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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.”
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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.”
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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 […]
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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Jay Wheeler, Girasoles (Dynamic Records/Empire)
“I have lived so much and now I understand the true trophy,” Jay Wheeler declares in the nearly two-minute intro of his latest album Girasoles. If his testament is any indication, the Puerto Rican artist opens up about the new era he’s living both personally and professionally. Home to 15 tracks, including collaborations with Omar Courtz, ROBI and Shantty, Girasoles represents his evolution through the phase of a sunflower: challenges in life (represented by planting a seed), his transformation period (growth), and maturity (a full bloom).
Musically, Wheeler steers away from the romantic reggaetón sound that made him a household name and delves into synth-pop and heartfelt rock ballads laced with dramatic futuristic melodies. Lyrically, he’s vulnerable, at peace, and deeply in love with his mom, his wife Zhamira, and his daughter Aiunii —the three ladies whom he dedicates this album to. Notably, the focus single “Abrázame Fuerte” captures his emotions of becoming a first-time dad. “Never settle and keep working on yourself, show love to others, and continue to evolve despite difficulties, just as sunflowers continue to grow toward the light,” Wheeler expresses in a press statement. “People talk about outcomes, but no one talks about the process of getting there.” — JESSICA ROIZ
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Christian Nodal, “El Amigo” (Sony Music México)
Nodal’s melancholy look at the girl who got away and the guy who got her is both evocative and relatable. A slow ballad in a 6/8 beat, it could very well be a slit-your-wrists ranchera ballad except it trades mariachis for electric guitar and discreet strings for a more contemporary sound, and also features a middle section where Nodal chants/sings to bring the song to more modern territory. Still, what really shines here is the songwriting, courtesy of Edgar Barrera and Keytin at their best with a storyline that has us waiting with bated breath for what will happen next. Together with Nodal’s beautiful, pathos-filled vocals, this is a winner. — LEILA COBO
Danny Ocean x Sech, “Priti” (Atlantic Recording)
Danny Ocean and Sech — Venezuelan and Panamian powerhouses, respectively — have come together for a playful track that perfectly celebrates the arrival of spring. “Priti,” a play on words of “pretty,” merges the infectious rhythms of Caribbean merengue with chill Afrobeats. The song is adorned with heartfelt lyrics that capture the exhilarating sensation of love that comes unexpectedly, evoking the sweet and electrifying feelings of infatuation. As the melodies intertwine with lively instrumentation, “Priti” promises to transport listeners to a sun-soaked paradise. — INGRID FAJARDO
Guaynaa, Cumbia y Amor (Guaynaa Records)
“Time will pass, and fashions come and go/ But let there be no end of cumbia to dance to,” Guaynaa proclaims in the intro to his third full-length, Cumbia y Amor — a vibrant love letter to the art form that has defined countless celebrations across Latin America and beyond. The party ignites instantly with “QNPLC” featuring Tropikal Forever, where the Puerto Rican artist explores cumbia’s transcendence through iconic references and lyrical nods to legends like Colombia’s Toto La Momposina, Chile’s Chico Trujillo, Puerto Rico’s Los Chinchillos del Caribe and the queen of tejano music, Selena.
From Colombia’s shores, where cumbia first blossomed as an Afro-Indigenous creation, to the rebellious synthesizer-powered rhythms of Argentina’s cumbia villera, he traces the genre’s evolution with reverence. He celebrates Mexico’s cumbia sonidera, born of DJs and producers spinning lively beats in the clubs, and Peru’s psychedelic chicha, where cumbia takes on a kaleidoscopic flair.
The album showcases an array of collaborations, each representing different facets of this rich musical tradition. Bronco injects its signature grupera style into the sultry “Matame de A Poquito,” while Ximena Sariñana lends her voice to the irresistibly upbeat “Cosita Guapa.” “Sí A Todo” pulses with a villera edge, and Grupo Ráfaga closes the album with “Como Duele,” a horn-blaring anthem that encapsulates the genre’s communal joy and heartbreak.
Throughout the record, Guaynaa honors the greats who paved the way, name-dropping legends like Los Ángeles Azules, Celso Piña, and more. But beyond the references, Cumbia y Amor is steeped in emotional authenticity — serving as both a swaying, hip-shaking delight and a heartfelt tribute to a genre that unites generations and nations. — ISABELA RAYGOZA
Los Ángeles Azules & Kenia Os, “Una Nada Más” (OCESA Seitrack/Virgin Music Latin)
Los Ángeles Azules continue on their captivating collaboration streak, this time teaming up with Mexican pop star Kenia Os on “Una Nada Más,” which loosely translates to “one more and nothing else.” Produced by Juanjo Martín, Yoby Zúñiga, and Rodolfo Lugo, the sensual cumbia sonidera — powered by weeping accordions, trumpets and percussion — spotlights forbidden love with a chemistry so strong that it goes beyond only one night. “Kenia Os gave us incredible energy,” the Mexican cumbia group expresses in a statement. “We hope her fans, like ours, take out their best dance moves to enjoy this song.” — J.R.
Banda Los Sebastianes & Luis Fonsi, “Sabes Qué Hora Es” (Fonovisa/Universal Music Group)
With the characteristic Sinaloan sound of Banda Los Sebastianes and the soft and undeniably romantic voice of Luis Fonsi, a perfect blend of regional Mexican and pop is achieved. From its first chords, “Sabes Qué Hora Es” is an anthem to love and a feast for the ears. With a rhythmic sound featuring the Mazatlán group’s signature instruments accompanying the heartfelt quality that the Puerto Rican star brings to his performance, the song showcases the best of both worlds, making it a joyful listening experience for anyone, regardless of their musical tastes.
“It’s something no one saw coming, that Banda Los Sebastianes and Luis Fonsi got together to sing a super romantic song with so much feeling and love,” Fonsi says in a statement about the tune written by Diego Bolela and Horacio Palencia. “From the moment we received the song, we thought of him to do it, we sent it to him, and he liked it,” the band adds. “For us, it’s an honor that this has been made possible.” — TERE AGUILERA
Los Amigos Invisibles, “Wiki Wiki” (Gozadera Records/140 DB)
Los Amigos Invisibles continue to expand their long list of catchy grooves with “Wiki Wiki,” a song that fuses Afrobeats with Caribbean rhythms and fun lyrics that invite you to dance. “The music is crazy, the atmosphere gets good/ Out of control, until the sun comes up,” sings vocalist Julio Briceño in Spanish before repeating in the chorus: “Making Wiki Wiki we get freaky, making Wiki Wiki.” “Wiki Wiki is whatever you want it to be: Swirling the whiskey with a finger, shaking the boat when you dance, making arepas with rhythm, or making something delicious with style,” the Venezuelan tropical disco funk band explains in a press release. “It’s also a state of mind, a flow, a term used when the party gets good.” It’s a perfect track to warm up the party this spring. — SIGAL RATNER-ARIAS
Check out more Latin recommendations this week below:
Shakira‘s series of concerts in Mexico as part of her international tour Las Mujeres Ya No Lloran (Women Don’t Cry Anymore) marked her highly anticipated return after a seven-year absence and earned the Colombian superstar several unprecedented records. The tour also set a historic precedent by boosting tourism and generating millions in economic revenue across the three major cities of the country, which has the second-largest economy in Latin America after Brazil.
Among the many achievements La Loba accomplished in Mexico with her seventh and most ambitious international tour, the sale of 645,000 tickets for her 11 scheduled concerts stands out, according to figures from promoter OCESA. Of those tickets, 455,000 were for seven shows at Mexico City’s Estadio GNP Seguros (March 19, 21, 23, 25, 27, 28, and 30), marking the highest number of performances by any artist at this iconic venue (formerly known as Foro Sol), which has hosted stars like Paul McCartney, Coldplay, Taylor Swift, and Metallica.
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Additionally, 90,000 tickets were sold for her two concerts at the Estadio Akron in Guadalajara (March 16 and 17), while another 100,000 corresponded to two dates at the Estadio BBVA in Monterrey (March 12 and 13), where the Mexican leg of her tour kicked off.
Ticketmaster México reports that 2.5 million people visited its website to search for tickets to Shakira’s concerts since the tour was announced in the country last October, according to data provided to Billboard Español. This makes her the most searched act on Ticketmaster over the past year, according to the ticketing company.
“Of the 90,000 tickets sold for Estadio Akron, 37,000 were purchased outside the city, which implies tourism,” Gustavo Staufert, general director of the Guadalajara Visitors and Conventions Office (OFVC, by its acronym in Spanish), told Billboard Español, citing figures from OCESA and Ticketmaster México. “If we talk about double hotel occupancy, we’re looking at 40,000 rooms per night, which would generate around 80 million pesos (approximately $4 million) in direct revenue for hotels, and an estimated tourism revenue of 900 million pesos (approximately $44.4 million).”
The tour supporting Shakira’s album Las Mujeres Ya No Lloran has generated significant buzz in the Mexican destinations it has reached. Mexico City serves as the epicenter of the Latin American leg, where the seven scheduled shows at the Estadio GNP Seguros are expected to generate an estimated economic impact of 5.5 billion pesos (approximately $275 million), according to data from the CDMX Secretariat of Tourism provided to Billboard Español. “That figure only accounts for lodging, restaurants, and nightlife venues; it does not include revenue from ticket sales,” clarified Mexico City’s Tourism Secretary, Alejandra Frausto, in an interview.
In Mexico City, the show by the “Antología” singer is also generating around 20,000 jobs in logistics, security, transportation, and production, benefiting workers across various sectors such as hospitality, restaurants, and airlines, as well as street vendors and small businesses near the venues, noted Frausto.
According to data from Ticketmaster, between 30% and 40% of attendees at Shakira’s concerts in Mexico travel from another state in the country to one of the three cities hosting the shows. A request for information from Billboard Español to the Nuevo León Secretariat of Tourism and the Nuevo León Tourism Development Corporation (Codetur) regarding the economic impact of Shakira’s visit to Monterrey had not been answered at the time of publication.
A world-class show that “is worth it all”
To follow Shakira’s tour across Mexico, “her pack” goes to great lengths. That’s the case of Édgar Lima, a chemical engineer from Mexico City, who will attend all 11 dates his idol is performing in the country. In an interview with the newspaper Reforma, the young fan shared that he spent nearly 80,000 pesos (about $4,000) just on tickets, adding another 12,000 pesos (approximately $600) for transportation and accommodation in Guadalajara and Monterrey.
Experts point out that hosting shows featuring major music stars like the Colombian superstar not only mobilizes her fans but also brings benefits to the local economy and strengthens connectivity between national and international destinations.
The travel company Despegar, a sponsor of the tour, reported a significant increase in interest for flights and accommodations in the three main Mexican cities included in the tour, with an average growth of 43% during the concert dates (March 12 to 30). “Monterrey stood out with a 66% increase in hotel demand,” the company detailed in a statement.
The company added that most travelers to these cities came from Mexico City, Veracruz, Chihuahua, Mérida, and Cancún. Meanwhile, Frausto noted that Mexico City welcomed visitors from across the country, as well as international travelers from the United States, El Salvador, Colombia, and Peru.
A curious fact brought by the Colombian artist’s visit to Mexico was an increase in hotel and lodging reservations in the three Mexican cities hosting *Las Mujeres Ya No Lloran* coming from Las Vegas. “Tourism and music have always been connected, and Shakira’s return to Mexico is a clear example of how major events drive traveler mobility,” said Santiago Elijovich, VP & Country Manager Mexico at Despegar, as quoted in the statement.
Édgar Lima claims that every peso spent on attending Shakira’s 11 concerts in Mexico is worth it. “I believe she puts on a world-class show, and seeing them all makes me think that every investment is worth it and that every peso spent was the best decision I could make.”
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Billboard celebrated Spain’s music industry leaders at a private event March 18 in Madrid attended by over 100 top executives, artists and creators. Held at the rooftop of Gynko at Hotel VP Plaza España Design, the event celebrated the publication of Billboard’s Spotlight on Spain included in the March 8 issue of Billboard magazine, but […]