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Bizarrap transported his “Bzrp Music Sessions” from his distinct blue-hued recording studio to the desert at the 2024 Coachella Valley Music and Arts Festival on Friday (April 12), where his special guest Shakira could not hold back from sharing major news.
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Just before 8 p.m. PT on the Sahara Stage, the Argentine hitmaker arrived wearing his signature black baseball cap, large, dark sunglasses, and blue track jacket, while he was surrounded by his equipment.
His set kicked off with one of the songs that made him a viral sensation during the pandemic in 2020: “Nathy Peluso: Bzrp Music Sessions, Vol. 36.” It followed with back-to-back upbeat tracks: “L-Gante: Bzrp Music Sessions, Vol. 38,” “Ptazeta: Bzrp Music Sessions, Vol. 45,” “Eladio Carrion: Bzrp Music Sessions, Vol. 40,” “Morad: Bzrp Music Sessions, Vol. 47,” Milo J: Bzrp Music Sessions, Vol. 57” and “Villano Antillano: Bzrp Music Sessions, Vol. 51,” to name a few.
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A man of few words, focusing all his energy on his DJ controller, Biza hyped up the crowd with his fist pumps and jumps. “Let’s go, Coachella!” he would scream here and there.
Most notably during his one-hour set were the vibrant and futuristic visuals and incredible light show that would change with every track and beat and seemingly took over the entire desert.
At 8:13 p.m. — just after performing his Residente-assisted “BZRP Music Sessions #49” and “Mamichula” in collaboration with Trueno and Nicki Nicole — Shakira arrived onstage for a surprise performance. On the screen: “La Loba Se Viene.”
Shakira, looking flawless and graceful as always, performed “La Fuerte,” her second collaborative effort with Biza, part of her latest studio album Las Mujeres Ya No Lloran.
“Good night, Coachella! This is amazing,” she told the crowd. “Thank you, Bizarrap for inviting me. Truthfully, it’s amazing being here with this audience, with you, my colleague, my friend.”
Dressed in a sunset ombre cutout dress, Shak then announced major news: “I have to share something today. Biza, I’m going on tour. I’m going on tour, finally…starting here, this November, this year, this city. I can’t wait. Couldn’t ask for more,” she said, as the screens displayed “Las Mujeres Ya No Lloran World Tour” in white text.
Shortly after, Shak and Bizarrap celebrated with their megahit “Shakira: Bzrp Music Sessions, Vol. 53.” The track peaked at No. 9 on the Billboard Hot 100 and landed at No. 2 on both the Billboard Global 200 and the Billboard Global Excl. U.S. It also ruled the Hot Latin Songs chart, scoring Shakira her 12th leader on the tally.
Biza then continued pumping up the crowd with his bangers, including his collaborations with Peso Pluma, Natanael Cano, Snow Tha Product, and Young Miko, to name a few. “Let’s f—ing go Coachella!” he chanted.
Young Miko made her grand debut at the 2024 Coachella Valley Music and Arts Festival, where she brought her blazing Puerto Rican flow to the desert on Friday (April 12).
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At 4:45 p.m. Pacific Time—just as a packed crowd chanted “Miko, Miko”—the breakthrough singer and rapper opened the fest with a thumping performance of “Lisa,” followed by a chill version of “Tempo,” her track with Marshmello. Accompanied by a live band and her Boricuan swag, Miko was casually dressed in baggy denim shorts, a tie-dye muscle tee, white sneakers, and metallic sunglasses, as she graced the stage from side to side.
“Coachella, it’s so exciting to be here, puñeta!” the artist exclaimed. “We’re going to have a great time. I’m here with a group of talented people. It’s my first time here with you, let’s f—-ing get it!”
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On the stage, a large white heart and a boombox that displayed cool visuals—simple but cool. The real star of the night, however, was Miko’s effortless vocals that transitioned from sugary singing vocals to sensual rap bars.
Her “corillo” of musicians didn’t stay behind.
In songs such as “Wiggy,” “tres tristes tragos,” and “curita,” the band delivered head-swaying jam sessions backed by deep bass beats, hard-hitting drums, and electric guitar riffs.
During her set, Miko—who had no special guests on day one—also performed some of the biggest reggaeton titles that made her a household name: the Bad Bunny-assisted “Fina;” “ID” with Jowell y Randy; “Chulo” in collab with Bad Gyal and Tokischa; and her Bizarrap session “Young Miko: Bzrp Music Sessions, Vol. 58.”
“Coachella, I can’t thank you enough for having me here. What a beautiful vibe under the sun with all of you. We’re having a great time. This is good heat. From PR to the world, I’m Young Miko,” she said ahead of wrapping up her electrifying set with her Feid-assisted “Classy 101,” which earned her first Billboard Hot 100 entry last summer.
This week, Billboard’s New Music Latin roundup and playlist — curated by Billboard Latin and Billboard Español editors — feature fresh new releases from artists such as Danna Paola, Víctor Manuelle, TINI, and more. Mexican songstress Danna Paola kicks off a new era in her career with CHILDSTAR, an album that showcases a departure from […]
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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TINI, un mechón de pelo (5020 Records)
It’s clear that TINI had a lot to get off her chest, and her new album was the perfect platform to bare it all, giving listeners insight into what she’s been going through personally over the past few years. The Argentine star’s most personal project yet, TINI kicks off with “pa,” where she shares the fear she felt after nearly losing her father, who has also been her longtime manager. In the song, she pleads for “un ratito más,” or a little while longer with her dad. Mostly produced by Andrés Torres and Mauricio Rengifo, the stripped-down, lyrically strong set follows TINI on moments of vulnerability, pain, resilience, renewal and growth.
In “posta,” TINI recites powerful statements where she clarifies who she is and isn’t. But perhaps the most striking track on un mechón de pelo is “miedo,” which reads like a diary entry as TINI looks inward tracing the ups and downs of her career and personal life. “Wanting to turn back time and start over/ I escaped from my reality, I locked myself in my solitude/ And starting all over again when I can’t even start,” she confesses.
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Following a handful of songs that serve as an ultimate release, a seemingly cagey and resentful TINI begins the healing process. In the last three songs, “ellas,” “bien” and “me voy,” she embraces her battle wounds and has a more optimistic outlook of the future. “Now I’m chill, nothing is personal/ My friends I want to call/ It feels good to be able to forgive,” she sings in “bien.” Wrapping the album is the piano-led “me voy,” which serves as the perfect closer. — GRISELDA FLORES
Víctor Manuelle, Retromántico (Sony Music Latin)
Víctor Manuelle released a concept album inspired by the salsa romántica era featuring 10 songs, including “Otra Noche Más,” with a samples of Frankie Ruiz’s “Deseándote” in the voice of the late singer. And a new version of the classic “Cosas del Amor,” made popular in the 90s by Ana Gabriel and Vicky Carr, which Víctor Manuelle performs with passion alongside Tito Nieves.
All the tracks except “Cosas del amor” are new, although “Deseándote” is not the only sample. “Me Fallaron Los Dos” with Maelo Ruiz, about the double betrayal of one’s love with one’s best friend, includes some verses from Alejandro Sanz’s anthem “Corazón Partío.” Among other exciting collaborations are “Casi Perfecta” with Johnny Rivera, “No Quería Menti” with Willie González, and the song that closes the set, “Vamos a Romper la Noche,” with the Gilberto Santa Rosa, known as the “Gentleman of Salsa,” who invite listeners to drown their sorrows while partying with friends.
“Each friend who accompanied me on this album brought their own style and energy to the songs, creating a diverse and exciting album,” says Víctor Manuelle in a press release. “This production is going back to when I started, while celebrating the genre that I love and have always stood by. Every song on this album is infused with emotions and memories that I hope resonate in the hearts of those who listen to it.” With songs about love and heartbreak that also include titles like “En 4 Días” and “Los Hombres También Lloran,” Retroromántico is, in short, a classic salsa work — one that will take you dancing to another era. — SIGAL RATNER-ARIAS
Danna Paola, CHILDSTAR (Universal Music Group México)
Danna Paola has entered a no-holds-barred musical era. She’s no longer the telenovela sweetheart, the good girl next door, the pop princess. Now, she’s a fierce and unapologetic vixen who has evolved into the child star. Home to 13 bilingual tracks, Paola’s latest studio album, CHILDSTAR, marks her debut credit as producer, where she takes control over her craft and chooses her own musical destiny. Far from the signature pop-urban sound that made Danna a household name, her new set is injected with edgy, synth-pop beats (“ATARI,” “VTR3,” “1TRAGO”), as well as provocative lyrics about fantasy, the party life and sexual encounters (“222,” “XT4S1S,” and “PLATONIK”).
“On this new album I leave behind the mold of me created by others and for the first time I take control of my art, boldly reclaiming my stage name and defining my sound as a singer,” the Mexican songstress says in a press statement. “A synth-pop fantasy that storylines a weekend of partying, booze, sex and fantasy where I explore my darker side and find the light in freedom of expression.” — JESSICA ROIZ
Los Mesoneros & Caloncho, “Nuestro Año” (SR Records)
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Los Mesoneros recruit Caloncho for “Nuestro Año,” the lead single from their new album of the same title — their first in five years. With their signature contemporary rock sound, the band’s leading voice, Luis Jiménez, sings in unison with the Mexican artist about hoping for better times: “Because this is our year, even though sometimes it doesn’t seem like that/ Because this is our year always and when you are here.” The cinematic music video, directed by Gaby Noya, shows the artists repeating the chorus like a mantra after taking a few good hits, literally. The band is preparing to hit the road with Nuestro Año Tour, which begins on May 4 in Mexico and also includes stops in the United States. — LUISA CALLE
Joss Favela & Gera MX, “Cuando Llegue El Día” (Sony Music Latin)
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Embracing the ephemeral dance of existence, Joss Favela and Gera MX intertwine their talents in “Cuando Llegue El Día,” a profound bolero-rap fusion that contemplates life’s fleetingness and the surety of death. The duo finds solace in the enduring power of music, “Sigo vivo en mis canciones todavía” (“I’m still alive in my songs”) they croon. The track, a part of Favela’s upcoming EP, Mis Compas, Vol. 1 out in May, is an homage to the human spirit, living on through shared memories, backed by beautiful accordion riffs and nylon arpeggios. “At the end of the day, it’s nice to have moved on, having met many people, having family, friends who love you and who will remember you in a positive way,” Joss Favela says in a statement. The music video, directed by Abelardo Báez and produced by Pavel Nordahl, is set against a stunning Día de Los Muertos backdrop filmed in Jalisco, Mexico. — ISABELA RAYGOZA
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In honor of Karol G being the most streamed female Latin artist on Spotify globally for four years in a row, the Colombian hitmaker’s barbed-wire heart logo will be featured on FC Barcelona jerseys as part of the Spanish club’s partnership with Spotify. The logo will be worn for the FC Barcelona Femení Liga F […]
On Thursday night (April 11), the Barclays Center in New York City was electrified by the presence of Bad Bunny. The arena, filled to its 19,000-person capacity, buzzed with anticipation as the Puerto Rican superstar kicked off the first show of his three-night stint in the city.
“New York has been very important in my career, where dreams come true,” Benito told his fans in his native Spanish during the performance. “Being on the tour feels really amazing, going to each place and seeing it, all the cities, but New York, it’s something else. It feels more amazing than usual. Seeing all those PR and DR flags makes it even more special. From the bottom of my heart, thank you for being here, it means a lot to me.”
Bad Bunny — who wore Prada sunglasses, a velour suit, and a gold cross necklace — delivered a dynamic performance that was an amalgamation of music and spectacle. It included a grand orchestra, an equestrian entrance, a surprise appearance by Bryant Myers to perform “Seda,” a jigsaw-like stage that transformed into the Brooklyn Bridge, and, of course, a repertoire of his biggest hits. (Here’s the complete setlist of the tour, which slightly changed to add “Amorfoda” and “Tití Me Preguntó.”)
This was part of his Most Wanted Tour — in support of his Nadie Sabe Lo Que Va a Pasar Mañana album — which kicked off on Feb. 21 in Salt Lake City, Utah. The Live Nation-promoted tour is halfway through its schedule, with forthcoming performances in cities including Austin, Texas (Apr. 26-27), Atlanta, Ga. (May 14-15), and Miami, Fla. (May 24-26). See the full dates here.
According to Billboard Boxscore, the tour has already been a commercial success, grossing $84.2M and selling 282K tickets over its first 18 shows. It has consistently sold out venues, demonstrating Bad Bunny’s continued widespread appeal.
Here are five standout moments from the first night of Bad Bunny’s Most Wanted Tour at the Barclays Center:
The Grandeur of an Orchestra
Enrique Iglesias is back on the top 10 on Billboard’s Latin Pop Albums chart as his 12th studio album, Final, Vol. 2, debuts at No. 6 on the April 13-dated ranking.
The album, released March 29, via Sony Music Latin, marks the global pop singer’s final album, as reported, and brings together a diverse display of collaborators and genres, flexing through his classic pop, reggae-pop, bachata, and even a pop English-language collab with country singer-songwriter Miranda Lambert.
Final, Vol. 2 starts at No. 6 on Latin Pop Albums with 3,000 equivalent album units earned in the U.S. during the March 29-April 4 tracking week, according to Luminate.
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Of Final, Vol. 2’s first-week sum, streaming activity provides 2,000 units, which equates to 2.47million official on-demand U.S. audio and video streams of the album’s songs. Traditional album sales contribute 1,000 units, with the remaining balance owed to a negligible amount of track-equivalent album units.
On Latin Pop Albums (as well as Top Latin Albums) one unit equals to one album sale, 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams for a song on the album.
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With Final, Vol. 2, Iglesias scores his 13th top 10 and first since the set’s prequel, Final (Vol. 1) which took him to a No. 2 debut in 2021. In total, nine out of those top 10 albums hit No. 1 on Latin Pop Albums, including the 33-week champ Sex and Love in 2014.The latter ties with Juan Gabriel’s Los Duo 2 for the sixth-most weeks atop Latin Pop Albums since the tally launched in 1985.
Elsewhere, Final, Vol. 2 opens at No. 47 on Top Latin Albums, his 13th career entry there.
Final, Vol. 2 was preceded by three songs across Billboard’s charts, starting with the bachata “Así Es La Vida,” with Maria Becerra, which topped Tropical Airplay for eight consecutive weeks and earned Iglesias a first champ since “Bailando” in 2014.
Further, with “Fría,” with Youtuel, Iglesias earned his highest start on Latin Pop Airplay, with a No. 5 peak (March 16-dated ranking), since “Me Pasé,” featuring Farruko, for one week on top in 2021.
Lastly, thanks to “Space In My Heart,” Iglesias’ first team-up with country singer-songwriter, Miranda Lambert, the Spaniard re-enters the Adult Top 40 Airplay tally after 10 years, where the song peaked at No. 21 in March 2024.
South Korean investment and management firm Beyond Music has acquired the music catalog of Puerto Rican reggaetón star Yandel, including his publishing interests and royalties, his share of performance royalties and neighboring rights royalties. The acquisition is a “first of its kind” for an Asian music company that’s acquiring a Latin artist’s catalog directly, according to […]
Shakira’s “Waka, Waka (This Time For Africa)” has been named “the catchiest soccer song,” according to new research obtained by SeatPick.
The Colombian singer’s trilingual bop featuring Freshlyground — which served as the official FIFA song for the 2010 World Cup in South Africa — earned an 8.4 of 10 score based on danceability, energy, speechiness (the number of spoken words), and valence (how positive the track is), in the report from the Israel-based event technology company.
“The main phrase ‘Waka Waka’ has been repeated a significant number of times to emphasize its importance (Waka Waka means ‘do it’ in Cameroonian),” Jacob Cohen, professor of music appreciation from Baruch College, New York, said in a press statement. “There is a major change at 1:04, as a cymbal-like instrument is introduced to add more variation to the melody. Furthermore, the new vocalist at 2:12 generates a unique kind of exotic sensation to its listeners.”
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SeatPick conducted the research in honor of the upcoming UEFA European Football Championship taking place June 14 to July 14 in Germany. The methodology included: collating the top 25 World Cup songs from platforms Deezer, NME, ThisIsDig, and UDiscoverMusic; scraping data from the Spotify API; and views from YouTube videos were also considered. Data was collected on Nov. 22, 2022.
“Waka Waka” peaked at No. 2 on the Billboard Hot Latin Songs, Latin Airplay, and Latin Pop Airplay charts in July 2010. On the Latin Rhythm Airplay, it peaked No. 8 and reached a No. 38 high on the Billboard Hot 100 chart during the same period. It also spent 42 weeks at No. 1 on Latin Digital Song Sales, Shak’s longest-leading title on that chart.
During the 2022 FIFA World Cup in Qatar, the song resurfaced the charts and made its debut on the Billboard Global Excl. U.S. chart, peaking at No. 46, and No. 96 on the Billboard Global 200, making history as the only official World Cup song or anthem from previous years to appear on the Billboard global charts.
Other “catchy” Latin soccer anthems that ranked on SeatPick’s research include Ricky Martin’s “La Copa de la Vida;” Pitbull’s “We Are One (Ole, Ola);” and Nicky Jam’s “Live It Up.”
See the full chart below:
SeatPick
Feid and Yandel have further solidified their bromance with a joint EP called Manifesting 20-05 out today (April 11). The album’s name was inspired by a real-life manifestation that Feid made in 2005, Billboard can confirm. Explore See latest videos, charts and news See latest videos, charts and news The five-track set finds hard-hitting reggaeton […]