, the Premio Lo Nuestro ceremony will be broadcast live on Thursday (Feb. 20) starting at 8 p.m. ET / 7 p.m. CT on Univision, UNIMÁS and ViX. Co-hosted by Laura Pausini, Thalia, and Alejandro Espinoza, it will feature performances by Becky G and Carín León, who lead this year’s list of nominees, as well as Shakira, Grupo Frontera, Marc Anthony, Will Smith and many more.
Farruko is back atop Billboard’s Latin Pop Airplay chart as “Cables Cruzados” lifts 2-1 to rule the Feb. 22-dated tally. The Puerto Rican returns with his first song to rule in over a year.
“Cables Cruzados” was the focus track on Farruko’s 26-track studio album Cvrbon Vrmor (2024), his first full-length since the No. 1 set La 167 (2021). The song was a full embrace of the pop side he periodically showcased on past releases and arrived following his transformative spiritual conversion.
“Cables Cruzados” lands at No. 1 on Latin Pop Airplay, where it vaults 5.8 million audience impressions across U.S. pop radio stations in the tracking week ending Feb. 13, according to Luminate; that’s a 22% boost in weekly plays from last week.
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The song dethrones Shakira’s “Soltera” from its 18-week-straight coronation, the third-longest reign in the 2020s decade (Rauw Alejandro’s “Todo De Ti” and Karol G’s “Provenza” dominated for 28 and 21 weeks, respectively, in 2021 and 2022).
“Cables” becomes Farruko’s eighth win on Latin Pop Airplay among 40 career entries. The single also gives him a first champ since 2023, when “Pasa_je_ro” seized the No. 1 slot for five consecutive weeks in 2023, his longest-leading song there.
Farruko’s winning streak began with 2016’s “Obsesionado” (two weeks in charge). That same year, “Chillax,” featuring Ky-Mani Marley, led for one week.
As it has become a norm for Farruko’s leading songs on Latin Pop Airplay, “Cables” lands at No. 1 in its 17th week, a two-digit run to the penthouse as the rest of his eight champs. Let’s take a closer look at those eight winners and their journey to No. 1, from least to most:
Weeks to No. 1, Song, Weeks at No. 1, Year11, “Obsesionado,” two (2016)13, “Perfecta,” with Luis Fonsi, two (2020)13, “Me Pasé,” with Enrique Iglesias, one (2021)16, “Si Me Dices Que Sí,” with Reik & Camilo, two (2020)17, “Cables Cruzados,” (2025)21, “Chillax,” featuring Ky-Mani Marley, one (2016)22, “Pasa_je_ro,” five (2023)25, ‘Calma,” with Pedro Capo, one (2019)
Thanks to a winning performance across radio pop stations, “Cables Cruzados” delivers its first top 10 appearance on the overall Latin Airplay chart, where it climbs 18-10, Farruko’s 18th top 10 there.
All charts (dated Feb. 22, 2025) will update on Billboard.com tomorrow, Feb. 19, a day later than usual due to the Presidents’ Day holiday in the United States Feb. 17. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Banda Los Sebastianes De Saúl Plata wins big this week achieving its seventh No. 1 on Billboard’s Regional Mexican Airplay chart (dated Feb. 22), as “Voy a Levantarme” climbs 4-1 for its first week atop the ranking following a 10-week run in the top 10.
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“My people, we are very happy to be No. 1 on Billboard with ‘Voy a Levantarmé,’ how cool, honestly!” Armando “Choco” Celis, one of Los Sebastianes vocalists, tells Billboard. “Excited and happy, really, thank you for sharing our music, because this entire song is symbolic, about personal improvement.”
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“Voy a Levantarme” advances to the summit on Regional Mexican Airplay despite a 5% dip in airplay in the U.S. — that’s 5.8 million audience impressions logged in the tracking week of Feb. 7-13, according to Luminate. The song unseats Gerardo Coronel’s “CHSM El Hígado” from the lead. The latter manages to remain in the top 10 despite a 37% decline in plays. It drops to No. 9 with 4.1 million impressions across regional Mexican stations.
“Voy a Levantarme,” released Sept. 13, 2024, on Fonovisa/UMLE, gives Fonovisa its first win of 2025. So far, Universal Music Latin’s sublabel has reached a No. 9 high through Banda El Recodo de Cruz de Lizárrga’s “Coqueto Tazo Dorado” (chart dated Feb. 8). Fonovisa last secured a No. 1 when Los Tigres del Norte’s “Aquí Mando Yo” ruled Regional Mexican Airplay for one week last August.
As mentioned, Banda Los Sebastianes achieves its seventh No. 1 on Regional Mexican Airplay. Before the latest coronation, the Sinaloans placed one champ in 2024. The collaboration with Edgardo Nuñez, “El Humo de Mi Gallo,” held at No. 1 for one week in 2024. The reigning champ became the group’s only win through a co-lead billing.
“We love you very much and all this work is for you,” adds Javier Larrañaga, the group’s second vocalist. “Thank you very much for everything. We’re on!”
Shakira is shaking up 2025 with her tour Las Mujeres Ya No Lloran, and we’re highlighting her success in our series of highlighting Latin artists. Tetris Kelly:Shakira is a global icon, and as we take this month to highlight Black and Latin artists, we are putting the spotlight on the Colombian musician. Happy birthday, Shakira. […]
Grupo Frontera released its second single of 2025, “Ya No,” on Valentine’s Day (Feb. 14) — a bouncy accordion-led cumbia brought to life during Billboard Latin Music Week 2024.
Penned in 40 minutes during the Making the Hit, Live! panel moderated by Billboard‘s Jessica Roiz, the emotional song describes a narrative of love lost to a once passionate relationship. “Yo te quería y ya no ya/ Por ti moría y ya no ya/ Y ahora este loco te odia Igual que un día te amó,” sings the group’s leader, Adelaido “Payo” Solis III, in the coro. (Translated, the lyrics go, “I loved you but no longer, I died for you but no longer, and now this madman hates you just as he once loved you.”)
Written by Edgar Barrera, Andrés Restrepo, Andrés Jael Correa Rios and Manuel Lorente, “Ya No” continues to showcase the group’s ability to modernize Tex-Mex music while also demonstrating its commitment to honoring the band’s roots.
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“Before we met Edgar Barrera, I would write songs for the group,” Payo said during the panel, which took place in October. “We released, like, two songs that were penned by me, and I wrote four other ones, but those didn’t come out because that’s when we met Edgar and were like, ‘OK, we’re good.’”
“We didn’t have money to rent a studio to record, well we didn’t have money, period. So when we did record, we’d have to do everything in one take — even if we made a mistake, we’d leave that in there,” added bajo quinto player Beto Acosta. “We recorded ‘No Se Ve’ at a friend’s apartment building and every resident there was fine with us using the space — except for this one lady who complained.”
This is the third time an act has released a song created at Latin Music Week’s Making the Hit, Live! panel. Ovy on the Drums and Blessd released “Billboard” in 2023, while Pedro Capó and Carín León dropped “Existo” in 2024.
Check out Grupo Frontera’s “Ya No” below.
Quevedo is back, and in a big way. On Monday (Feb. 17), the Canary Island artist kicked off his highly anticipated Buenas Noches Tour with a sold-out show at the Movistar Arena in Madrid, the first of three consecutive dates in the Spanish capital. After nearly a year away from the stage, the performer of “Playa del Inglés” returns with a show that demonstrates his artistic evolution and his mastery of the live performance, combining the best of his repertoire with a visual and sound display that meets expectations.
From the first moment, the audience sang along with total devotion, while Quevedo — all dressed in black and with his emblematic diamond chain inspired by Van Gogh’s “Starry Night” — commanded the central stage. In front of about 17,000 fans, the artist sang hits from his most recent album, Buenas Noches, and others that have made him one of the most influential voices in the current Latin urban scene.
But the night wasn’t just his own. The show was full of surprises, with appearances from artists like Aitana, Lola Índigo, De La Ghetto, De La Rose, Sech and La Pantera. With a minimalist but effective stage setup, Quevedo confirmed that he is ready to take his music beyond Spain, with a tour that will soon take him across Latin America.
The Movistar Arena in Madrid perfectly adapted to Quevedo’s style, with a stage located in the center of the venue. This configuration, surrounded by screens and visual effects, allowed attendees to enjoy the show from any angle. The pyrotechnics and synchronized lights show added a spectacular touch, elevating the atmosphere of each performance and complementing the powerful presence of the artist.
After his performances in Madrid, Quevedo will take his show to several Latin American countries, including Mexico, Argentina, Puerto Rico and the Dominican Republic. For a full list of dates, click here. He will also visit other cities in Spain, such as Gran Canaria, Barcelona, Malaga and Bilbao.
Below, the eight best moments from Quevedo’s Buenas Noches Tour kick off in Madrid.
The start with “Kassandra” and a passionate Movistar Arena
Rising música mexicana star Xavi has signed a management deal with WK Entertainment, Billboard Español can exclusively announce Tuesday (Feb. 18).
The Latin music management firm — home to superstars Carlos Vives, Maluma, Emilia, and more — and helmed by CEO/founder Walter Kolm, is expanding its superstar roster with the inclusion of Xavi, 2024’s breakout star.
“Xavi is a once-in-a-generation talent whose artistry is reshaping música mexicana,” said Kolm in a statement. “His success so far is just the beginning, and we are honored to welcome him to the WK family. With our team’s expertise and global reach, alongside Nir and his team at Interscope, we look forward to taking his career to even greater heights.”
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“I’m excited for this new stage with the new addition to my team,” added Xavi.
Known for his signature tumbados románticos and an unmatched voice, the Mexican-American singer-songwriter has captivated a new generation of listeners. His hit “La Diabla” not only topped the Hot Latin Songs chart but also tied for the second-longest reigning title of the year, dominating for 14 weeks. Additionally, “La Víctima,” Xavi’s first chart entry, reached an impressive No. 2 peak. Additionally, the star reached No. 1 on the Year-End Top Latin Artist – New chart. Xavi signed with Interscope Records in 2021.
“We’re thrilled to welcome Walter and his incredible team to Xavi’s universe,” added Nir Seroussi, EVP of Interscope. “As Xavi continues to push boundaries and reach new audiences, together we will help solidify his status as one of the most influential artists in Música Mexicana today and beyond.”
WK Entertainment is also teaming up with with Fabio Gutierrez, Xavi’s father and manager, and Latin Lifestyle Entertainment, the company that has been pivotal in developing Xavi’s career from the start. “I’m very excited about this great opportunity to work hand in hand with WK and help take Xavi to the next level in his career! I’m very grateful for everything that is happening at the moment,” Gutierrez added.
Moreover, Xavi’s booking agency, WME, will maintain its role in managing his touring, brand partnerships, and film projects in conjunction with WK and Latin Lifestyle.
“Rata inmunda, animal rastrero, escoria de la vida, adefesio mal hecho.”
Loosely translating to “filthy rat, creeping animal, scum of life, shoddy monstrosity” in English, these are the opening lyrics to one of Paquita la del Barrio’s most popular songs, “Rata de dos Patas.”
Whether the lyrics to her songs — most penned by other composers, including Manuel Eduardo Toscano — were poetic is subjective, but they were very much the essence of Paquita. She was refreshingly honest, which made her one of the most unique artists of her generation.
It was announced on Monday (Feb. 17) that the great and oh-so-blunt Paquita la del Barrio had died at age 77, leaving behind a hefty catalog of female anthems that have soundtracked Spanish-language households in Mexico and beyond for decades.
“With deep pain and sadness, we confirm the sensitive passing of our beloved ‘Paquita la del Barrio’ at her home in Veracruz [Mexico], being a unique and irreplaceable artist, who will leave an indelible mark in the hearts of all who knew her and enjoyed her music,” reads a statement posted on her official Instagram account. “In this moment of great pain, we respectfully ask all media and the public to give us space and understanding so that her family can experience their mourning in privacy and peace.”
Paquita la del Barrio was a force to be reckoned with in regional Mexican music, a genre historically and still dominated by men. Her perspective and take on rancheras — often calling out the macho culture — was not only unique, but extremely important. No one was else was singing what Paquita la del Barrio was singing about, and for that, she will go down in history as one of the most iconic singers in Latin music.
Injecting pathos into her delivery, Paquita made women feel seen. Our point of view mattered, too, she proclaimed, singing about the peaks and valleys of womanhood and, more often than not, singing directly to the men who disrespected her. “I should shut up like a lady would,” she sings in “Taco Placero.” “But now they will know that you are a dud in bed.”
While most of Paquita la del Barrio’s songs became anthems, here are five emblematic ones (in no particular order).
“Rata de dos Patas”
Back in September of 2021, during the Billboard Latin Music Awards in Miami, Paquita la del Barrio — all 4 feet, 11 inches of her — struggled to reach the too-high microphone set up for her to accept her Lifetime Achievement Award.
It was one of those totally impromptu TV moments, and for a few seconds, the stage and the audience froze, uncertain of what to do. Then, Bad Bunny bounded up from his front row seat, climbed onto the stage, lowered the microphone and held it up for Paquita as she delivered a teary thank you.
There was a one-foot height gap between Paquita at 4′ 11″ and Bunny at 5′ 11″, and a 47-year age gap between Bunny, 27 at the time, and Paquita, 74. But standing side by side — Bunny, in an elegant cream suit, and Paquita, resplendent in a pink evening gown adorned with sequins — they were both unicorns in their respective worlds.
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By now, of course, the whole world beyond our Latin corners knows all about Bad Bunny, superstar. But they were just starting to wake up to the exploits of Paquita la del Barrio, the diminutive ranchera singer who died today (Feb. 17) at 77 years old.
Although she released more than 30 albums throughout her career, and performed thousands of shows, the life of the woman born Francisca Viveros Barradas in Veracruz, Mexico, was little-known outside the Latin realm until last year, when Netflix released a series memorializing a hard-scrabble, colorful life.
Born poor, and married young to a man 18 years her senior — who, as it turned out, had another family — and pummeled by life and hardship, Paquita rose against all odds, thanks to a powerful voice and an impervious stage presence.
That alone would have garnered fame. But Paquita became legendary because she loudly and publicly excoriated men with extraordinarily harsh songs whose titles, like “Rata de dos Patas” (Two-Legged Rat) and “Piérdeme el Respeto” (Lose My Respect), often said it all. Paquita knew what she sang. She’d given her heart to a two-timing scoundrel, after all, and in every song that voiced her anger and the deceit (“Horrible rat, crawling animal, scum of life, misshapen monster”), she voiced the anger and deceit experienced by legions of fans.
But she could also sing of love and lust: “Lose my respect,” she begged in “Piéerdeme el Respeto.” “Stop being coy and ask of me, I beg you, the most indecent proposals.” She was also sweet and emotional, often breaking down in tears during interviews.
In the realm of Latin music, where women so often have to fit into a glamorous, beautiful mold, Paquita defied convention. Her nickname was literally Paquita from the barrio, of the people. She was a portly, elegant matron who notched her biggest hits — including “Taco Placero” and “Rata de Dos patas” — when she was well in her 50s.
Many of those hits were written expressly for her by songwriter Manuel Toscano, who once told Billboard: “I write specifically for each artist. Particularly what I write for Paquita la del Barrio. Through her songs, women love me, but men hate me!”
Except, they didn’t. Paquita triumphed in the world of regional Mexican music, which continues to be a notoriously tough nut to crack for women. But Paquita didn’t care about tradition or niceties. She just let it all out, and men loved her for it. In the vastly male-dominated live concert circuit of Mexican music, she was often the headliner, and men flocked to her shows.
On the charts, however, Paquita struggled as an unconventional woman. She placed eight releases on Billboard’s Top Latin Albums charts, but none of them made the top 10. She never had a top 10 on the radio charts, either.
Paquita eventually found her love. Her second marriage lasted 30 years, until her husband’s death. And her power and influence was such that in 2021, Billboard honored her with its Lifetime Achievement Award.
That night, Bad Bunny couldn’t figure out how to lower the microphone stand for Paquita. “You’re useless,” she deadpanned, referencing the famous line in “Rata de dos patas,” in which she shouts, “Are you listening to me, useless one?”
Bunny shrugged, and valiantly held that mike. Coming from Paquita, he knew this was the ultimate compliment.