Latin
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Over the past years, Coachella has been committed to integrating regional Mexican music into its lineup, with previous performers including Banda MS, Grupo Firme, Natanael Cano and Los Tucanes de Tijuana. This year, among the música mexicana stars were Peso Pluma and Carin León, both making their Coachella debut this year — a nod to the genre’s continued global and mainstream rise.
On Sunday (April 14), before León took the main stage around 5:30 p.m. to chants of “Carin, Carin,” a video played showing images of the singer face-to-face with a potent lion who runs wild across a desert. The ferocious animal is then immortalized onstage with a massive wooden-shaped lion wearing a tejana (cowboy hat) erected in the background.
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The sun was beginning to set in Indio, Calif., when León took the stage, and it was the perfect vibe for his soulful tunes and tremendous vocals that roared across the desert and pulled spectators that perhaps had never heard of the Sonora-born artist. With his live band — consisting of more than 20 musicians that played the tuba, accordion, guitars and drums, among other instruments — León didn’t hold back in his performance, understanding the significance of this moment on the main stage.
“Viva México chingada madre,” he said, extra prideful of being Mexican, and representing a genre that has long been a backbone of Latin music. “Dónde están dolidos (Where are those who are hurting)?” he asked, setting the tone for a set that could mend broken hearts. He began singing the hits early on, not wanting to waste a minute, from “Me La Aventé” to “Te Lo Agradezco,” “Corazón de Oro” and his bilingual country song with Kane Brown, “The One (Pero No Como Yo).”
It didn’t take long for León to get ahold of a Mexican flag, which he held onto tightly. He then burst into the hip-swiveling “Que Vuelvas,” his collab with Grupo Frontera. Of course, it was a perfect opportunity for him to showcase his mesmerizing dance moves that have now become a staple at his shows. The irresistible huapango “La Boda del Huitlacoche” followed, which inspired a massive sing-along, and fans couldn’t help but show off their zapateado moves, literally dancing up a storm in the desert.
He transitioned to rock en español with a spot-on cover of Hombres G’s “Te Quiero.” And after that, he brought out Mau y Ricky for “Llorar y Llorar,” marking the duo’s first time at Coachella. Nearing the end of his almost 50-minute set, he winded down with a fan-favorite, “Si Una Vez,” honoring one of the greats, Selena Quintanilla, and then went on to perform “Primera Cita.”
“Thank you for this first time,” he said before stepping off the stage. “Arriba la raza, arriba Coachella, but more than anything, arriba la música.” He closed with the hit song “Según Quién,” his 2023 collab with Maluma.
Other Latin artists who performed at Coachella this year included Young Miko, Bizarrap, Santa Fe Klan, Ludmilla and J Balvin, who was night three’s pre-headliner (just before headliner Doja Cat).
León is also set to also make his Stagecoach debut on Friday, April 26.
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Under the blazing desert sun, chants of “Mexico” echoed through the Coachella Valley. Santa Fe Klan emerged, his accordion in hand, as a massive silver inflatable “SFK” loomed behind him. His Coachella debut on Saturday (April 13) at 4:45 p.m. PT was a memorable moment.
Kicking off with the infectious rhythm of “Cuidando El Territorio,” the rapper wasted no time amping the crowd’s energy. “¡Y arriba México, cabrones!” he shouted, igniting a wave of Mexican pride that swept through the audience at the Coachella main stage.
Sporting an oversized black jersey emblazoned with the numbers “473,” the area code of his native Santa Fe, Guanajuato, the wordsmith delivered a riveting showcase. From the gritty bars of “Cypher” to the heartfelt melodies of “Mi Vicio,” and the poetic prowess of “Luna y Mar,” he effortlessly blended rap, cumbia, and Mexican symbolism.
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Accompanied by a crew of dancers clad in bulletproof vests, army cargo pants and bandanas, and a full band consisting of a drummer, bassist, guitarist and DJ, the Mexican star’s presence was undeniable. As he picked up his accordion, the crowd erupted into a frenzy, ready to dance to the infectious cumbia sonidera of “Soledad.” “Vamos a bailar cumbia,” he asserted.
But his performance was more than just music — it was a celebration of Mexican culture, the barrio life and resilience. “Con la bandera arriba, ¡que se sienta México!” he exclaimed, expressing gratitude to his fans and honoring his heritage.
Guest appearances added to the spectacle, with poet/rapper Nanpa Básico from Colombia joining SFK on stage for a soulful rap rendition of “Te Iré A Buscar.” Later, “Tornillo” took the spotlight, delivering a powerful performance of “Un Día Todo Se Termina (Remix)” alongside the star of the show.
Midway through his set, the artist took off his shirt to demonstrate his fully tattooed body with stunning portraits of Mexican idols like Chalino Sánchez and Pedro Infante.
As his set drew to a close, the Guanajuato native paid tribute to his late comrade Lefty SM with a heartfelt rendition of “Por Mi Bandera,” from their joint 2020 album Necesidad. Mexican flags waved proudly, decorating the desert as Santa Fe Klan’s growing legacy echoed through the Coachella Valley.
The day before, on Day 1 of the festival, Santa Fe Klan surprised fans during Peso Pluma’s set with an electrifying rendition of “NO SON KLLE,” cementing his status as a force to be reckoned with.
From career milestones to new music releases to major announcements and those little important moments, Billboard editors highlight uplifting moments in Latin music. Here’s what happened in the Latin music world this week.
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A Servando y Florentino Documentary
A Servando y Florentino documentary is on its way, capturing the Venezuelan duo’s triumph comeback after a 10-year hiatus from touring. Dubbed “El Documental,” the flick follows the Primera brothers during their “En Tu Ciudad World Tour” that traveled across 55 cities in three different continents, and included 45 sold-out shows. “We wanted our fans to be part of every moment, to feel what we feel when we return to the stage,” Servando y Florentino, known for hits such as “Una Fan Enamorada” and “Una Canción Que Te Enamore,” said in a press statement. “This documentary is a love letter to all those who have supported us unconditionally over the years.” “El Documental” will premiere its first of six episodes on April 21 via www.losprimera.com.
Gilberto Santa Rosa Honored by Berklee College
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This week, Berklee College of Music unveiled that artists Ledisi, Q-Tip, and Gilberto Santa Rosa will receive honorary Doctor of Music degrees during a commencement ceremony in May. Recognized for their contribution to the worlds of music and philanthropy, the artists will be celebrated with a reception and concert in the Agganis Arena, where over 200 student vocalists, instrumentalists, dancers, arrangers, and track producers will perform a musical tribute to the work of each of the honorees. “Very honored and excited,” expressed the Puerto Rican artist known as El Caballero de la Salsa on Instagram. “Thank you for this distinction! Thank you all for the demonstrations of support and affection!!!” Past Latin recipients from the college include Tito Puente, Gloria Estefan, Rita Moreno, and Juan Luis Guerra.
Gloria Estefan Collaborates with her Son
This week, Gloria Trevi surprised fans with her first collaborative effort with her own son, Ángel Gabriel. The Mexican diva and her son deliver a modern, upbeat version of Daniela Romo’s 1983 “Celos,”—a song that was penned by José Luis Perales about jealousy. “When Ángel and I sang ‘Celos’ for the first time, he was a young child. I liked to joke and tell him that I would sing this song to him at his wedding,” Trevi said in a press statement. “After we recorded the song, I made the same comment, and there wasn’t much reaction from him. Let’s see who wants me as their mother-in-law. The mother-and-son pair first premiered their collab on national television on Univision’s “Juego de Voces,” where Trevi served as the show’s premiere guest artist and godmother. Watch the heartfelt clip below:
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Manuel Medrano Unveils First U.S. Tour
After building a 10-year career and winning best new artist at the 2016 Latin Grammys, Manuel Medrano is officially touring the U.S. for the first time. The Colombian crooner—known for ballads such as “Bajo el Agua,” “Afuera del Planeta,” and “La Distancia”—unveiled four North American cities added to his “Manuel Medrano en Concierto” Tour that already made rounds in Mexico and Latin America. This week, at an intimate press event where he also performed an upcoming single with famed pianist Arthur Hanlon, Medrano announced he will be visiting Orlando, New York, Miami, and Puerto Rico next.
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
Listen to more editors’ Latin recommendations in the playlist below:
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