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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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Maria Becerra & Ivy Queen, “Primer Aviso” (Warner Music Latina)
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“La Queen con La Mari” is the team up we didn’t know we needed. Marking the first release from Maria Becerra’s upcoming album, “Primer Aviso” is a poignant track that finds Becerra venting in rapid-fire verses about the challenges she’s faced in the industry. Set to a fiery old-school reggaetón beat, the Argentine artist is joined by Ivy Queen, who also had something to say. “I sent the song to Ivy so she could echo my bars and do ad libs like everyone else, [but] she sent me a verse directly because she identified with [the song],” Becerra says in a statement. “I loved the idea because I realized I wasn’t the only one these things happened to.” The song also features ad libs by J Balvin, Nicky Jam, Yandel, Zion, Guaynaa and Lola Indigo. — GRISELDA FLORES
Grupo Marca Registrada & Julieta Venegas, “Andar Conmigo” (RB Music)
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Since their inception, Grupo Marca Registrada has showcased its versatility by venturing into Latin rock (2010’s Con Sello de Rock) and more recently, delving into the seldom-explored terrain of techno bélicos (“Alucin”). Today (March 1), in collaboration with Tijuana pop royalty Julieta Venegas, the group has given her 2003 hit “Andar Conmigo” a distinctive Sinaloense makeover. This norteño-pop fusion is seamlessly done, thanks to accordion riffs that echo Venegas’ original composition, further highlighting the band’s adaptability and innovation. Having covered Venegas’ song “Limón y Sal,” frontman Fidel Oswaldo Castro dreamed of working directly with her. “We sent her the demo and she liked it,” Castro told Billboard Español. “Julieta told me she wanted something in the style of Marca Registrada and very regional Mexican and decided to go with ‘Andar Conmigo.’” — ISABELA RAYGOZA
Alfonso Terán, “Amor De Mi Vida” (Alfonso Terán)
Independent musician Alfonso Terán — featured in October’s On the Radar Latin — surprises with the uber-romantic country ballad “Amor de Mi Vida,” a departure from his signature pop sound. Powered by guitar riffs, and the unique addition of the Venezuelan cuatro (courtesy of Héctor Molina, of the Latin Grammy-winning group C4 Trío) that gives the song a special touch. “It has a spectacular sound with that acoustic influence from Tennessee,” Terán, who recorded the song between Miami and Nashville, proudly tells Billboard Español. “Your way of kissing, your eyes when you laugh, with just one look I discover again that I’m out of breath if you’re not here, my life,” he sings in part of the lyrics, performed with beautiful backup-vocals and harmonies. The song’s music video is set to drop next week, according to the artist. — SIGAL RATNER-ARIAS
J Balvin, De La Ghetto and Jowell & Randy, “Triple S” (Sueños Globales, LLC)
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J Balvin reeled in De La Ghetto and Jowell & Randy for his new single “Triple S” — and possibly the new female anthem of 2024. An abbreviation of “suelta, soltera, sin nadie que la joda,” the Tainy and Subelo Neo-produced track narrates the story of a strong-minded and single woman who’s not to be messed with, and one who has a guarded heart and has no expectations. “Triple S” meshes futuristic reggaetón tones with hard-hitting perreo to further back its empowering lyrics. The music video directed by Patricia Alfonso and Chris Cabrera, and produced by Eat My Shorts, finds all four artists serving as the trusted henchman of a female mafia leader who poisons all of her male lovers in her lavish mansion. — JESSICA ROIZ
Manuel Medrano, “Este Cuento” (Warner Music México)
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A dreamy fusion of guitar chords, drum beats and Manuel Medrano’s deep vocals give life to his new single “Este Cuento,” which can be translated to “this story.” The second single from his upcoming third album, the song takes inspiration from magical realism as it tells an evocative love story in the form of a metaphor, and displays the emotions involved in long-distance relationships. “I asked the stars to bring me back to you./ I promised love that if one day I found you./ I wouldn’t let you run away again.” Penned by Medrano and co-produced with Christian Velandia, the single thrives on a mix of folk, country and Latin pop resulting in a melody full of whimsical sounds.— INGRID FAJARDO
Listen to more editors’ Latin recommendations in the playlist below:
Mexican music director and producer Lynn Fainchtein, known for her work as music supervisor on films such as Alejandro González Iñárritu’s Amores Perros and Alfonso Cuarón’s Roma, died on Friday (March 1) at the age of 59 in Madrid, Spain, where she lived, informed the record label Casete, which she co-founded.
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A cause of death has not been disclosed; a spokesperson for Casete told Billboard Español that he had no information at this time. An outpouring of messages of condolences from musicians, cultural institutions, filmmakers, journalists, actors and personalities of the music and film industry in Mexico flooded social networks during the early hours of Friday, when news of her passing broke.
“Rest in peace Lynn Fainchtein, a beacon of light and music. May the best soundtrack always accompany you,” said Alejandra Frausto, Mexico’s Secretary of Culture, on her X account.
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“‘Que Viva Mexico’ forever with your musical supervision, dear Lynn Fainchtein. In ‘Roma,’ ‘Babel,’ with ‘Abel,’ or with ‘Precious,’ ‘Los adioses’ (or goodbyes) are always sad,” wrote the Filmoteca de la UNAM, using titles of films in which the artist worked.
Fainchtein studied psychology at the Universidad Nacional Autónoma de México (UNAM), but for more than three decades, she served as an innovative broadcaster, film, radio and television producer.
In her early days, she worked as an announcer for the local Mexico City station Rock 101, where she met Mexican filmmaker Iñárritu, who was then working in advertising and voice-overs. Eventually, she became one of his closest collaborators in his award-winning film career.
With Iñárritu, she worked as music supervisor on all of his films, including the Oscar-nominated (and/or Oscar-winning) Bardo, The Revenant, Birdman, Biutiful, Babel, 21 Grams and Amores Perros.
“Alejandro always starts working on the music when he is almost finished with the script. For him, music is as important as production, art, wardrobe, makeup. He is a director who works on music a long time before and takes it as a very important part of his projects,” said Fainchtein in an interview with Billboard Español in December 2022.
In 2018, she served as music supervisor for Mexican filmmaker Alfonso Cuarón’s Roma, winner of the Golden Lion at the 75th Venice International Film Festival and Academy Awards for best director, best foreign language film and best cinematography.
In 2022, Cuarón invited Lynn to oversee and create the music for his first television series for Apple TV+, Augustus, which would premiere this year, starring Cate Blanchett, Kevin Kline and Sacha Baron Cohen, according to her official website.
She was head of programming and news producer for MTV LATAM until 2000. In 2012 she co-founded the independent record label Casete with musician and producer Camilo Lara, Héctor Reyes Guevara and Paco Arraigada.
As music supervisor and producer, she participated in numerous films and shows for Netflix, HBO, Amazon, Apple, Fox and Star+, among many other studios. She also collaborated regularly with La Corriente del Golfo, the production company founded by Gael García Bernal and Diego Luna, where she supervised the music for Abel, Déficit, J.C. Chávez and Mr. Pig.
Among her other major projects are David France’s Oscar-nominated documentary The Death and Life of Marsha P. Johnson, Patricia Riggen’s The 33, Luis Estrada’s ¡Qué Viva México, La Dictadura Perfecta and El infierno, as well as Jonás Cuarón’s most recent film, Chupa, released on Netflix in 2023.
Last year, Fainchtein supervised the music for Perdidos en la Noche, by fellow award-winning Mexican filmmaker Amat Escalante, which premiered at the Cannes Film Festival.
Young Miko vividly remembers the first time she realized her music could make an impact. It was in 2021, after the Puerto Rican singer-rapper released her second single, “Vendetta,” in collaboration with trans artist Villano Antillano — a hard-hitting trap song in which the two spit bars about empowerment, individuality, resilience and self-confidence, all while spotlighting the LGBTQ+ community.
“That’s when I felt a before and after in my life,” Miko tells Billboard. “It’s a moment that I always return to, and I realize that it wasn’t just a song. I feel in my heart that it started a very beautiful movement or gave it more strength. I love feeling that from the beginning I’ve been doing something good with the voice that life has given me and with the space I have, which has to have a purpose.”
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That same voice — one that effortlessly transitions from unapologetic rap rhymes to smooth, sugary vocals — and a devoted work ethic have propelled Miko to become one of música urbana’s brightest new stars, breaking through in the male-dominated genre while primarily singing about her queer identity.
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The 25-year-old artist born María Victoria Ramírez de Arellano Cardona has landed major collaborations with Bad Bunny, Arcángel, Feid, Bizarrap and Karol G — most recently playing the latter’s romantic interest in Karol’s cinematic “Contigo” music video. She has also had a strong presence on the Billboard charts, including four hits on Hot Latin Songs and three on Latin Airplay, two entries on the Billboard Hot 100 and five on the Billboard Global 200 and Global Excl. U.S.
But even amid those successes, Billboard‘s 2024 Women in Music Impact honoree says she’s still learning. “It’s important to have that mentality and to not think I’m at my peak,” she says. “I want to feel like I’m never going to stop being a student, and for me, that’s the coolest part.”
How has embracing your queer identity in your lyrics affected your art?
It has been everything. My lyrics demonstrate a Young Miko that’s 100% true to herself. Thank God, I’ve felt comfortable enough from the beginning to be able to do it and give myself that space to be myself and do what I want with my music. I think it’s very nice that it had a good impact on the music industry in general and on the people around me. Obviously, sometimes, it can get loud — your surroundings, the opinions of others — but I feel like Young Miko would never have been the same if I wasn’t 100% honest in my music.
How have you used your social media presence to create change around you?
Beyond a social media platform, I like to start with my circle and the people who are with me every day. In whatever way I can help, I will always try to add or contribute my grain of sand. Obviously, being aware that anything I publish or associate with will have an impact, period. I know that now people are listening and paying attention to what I say, which gives me more reason to want to promote a good message. There are so many people with so many followers, and they don’t use it for sh-t. For me, it’s a blessing that life has decided to put me in a spot where my voice matters.
You joined Karol G for her Mañana Será Bonito tour and headlined your own Trap Kitty tour last year. What effect did the touring life have on you?
I f–king love touring! It’s so much fun. I feed off a lot from the crowd and the energy. Sometimes you have to see it to believe it — the emotion of all the people and how they know your songs. I learned that it’s not always going to be pretty. There are days that are going to be super tiring, and if you cancel or postpone a show, it’s horrible [for the fans] but you must get through it. Beyond learning as an artist, I learn as a person. When I’m on tour, I miss my home, my parents, my island, the warmth of my people. It’s a roller coaster and not for the weak. It’s so surreal, but I f–king love it.
This story will appear in the March 2, 2024, issue of Billboard.
Over the course of a decade, Grupo Marca Registrada has earned a place in the regional Mexican music scene by stamping their style on norteño music. In 2022, they released hits like “Si Fuera Fácil”, “No Me Acuerdo” and “El Rescate” with Juniro H. But by mid 2023, their album Corleone had not gotten the response they expected: it only spent one week on Billboard‘s Regional Mexican Albums chart, at No. 16, and one week on Top Latin Albums at No. 50. And in the midst of the craze for corridos tumbados, the outlook was not encouraging.
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Despite collaborations with Carin León (“Me Haces Tan Bien”) and Grupo Frontera (“Dí Que Sí”, which reached No. 1 on Regional Mexican Airplay and No. 3 on Latin Airplay in the spring of last year), they felt something was amiss. So their frontman, Fidel Oswaldo Castro, set about the task of changing musical direction and found emerging talent younger than himself — such as Octavio Cuadras, Joaquín Medina and Sheeno — who write, compose and produce with a unique touch and a “techno bélico” sound.
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Then came another trilogy of songs with which they would show a new face — “ELOVRGA” with Alex Favela and Joaquin Medina, which took them to No. 7 on the Hot Dance/Electronic Songs chart and whose music video has over 102 million views; “Alucin” with Eugenio Esquivel and Sebastian Esquivel, and the happy corrido “Bling Bling” with Octavio Cuadras — released late last year; the latter with a remix featuring Colombian superstar Maluma.
Today (March 1), they are premiering a new version of Mexican singer-songwriter Julieta Venegas’ 2003 Latin pop hit “Andar Conmigo,” and soon something dance-driven with Belinda will be released.
In an exclusive interview with Billboard Español, Castro spoke extensively about the wheel of fortune that has Grupo Marca Registrada’s spirits high and their upcoming projects with stars that also include Peso Pluma, Junior H and Xavi.
After a winning streak, things didn’t work out the way you thought they would. Were you prepared for that?
I’m always prepared, so that in case something doesn’t work out, I have a backup. It’s the hunger to move forward. You also have to put intelligence into music, you have to look where no one else wants to look.
Why did you decide to give very young, practically unknown artists a chance?
Everybody wants to record with big artists. I didn’t look for that, I looked for quality, I looked for talent; I had the numbers. I looked for a product to sell, something good and of quality that was not overexposed. So I started with Joaquín [Medina] and Alex [Favela] for the song “Elovrga”, then with the Esquivel brothers I did “Alucin”, which has been a hit in electronic music charts in Spain. Octavio [Cuadras], a Sinaloan like me, also came along with a good song, “Bling Bling”, and I gave him the opportunity.
These three songs worked and what I wanted happened: to expose Mexican music as no one else had done. We released them and people accepted it incredibly. Let’s just say I feel rejuvenated musically. This led to other opportunities. The Maluma collaboration happened and we went to Colombia to record a new version of “Bling Bling,” which today is being listened to by [millions] around the world.
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Has taking a musical turn in your career affected your relationship with your regional Mexican colleagues?
On the contrary, now I have already received calls from big stars who at some point thought that Fidel had already sunk — but since they have seen the path I have taken, they are interested in working with me. I am not at odds with success, fame or money.
You could have stayed doing corridos, but you played the final card.
I’ve been doing this for 12 years, two on my own and 10 with Marca Registrada. The key is to adapt to what will give you work. It has always worked for me to adapt to the new, but I don’t stop doing my own thing.
Are you now working as a team with these new talents you discovered?
I made my group of artists with Sheeno and Octavio Cuadras, new talents that have a very nice respect for me. I have a lot of confidence in them, I want them to work and put the music of Mexico very high. I have told the guys that it is not about saying that the songs are mine because I am the well-known one; we are in the same boat together. Octavio has his place, as does Joaquín (Medina), Alex Favela and the Esquivel brothers. Everyone gets what they really deserve.
Are you working with them for the new Marca Registrada album?
Totally. The album, from RB Music/Interscope, is called The G.O.A.T (The Greatest Of All Time). There are 12 songs and an intro; it’s trap, it has nothing to do with norteño music. In the previous album, Corleone, I focused on what the people of Marca Registrada were asking for.
This production is very different — there are duets with guys that nobody knows, such as Angel Cervantes and Oslin, who co-wrote “Torai”, a song that I uploaded to TikTok and was doing very well when the label dropped the music. However, another one of our producers, Marcelo Rivs, who was working with Belinda, showed it to her, she liked it, we recorded it just last week and it was a great experience. It’s has a techno-bélico, dance vibe. Belinda is a very important figure; she is always in the news and that is very good.
Did you ever imagine yourself making house or electronic music?
Years ago, when I used to hang out in nightclubs, I thought how wonderful it would be to be as successful as the reggaetón heads with their music. Today, I can be proud that my songs are sung and danced to in those places.
You have a new collaboration with Julieta Venegas, how did this approach come about?
Julieta Venegas is an excellent person, I have always been a huge fan of hers. Today I can tell you that she is my friend. I had already recorded “Limón y Sal”, but I had the dream of doing something with her and, through my distributor, the contact was made, we sent her the demo and she liked it. Julieta told me that she wanted something in the style of Marca Registrada, very regional Mexican and she decided that it should be “Andar Conmigo.” We went to Buenos Aires [where she lives] to shoot the video, another unforgettable moment.
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What other collaborations are coming up in the short term?
There are collaborations coming with Belinda, with Peso Pluma and Junior H, with whom we have recorded in 2022, 2023 and we already have this year’s song, so we have great expectations. Also with Xavi. Beyond the fact that he is the artist of the moment is that we connect. I did not record with Peso Pluma at his moment, it will be done now. With Edén (Muñoz) something is also coming, as well as with Alfredo Olivas; they are great friends of mine and referents of regional Mexican music.
Do you still consider yourself a regional Mexican artist despite all these new sounds and mixes you are experimenting with?
One hundred percent, I always will be. The fact that I do new things does not define me as an artist of another genre. All the music I make will always be Mexican, proudly.
Karol G’s private plane made an emergency landing at Van Nuys Airport in Los Angeles, according to multiple published reports. According to the news first reported early this morning by KABC in Los Angeles, Karol G’s jet had taken off from Hollywood Burbank Airport Thursday evening, with 16 people on board. The aircraft is identifiable by […]
Luck Ra and Khea add a new No. 1 to their Billboard Argentina Hot 100 career as “Hola Perdida” lifts 2-1 on the chart dated March 2.
Luck Ra also holds strong in the top 10 with two other songs: “Que Me Falte Todo,” with Abel Pintos, which holds at No. 3 for a third week, and nine-week leader “La Morocha,” featuring BM, which drops 7-9. In total, the trap and freestyler places a total of seven songs on the current ranking, the most for a male act this week, behind Emilia’s 10 and Maria Becerra’s eight simultaneous songs, respectively.
As “Hola Perdida” lands at the summit, it sends Mesita, Nicki Nicole, Emilia and Tiago PZK’s “Una Foto” to No. 2 after a six-week domination.
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Elsewhere, Tiago PZK and Ke Personajes add a top 10 to their Billboard Argentina account as “Piel” rallies from No. 17 to No. 6. While Tiago scores his sixth top 10, Ke Personajes collect their 12th top 10.
Meanwhile, Chilean Floyymenor earns his first top 10 as “Gata Only,” with Cris MJ, surges 22-8 in its third week.
The week’s Greatest Gainer goes to Trueno and Nicki Nicole’s “Mamichula,” featuring Bizarrap, Taiu and Tatool, which flies from No. 82 to No. 20.
Further, Gino Mella, Jairo Vera, Yandel, Lenny Tavárez and Best take the Hot Shot Debut of the week as “El Amor De Tu Vida” starts at No. 40.
Seven other songs enter the chart this week, starting with KHEA and Emilia’s “Tú y Yo” at No. 42. Dua Lipa follows with “Training Season” at No. 55, while El Turko’s “30 Grados,” featuring Mandale Flow, joins at No. 71.
Dominican Engel Montaz follows as he nabs his first chart entry with “Cupido” at No. 80, while Pablo Chill-E and Oro600’s “Nena Sad (Orodembow)” opens at No. 81.
Lastly, La K’Onga, Emanero and David Bisbal’s first team-up, “Fama de Diabla” bows at No. 82, while Tiesto & Karol G’s “Contigo” arrives at No. 88.
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Just days after premiering “The One (Pero No Como Yo)” at the 2024 Premio Lo Nuestro, Carin León and Kane Brown have released the track’s music video, which Billboard is premiering exclusively. Fusing country and regional Mexican — two genres that are more similar than different (for starters both center on storytelling and live instruments) […]
Ahead of her upcoming new album Las Mujeres Ya No Lloran, set to drop March 22, Shakira has unveiled the LP’s tracklist. The 16-track album includes eight new tracks plus previously released singles such as “TQG” with Karol G, the Rauw Alejandro-assisted “Te Felicito” and “El Jefe” with Fuerza Regida. A remix to her Bizarrap-produced […]
Hi, everybody. My name is Karol G. I am from Medellín, Colombia. This is my first time at the Grammys, and this is my first time holding my own Grammy.”
To her tens of millions of fans and followers (68.2 million on Instagram alone) watching February’s Grammys telecast, that humble introduction from the winner of this year’s award for best música urbana album wasn’t surprising — Karol G’s openness and honesty, along with the personal nature of her music, are a big part of what has endeared her to so many. Still, the award felt a bit superfluous.
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At 33, Karol G just wrapped an extraordinary year in which she became the first woman (and second artist ever) to top the Billboard 200 with an all-Spanish-language album (Mañana Será Bonito, for which she won that Grammy); the top female Latin artist on Billboard’s year-end charts (behind only Bad Bunny and Peso Pluma); and the winner of album of the year at November’s Latin Grammys, as well as urban album of the year — the first woman to win the latter.
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Karol is also the first Latina (and still one of only a few women) to headline a global stadium tour and the highest-grossing Latin touring artist of 2023 by far: According to Billboard Boxscore, she grossed $155.3 million and sold 925,000 tickets from 20 shows, placing at No. 11 on Billboard’s all-genre year-end Top Tours chart. The only women who fared better on the list were Beyoncé and P!nk, who played 55 and 37 shows, respectively. (Taylor Swift did not report her 2023 touring numbers.)
And yet the artist born Carolina Giraldo still feels she has something to prove. “I’m certain many people still don’t know me and don’t know what I’ve done,” she says. So at the Grammys, “I wanted to make it clear, because I have so many projects planned, that I want them to know I’m working to accomplish far bigger things.”
And as Billboard’s 2024 Women in Music Woman of the Year — the first artist who records only in Spanish to receive the honor — Karol says she’s even more motivated to maintain her stunning upward trajectory. “It’s so meaningful and inspiring to get an award that’s not only ‘woman of this or that category’ but ‘Woman of the Year.’ I feel a huge responsibility to make the year on par with the title,” she says. (Karol’s sister Jessica Giraldo, an attorney who co-manages her with Noah Assad and Raymond Acosta of Habibi Entertainment, is on Billboard’s Women in Music executive list this year.)
Karol’s journey to the top of the charts has been slow and steady over the past decade. But in 2022, it accelerated (and went beyond language barriers) with her $trip Love U.S. arena tour, which grossed $72.2 million and sold 424,000 tickets. That helped send Mañana Será Bonito to a No. 1 debut on the Billboard 200 in February 2023, which, in turn, led to her first stadium tour and the release of a second album, Mañana Será Bonito (Bichota Season), which debuted at No. 3 in August.
Since the very beginning of 2024, Karol says she has “literally made music every day,” working with collaborators including longtime go-to producer Ovy on the Drums, who often meets up with her on the road and will be traveling with her during the Latin American leg of her tour. That kicked off Feb. 8 with the first of three sold-out dates at Mexico City’s Estadio Azteca (80,000 seats per night, according to promoter OCESA). Karol will play 24 stadium dates in Latin America (most were already sold out at press time) before moving on to 16 arenas and stadiums in Europe, including three dates at Santiago Bernabéu Stadium in Madrid.
“The fact that she headlined predominantly theaters in 2021, then arenas in 2022, then jumped to stadiums in 2023 is unprecedented for any genre,” Jbeau Lewis, Karol’s touring agent and partner at UTA, told Billboard last year. “It’s easy to talk about Karol as a leader in Latin music, but based on the success she has had, especially this year, she should be spoken about in the same breath as Taylor or Beyoncé.”
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Karol is acutely aware that as her global audience grows, the stakes for what she does next keep rising. “I started this year with a completely different mindset,” she says. “Although this may sound like a beauty queen reply, the place I’m at right now is one of huge responsibility, and it demands that I’m very aware of what surrounds me so I don’t make missteps.”
To prepare, she took some time off over the winter holidays — an effort toward “working enormously on my mental state, black belt level,” she says with a laugh. “I’m very clear about my plans, my vision of the future and the order in which I want to release [music] and express myself.”
For a Colombian who grew up in Medellín in the aftermath of cartel leader Pablo Escobar’s death, when the country was consumed by drug warfare, that sense of responsibility is especially personal and profound. “My father always told us: ‘We have an obligation to give back — not what’s left over but what’s right,’ ” she says. That idea inspired her in 2021 to launch the Con Cora foundation, which supports women in vulnerable situations through actions in education and the arts.
“When I take the stage in a stadium, one of the reasons I cry is because I know one day this will all be over; I’ll be home remembering the time I was No. 1,” she says. “That’s life. But what I will have is a school I built, or a project we launched [through the foundation]. Today, and in 10 years and in 50 years, lives will change thanks to something we built.”
In the meantime, even as she tours, Karol is putting out singles and remains “very open to experimenting with new sounds,” as is clear on “Contigo,” her recently released song with Tiësto. “I’m feeling very proud because I’m working. I’m really rising to the challenge, and I have to push forward, push forward,” she says. “I may be a very important Latin artist, but I still have the whole world ahead of me.”
This story will appear in the March 2, 2024, issue of Billboard.
Eladio Carrión may have scored multiple top 10s across the Billboard charts, but he can now cross off a new milestone as he attains his first No. 1 on any ranking with “TQMQA,” a song outside of his usual rhythmic realm.
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“TQMQA,” a Latin pop-tinged song — short for “Te Quiero Más Que Ayer” — rises 2-1 on the Latin Pop Airplay chart (dated March 2) with 5.4 million audience impressions, up 9%, earned in the U.S. during the Feb. 16-22 tracking week, according to Luminate.
The song is the first single from Carrión’s fifth studio album, Sol María, which debuted and peaked at No. 6 on Top Latin Albums and at No. 3 on Latin Rhythm Albums charts (Feb. 3).
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“TQMQA,” released and promoted via Rimas Entertainment, yields the Puerto Rican-American rapper and Latin trap singer his first Latin Pop Airplay No. 1 with his third chart appearance. His breakthrough Latin Pop Airplay song, “Alejarme De Ti” with Jay Wheeler, earned Carrión his first top 10 there, peaking at No. 9 in March 2022, while “No Puede Ser,” with Mau y Ricky, reached No. 22 a month later, in April 2022.
Prior to its radio impact, “TQMQA” debuted and peaked at No. 39 on the multimetric Hot Latin Songs chart, which blends airplay, digital sales, and streaming activity.
Elsewhere, the song climbs 22-19 on the overall Latin Airplay chart, Carrión’s highest entry since “Nunca y Pico,” with Yandel and Maluma, earned him his first top 10, peaking at No. 6 in Nov. 2022.