genre latin
Page: 6
In 2019, pop star Belinda earned her first Billboard top 10 hit. That rarified chart milestone didn’t come from a pop hit, but rather, from “Amor a Primera Vista,” a cumbia sonidera with Los Ángeles Azules, Lalo Ebratt and Horacio Palencia that peaked at No. 2 on the Regional Mexican Airplay chart. It was the first time that Belinda entered the chart, a feat that underscores not just the artist’s versatility but her resilience.
Co-written by Belinda, Descemer Bueno and Palencia, the track that fuses traditional Mexican cumbia sounds with soft hints of reggaetón not only marked the Spain-born, Mexican-raised star’s return to the Billboard charts after four years, but it also introduced a bold new sound that she had never done before, and ultimately the música mexicana era she’s in today.
Trending on Billboard
Thanks to that capacity for continuous reinvention, the singer and actress is receiving the Evolution Award at the 2025 Billboard Latin Women in Music gala on Thursday, April 24.
“Life has been a journey full of learning, growth, and constant evolution — both personally and artistically,” she tells Billboard. “This recognition not only celebrates my career, but also the power of reinvention and continuing to explore new chapters. I feel more inspired than ever and excited to share this new musical era. Being honored on a night that celebrates such powerful and talented women makes this moment even more special.”
Though the artist born Belinda Peregrín Schüll has a trajectory that spans 25 years, she admits she hasn’t had time to stop and truly reflect on the moment she became a bonafide Latin star.
“I keep working while having many goals, and to be honest, I don’t think I’ve ever, at any point in my life, thought ‘Wow, I made it!,’ which is something I should do,” she says. “I’m always thinking about new ideas, new songs, new challenges, new projects, but I’ve never taken the time to think, ‘Okay, I’ve achieved all this.’ ”
But she has achieved a lot, and along the way, rightfully earned her place in the Latin pop realm.
Belinda was only 10 years old when she was cast as the lead in the Mexican children’s telenovela Amigos x Siempre in 2000, but it was her self-titled debut album that catapulted her into the musical spotlight three years later. The set — home to her timeless pop tune “Ángel” — earned her a first top 10 entry on a Billboard chart, reaching No. 6 on the Top Latin Pop Albums chart in 2003. Her four studio albums since, including Utopia (2006), Carpe Diem (2011), and Catarsis (2013), have also entered the top 10 on the chart.
Meanwhile, hits such as “Bella Traición,” the Pitbull-assisted “Egoísta,” and “Amor a Primera Vista,” have displayed her ease to navigate different genres from rock to EDM to reggaetón to cumbia. Never one to shy away from experimentation, Belinda has now branched out into música mexicana, tagging her new fare as “Beli Bélica” in a wink to the genre’s corridos bélicos. However, Belinda’s songs steer away from drug dealer exploits and rather focus on lyrics about heartbreak and being coquettish.
“The first corrido tumbado artist I heard was Natanael Cano. He was the first one who made me say, ‘Wow, Mexican music sounds different. It doesn’t sound like it used to,’ ” she recalls. “At that time, someone also told me: ‘You’re a woman, you’ll never be able to sing corridos or regional music, because it doesn’t suit you.’ They told me I couldn’t sing it because it was for men and that I would look ridiculous. And a couple of years later, here I am singing that style.”
Defying all odds, Belinda officially evolved into her corridos era with the release of “Cactus” in Jan. 2024, which also marked her debut single with Warner Music México after signing an exclusive record deal in Aug. 2023.
“I’d been thinking about doing corridos tumbados for a couple of years, but it just sort of happened,” she explains. “ ‘Cactus’ was a song that started out written in a notebook; it didn’t really have a melody because it was a feeling I had to express, and suddenly we turned it into music. We knew it was the right song at that moment, and that it would represent a new musical phase in my life.”
That new phase was shortly followed by her first collaborative effort with Natanael Cano in “300 Noches,” which she coined as a “corrido coquette” because of its dreamy pop undertones; “La Mala,” an unapologetic trap-corrido; and her team-up with Tito Double P on “La Cuadrada,” which secured a No. 23 spot on the Regional Mexican Airplay chart in March.
“I know there are many who don’t like it,” she says of her Beli Bélica era, but if there’s anything that her música mexicana collaborators have taught her, it’s to “go with the flow.”
“I’ve learned not to take everything so personally and to listen to myself,” she elaborates. “To listen to what I feel, what I think, and what I like, because no one is going to agree with you 100% and no one is going to have your vision 100%, and as long as you’re happy with what you’re doing and writing, the audience will accept it well because you’re doing it from the heart.”
Belinda & Tito Double P
Bri Diez
And even though she found a new sound — while also being active on social media and connecting with new and loyal fans — Belinda remains true to her pop essence. Her single, “Jackpot,” with Kenia Os, peaked at No. 10 on the Latin Pop Airplay in February.
“Belinda isn’t a musical genre,” she emphasizes. “I’ve been through all the musical eras, and my favorite word to describe my career is versatile. It’s the perfect word to define my style. Now, with Mexican music, we’re going back to the basics. It reminds me a lot of how music used to be. I love that I can go back to what it was like to make a song with real instruments and not rely on a computer program. It feels like I’m going back to what music used to be.”
Now, with her new “go with the flow” mentality, Belinda says a new studio album is on the horizon, one that she’s creating specifically for those “independent women who are completely irreverent but at the same time strong, sexy, fun.”
But first, she’s taking it easy.
“I’m trying to rest because in 2024 I didn’t rest at all. I spent almost all my time writing the album. It was a lot of emotions in one year. This year I’m going to take the time I need to finish my album. I just want to enjoy every moment, every stage, every project,” she concludes.
The third annual Billboard Latin Women in Music special will air live at 9 p.m. ET / 8 p.m. CT on Thursday, April 24 exclusively on Telemundo, Universo, Peacock and the Telemundo app and throughout Latin America and the Caribbean on Telemundo Internacional.
Read Billboard’s Latin Women In Music 2025 executive list here.
Seven weeks after landing at No. 1 on Billboard‘s Latin Pop Airplay chart, Danny Ocean and Kapo‘s hit “Imagínate” has climbed to the top spot on the overall Latin Airplay chart (rising 7-1), dated April 26. The track additionally continues atop both Latin Pop Airplay and Latin Rhythm Airplay, for a seventh and second week, respectively.
Explore
See latest videos, charts and news
See latest videos, charts and news
“Imagínate” rules the overall Latin Airplay ranking after a 35% boost in audience impressions, to 8.4 million, earned in the U.S. during the April 11-17 tracking week, according to Luminate. The song, released Nov. 7, 2024, via Atlantic/Warner Latina, debuted at No. 48 in January, and makes its way to the top of the chart in its 17th week.
Trending on Billboard
Coincidentally, both Ocean and Kapo secure their second No. 1 on the overall Latin Airplay chart. Previously, Ocean led for one week with “Amor” in June 2024. Kapo, meanwhile, replaces himself atop the list, after “Más Que Tú,” with Ozuna, reached No. 1 last week, chart dated April 19. The latter falls to No. 3 following a 15% dip in audience impressions (to 7.1 million).
The last act to replace itself at No. 1 was Grupo Firme, when the band’s “El Beneficio De La Duda” ejected its collaboration with Thalia, “Te Va a Doler” (chart dated July 2024).
“Imagínate” continues making its rounds atop two other Latin radio rankings: over on the Latin Pop Airplay chart, it holds strong at the summit for a seventh consecutive week, tying with Shakira’s “Soltera” for the most in 2025 so far. The latter has spent a total of 14 total weeks at No. 1 between 2024-25.
On Latin Rhythm Airplay, “Imagínate” rebounds to its No. 1 for a total of two nonconsecutive weeks in charge, Ocean’s sole No. 1 to date, and Kapo’s third.
Thanks to its radio draw, the song also holds steady at its No. 3 peak on the third iteration of the new Hot Latin Pop Songs chart. Plus, it also moves up on the airplay-, streaming-, and digital sales-blended Hot Latin Songs chart, where it jumps 35-32.
The Latin Recording Academy announced Tuesday (April 22) that the 26th annual Latin Grammy Awards will be held Thursday, Nov. 13, at the MGM Grand Garden Arena in Las Vegas. This marks the 15th time that the ceremony will be held in Sin City. Most recently, the awards ceremony had been held outside of Las […]
If there’s one act that might’ve seemed unexpected at this year’s Coachella Valley Music & Arts Festival, it’s Los Mirlos, the iconic Peruvian group whose distinct blend of psychedelic cumbia conjures the mysticism and vibrant energy of the Amazon jungle.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
In their native country, Los Mirlos (named after the blackbirds of the Peruvian jungle) are legends, who have carved out a legacy that transcends generations. Today, founder and lead vocalist, Jorge Rodríguez Grández, plays alongside his two sons, Jorge L. Rodríguez (musical director, pianist and guitar) and Roger Rodríguez (vocalist and guiro), who joins occasionally. They are joined by Danny Johnston (lead guitar), Dennis Sandoval (bass), Carlos Rengifo (percussion), Genderson Pineda (drums) and Junior Soto (second vocalist).
Beyond Peru’s borders, the seven-member group remains relatively unknown, much like many folk-rooted acts around the globe that thrive primarily within “world music” circles. Yet, the band took to the Sonora tent at Coachella in Indio, California, for two consecutive weekends, captivating a crowd of nearly 5,000 fans with electrifying performances that seamlessly fused echo-laden keyboards and hypnotic electric guitar riffs into their signature psychedelic cumbia sound.
Trending on Billboard
“It’s been extraordinary,” a tired Rodríguez Grández tells Billboard from Washington D.C., hours after the group’s second Coachella set. “We are so happy that they reached out to us, because we have been promoting our Amazonian cumbia vigorously, it’s what we represent. We come from Moyobamba in Peru, then moved to Lima, and have been recording since 1973. We never stopped.”
After the Coachella announcement, a furor followed: Los Mirlos had made history as the first Peruvian band to perform at the festival, bringing Amazonian cumbia to the global stage. It was a testament to the unwavering support from their dedicated fanbase over the years for the group’s untamed and profound echo of the jungle spirit.
Hailing from the lush landscapes of Moyobamba in Peru’s San Martín region, with a population of approximately 120,000 citizens (about the same as the Coachella capacity per day), Los Mirlos emerged in the 1970s as trailblazers of Amazonian cumbia, not only introducing this pulsating style to the world 50 years ago but also cementing their status as cultural pioneers.
Although Los Mirlos are well-known in neighboring countries, they have sporadically played in the U.S. Conversations to play at Coachella began after the festival’s team sought them out, tracking down the group’s manager to initiate the collaboration in 2023. “They were looking for us,” Rodriguez Grández remembers. “They wanted us to perform in 2024. They reached out to Javier, my son, our manager, in 2023, but we didn’t have enough time to get our working visas. So, we were on standby and resumed the conversation in 2024.”
Months before the initial Coachella conversation, the documentary La Danza De Los Mirlos — the directorial debut of Peruvian Álvaro Luque, written by Jorge Ossio Seminario and Emanuel Giraldo Betancur, which preserves the soul of the Amazon in its every beat through rare archival footage and intimate interviews — was released in August 2022.
“It was chosen by the board of filmmakers for the 26th Lima Film Festival, presented at the Gran Teatro Nacional,” Rodriguez Grández shares. “Of course, the director was very flattered that out of 300 films, they chose ours.”
The timing proved to be a boon, with a call from Coachella coming just after. “Alvaro Luque spent close to four years traveling and documenting Los Mirlos,” Mario Giancarlo Garibaldi, Artist Relations for Los Mirlos tells Billboard. “He finally released the documentary in late 2022, and it has been the catalyst for this new era. It made public the true story of the group and how charismatic and relentless Jorge Rodriguez, its leader and founder, has been.”
Los Mirlos
Jason Sullivan for DUPLA
Beyond the documentary release, however, the Los Mirlos brand was already firmly established. “We’ve performed at many festivals before,” Rodriguez Grández states. “We’ve been at Vive Latino in Mexico, the Luminato Festival in Toronto and the Cordillera Festival in Bogotá last year. But before the pandemic, we were at the Pitoonkatonk festival in Pittsburgh. We’ve even made it to Ruido Fest in Chicago. Plus, Los Mirlos’ record productions have been widely promoted in Latin America. This is in addition to social media and Spotify, which has been a strategic ally in helping our music spread worldwide.”
With their unmistakable sound, Los Mirlos brought their psychedelic cumbia (or chicha) beyond borders, solidifying their place as one of Peru’s most iconic bands. Their beats continue to resonate far and wide, inspiring a new wave of artists who draw from their pioneering melodies to keep the vibrant tradition of Amazonian cumbia thriving.
“We’ve collaborated with Renata Flores, Hit La Rosa, and other emerging acts,” Rodriguez Grández adds. “It’s a joy to team-up with young acts who have a different fanbase but who identify with Los Mirlos. There are also many established groups, orchestrated bands such as Agua Marina, Grupo 5, Armonía 10 from the north, other groups from the Amazon that are outstanding. We’re paving the way for other bands to have the opportunity to get to Coachella like us. That’s what happened in 1980 in Argentina, the first country we traveled to with our Amazonian cumbia. We spread our music throughout the country during the decade of 1980-1990, even until 1993, when other musical groups arrived.”
But to get to that next level of stardom is not just about availability, presence and collaborations — artists in Latin America, especially emerging bands, face insufficient resources and struggle due to lack of government financial support to help them access resources and build their presence and audience reach.
“Governments in Latin America provide financial support, through the Ministry of Culture like in Mexico,” Rodriguez Grández says. “In Peru, there is support, but lacks a bit. Outreach is as important, which is now happening more, where artists need to register to receive financial support. But it needs to be expanded further, as many groups don’t have the opportunities that Los Mirlos have. Our brand is recognized and well-positioned in the market, but emerging bands need more government support.”
Los Mirlos
Jason Sullivan for DUPLA
While Los Mirlos have built a strong reputation, it’s taken time to create pathways for their development, something achieved through dedication and a deep connection to their cultural roots. Their signature style is a clear subgenre of cumbia that blends hypnotic tropical rhythms with the rawness of the traditional Amazonian sounds, infused with psychedelic undertones.
“Our legacy is to maintain the original style of psychedelic Amazonian cumbia that emerged in ’73, which we continue to enjoy,” Rodriguez Grández adds. “The day I step aside, my children will continue with that style, because the world has shown me it is what it likes: the sound of the guitars that identifies the group, its personality, its identity. My grandchildren will come later, too; that’s my wish.”
It’s a true family affair, with even grandkids coming together to take part in rehearsals and share in the musical tradition. “My grandchildren are already attending rehearsals, playing the guiro — a Latin American percussion instrument — and the drums, and are learning to play the guitar too, and that’s nice, because one can rest easy knowing that this will continue: that’s the wish. Many along the way have asked me, ‘Don Jorge, why don’t you add trumpets, trombones, or saxophone? It would give it more weight…’ But no, I’ve kept it that way, buoyed by the synthesizer to vary some songs, but the essence is based on that bewitching guitar that gives our music its charm.”
In between the double-boiler Coachella sets, clad in flashy Amazonian-urban-styled uniforms co-designed with Adidas, Los Mirlos packed The Roxy Theatre in Los Angeles on April 14. As part of their Ayahuasca Tour 2025, they delivered a sold-out intimate show, serving as opening act for Seun Kuti & Egypt 80, one of the many renowned acts within their growing orbit. Adding to the desert energy, they met Camilo Lara of the Mexican Institute of Sound, and a handful of impassioned DJs who have included The Mirlos’ songs in their sets. “My joy would have been completed had I met Lady Gaga, at least for a photo,” Rodriguez Grández jokes.
Los Mirlos
Jason Sullivan
As for why “Ayahuasca Tour”: “We represent the jungle, and Ayahuasca is an ancient medicinal plant from our Amazon region,” explains Rodriguez Grández. “It’s a bark with healing properties, that guided by a shaman, extracts all the negativity of the body. Our song ‘Un Traguito de Ayahuasca’ has a positive message that conveys this.”
What’s next for Los Mirlos? “Well, we haven’t been to Japan, we want to visit Australia also,” muses Rodriguez Grández. “We are dropping a mastered version of our album El Milagro Verde on May 2nd, with new and classic songs produced by us. Also, a larger project is on the works, with very well-known artists, collaborations of new and classic songs. That’s going to be a bomb worldwide, I hope.” The album will be released via the independent label Revancha, founded by Peruvians Gino Pezzia and Alejandro León, with Marthin Chan as their new business A&R.
Rodriguez Grández says he would like Los Mirlos to be remembered with love, in every corner of the world: “The affection people have for us is great, and I feel very grateful to God because he gives us the opportunity to reach other generations; because their parents, grandparents, uncles danced to our music, now the youth is dancing as well.”
Los Mirlos
Courtesy Photo
On April 24, the third annual Billboard Latin Women in Music will honor Anitta, Belinda, Celia Cruz, Chiquis, Ha*Ash, Olga Tañón, Natti Natasha and Selena Gomez with special awards, celebrating these groundbreaking women who are shaping the future of Latin music.
The two-hour Latin Women in Music special, which will air live on Telemundo at 9 p.m. ET, will be hosted by 2024 Lifetime Achievement honoree Ana Bárbara, who will also be performing alongside Yahritza y Su Esencia on Thursday. As previously announced, Ivy Queen, La India and Tañón will perform a memorable tribute of Celia Cruz’s most iconic hits. The salsa star would’ve have celebrated her centennial this year.
Throughout the night, artists such as Adriel Favela, Amandititita, Eddy Herrera, Goyo, Lele Pons, Luis Fonsi and Aleyda Ortiz will present the night’s awards and recognitions to the celebrated women. This year’s honorees and honors are Anitta (Vanguard Award), Belinda (Evolution Award), Celia Cruz (Legend Award), Chiquis (Impact Award), Ha*Ash (Unbreakable Award), Natti Natasha (Unstoppable Artist), Olga Tañón (Lifetime Achievement Award) and Selena Gomez (Woman of the Year).
Trending on Billboard
How to Watch
The 2025 Billboard Latin Women in Music special will air live on Thursday, April 24, at 9 p.m. ET/8 p.m. Central, exclusively on Telemundo, Universo, Peacock and the Telemundo App, and throughout Latin America and the Caribbean on Telemundo Internacional.
Performers
Ana Bárbara
Yahritza y Su Esencia
La India
Ivy Queen
Olga Tañón
Presenters
Adriel Favela
Amandititita
Eddy Herrera
Goyo
Lele Pons
Luis Fonsi
Aleyda Ortiz
Read Billboard’s Latin Women In Music 2025 Executive List here.
Pope Francis, who died on Monday (April 21) at 88, will be remembered as one of the most consequential leaders of the Catholic Church. Born Jorge Mario Bergoglio in Buenos Aires, Argentina, Francis was the first Jesuit and Latin American pontiff to inherit the sovereign of the Vatican City. He became head of the Roman […]
Pope Francis, the Catholic Church’s first Latin American pontiff, died early on Easter Monday (April 21). He was 88 years old.
“Dearest brothers and sisters, with deep sorrow, I must announce the death of our Holy Father Francis. At 7:35 this morning, The Bishop of Rome, Francis, returned to the Father’s house. His entire life was dedicated to the service of the Lord and His church,” Cardinal Kevin Farrell, the Vatican camerlengo said in a statement.
Born Jorge Mario Bergoglio in Argentina, Francis became pope in 2013 and charmed the world with his humble personality and concern for the poor. He suffered from chronic lung disease, and in February of this year, he spent 38 days at the Gemelli hospital in Rome for a respiratory condition that developed into double pneumonia.
Explore
See latest videos, charts and news
See latest videos, charts and news
Following the news of his death, a wave of Latin artists shared their condolences on social media.
Trending on Billboard
“Rest in peace and power, Pope Francis, you opened hearts and minds and were fearless in your guidance,” Cuban-American singer Gloria Estefan wrote on Instagram. “Thank you for putting love first until your last moments on this earth.”
“Francisco, you didn’t want to please everyone, but rather to speak your mind and what was in keeping with Christ’s word. What a wonderful way to honor hope. Rest in peace, dear brother,” Spanish crooner Alejandro Sanz noted on X.
As for Colombian pop star Sebastian Yatra and the account manager of the late Argentine Leo Dan, both shared photos they had of the day they met the Pope, and captioned their posts with a similar sentiment: “vuela alto” (fly high).
Meanwhile, Puerto Rican rapper Residente shared a photo of a young Francis on Instagram Stories, stating that he is “unrepeatable, special, unique,” while Argentine duo Pimpinela and Argentine pop star Emilia expressed their love and respect, all on their respective Instagram Stories.
The next pope has not yet been named.
At the age of 10, Melody became a precocious phenomenon in Spanish pop with “El Baile del Gorila,” the lead single from her album De Pata Negra, which led her to embark on an international tour. Twenty-four years later, the singer and songwriter is facing the challenge of representing Spain at the 2025 Eurovision Song Contest, which will be held on May 17 in Basel, Switzerland.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
The song she will perform is “Esa Diva,” a pop track that’s both a vocal challenge and a manifesto of empowerment. “A diva is brave, powerful/ Her life is a garden full of thorns and roses/ She rises up dancing/ Stronger than a hurricane,” goes part of the chorus, in Spanish. With an intense performance and dynamic staging, Melody is aiming for more than just a show — a story with purpose and soul.
“I didn’t want to go with an empty dance song. I wanted it to have a message, strength, to speak about something that happens to all of us,” the artist explains in an interview with Billboard Español.
Trending on Billboard
The song has been widely embraced since its debut at the Benidorm Fest, evolving with new versions. The original was co-written by Melody and Alberto Fuentes Lorite and produced by Joy Deb, Peter Boström, and Thomas G:son. On March 13, a symphonic version was released, arranged by Borja Arias and performed by Melody alongside the RTVE Orchestra and Choir, adding a more cinematic and emotional dimension to the track.
“I wanted to show it in a different way. I’m a fan of soundtracks, and this song called for an orchestral treatment,” Melody says. “If a rhythmic song works as a ballad, it’s a great song.”
Beyond the music, “Esa Diva” has become a symbol. “The diva isn’t just the one who shines on stage –she’s the one who fights, the one who falls and gets back up. The one who supports other women. The one who is strong, but also humble,” Melody notes. And many people have found comfort and inspiration in this message. One of the anecdotes that has moved her most is about a young woman undergoing cancer treatment who listens to the song daily to gather strength.
Although this is not the first time Melody has tried to represent Spain at Eurovision — she did so in 2009 with “Amante de la Luna” — she feels that now is the right time. “If I didn’t do it now, I was never going to do it. It was the moment,” she adds. “I feel it, and I’m enjoying it like never before.”
Her victory at Benidorm Fest 2025 confirms this: She was the audience favorite, earning first place in the tele-vote with a solid 39%. Although the jury placed her third, the combination of both votes secured her direct pass to Eurovision.
With six albums released, tours across Latin America and roles in series like Cuéntame Cómo Pasó and Arde Madrid, the singer and actress has navigated genres and formats with ease. “It’s been many years. And here we are, with a good attitude, eager to sing and keep making the audience happy. What more could you ask for?” the performer of “Parapapá” and “Rúmbame” says with a laugh.
Meanwhile, she continues to bring her music across Europe as part of her pre-Eurovision tour, TheDIVAXperience. In recent days, she has performed in Amsterdam and London, presenting the new version of “Esa Diva” to specialized media and Eurovision fans. On April 7, the artist was welcomed in Dos Hermanas, her hometown, where she performed the song from the balcony of City Hall before a crowd. “The love from my hometown moves me. When you’re recognized at home, it feels different,” she says.
This week, she will participate in the PrePartyES in Madrid (April 18-19), where she will share the stage with representatives from various European delegations. Then, on April 23, she will headline a special farewell event organized by RTVE at Teatro Barceló before heading to Basel for the contest.
The staging for Eurovision promises a significant evolution compared to what was seen at the Benidorm Fest. Melody has indicated that the set design will include new visual and choreographic elements, aiming to make the most of the technical possibilities of the stage. “There will be new ingredients. It won’t just be a song; it’s a story I want to tell,” she says, making it clear that her proposal seeks to move audiences beyond the visual spectacle.
Recently becoming a mother, Melody, an independent artist and an advocate for meaningful lyrics, acknowledges that balancing it all is not easy: “I organize myself however I can. But my son recharges my batteries, and when I need grounding, I go back home.” Participating in Eurovision involves much more than stepping onto a big stage — it means enduring a level of media exposure, artistic pressure, and public scrutiny that is hard to match.
Regarding the flood of opinions surrounding this experience, Melody maintains a firm stance. “I value constructive criticism; there’s always room to learn. But destructive criticism doesn’t affect me. I’m not driven by that. I sing from the heart, and that’s why I’m here,” she says.
Her approach is not casual. Eurovision generates a massive volume of social media conversations every year, with millions of interactions, according to data from the EBU (European Broadcasting Union). The contest’s global audience exceeds 160 million viewers across its three shows, making it one of the most-watched musical events in the world. For any artist, the exposure is as immense as the challenge.
After the festival, Melody already has plans: a new single, a tour across Spain and a strong desire to reconnect with her Latin American audience. “I’ve always felt so much love from Latin America,” she says. “This is a new chapter, and I’m thrilled to bring my music there again. They’re so heartfelt, so close. I want to dance and enjoy together.”
Olga Tañón was just 19 when she was invited to audition as a vocalist for a band. A self-proclaimed “rockerita” from a young age, she assumed it was a rock band. But when she arrived, she found a tambora and a güira instead of an electric guitar, bass, and drums.
“I think I’m in the wrong place,” she recalls thinking. “When I approached the bandleader, Ringo Martínez, he said to me: ‘No, this isn’t a rock band. This is a merengue orchestra.’ I replied, ‘But I don’t know how to sing merengue.’ And he came back with a challenge and told me: ‘Well, a good singer can sing anything.’”
The next day, she was already recording her first merengue song, “Fuera de Mi Vida” by Valeria Lynch, as part of the group Las Nenas de Ringo y Jossie.
Trending on Billboard
Nearly four decades later, the so-called “Mujer de Fuego” (Woman of Fire) from Santurce, Puerto Rico, is being honored with Billboard‘s 2025 Latin Women in Music Lifetime Achievement Award for her unparalleled influence as a singer in this Dominican genre.
Over her career, which began in the mid-’80s, Tañón has not only won hearts but has also shaped the tropical music style, earning a special place in Latin music history with her exceptional performance quality, unmistakable mezzo-soprano voice, and high-energy stage presence.
Since launching her solo career in 1992, 20 of her albums have entered Billboard’s Top Latin Albums chart, including two that reached No. 1: Llévame Contigo (1997) and Te Acordarás de Mí (1998). On the Tropical Airplay chart, she holds the record as the female artist with the most top 10 entries (29 in total), with hits like “Es Mentiroso,” “Cómo Olvidar,” and “El Frío de Tu Adiós,” to name a few.
“I’m beyond grateful for this beautiful Lifetime Achievement Award,” Tañón says. “It represents all the sacrifices made, all those nights that weren’t wasted but learned from, as I prefer to say. And for people to value you in such a way is a reminder that we’ve truly done the right thing: choosing what we wanted to do with our lives, and achieving it.”
“I hope many young women are inspired to pursue this beautiful [career], which isn’t easy but is wonderful,” she adds.
A Grammy and Latin Grammy winner, and also recognized this year by Billboard among the top 10 Best 50 Female Latin Pop Artists of All Time, Tañón looks back on her beginnings, reflects on her biggest achievements, and shares the secret to a long-lasting career.
Natalia Aguilera
When did you know you wanted to be a music artist?
I really started noticing the early inklings, as I call them, at 4 years old, when I moved to Levittown in Puerto Rico and was already singing a solo at the Coliseo de Toa Baja. I was in pre-kindergarten, and they held an event in that coliseum, and I was part of the choir. Did the teacher see something in me? I don’t know. But from there, I took opera lessons. I took advantage of all the services the public school offered because that’s where I studied.
What’s the first merengue song you remember as being special to you?
At home, we used to listen to “Sancocho Prieto” [by La Sonora Ponceña]. Honestly, I never thought I’d have a career in tropical music. I’ve loved the Dominican Republic since I was very young because the first, second, third, and fourth country my dad took us to visit was the Dominican Republic. But I only listened to merengue to dance to it. If I wanted to sing, I always imagined myself singing songs by Rocío Dúrcal or Isabel Pantoja, things like that. I never imagined I’d build an entire life honoring, as I say, a country that has given me so much. And I wasn’t even born there; that’s why I treat it with such respect.
So how did you end up making merengue music?
I was looking for opportunities in music. I was a “rockerita” in Spanish because I didn’t know a lick of English. After my dance teacher, [the famous Puerto Rican choreographer] Junito Betancourt, passed away, I was invited to an audition, and they told me it was for a band. So, I assumed it was a Spanish rock band. When I walked into the audition at Salón Villarreal, I saw a guy with a tambora and a güira, and I thought, “I think I’m in the wrong place.” But when I approached the bandleader, he said, “No, this isn’t a rock band. This is a merengue orchestra.” And I said, “What do I do? I don’t know how to sing merengue.” And he came back with a challenge and told me: “Well, a good singer can sing anything.” From then on, I haven’t stopped singing merengue.
What a happy mistake, right?
That’s what I call it, “a happy mistake.” Because the truth is, I don’t come from a famous family. I didn’t get a lucky break, you know, like a stroke of fortune. On the contrary, it was a lot of knocking on doors until something worked, and from there, I made the most of it. And the first thing I said was, “If I’m going to do a musical genre that isn’t from my country, I at least need to learn how to play a tambora.” And that’s how I started to learn more about the genre which has given me the life I have today — merengue.
Natalia Aguilera
Who did you look up to as role models? There weren’t many women in merengue at that time…
The image I always remember, and it was a dream that I was fortunate enough to fulfill by meeting her in person, was Rocío Dúrcal, with all those songs that stick with you even to this day — “Pues mira tú, como te ríes, como juegas tú” [she sings part of “Como Tu Mujer,” imitating the Spanish singer’s classic inflections] — with those always extraordinary vocal modulations. When I got into merengue, I didn’t really have an image of a woman in merengue because, at that time, there were duos and groups like Milly Quezada and her sister Jocelyn.
Obviously, there was Fefita La Grande from the Dominican Republic, who was always there with “Vamos a Hablar Inglés.” And I was also greatly inspired by many men who were active at that time.
As a woman in the industry, and in a genre like merengue, what has been the biggest challenge for you?
When you perform a musical genre that isn’t necessarily salsa, bomba or plena — the styles we’re known for in Puerto Rico — when you take on the responsibility of performing a genre that represents a country, you have to make an effort to learn a bit about it and approach it with great respect. I always tried to bring something important to merengue, with a lot of detail, care and love for everything I did.
How did you find your own voice?
Well, honestly, I don’t even know. They just told me, “Open your mouth and sing,” so I opened my mouth and sang. I didn’t have many references in that sense, so I wanted to add my own style. Obviously, when you’re trying to build a career, I always say that everything’s already been invented. But as long as you try to be as original and authentic as possible, I think you’ll do well.
What would you say are your greatest accomplishments in music?
The years I’ve spent making merengue. And also ballads, because Marco Antonio Solís gave me the chance to break into that world [in 1996 with the album Nuevos Senderos]. But specifically in merengue, the years and the applause — it’s a privilege I humbly say I still receive. I still feel like crying every time I come offstage after a sold-out show, even after so many years of my career. And we’re still doing it with a new tour. I think, wow, the people.
And how have you managed to stay relevant over four decades?
By not closing myself off to musical innovation. I think you have to be open to saying, “I can do this with a bit of influence from that.” I meet with producers. I meet with people I love and respect to write. I also open the door to new talent. I think staying relevant means not shutting yourself off.
Natalia Aguilera
The third annual Billboard Latin Women in Music special will air live at 9 p.m. ET / 8 p.m. CT on Thursday, April 24 exclusively on Telemundo, Universo, Peacock and the Telemundo app and throughout Latin America and the Caribbean on Telemundo Internacional.
Check out Billboard’s Latin Women In Music 2025 executive list here.
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.
Explore
See latest videos, charts and news
See latest videos, charts and news
A Celia Cruz Tribute
Celia Cruz will be honored and celebrated at the 2025 Billboard Latin Women in Music Awards to air April 24 on Telemundo. The late Cuban star, who was born in 1925 and passed away in 2003, will be recognized with the Legend Award, and will also be honored with a centennial tribute performance by Puerto Rican powerhouses Ivy Queen, La India, and Olga Tañón. The latter of the three will receive this year’s Lifetime Achievement Award.
In addition to Cruz and Tañón, other 2025 honorees include Anitta (Vanguard Award), Belinda (Evolution Award), Chiquis (Impact Award), Ha*Ash (Unbreakable Award) and Natti Natasha (Unstoppable Award). Mexican star Ana Bárbara will host the two-hour ceremony. The third annual Billboard Latin Women in Music special will air live April 24 at 9 p.m. ET/8 p.m. Central exclusively on Telemundo, Universo, Peacock and the Telemundo app and throughout Latin America and the Caribbean onTelemundo Internacional.
Trending on Billboard
Nacho’s New Era
Venezuelan singer-songwriter Nacho surprised fans with a new studio album called Sobre La Roca out via Bakno Music and Be Global Music. Home to 11 tracks, with titles such as “Gracias,” “Mi Testimonio,” and “Amén,” the ultra-personal album is charged with powerful and motivational lyrics about faith, hope and peace. The songs are backed by urban, tropical, and pop melodies — genres very familiar to Nacho’s commercial sound. “I hope the songs on this album help us strengthen our relationship with God,” the artist born Miguel Ignacio Mendoza Donatti and known for being part of the famed duo Chyno y Nacho, expressed on Instagram. Stream and listen to Sobre La Roca below:
Periko & Jessi León Rebrand
After a trajectory that spans more than 10 years and includes a best new artist Latin Grammy nomination in 2014, Periko & Jessi León are making a comeback — and rebranding themselves. The Latin pop duo, composed by the Argentine and Peruvian artists and musicians, is returning from a five-year hiatus with a new project called PJ Kids, for which their 4-year-old son Milo is joining as their official drummer. “We had to pause our music, our songs, our dreams, because life called us to become parents,” the duo expressed on Instagram. “After many years, we return to the studio not only as artists, but as parents,” they noted, adding that their new songs are inspired by their son. “Dreams never die, they only transform.”
A Kelly Clarkson Show Debut
Three months after dropping their collaborative effort, “Querida Yo,” Yami Safdie and Camilo officially performed it on The Kelly Clarkson Show this week. “It’s gone viral in 20 different countries,” Clarkson said ahead of their heartwarming national TV performance. The soft pop ballad is a tribute to personal empowerment and the hope of releasing the vulnerabilities we face by choosing to become our greatest strength and version, conveying the true message of the meaning of faith. “What a dream being able to present this song alongside Camilo, thank you for having us,” the Argentine newcomer and former Billboard Latin Artist on the Radar, shared on Instagram.
A Chicas del Can Film
Famed ’90s all-girl merengue group Las Chicas del Can is getting the film treatment through a documentary focused on its lead singer, Miriam Cruz. The announcement was shared on social media via a trailer of the forthcoming film called La Historia de una Diva directed by Giancarlo Beras-Goico. Based on Cruz’s career challenges and successes, and narrated in her own words, the documentary will “trace back to her beginnings in Las Chicas del Can, her solo career, and her current impact as a symbol of empowerment and perseverance in the music industry,” according to the caption on Instagram. Watch the trailer of La Historia de una Diva below.