Latin

“Either you sing to her, or I sing to her/ She doesn’t mind destroying my heart” goes the chorus of the catchy vallenato pop song “Tú o yom” in which Colombian stars Silvestre Dangond and Carlos Vives join forces for the first time. The cheerful song, co-written by the duo and produced by Andrés Castro, tells the story of two friends who compete for the love of a woman. The collaboration returned artists back to the top 5 of Billboard‘s Tropical Airplay chart, marking the first appearance of Dangond in that region since 2020 and first for Vives since 2022. The duo of vallenato ambassadors once again show that a folk rhythm can stretch beyond a specific region and appeal to an international audience. — LUISA CALLE

Argentine pop princess Emilia Mernes keeps delivering surprise after surprise. This time, she trades her urban pop for a saucy, attitude-laden cumbia alongside veteran ensemble Los Angeles Azules. Here, the group — which got a new lease on life by collaborating with a wide array of artists in a variety of genres — cedes the vocals entirely to Emilia, and still manages to retain its signature sound. A coup for both sides. — LEILA COBO

There’s something nostalgic about “Viva Tú,” where the eternal troubadour captures the simple joys of life and weaves them into a tribute to women that feels both personal and universal. This rumba thrives on the heart-rending strums of a nylon guitar set to a mellow rhythm, while flamenco-styled vocals further enrich the tune. “Everyday I fall in love,” he sings, honoring everyday heroines from the baker to the sweeper. The song heralds Manu Chao’s much-anticipated return to music, serving as the first single from his upcoming LP — also titled Vida Tu (due out September), marking his first album in 17 years. — ISABELA RAYGOZA

The collaboration we didn’t know we needed came by way of Maria Becerra and Ivy Queen. Set to a fiery old-school reggaetón beat, “Primer Aviso” finds Becerra venting in rapid-fire verses about obstacles she’s faced in the industry, and is soon joined by Ivy Queen, who has a thing or two to say about challenges faced by women in a male-dominated genre. Fun fact: the song also features ad libs by J Balvin, Nicky Jam, Yandel, Zion, Guaynaa and Lola Indigo. — GRISELDA FLORES

Panamanian star Boza captivated us ones more at the end of May, this time with a catchy fusion of reggaetón, salsa and Afrobeats, for which he recruited Venezuelan singer and songwriter Elena Rose. Sharing its title with the three-track pack on which it is included, “Orion” is sophisticated both musically and lyrically, with an irresistibly playful bridge from Boza (“If you kiss me, I deconfigure-guru / If they hurt you, I heal you, cu, curo”) and the evocative contribution of Elena Rose (“I also want to have you, just give me a chance to assimilate/ For in the past I fell a lot, and I don’t want to harm you with my injuries”). It’s a captivating combination that shows new layers of both artists, each of whom have their moment to shine. — SIGAL RATNER-ARIAS

Eduin Caz, Grupo Firme’s fierce leader, has perhaps one of the best and most versatile voices in regional Mexican music, which is why he can easily adapt his vocals to sing huapangos, corridos and, here,  norteño ballads. In “El Beneficio de la Duda,” penned by Joss Favela, Caz doesn’t hold back his emotions — singing (almost imploring) evocatively about getting a second chance, over an equally nostalgic accordion. — G.F.

Leave it to Prince Royce to flawlessly fuse bachata with música mexicana. The New York-born artist recruits regional Mexican singer-songwriter Gabito Ballesteros for this heartbreak song that starts off with a wailing trombone, the perfect canvas for lyrics about drowning your sorrows in alcohol. “Cosas de la Peda” – which peaked at No. 1 on the Latin Airplay chart in April – strikes the perfect balance of bachata’s hip-swiveling beats and regional Mexican’s signature instruments, such as the requinto, tololoche and trombone. — G.F.

The simple-yet-provocative lyrics in “Gata Only” have gone massively viral on social media, skyrocketing the reggaetón tune to No. 1 on Hot Latin Songs, where it’s ruled for double-digit consecutive weeks. Performed by Chilean newcomers FloyyMenor and Cris MJ, “Gata Only” tells the story of a guy who’s chasing an attractive girl. With the song, both La Serena-based artists made history on the chart, marking the first time any Chilean artist entered the top 10 since La Ley and Ednita Nazario’s “Tu Sabes Bien” peaked at No. 8 in 1999. — JESSICA ROIZ

Following the release of “Cactus,” which officially marked Belinda’s Mexican music era, the singer unleashed “300 Noches,” featuring the pioneer of corridos tumbados, Natanael Cano. The lyrically and sonically striking heartbreak song starts off with a soft piano tune and Belinda’s evocative delivery before requinto guitars take center stage, transforming the ballad into a corrido tumbado, or a corrido coquette (a term coined by Belinda). Safe to say, “Beli-Bélica” has us totally hooked. — G.F.

Fuerza Regida delivers a hard-hitting kiss-off for anyone looking to leave an ex in the past with “Tu Name.” JOP channels raw conviction and passion as he croons about moving beyond a former relationship through wild nights and new encounters. Backed by an arresting corridos rhythm, the song explodes with energy as it embraces a narrative of revenge and liberation – forgetting the ex’s name by indulging in carefree rendezvous with others. As the chorus repeats (“Party, party/ Shorty says ‘Daddy, daddy’/ I don’t know you, mami, mami/I forgot your name”), the message is clear – lose the past in the haze of the party. “Tu Name” reached No. 66 on the Billboard Hot 100 while also climbing to No. 2 on Hot Latin Songs. — I.R.

Grupo Frontera and Nicki Nicole both surprised fans when they unleashed their first collaborative effort “Desquite” — a definite brand-new sound for each act. An innovative tribal guarachero, Frontera and Nicki narrate a song about retaliation and vengeance — but by having fun and living life. “Edgard Barrera told me he had a song for me called ‘Desquite’ that fuses cumbia with a bit of tribal. I heard it and it blew my mind,” the Argentine artist previously told Billboard. “I would play the song every day, and that’s how it was born.” The two artists recorded “Desquite” in November 2023 during Latin Grammys week in Seville, and it became part of Frontera’s 2024 sophomore album, Jugando a que no pasa nada. — J.R.

On his LVEU: Vive La Tuya…No La Mia album, Towers included a captivating tropical fusion dubbed “La Capi” (short for “la capital,” which means “the capital” in English). Blending the fast-paced merengue tipico with a hint of bachata, “La Capi” flaunts Towers’ ability to navigate far beyond the rap and reggaetón realms. “Take me to the capital/ I want to see your country/ I want to explore with you/ Tell me what we’re going to do,” the Puerto Rican artist chants. Though the song came out in 2023, it hit No. 1 on both Billboard‘s Tropical Airplay and Latin Airplay charts in May. — J.R.

With “Amor”, Danny Ocean scored his first No. 1 twice on the Billboard charts: The song conquered both the Latin Airplay and Latin Pop Airplay charts in June. The slow-paced reggaetón single, with a soulful and subtle guitar chord progression, is driven by a smooth drum and bass groove, while the piano adds soft harmonies. “You, I, add two/ And if we raise it everything will be better/ Because cold plus cold equals heat” goes part of the lyrics. The relaxed and tender song is the perfect ode to slow dancing or relaxing with someone special, while being transported to a tropical paradise. — L. Calle

Feid has returned to his more melodic, romantic reggaetón sound with “Sorry 4 That Much.” Produced by his longtime collaborators Jowan, Wain and Rolo, the sultry-yet-edgy urban track finds Ferxxo both reminiscing and regretful about a relationship that didn’t work out. “Before you leave/ I want to thank you for everything I was able to live/ You made me happy/ All this time with you,” he passionately chants. With his latest track, the Colombian artist secured his fifth top 10 hit on Billboard’s Hot Latin Songs chart — debuting at No. 4 in June, and marking his first unaccompanied solo top 10 entry on the tally. — J.R.

With the single “Faltas Tú” (“Only You Are Missing”), Colombian boyband Morat immerses us in a nostalgic atmosphere in sound and visuals as they explore the theme of missing a loved one. The pop-rock track at times evokes the distinctive vintage sound of ’70s rock classics, driven by electric guitar, with vocals wrapped in reverb effects and captivating melodies. The song, setting the tone for the group’s next album, represents “the new aesthetic and the new attitude” of the band. Its music video, filmed in Mexico, complements the theme of the song by showing incomplete elements, such as a hot dog bun without the hot dog and Paris without the Eiffel Tower, while the band members travel and perform in a retro silver Airstream trailer. — L. Calle

In the mid-tempo, groovy reggaetón jam “Curita,” Young Miko steers away from the saucy trap sound that has made her a rising star. Backed by an infectious piano melody, the song — which translates to “bandage” in English — finds the Puerto Rican artist singing about curing the heartbreak of the girl she likes. “I know you just broke up/ And that’s why I came when you called/ Today I’ll make sure you forget him,” she chants over the Mauro and Jota Rosa-produced track. Miko premiered the melodic single at the 2024 Billboard Women in Music event, where she received the Impact Award. — J.R.

“García,” the title track of Puerto Rican singer songwriter Kany García’s new album, is a letter from García to herself, addressing the young, vulnerable Kany, and the present-day star, who’s still as vulnerable (“Tengo miedo de meterme en esta ola de ficción/I’m afraid of losing myself in this wave of fiction”). It is a 2:42-long summary of what every artist, and really, every one of us fears: Losing touch with our real selves. Garcia’s ability to distill such a big issue into such a small, brilliant package underscores her genius. — L. Cobo

Just in time for the summer, Karol G dropped her first-ever merengue tune, “Si Antes Te Hubiera Conocido” (which means “if I would’ve met you before” in English). Co-produced by Edgar Barrera, Sky Rompiendo and Karol, the feel-good tropical tune is an ode to the Dominican Republic: “Its culture, its music, its colors, the hospitality, the energy…everything feels very authentic and special there,” she expressed of the Caribbean Island in an Instagram post. “Its people have embraced me in a way that fills my heart and inspires me all the time.” Lyrically, the playful song — which debuted at No. 3 on Hot Latin Songs — details connecting with someone who is already in another relationship. — J.R.

Colombian pop star Camilo and regional Mexican sensation Carín León are both known for experimenting with different genres. But when the former recruited the latter for a classic romantic salsa, part of his three-track EP dos, it was not only a big surprise but also a real treat for both artists’ fans. In “Una Vida Pasada,” their second collaboration after 2023’s “Ni Me Debes, Ni Te Debo”, Camilo and León blend their voices splendidly over the captivating tropical rhythm, while singing about a love so strong that comes from a past life, even though it cannot materialize in present time. It showed yet another layer of both artists music prowess, and gave the Mexican singer his first entry on the Tropical Airplay chart, where it reached the top 10. — S.R.A.

Rauw Alejandro takes us to musical heaven with his first solo single of 2024; and “Touching the Sky” swiftly ascended to No. 36 on Latin Airplay, captivating listeners with its luminous, disco-tinged synth-pop sound. A declaration of newfound love and the exhilaration it brings, the song is a blend of heartfelt lyrics and compelling electronic beats. Written by Rauw himself, his evocative delivery on lines like “You can stay, or you can leave/ But for now, I feel like I’m touching the sky” captures the euphoria of romantic bliss. This track is not just a song, but already a summer anthem, perfectly crafted to energize dancefloors and elevate summer playlists alike. — I.R.

A catchy pop song with flirty lyrics about falling for a man while knowing he’s no good for you, “Puntería” reached No. 1 on both the Latin Airplay and Latin Pop Airplay charts and also hit No. 72 on the Hot 100. The upbeat electro-pop track, part of Shakira’s latest album Las Mujeres Ya No Lloran, marked the first collaboration between the Colombian star and the New York rapper, who adds her bad-girl swagger to the mix with bilingual lyrics, while Shakira shines with her characteristic style and effortless flow. This summer, it was selected as the official song of TelevisaUnivision’s coverage of the 2024 Copa America CONMEBOL. — S.R.A.

Despite the looming shadow of the Mexican mafia and the peril of death threats, Peso Pluma and Tito Doble P doubled down on their gripping narrative in “La People,” from Peso’s 2023 album Génesis, about the daring escape of a notorious mob figure. The saga continues with this year’s “La People II,” where the tale escalates to an all-out exodus, capturing the intense power struggle between the cartel and authorities. Adding to the dynamic, Joel de la P joins the duo — and together, the trio delivers lyrical references that dive into the tumultuous existence of controversial figure El Nini, rumored to be the chief of security for Los Chapitos. The track transcends mere storytelling; Peso, Tito and Joel don’t just sing — they bark. Their powerful delivery is what sets “La People II” apart, earning its place on this list. — I.R.

There’s a stark contrast between Kali Uchis and Peso’s vocals here: Uchis’ voice is silky and almost soothing while the Mexican star’s is nasally and gravelly — yet they complement each other so well on “Igual Que Un Ángel.” Singing over a disco-tinged beat about a woman who is an unattainable princess, both artists shine here, with Peso willingly getting out of his comfort zone for this R&B-infused soulful performance. The track peaked at No. 1 on Hot Latin Songs in January. — G.F.

No one anticipated the seismic impact of a groundbreaking song built on the fervor of last year’s corridos. This wave was propelled into the spotlight by an enigmatic teen solo act named Xavi, whose fiery single “La Diabla” quickly became a powerhouse hit. The track, about a perilous romance, is driven by a spellbinding requinto riff (courtesy of his guitarist, Ivan) and Xavi’s resonant vocals. These elements helped secure the song’s spot at the top of multiple charts, including Hot Latin Songs for 14 weeks — the most in 2024 so far — and without any co-leads or features. Melding the raw spirit of corridos tumbados with tender romanticism, “La Diabla” signifies a defiant milestone, heralding the arrival of a new superstar. — I.R. 

Las Letras Ya No Importan encapsulates Residente’s transformation from trailblazing rapper to a multifaceted cultural commentator and artist. With disparate collaborations spanning from SFDK to Christian Nodal, Jessie Reyez and Busta Rhymes, each track delves into diverse themes — like “313” with Sílvia Pérez Cruz and Ponélope Cruz, a reflection on time and mortality, and “Bajo Los Escombros,” featuring Amal Murkus, which portrays the Palestinian struggle. Tracks like “Jerga Platanera” with Nino Freestyle explore the nuances of Caribbean slang, while “El Malestar en la Cultura” and “Artificial Inteligente” examine the implications of societal and technological shifts, respectively. Residente’s second solo album not only pushes musical innovation but continues to cement his status as a rap star, challenging listeners to rethink the intersections of music, culture and politics. — ISABELA RAYGOZA

You don’t even need to know what Anitta is singing about to really get into her music; the Brazilian funk beat alone that powers her songs is alluring enough. After efforts to go mainstream with more pop-leaning records, Anitta ditches trying to “fit in” and places all bets on the sound that made her a household name in her native Brazil. Packed with club-ready and cheeky songs, Funk Generation is a testament to the trilingual star’s determination to globalize baile funk. — GRISELDA FLORES

In his first studio album in three years, Colombian singer/songwriter Manuel Medrano — he of the deep, luxurious voice that stands out in Latin pop — returns with an eclectic set full of funk, pop, electric guitars and retro vibes. This is feel-good stuff that veers from happy-go-lucky (“Este cuento”) to ethereal (“Luna” with pianist Arthur Hanlon), and full of whimsy. Check out the wonderful “Mojado,” where a guy who can breathe in and out of the ocean “filled with positive energy,” serves as a metaphor for standing up for one’s uniqueness. It’s quirky and beautiful, like Medrano himself. — LEILA COBO

For her past several albums, García has relentlessly explored different avenues as a singer/songwriter while remaining very true to her core, a highly melodic and personal sound that is often imbued with tropical rhythms. But in García, she stretches her boundaries even more, collaborating with three regional Mexican stalwarts – Christian Nodal, Carín León and Edén Muñoz — for decidedly Mexican songs that highlight the versatility of García’s music. Another collab with Young Miko also underscores García’s identity as a queer woman. But the most beautiful and significant track in this album of gems is the opening title song, full of vulnerability and storytelling. — L. Cobo

TINI’s delivery in every single one of the songs on this album is what makes it a memorable and striking one. The no-holds-barred attitude allows the Argentine star to narrate just how much she’s been through in the past few years, dealing with stuff like heartbreak and her father’s near-death experience. Mostly produced by hitmakers Andrés Torres and Mauricio Rengifo, the stripped-down, lyrically strong set follows TINI through moments of vulnerability, pain, resilience and growth, showcasing a more mature approach to connecting with listeners. — G.F.

Vida, Ana Tijoux’s first album in a decade, resounds as a captivating exploration of loss, rebirth and empowerment. An innovator in Latin American hip-hop, she navigates everything from grief to motherhood and inner evolution with lyrical bravado. Songs like “Millonaria” skillfully contrast the metaphorical wealth of personal relationships with the allure of material riches, as “Bailando Sola Aquí” uses upbeat Afrobeat rhythms to underscore themes of self-recovery and introspection. “Busco Mi Nombre” addresses identity and resilience with verses that touch on both personal loss and collective mourning. It’s a narrative of resistance and a celebration of the human spirit, reinforcing her role in shaping the narrative of Latin hip-hop. She posits, “The world of hip-hop and rap is about community… therein lies its strength.”  — I.R.

With Llamada Perdida, Prince Royce took us on a profound roller coaster of emotions, after the pandemic derailed his touring plans to support previous studio album Alter Ego (2020) and the bachata star also went through a divorce. 

Comprised of 23 tracks that are mostly bachata, but also boasting fusions with regional Mexican (in “Cosas de la Peda” with Gabito Ballesteros,” which reached No. 1 on Latin Airplay), disco, merengue, urbano and more, Llamada Perdida — which reached No. 2 on Billboard‘s Tropical Albums chart — is not only his most eclectic work to date, but arguably his most personal. Here, the rather shy artist opens up for the first time about his life, sharing intimate details of the pain of his separation in songs like “Un Papel” or “Frío en el Infierno.” It is, all in all, a charming and deeply honest set that made us both dance and reflect. — SIGAL RATNER-ARIAS

Omar Montes has become a major artist with his “flamenco urbano” sound that fuses flamenco music with trap, hip-hop, reggaetón, and electronic music. But, on his third studio album, Lágrimas de un Maleante (Tears of a Bad Boy), the Spanish singer-songwriter traces it back to the traditional roots of the pure and authentic flamenco sound. What makes the 11-track album a standout piece is Montes’ ability to break down the vibrant and passionate sounds within the genre, such as buleria, tanguillo, rumba and sevillana. Also bringing to the forefront his fellow talented Spaniards, Lágrimas de un Maleante includes collaborations with Lola Indigo, Israel Fernandez, María Toledo, Kiki Morente and Las Chuches. — JESSICA ROIZ

Three years after their debut album, LAGOS does not disappoint with their second studio album Alta Fidelidad inspired by ’80s pop. Using Roland Juno 106 synthesizers and the LinnDrum drum machine, instruments that defined pop and rock of the time, for the production, the Venezuelan duo (formed by musicians and producers Luis Jiménez and Agustín Zubillaga) explores love in all its stages, from the sweetness of romance to the end of a relationship. The set of 11 songs and a 20-second intro includes the collaborations “No se Acaba Hasta que Acabe” with REIK, “Blanco y Negro” with Elena Rose, and the emotional “Si Supiéramos Esta Noche” with Greeicy, in addition to the single “Tengamos Pasado” and its counterpart, “Tuvimos Futuro.” With Alta Fidelidad, LAGOS manages to link the past with the present while solidifying their essence and bringing a breath of fresh air to current music. — LUISA CALLE

Mexican band Reik returned to its pop roots with Panorama, a 13-track album that honors the group’s past while exploring more avant-garde compositions, with songs including “Baja California,” “Abril,” “Gracias por Nada,” and “El Correcto” featuring Carín León. After spending several years experimenting with Latin urban sounds, the popular trio, which also includes guitarists Julio Ramírez and Bibi Marín, teamed up with the MiSHNRZ, a duo of producers made up of Ismael Cano Jr. and Matthew Rey, for their first LP since 2019’s Ahora (which was mainly comprised of past hits, with only a few new tracks). It is a welcome change that his hard-core fans must have been waiting for, and shows that the hit-making group is still at the top of their game.

“We haven’t made an album like this since Des/Amor [in 2016],” Reik’s vocalist Jesús Navarro previously told Billboard Español. “So it was super special.” Their fresh take on pop took them back the Billboard Latin Pop Albums chart, where it debuted at No. 25. — S.R.A.

For their third studio album, Mau y Ricky literally returned to their roots by taking a three-month trip through their native Venezuela, 15 years after moving to Miami as children. Led by producer Malay (Frank Ocean, Lorde, Fletcher), and inspired by music they listened to since their childhood, the Montaner brothers created songs using entirely acoustic arrangements, along with a lot of horns and brass, while experimenting with pop, funk, Latin and urban sounds. 

The result is Hotel Caracas, an eclectic, upbeat 15-track pop set that includes the singles “Vas a Destrozarme,” “Pasado Mañana,” “Gran Día” with Guaynaa and “Canción 2,” as well as collaborations with Arcángel on “Hasta Olvidarte” and Ilegales in “Espectacular.” Each comes with a music video filmed in different corners of Venezuela, along with a touching 15-episode documentary on their exciting journey, directed by Daniel Durán. It’s a fun ride from start to finish, full of nostalgia, humor and good vibes — and, perhaps for the first time, it showcases the true level of music Mau y Ricky are capable of making. — S.R.A.

In a nearly-45-second intro that kicks off his third studio album, El Último Baile (The Last Dance), Trueno freestyles about “keeping it real,” “having knowledge,” and “representing” the hip-hop movement. The 13-track set that has no collaborations is an ode to the generational and cultural impact of the now-half-century-old genre, and a journey through its eras and decades. “Tranky Funky” and “Ohh Baby,” for example, are backed by potent piano, bass and drum beats, bringing to life a psychedelic funk-rap fusion à la De La Soul and A Tribe Called Quest. Trueno also fuses rap with groovy R&B, as heard in the viral “Real Gangsta Love,” and sultry Afrobeats, as heard in “Como Antes,” further showcasing his experimental edge. — J.R.

From the hypnotic basslines and sparkling notes of “Perdido” to the synth-pop groove of the title track, Dime Precioso pulls you into Alex Anwandter’s world — a disco-pop realm where every beat compels movement. This nine-track LP marries the urgency of dancefloor rhythms with profound lyrical introspection. Tracks like “Tu Nueva Obsesión” resonate with funky beats, while “Paris, Tal Vez?” envelops listeners in the romantic haze of Parisian allure, contrasted sharply by the artist’s reflections on global realities. Meanwhile, Anwandter muses on the absurdity and tragedy of seeking constant desire against a backdrop of chaos. Inspired by everything from Burt Bacharach to ’90s house, Gil Evans, Brazilian MPB, and Latin American pop, Dime Precioso cements Anwandter’s position as a pioneering force in Latin indie pop. — I.R.

Perhaps Danny Ocean’s most personal album to date, the Venezuelan singer-songwriter shines sonically and lyrically in Reflexa. In the 12-track set, Danny, who has described his music as pop of the future, navigates through the life’s most relatable topics — heartbreak, lust, love and the desire to live authentically as yourself — with an elevated pop sound that’s fused with electro and even Middle Eastern influences. Meanwhile, Ocean’s lyrics are real, raw and almost too honest about life, and that’s precisely why his loyal fanbase is with him for the journey. — G.F.

The opening track of Young Miko’s debut album, att., is aptly titled “rookie of the year” — but this is not your run of the mill, bragaddoccious rap opus intro. Opening with a man’s voice (Miko’s father speaking with his daughter when she was a child), “rookie” is reflective and poignant even as it is defiantly assertive: “To live the dream you have to be awake,” she says in one breath, then adds: “I don’t understand how the hell this happened. You ask, how do I do it? Better than you.”

The shift from vulnerable to assertive, from party girl to sexual creature, permeates an album that sounds and feels deeply personal, but doesn’t wallow in self-importance. It’s a fun set and it’s also an unapologetically queer set, of a woman talking to and about other women, veering from playfully flirtatious to heartbroken. In that alone, att. is different from anything else out there in the Latin space. But this album — which features collabs with Feid, Villano Antillano and Jowell & Randy– shines for its execution, its intention and lyrics that are as personal as they are relatable. A fine introduction to a new star. — L. Cobo

From his studio, El Taller Creativo, Colombian singer-songwriter Camilo (along with a group of talented musicians) embarked on a musical journey that culminated in his album cuatro. The project is a compilation of the series of EPs un, dos, tres, released individually, in which he explores a variety of tropical rhythms, highlighting the elegance of live instruments, such as saxophone, trumpets, trombones, conga and güira, accompanied by charming musical arrangements and poetic lyrics.

The set includes salsa songs like “PLIS” (with his wife Evaluna), “Gordo” and “Una Vida Pasada,” the latter of which features regional Mexican star Carín León singing salsa, as well as the cumbia “Misión Imposible” and the bachata “No Se Vale” In addition, it includes a cover of the Mexican group RBD’s hit “Sálvame”, and a romantic acoustic ballad dedicated to Evaluna, titled “Una Canción de Amor Para la Pulga.” The album closes with a flourish with the bossanova-inspired salsa “La Boda”, which puts the finishing touch on this eclectic musical journey, where Camilo sheds light on these beautiful Latin rhythms that are worth keeping current. — L. Calle

Making honor to his nickname “La Voz Favorita” (the favorite voice), Jay Wheeler’s powerhouse vocals shine on his seventh studio album Música Buena Para Días Malos (via Dynamic Records). The 13-track set includes two collabs (“Textos Fríos” with Puerto Rican hitmaker Mora and “Maquillaje” with Venezuelan newcomer Noreh), but what truly stands out are the melodious voices, backed by futuristic synth beats and smooth instrumentation. Co-produced by Kevin Omar Ortiz (Bones) and Elvin Jesus Roubert Rodriguez (Botlock), the album explores themes of time, destiny and alternate realities, and really captures the state Wheeler’s currently in: utterly in love. Música Buena Para Días Malos — which also includes the English-language gospel-influenced “Save Me” — debuted at No. 4 on Billboard‘s Latin Pop Albums chart in May. — J.R.

Carrion is his most personal and vulnerable on his sixth studio album, a 17-track heartfelt ode to his mother, Sol María. Musically, the set navigates Afrobeats, dancehall and Jersey club, without compromising the Puerto Rican artist’s trap and reggaetón roots. Lyrically, it details Carrion’s family values and his journey of making his parents proud, all while being faithful to his no-holds-barred flow.

“Bendecido,” the opening track, is a trap ballad that sets the tone with its focus on familial devotion and resilience. In “Sigo Enamorau,‘’’ featuring Yandel, the pair reinvent Sean Paul and Sasha’s Dutty Rock classic “I’m Still In Love With You.” The Rauw Alejandro-assisted “Hey Lil Mama” is a sultry R&B cut that strikes a balance between sensuality and sweltering beats. Other featured collaborators include Árcangel, De La Ghetto, Duki, Sech, Nach and Milo J. Sol María reached No. 6 on the Billboard’s Top Latin Albums chart and No. 3 on the Latin Rhythm Albums chart. — J.R.

Nathy Peluso’s Grasa erupts with the raw force of a woman unafraid to dive deep into her roots. An album title partially inspired by the poignant imagery of her father’s hands, greasy from toiling at a gas station, Peluso’s LP is a powerful ode to perseverance and the working-class spirit. Set against a backdrop of rap bravado and soul-stirring ballads, this 16-track opus is an eclectic mix that swings from the emotive strains of “El Día Que Perdí Mi Juventud” with Blood Orange to the electrifying electronic syncopation of “Todo Roto” alongside Ca7triel & Paco Amoroso. Each track in the album pulses with Peluso’s badass energy, sculpting a space where genre crossovers feel not only natural but necessary — salsa meets soul (“La Prensa,” “Envidia”), and acoustic vibes coalesce with gritty rap (“Corleone,” “Manhattan”). Meanwhile, Peluso delves into mental health, urging listeners to embrace self-love and personal growth. — I.R.

Grupo Frontera unleashed the year’s most relatable breakup album with Jugando a Que No Pasa Nada, which loosely translates to “pretending that nothing’s wrong.” With songs such as “F*ckin Amor,” “Ya Pedo Quién Sabe,” and “Quédate Bebé,” the McAllen, Texas-based group navigates the different stages of a heartbreak, from letting go of that person to trying to forget them to wanting to get back together. “It’s about what’s going on in your love life… so you have to act like nothing’s wrong but as soon as you close that door, and you’re locked inside, it takes over,” percussionist Julian Peña Jr. previously told Billboard. “It’s what we’re trying to convey: we’re good but we’re not good.”

Last year’s El Comienzo marked the beginning and set the tone for who Frontera is, but while their sophomore set sees the group staying true to its signature cumbia, tejano, and Norteño melodies, they also not only experiment with tribal guarachero (“Desquite” with Nicki Nicole) but reel in starry features from Morat (“Los Dos”), Maluma (“Por Qué Será) and Shakira (“(Entre Paréntesis)”), with the latter collab reaching No. 1 on both the Billboard Latin Airplay and Regional Mexican Airplay charts. Overall, the set hit No. 6 on the Regional Mexican Albums chart and No. 10 on the Top Latin Album chart. — J.R.

Sure, Carín León may be often described as a regional Mexican hitmaker, but in his latest album, he proves he’s more than a one-trick pony. With Boca Chueca, León gives himself that freedom to really showcase just what a versatile artist he can be, dabbling in pop (“Otra Vez”), R&B (“Despídase Bien”), alt-rock (“Frené Mis Pies”) and even ska (“No Sé”). While his signature norteño sound is still a big part of the album, with this set León cements himself as one of the most eclectic and exciting Mexican artists today. — G.F.

Blooming with opulent sensuality, Orquídeas unfurls with an intoxicating allure. This 14-track collection transports listeners with its lavish soundscapes and Kali Uchis’ heavenly voice, solidifying Uchis as a maestro of mood. The album’s evocative palette spans pulsating Afrobeats (“Diosa”), a hauntingly beautiful bolero (“Te Mata”) and neo-soul elegance (“Tu Corazón Es Mío”).

Each track blossoms with its own unique spirit — the energetic dembow beats of “Muqueñita” or the sultry reggaetón strains of “Labios Mordidos” — showcasing Uchis’ versatility and vocal charisma. Venturing into new musical domains, Uchis garners contributions from an all-star roster (Karol G, Rauw Alejandro, El Alfa, JT), featuring unexpected vocal twists from Peso Pluma (“Igual Que Un Ángel”), who infuses his signature rasp with an unlikely R&B flair. Across the album, Uchis weaves poetic narratives with supreme production, crafting songs that explore themes of love, transformation and resilience, akin to the growth and beauty of Colombia’s revered national flower. — I.R.

Some may want to call this a comeback album — and, to be fair, it was her first LP in seven years. But Shakira never really left. As one of the most consequential Latin artists of her generation, the Colombian star’s essence is forever ingrained in culture. So when she began releasing music again in 2020, we knew we were in for a ride. Megablasts like “Te Felicito” and “Monotonía,” the first two singles off the album, previewed just where Shakira was emotionally, and how raw and honest she was willing to be about her breakup from longtime partner and father of her two children.  

Then came her Bizarrap-produced session (which ultimately gave name to this album), where she turned tears into diamonds and gave women of all generations across Latin America a new girl-power anthem. That level of bravado and confidence is sustained throughout the album, and ultimately, makes it a remarkable standout in her catalog. Las Mujeres Ya No Lloran is a testament to Shakira’s ability to capture the peaks and valleys of womanhood, making her music relatable to so many around the world. — G.F.

Éxodo signals a dramatic evolution in the corridos bélicos genre, blending audacious conviction with compelling narratives that span personal, cultural and national realms. Peso Pluma’s fourth studio album is artfully divided into two distinct parts: Disc 1 showcases a deep exploration of música mexicana, while Disc 2 boldly ventures into música urbana terrains with trap (“Gimme a Second” with Rich the Kid), reggaetón (“Put Em in the Fridge” with Cardi B) and a dash of EDM (“Teka” with DJ Snake).

The album reaches its zenith with “La People II,” a fiery continuation of the saga that began with “Génesis,” intensifying with narratives of cartel bravado and dramatic confrontations with law enforcement. Complementing this, “Vino Tinto” highlights Peso Pluma’s camaraderie with Natanael Cano and Gabito Ballesteros. Together, these tracks not only highlight the Guadalajara superstar’s versatility but also bridge tradition, solidifying Peso Pluma’s status as a transformative force in the booming regional Mexican music landscape. — I.R.