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Ángel del Villar‘s criminal trial case could set a precedent in Latin music. The CEO of regional Mexican powerhouse label, Del Records, is accused of doing business with a concert promoter linked to Mexican drug cartels. Del Villar’s ongoing trial began on March 18 at a downtown Los Angeles federal courtroom and follows a 2022 criminal […]
Rauw Alejandro lands his first No. 1 single from Cosa Nuestra, his fifth studio album, on Billboard’s Latin Airplay chart, as “Khe?,” with Romeo Santos, rises from No. 3 for its first week at the summit (ranking dated March 29). The song is the fourth from the set to rank on the overall tally, two of which previously reached the top 10.
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See latest videos, charts and news
“Khe?” is the most heard song among Latin-formatted radio stations thanks to a 5% bump in audience impressions, equating to 7.9 million earned in the U.S. during the March 14-20 tracking week, according to Luminate.
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The song reigns over previous No. 1 “El Amor de Mi Vida” by Carín León, which drops to No. 8 with a 22% dip in impressions.
“Khe?” is Rauw Alejandro and Romeo Santos’ first collab, and, coincidentally, their first No. 1 on Latin Airplay since 2023. While Rauw Alejandro last led through “Party,” with Bad Bunny, the Santos’ previous coronation arrived via another team-up, “El Pañuelo,” with Rosalía. The two leaders were only two weeks away from each other.
For Santos, while “Khe?” puts him in a tie with Wisin (22) for the ninth-most champs overall since Latin Airplay began in 1994, the new coronation expands his already-established No. 1 record among tropical acts –way ahead of his next competitor, Prince Royce, who has achieved 17 No. 1s to date.
Before “Khe?” topped the Latin Airplay chart, Rauw’s No. 1 album Cosa Nuestra delivered the No. 23-peaking “Touching The Sky” (Aug. 2024), while “Tú Con Él” landed at No. 7 and “Qué Pasaría,” with Bad Bunny, reached No. 3 high on the Feb. 15- and the March 8-dated charts, respectively.
All charts (dated March 29, 2025) will update on Billboard.com tomorrow, March 25. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Selena Gomez and Benny Blanco — her fiancé who happens to be one of the top pop producers of today — are making the rounds with their joint album I Said I Love You First.
Best representing the creative collaboration between two halves of a shared heart, the set is home to 15 tracks, including “Call Me When You Break Up,” featuring Gracie Abrams, and “I Can’t Get Enough,” the pair’s 2019 team-up with J Balvin and Tainy.
“It just felt like it was a little taste of what we are and how we made this together, and how much we loved it and how much we love each other,” Gomez recently said about working with her romantic partner in an interview with Apple Music’s Zane Lowe. “And it just felt like it was meant to be.”
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One of the set’s standout track is “Ojos Tristes,” a bilingual glam-pop track that features vocals from the Marías leader María Zardoya, who is also credited as a songwriter and producer. The song — whose lyric video has nearly 2 million views and is in the top 10 on YouTube’s Trending chart for music at the time of publishing — samples Jeanette’s 1981 classic “El Muchacho de los Ojos Tristes.”
Below, Billboard compares the 2025 version with the original by the English-born Spanish singer.
Title: “El Muchacho de los Ojos Tristes”
Artist: Jeanette
Year: 1981
Song: A song about a young man with sad eyes became one of the most emblematic songs of Jeanette’s career. Lyrically, she sings about coming across a lonely man who has sad eyes and needs love, and her desire to see him again and make him feel better. Musically, it’s a soft, glam-pop ballad that transmits melancholy backed by Jeanette’s dreamy and dulcet vocals. “El Muchacho de los Ojos Tristes” was written and produced by Manuel Alejandro and marked the third single from Jeanette’s Corazón de Poeta album released in 1981.
Video: A video published on Jeanette’s official YouTube channel shows the then-30-year-old singer performing the song in a live television setting. Completely alone onstage, the artist interprets the song’s lyrics with grace, passion and her own sad, brown eyes glistening. She’s wearing a sequined purple dress with cowboy boots as she sways side to side.
Title: “Ojos Tristes”
Artist: Selena Gomez & Benny Blanco
Year: 2025
Song: While the ’80s song is about the desire of knowing more about that mysterious man with the sad eyes, Gomez’s “Ojos Tristes” is about an unwanted breakup. “It’s not your fault I have to leave/ Please don’t you look that way, baby […] Those sad eyes, sad eyes/ You know I don’t wanna say goodbye,” she sings at the beginning of the track. Produced by Blanco, Josh Conway and Maria Zardoya of The Marías, the song conserves its hazy-disco aura, but with more percussion and instrumentation. The Marías also sings Jeanette’s timeless chorus in Spanish and adds another verse about never forgetting her ex despite the years.
Video: An official music video has yet to be released, but a lyric video featuring Gomez hugging Blanco in bed on a loop captures the nostalgic sentiment of the song.
One is a Broadway veteran; the other a debutante. Natalie Venetia Belcon and Isa Antonetti are the stars playing legendary singer Omara Portuondo at different stages of her life in BUENA VISTA SOCIAL CLUB, the new Broadway musical about the Cuban artists who brought the acclaimed Grammy-winning album of 1997 to the world.
With Broadway credits including Matilda (Mrs. Phelps) and Rent (Joanne), Belcon is a Trinitarian-American actress and singer best known for originating the role of former child television star Gary Coleman in the Tony Award-winning Broadway musical Avenue Q. She had already played the Cuban icon knows as “La Novia del Filin” (“The Bride of Feeling”) during the BUENA VISTA SOCIAL CLUB off-Broadway run, receiving the 2024 Lucille Lortel Award for Outstanding Lead Performer in a Musical and a nomination for a Drama Desk Award for the role.
Meanwhile, Antonetti is a “Latinx, indigenous, mixed race LGBTQIA+ actress and singer from the Greater Rochester, New York area,” as stated in the show’s playbill, and is currently completing her BFA in Musical Theatre at Carnegie Mellon University. With credits including Evita (NYCC), Macbeth (CMU), and A Chorus Line (OFC Creations), she recently made her film debut in Gift of Fear, and is excited to make her Broadway debut in BUENA VISTA SOCIAL CLUB — “as it reflects her own experiences growing up performing with her father’s Latin band, Orquesta Antonetti.”
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Buena Vista Social Club was formed in Cuba in 1996, as a project organized by World Circuit executive Nick Gold, produced by American guitarist Ry Cooder and directed by Juan de Marcos González, who named the group after a popular music venue in Havana in the 1940s. To showcase popular styles of the time, such as son, bolero, and danzón, they recruited a dozen veteran musicians, some of whom had been retired for years.
The group’s eponymous debut album was released in September 1997 and quickly became an international sensation. On the Billboard charts, it reached No. 1 on Tropical Albums, where it stayed at the top for 24 weeks and spent a total of 266 weeks on the chart. It also reached No. 1 on Top Latin Albums and World Albums, and spent 19 weeks on the Billboard 200. In 1998, it won the Grammy for Best Tropical Latin Album, and the Billboard Latin Music Award for Tropical/Salsa Album of the Year by a Group. The Buena Vista Social Club album was also voted into the National Recording Registry in 2022 and the Grammy Hall of Fame last year.
With a book by Marco Ramirez, the Saheem Ali-directed Broadway show is inspired by true events, and features a band of international musicians to narrate the legendary story of the artists who brought the original album to life, going back and forth between the mid-90s and the 1950s. The company also features Julio Monge as Compay Segundo, Mel Semé as Ibrahim Ferrer and Jainardo Batista Sterling as Rubén González — with Da’von Moody, Wesley Wray and Leonardo Reyna as their younger versions, respectively. Renesito Avich plays Eliades Ochoa, and Ashley De La Rosa a young Haydee. Also performing are Angélica Beliard, Carlos Falú, Hector Juan Maisonet, Ilda Mason, Marielys Molina, and Sophia Ramos, among others.
Last Tuesday afternoon (March 19), dressed to the nines for the musical’s official Broadway premiere, Belcon and Antonetti sat with Billboard Español to share their experience giving life to one of the most beloved singers of Cuba. (Hours later, Omara Portuondo herself, now 94, would pay the cast a visit at the Gerald Schoenfeld Theater in New York City ahead of opening night. She was not available for press).
What did you know about Buena Vista Social Club before joining this musical?
Natalie Venetia Belcon: I have musicians for parents, and they introduced me to Buena Vista Social Club, the album. I was 26, 27, something like that.
Isa Antonetti: I also have musicians for parents, and they would play the music [with their band] or the music would play it in the background and I would never know what I was listening to, until my dad told me: “You should do some more research on this on this Cuban band that we love to play sometimes.” And I was like, “Okay.” So I heard [the song] “Chan Chan” and I heard a couple of their songs and I was just humming them all over the place. And then they kind of just stayed in my Spotify and I would listen to them once in a while.
In the musical, you speak in English but sing in perfect Spanish. Are you fluent? How did you achieve the accent?
Antonetti: I’m not fluent, but I do speak.
Belcon: My father’s side of the family is Spanish, [but] I don’t speak Spanish. When we moved up to this country, we moved to the South Bronx, which is, you know… [heavily Puerto Rican]. So I am used to hearing it. I just never had to speak it. But I treat languages like I would music — I go off of the sounds and the dialect coach, so I’m good like that, just repeating and recording and putting my earphones in and you know, listening to it all the time is how I learned, anyway.
Antonetti: I always think musicians have the ear. You could give me some sheet music and I could make my way around it, but I learned best by our dialect coach, you know, speaking it and sending us voice memos, making sure I’m pronouncing it the way that is authentic to this show.
Beyond the Spanish, how did you both prepare to play Omara at these two stages in her life?
Belcon: I’m lucky in the sense that the stuff that you see of her is of her older. And so I watched “Adiós” quite a few times and listened to the stuff a lot. I mean, I can’t even help it now, it’s just kind of, you know, on repeat, basically.
How about you, Isa? There’s not so much of Omara from that era.
Antonetti: It’s so funny because I was thinking about it and I remember in the rehearsal room when they had the pictures up, it’s just like one picture of Omara when she was younger. I would do some research, I would look to see if there’s some videos of her when she was younger with like her sister and with her quad. And so I would use that, and I would also talk to [Associate Music Director] David Oquendo and ask what is the essence of someone who’s 19 in Cuba? You know, and I would try and bring that to her as well.
What was the biggest challenge of portraying a vocalist known as “La Novia del Filin” [The Bride of Feeling]?
Belcon: Well, today, it’s going to be [hard] to not pass out when I meet her. I hope my understudy is ready, ’cause I might be in the ER with IV (Laughs). The challenge is, even though this is a fable, to make sure that we are still being respectful and not making up somebody entirely. And to have a semblance of who she is, to have it resemble her as much as possible.
Antonetti: Absolutely. I could just quote what she said. All of it!
But this is your Broadway debut so, for you, what was the biggest challenge?
Antonetti: Besides the genuine general things about Broadway being exhausting through the rehearsals and the previews — you know, that it’s challenging in its own way. I think for the show specifically, it’s keeping making sure the time period stays in your body when you step on stage. I’m playing someone in the 1950s, so that’s different than how I would play someone else. I think the challenging part is remembering when you step on stage that you are a different person and you’re being respectful and you’re bringing life to something. It’s challenging and rewarding and all of the above.
At some points during the musical, your characters meet, creating really emotional moments. Any favorites for you?
Belcon: I think it might be [Ibrahim Ferrer and Portuondo’s duet] “Silencio,” when the younger two are up top on the malecón (pier) and Ibrahim comes in and then I’m having all the memories of things. That and, not necessarily my favorite but I think in my head the most important, which is how it all starts when she — again, it’s a “Do I go left or right?” It’s a crossroads: “Do I make the album or not?” Then she chooses and it’s a butterfly effect; it kind of affects everything and everybody else.
Antonetti: I would say “Chan Chan” — it’s had different iterations since we started rehearsal and I’m so grateful that I get to be a part of that number even longer because it’s so emotionally devastating, but I love the moment and I only get to see it from behind the stage of the malecón. I get to see Natalie come in and Angélica [Beliard] do this beautiful dance move where she transfers the trauma into Natalie. Just remembering it, that moment, I’m telling you, I need like three hours to recoup.
Belcon: I need three drinks! (Laughs)
What did you both learn from Omara Portuondo in this process, as a person and as an artist?
Belcon: I mean, to say that she’s strong is an understatement. There needs to be a better word — maybe it needs to be “I am Omara,” right? You know, she’s been through a lot, just a lot, and came through it all and succeeded. More than succeeded. Just the time period, what was happening [in Cuba], and she not only survived that, she thrived regardless.
Antonetti: As a person, as an artist… She is more than just those words. Whenever I think of her, it’s like what you said, strong is an understatement. She is just this powerful being that can take my breath away.
After months of rehearsals, how does it feel to see the whole show finally come together on Broadway?
Belcon: I had a little bit of a heads-up cause I’ve done it once before [off-Broadway.] I think it is different in the bigger space, definitely, but that’s always a fantastic payoff moment. All the hard work and the not sleeping and all the rest of it, when you see everything fall into place, you know, those moments when you see the younger and the older [characters together], it’s always the payoff. They’re emotional moments. They are.
Antonetti: There are moments where I just have to hold myself back because I am an emotional person. And I was like, “This is a dream and it’s coming true and I have to be grounded in that or I’ll freak out.” It’s like what I told someone else outside: It has been exhausting, but it is worth every inch and ounce of that exhaustion. Absolutely.
Actors Natalie Venetia Belcon and Isa Antonetti on the red carpet as they arrive to the Buena Vista Social Club musical opening night on Broadway on March 19, 2025, in New York City.
Andy Henderson
From its new headquarters in Milla de Oro in San Juan, Rimas Publishing is redefining what it means to champion music from Puerto Rico for the world. Celebrating one decade of success as an independent publishing house — and with more than 150 authors in its catalog, including major names like Bad Bunny and Eladio Carrión — the company has established itself as one of the most influential indie players in the Latin music industry. This includes ranking at No. 1 on Billboard‘s Hot Latin Songs Publishers year-end chart for 2021 and 2022.
The story of the publishing house began in 2014, when its founders launched an innovative idea that initially seemed “crazy” at the time, explains Rimas Publishing president Carlos Souffront, who was involved since its inception. “It’s a concept born from two partners who had a vision,” he tells Billboard Español. From the beginning, Rimas Publishing was tied to Rimas Entertainment, but in 2023, it became a completely independent entity. According to Souffront, “The decision was based on a change in equity within the group of companies.” From that moment, they relocated to their new offices in Puerto Rico.
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This independence has allowed them to explore new territories and expand their global approach beyond the Caribbean, reaching markets like Chile, Mexico, and the Dominican Republic. “It was in 2020 that we signed our first talents in Chile. Today we represent six of the top 10 artists in Chile, which I consider a significant responsibility, even with the Chilean society. This reflects our global commitment,” says the company’s CEO, Emilio Morales.
In addition to its geographic expansion, Rimas Publishing is also diversifying its catalog — signing 12 new authors in the past year — moving beyond its roots in urban music to explore genres like pop, regional Mexican music, and Christian music. “Our commitment is to creators, regardless of genre,” Morales emphasizes. “We were born in urban music, but today we work with writers in various styles who are making a difference in the industry.”
Billboard Español spoke with president Carlos Souffront and CEO Emilio Morales to gain insight into the company’s journey and its vision for the years ahead.
10 years have passed since the beginnings of Rimas Publishing. How has the journey been from its creation in 2014 to now? Could you also share a little about the origins of the company?
Carlos Souffront: I had the pleasure and opportunity to be here in 2014 when this idea was created. It’s a concept born from two partners who came together with an idea that initially seemed crazy to me. But clearly, they both had a vision, and from that vision came the publisher and the record label [Rimas Entertainment], which grew together — up until 2023, when we separated.
The decision was based on a change in equity within the group of companies. This week (week of March 17), we are inaugurating the new offices, completely separating operationally from everything that was previously connected. We were integrated in areas like human resources, accounting, legacy marketing, and now we’re fully separated both physically and operationally.
You’ve worked with renowned artists like Bad Bunny and Eladio Carrión, as well as emerging talent. How has the process of supporting both established artists and new generations been, and what kind of impact has this had on Rimas Publishing’s international expansion?
Emilio Morales: On the creative side, the company’s beginnings were very closely tied to artists shared between Rimas [Entertainment] and Rimas Publishing. Originally, we supported a group of Puerto Rican artists led by Eladio Carrión, Lyanno, Súbelo NEO, and Bad Bunny, who was part of that initial phase. Between 2016 and 2017, the company began expanding beyond those initial artists, reaching talents from Colombia and eventually Chile. If you look at it from the point of view of urban and pop music, when we started, it was that 2016 generation — Bryant Myers, Anonimus, Bad Bunny — that were all the talk.
In 2019-2020, with Carlos’s help, we extended the company’s footprint internationally, focusing especially on Chile and Medellín, Colombia, where we now have an established presence. In 2020, we signed our first Chilean talents, marking an important step in Rimas Publishing’s evolution, which had previously been primarily Caribbean-focused. In the early days, we worked with creatives like Amenazzy and La Manta in the Dominican Republic, but our focus was largely regional.
With Chile’s connection to other international markets, our agenda became much more global. This led us to build an extraordinary professional team, composed of Puerto Rican local talent, collaborators from regions like Mexico, Colombia (especially Medellín), and the Dominican Republic, and support from our CFO based in Miami. We now represent six of the top 10 artists in Chile, which we view as a significant responsibility, not just to the artists but also to Chile’s society.
In Puerto Rico, musical talent has always been abundant, but many artists signed with companies based in places like Miami. For us, it’s been special to witness how this new generation of creatives has fostered an extraordinary scene, with songs like “Gata Only” and “Una Noche en Medellín.”
In Mexico, we’ve also observed a major movement, particularly in regional Mexican music. Michelle Maciel, who writes for artists like Carín León and is part of our roster, exemplifies the way we’ve expanded in the last five years. Beyond entering new territories, our focus has always been on broadening the repertoire and supporting creatives’ dreams.
You’re opening a new office in Puerto Rico. What strategic role does this location play in Rimas Publishing’s global operations now that you have this new headquarters?
Souffront: Although we are based here, as Emilio mentioned, we continue serving clients worldwide, and that will always be a key part of our approach. Not only are we expanding globally, but we’re also diversifying into other genres, such as Christian music, where we’re investing heavily in the talent we’ve signed and continue looking to sign. Why Puerto Rico? Because the team is Puerto Rican, the company was founded here, and our roots are here. Almost exclusively, with one or two exceptions, everyone on our team is Puerto Rican, and we take great pride in that. In addition, many of the artists we represent are based here. We want them to understand that they don’t need to hold Zoom meetings or travel to Los Angeles; we’re just 15 minutes from their homes, ready to welcome them with our full team. That’s something that sets us apart from many large publishing companies.
Rimas Publishing Office in Puerto Rico
Courtesy of Rimas Publishing
Morales: Being in the Caribbean is strategically a huge advantage. It allows you to travel to Colombia in two hours, which is challenging for large companies based in Los Angeles. For us, it’s much more efficient. We can move quickly to South America, North America, or even Europe directly. Additionally, Puerto Rico has immense talent and individuals who, unfortunately, often end up in industries unrelated to music. Someone had to take on the challenge and create jobs here, especially in something as dignified as music publishing. Today we are proud to serve as a business model for our city and our country. We believe this represents a new economy for Puerto Rico and a new chapter for our company. We chose to invest in families who needed opportunities the most. Many talented people here have been educated in prestigious institutions like Berklee College of Music or Loyola University Museum of Art, and were perfectly prepared. However, they couldn’t find jobs aligned with their true passions. We’re proud to welcome them, provide opportunities, and support Puerto Rican families.
What are some of the most important plans for Rimas Publishing in this new phase as an independent publishing company?
Morales: First, we are undergoing a strategic expansion of our business, as I mentioned, into places like Chile, Mexico, and the Dominican Republic, where we’re increasing talent investments. Second, we have a very important project called Faith Sounds. It’s a program in which we support the best composers from our roster and aim to impact the region with faith-based and Christian music. Featured artists in this project include Shammai, Gabriel EMC, Lizzy Parra — a Dominican artist with an impressive career trajectory — and Barajas, with a presence in the U.S., Puerto Rico, and other countries. The goal is to enhance their creations and strengthen our licensing efforts because we see significant opportunities in this space.
Over the past 18 months, we’ve hired key personnel to optimize our synchronization and commercial licensing operations. This includes everything from Christian films and positive music to broader markets aligned with that philosophy. Furthermore, we’re making strategic alliances with important brands like Netflix, Hulu, Amazon Films, and others we’ve historically collaborated with.
Souffront: From a broader perspective, our vision rests on three main pillars. First, growing responsibly. We currently have 150 artists under contract, and our goal is to maximize their output — their art. Current technology provides tools that allow us to further amplify their work and optimize their impact. Second, expanding into other genres. While our roots are in reggaeton, and we will never abandon that essence, our aspirations extend far beyond being just a reggaeton publisher. Third, we are actively exploring the acquisition of existing catalogs, which is critical for our future. Our growth plan is clear and systematic.
Rimas Publishing Office in Puerto Rico
Courtesy of Rimas Publishing
Looking ahead to the next five to ten years, what is your vision for the publishing company? What impact do you want to have on Latin and global music?
Morales: Our goal as a company is to become a worldwide leader in service and technology for our clients — a core part of our DNA that we embody daily in our mission and vision. We want to be recognized not only for the success of working with the biggest Latin artists in the world but also for delivering the best technology, service, and attention. We aim to take that to the next level, increasing our cultural impact and creating opportunities to connect with the global movement. We’re investing heavily in developing our authors, taking them to places like Brazil, France, and other destinations to collaborate with companies of all sizes—from major American record labels to companies in China, Africa, and beyond. Our goal is to build a sustainable and successful ecosystem for authors in Latin America and the world. We’re getting closer to achieving the milestone where people say: “They’re not the biggest, but they’re the best.” That’s our true aspiration, and we’re on the right path.
Souffront: Beyond the plans I mentioned earlier, within the next ten years, one of my aspirations is for us as an independent Latino company to provide services to other small independent publishers in Latin America or Spain. We want them to join the family of this publishing house, letting us provide them with services. That will only come when people continue to know and recognize us as the best.
Originally in Spanish, this interview has been edited for length and clarity.
Ángela Aguilar has a tangible presence — even over Zoom. It’s mid-February and the 21-year-old singer is all smiles, almost giddy, as she joins our call from Mexico City, where she’s hunkered down in a studio working on her next album. “You probably didn’t recognize me because it’s a new me,” she says, referencing the shoulder-length, soft chocolate brown style that has replaced her signature short bob. “I do miss being [The Incredibles character] Edna ‘E’ Mode,” she adds with a grin, “but I’m enjoying this new stage.”
The “new me, new stage” goes beyond the new hairstyle. Ángela, the youngest of the Aguilar dynasty — her father is música mexicana icon Pepe Aguilar, her grandparents legendary Mexican entertainers Antonio Aguilar and Flor Silvestre — married fellow regional Mexican superstar Christian Nodal last July in an intimate ceremony in Mexico (a subject she prefers to keep private and not discuss during our interview), and for the first time, she’s producing her own music.
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“I doubted myself a lot because I had never [produced] before, but I’m figuring out what I want my sound to be,” says Ángela, whose father produced all of her previous albums, including her latest, Bolero, which was nominated for album of the year at the 2024 Latin Grammy Awards. “At the beginning I was scared, but now I know that this album is me. It’s also scary to think if it goes well, it’s because of me, but if it goes badly, it’s also because of me.
“This is the first time I’m doing everything myself,” she continues. “I’m taking care of the arrangements, choosing the songs, directing myself vocally.” And for this project, she’s especially focused on supporting other female talent. “Most of the songs on the album are written by Mexican women. It’s a full mariachi album, but it is a little bit different; it has a modern twist, some subgenres in mariachi that you are not expecting me to ever sing.”
Join us at Billboard Women in Music 2025 — get your tickets here.
While this may be her first time flying solo, Billboard’s 2025 Women in Music Breakthrough honoree has for a while been on a journey of self-discovery behind the scenes, carefully strategizing how she moves through a genre that has been historically dominated by men. “It’s been a process of trial and error,” she says. “I’m still figuring out who I want to be and what I want to say.”
Her father has consistently encouraged that process. “My dad is the biggest macho ever, but he’ll be like, ‘Vas mijita. You can do it.’ Or he’ll tell me, ‘You’re not singing good enough, you have to be better.’ It prepares you to take on the world.”
Pooneh Ghana
Ángela made her stage debut as a toddler when she joined Pepe at one of his concerts. Five years later, at age 8, she released her first album, a joint set with her older brother Leonardo Aguilar. The two later joined Pepe on back-to-back arena tours when he launched Jaripeo Sin Fronteras in 2018, honoring the jaripeo-style show — singing while riding horses — that their grandparents pioneered. Along the way, Ángela landed three No. 1 songs on Billboard’s Regional Mexican Airplay chart and four top 10 hits on Latin Airplay, including her first No. 1 on that chart, “Por el Contrario,” with Leonardo and Becky G, last year.
“No one really asked me if I wanted to do this,” she says when reflecting on her start in music and her journey from child star to regional Mexican fixture. “It just happened and I’m happy it was that way. When you’re younger, you don’t realize how huge this is. I just thought it was fun getting to dress up and sing with my grandparents or dad and then everyone clapped for me. But when I was around 10 years old, I fell in love with performing and I thought, ‘This is what I’m here for.’ ”
With her grandmother’s vibrant falsetto and a mesmerizing, regal presence onstage, Ángela makes even the difficult skill of singing on horseback look effortless. As might be expected for someone from a family of born performers, she is extremely disciplined and has a strict routine: Besides training to sing on horseback, she sings while running or dancing to build her vocal projection and physical energy. But her diligence hasn’t stopped her talented family from giving her their opinion.
“It’s constructive criticism,” Ángela says with a smirk. “We don’t see each other as often so when we do, it’s like, whoa, they definitely catch me up on their feedback. I’m in the studio working on my new album and I showed my mom one of the songs — it was literally a demo on a voice note — and my mom was like, ‘You have to open your mouth when you sing because I don’t understand what you’re saying.’ And my dad is the same way. It really helps me. I don’t want people to tell me something is good when it isn’t. There’s a lot of yes men in the industry, so the best thing in the world is to have a whole family who is part of this artistic life.”
Pooneh Ghana
Her mother, Aneliz Aguilar, is also her manager, and has been pivotal in helping Ángela navigate the industry. “Having her by my side has saved me,” Ángela says. “She has taken care of me in this industry that is so difficult for young women, so difficult to have your voice heard. She’ll also ask how I’m feeling or if I’m emotionally prepared for something. I mean, she’s my mommy, I love to have her with me. From the dresses she would make for me when I was little to now showing me how to be a woman, I’ve learned so much from her.”
Mid-conversation, another important family member enters the screen. “Look at Gordo,” she says, picking up the family’s Instagram-famous 4-year-old pug. “He’s going to be a dad — my [other] doggie is pregnant, and she will have pugsitos with Gordo. I’m going to be a grandma.” (A couple of weeks after our interview, five adorable pugsitos arrive.) Then she adds with a shrug, “Actually, it’s weird because my dad says Gordo is my brother but he’s having babies with my dog, who is my daughter. I’m not sure what that makes me.”
But for now, figuring out this family tree will have to wait: Ángela is headed back to the studio to keep working on her new album. “I’m getting out of my comfort zone but still honoring my roots and traditions. I just turned 21, so it’s kind of like exploring where I want my career to take me.”
Pooneh Ghana
This story appears in the March 22, 2025, issue of Billboard.
It was a bit past midnight, and a shirtless and sweaty J Balvin was backstage at the Kaseya Center in Miami chit-chatting and drinking with some of his closest friends. Ryan Castro, Justin Quiles, Sky Rompiendo, Mau & Ricky, and Balvin’s model wife Valentina Ferrer were all there Saturday (March 22), celebrating the wrap of the third night of his Back to the Rayo Tour, which launched Thursday in Atlanta.
Balvin (real name: José Álvaro Osorio Balvin) was ecstatic to be back in the 305, and to be kicking off the North American leg of his CMN-produced, 27-date trek in support of his Grammy-nominated album Rayo. In 2022, the Colombian artist was set to begin his José U.S. tour, but it was postponed because of “unforeseen production challenges” due to COVID-19.
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Three years later, he’s back on the road and not braking.
Inspired by the classic ‘80s film Back to the Future (hence the tour’s name), Balvin — in true fashion — delivered an immersive concert experience for fans. His stage elements were simple yet vibrant, futuristic and captivating: two large LED panels, a floating LED panel and a silver car in which Balvin made his grand entrance. For the second part of the show, a large, purple head and praying hands took over the stage.
Balvin, as well as a group of six dancers, DJ Pope (his longtime DJ) and backup singer O’Neil carried the two-hour-long spectacle, delivering the back-to-back bangers that have made Balvin a global sensation: “Reggaetón,” “Con Altura,” “6 AM,” “Ay Vamos,” “Ginza,” “Mi Gente,” “La Canción” and many more.
“¡Qué chimba Miami! I don’t want to leave. If it were up to me, I’d stay parchando [partying] here until 7 a.m.,” he told the packed venue. “Straight from Medellín, I am your parcero [friend] José. I’m proud of being Latino and of taking reggaetón to other levels.”
Below, check out some highlights from his Miami tour stop:
A Tribute to Colombia
In the middle of the show, after performing some of his latest songs, such as “Polvo de tu Vida” and “+57,” Balvin proudly showed off his Colombian roots. The lights on the stage reflected the colors of his native country’s flag (yellow, blue and red), and his DJ played a mix of emblematic songs from Colombian artists, starting with Joe Arroyo’s “Rebelión.” The salsa tuned was followed by Shakira’s “Hips Don’t Lie,” Karol G’s “Si Antes te Hubiera Conocido” and Maluma’s “Según Quién” in collaboration with Carín León, before Balvin brought out the first special guest of the night.
Special Guests
As part of the Colombian tribute, Balvin invited Ryan Castro to the stage. There, Castro performed “El Ritmo Que Nos Une,” “Parte y Choke,” “Fan De Su Relación” and “Jordan.” Shortly after, Balvin also invited Puerto Rican artist Justin Quiles to sing some of his greatest tunes for the audience, including “Jeans,” “Cuaderno” and “Loco.” As the crowd danced to Castro and Quiles’ mini sets, Balvin was taking shots. “I’ve never drank so much alcohol in a concert,” he said with a laugh.
Love Is in the Air
A heartfelt moment during Balvin’s show was when he performed his romantic reggaetón song “Rio,” named after his son. He not only dedicated the song to his partner and mother of his child, Valentina, who was in the audience with her parents, but also took the time to give out flower bouquets to his fans. “I still remember when I would come to Miami to vacation, and now I’m here. How cool!” an emotional Balvin said. “It’s worth working hard. I love you!”
From career milestones to new music releases to major announcements and those little important moments, Billboard editors highlight uplifting moments in Latin music. Here’s what happened in the Latin music world this week.
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Girls’ Night Out
It was a star-studded week in Miami, and Becky G did not hesitate to gather her girls for a night out in town. In a surprising reel using Bad Bunny’s “Nuevayol” sound, the Mexican-American singer is seen hanging out on a yacht with 11 of her celebrity friends. Each of the beautiful ladies, including Jessica Alba, Gloria Estefan, Emily Estefan, Eva Longoria, and Becky, have their moment to shine and show off their best dance moves to the trendy dembow-salsa tune. The ladies were celebrating Longoria’s 50th birthday, where Marc Anthony was also one of the guests. “Grateful to have begun celebrating my birthday (as it will be a month long). I felt so loved! […] Ready for this new decade,” the actress said on her Instagram. Watch the fun clip below.
The Bromance That Keeps on Giving
On other birthday news, Nicky Jam celebrated his 44th birthday on March 17, and in honor, his good friend J Balvin took fans down memory lane. In a video recap, Balvin collected the best highlights from their bromance throughout the years: “mi real y yo” (my real one and I), he subtitled the clip. The video captures more than 10 years of friendship between the two reggaetón artists, including memorable pranks, viral moments, and their mano a mano panel at 2017 Billboard Latin Music Week. “Happy birthday, Nicky Jam, for more moments like these,” Balvin captioned the post. Additionally, the Colombian and Puerto Rican artists have collaborated on many bangers including “X,” “Superhéroe,” “Travesuras (Remix),” and “Poblado (Remix),” to name a few.
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The She Wolf Pack
In a sweet fan moment, Kunno could not contain the moment he shared with Shakira during one of her concerts in Mexico this week. “Her success has had many roads and Shakira invited me to walk with her at her first concert in Mexico City,” the Mexican influencer expressed on his social media accounts. In the clip, Kunno is seen dressed in a metallic jumpsuit and accompanying the Colombian sensation during a part of her show where she’s walking through the crowd with her “she wolf” pack. “Dreams definitely come true and among wolves we stay in a pack,” he added, thanking Sony Music México and Ocesa for making this opportunity possible. Watch the journey below.
The Future of Music
This week, Rolling Stone revealed its annual The Future 25 list featuring two Latin names: breakthrough Música Mexicana star Ivan Cornejo and Puerto Rican newcomers Chuwi. From around the world and across all genres, the artists were selected by the RS staff, “spotlighting the next generation of artists shaping the sounds of tomorrow. Cornejo—who was Billboard’s Genre Now cover last January—got his own Future of Music cover and performed as headliner at Rolling Stone’s Future of Music showcase at SXSW earlier this month. “Completely honored to be the face of Rolling Stone representing música mexicana,” he shared on social media.
Ecuadorians Jombriel, Alex Krack and Jøtta earn their first No.1 on the Billboard Argentina Hot 100 chart as the remix of “Parte y Choke,” with Ryan Castro, rises 2-1 on the March 22 dated ranking.
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The buzzy song’s rise, which was originally released Nov. 5 on La Sangre Nueva and debuted at No. 33 last December, takes the lead after the release of the remix by the Colombian singer-songwriter.
“Parte y Choke’s” popularity driver also leans on TikTok activity with support from fans and artists alike. Nicki Nicole went viral after the Argentinian shared a clip of her dancing to Jombriel’s song, which has since registered over 16 million views and more than two million likes.
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“Parte y Choke” trades places with La T y La M’s “Amor de Vago,” featuring Malandro, which dips 2-1 after 10 weeks in charge, the most in 2025.
Emilia and Luísa Sonza’s “Bunda” rises 5-4 for its new peak and Sonza’s highest ranking to date.
Notably, Lady Gaga and Bruno Mars earn their first top 10 through “Die With A Smile” which advances 13-10. It’s the second simultaneous song from Lady Gaga’s No. 1 album, Mayhem, after “Abracadabra” climbs 37-26.
CA7RIEL and Paco Amoroso take the Greatest Gainer honors of the week thanks to “#TETAS,” as the song surges 98-50. The Argentinians also take the Hot Shot debut of the week with “El Día Del Amigo” at No. 68. Plus, a third song from their newly-released EP Papota debuts: “Dumbai” at No. 77.
Four other debuts arrive this week, starting with two entries by Shakira, “Inevitable” at No. 72 and “Dia De Enero” at No. 96. Meanwhile, Zell, DUKI and Neo Pistea’s “Starboy Remix” opens at No. 80.
Lastly, Mon Laferte returns to the chart through “Tu Falta de Querer” at No. 98. It’s the Chilean’s first entry in over six years. since “El Beso” debuted and peaked at No. 98 in 2018.
This week, Billboard’s New Music Latin roundup and playlist — curated by Billboard Latin and Billboard Español editors — features fresh new music, including new albums by Jay Wheeler (Girasoles) and Guaynaa (Cumbia y Amor). Explore See latest videos, charts and news See latest videos, charts and news Following his Broadway debut last fall and […]