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Valentine’s Day is just around the corner, and if celebrating the romantic holiday is not your thing —especially if you just got out of a relationship — then it’s time to turn to music. Explore See latest videos, charts and news See latest videos, charts and news Ahead of Galentine’s Day (held traditionally on Feb. […]
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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Maluma, Octavio Cuadras & Marca Registrada, “BLING BLING” (Sony Music Latin)
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Colombian hitmaker Maluma is back with another regional Mexican banger. It’s a formula that’s worked for the reggaetón artist who has enjoyed success collaborating with the likes of Grupo Firme (“Cada Quien”) and Carin Leon (“Según Quién”). The former landed at No. 1 on both the Billboard Latin Airplay and Regional Mexican Airplay charts, with Maluma becoming the first urban artist to lead both rankings simultaneously since their inception in 1994. Now, he’s teamed up with Grupo Marca Registrada and Octavio Cuadras for the bright “BLING BLING,” which has a big-band vibe but falls under the new subgenre corridos felices — pioneered by Cuadras. Powered by a joyous trombone beat, the artists sing about a care-free lifestyle. “Bling Bling” is the first track off DON JUAN Season 2, a new season of releases by Maluma, according to a press release. — GRISELDA FLORES
Camilo, Un (Sony Music Latin)
Just in time for Valentine’s Day, Colombian singer-songwriter Camilo gifts his Tribu (as he calls his fans) three new romantic songs. The EP, Un, highlights the elegance of live instruments such as a saxophone, trumpets, trombones, conga and güira with charming musical arrangements. All three tracks are appropriate for different relationship statuses — among them “Gordo,” a salsa song about seeing an old love with their new partner and “No Se Vale” a bachata for “dancing tightly” (as the singer-songwriter expressed on his social media). He also joins his wife Evaluna in “PLIS” to celebrate their love to the rhythm of salsa, the couple’s first collaboration since 2022 “Índigo.”
Un was recorded live with audio and video together, according to a post Camilo shared on social media: “17 musicians got together to play at El Taller Creativo. When we counted ‘one, two, three, four’ we all did one thing. That ‘un’ (‘one’) that broke the silence aligned all the hearts that were there, recording music and video simultaneously, in the same take.” — LUISA CALLE
Angélica Garcia, “Juanita” (Partisan Records)
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Pop auteur Angélica Garcia offers a flavorful taste of her upcoming first album, mostly in Spanish, with “Juanita,” a cumbia-inspired avant-pop song about a limitless woman. “Juanita, Juanita, Juani/ Why are you calling me?/ What is the force that motivates? / You made me wake up/ Your voice, the sound of stars/ Not even the gods can draw you,” the L.A.-born artist sings with an enveloping mystique over an evocative bass line.
According to a press release, the track’s roots date back to 2020, as Garcia was sitting before an altar that she constructed in her bedroom, looking into the past to inform the present with familial knowledge. “Many cumbias have lyrics about pain and longing … My intention was for the tension and confusion in the song to feel like remembering a past life. I wanted to capture what the shadow side of grief does to us,” she explains. The music video for the song, shot in black and white and directed by Puerto Rican award-winning documentary filmmaker Sonia Malfa, is as mysterious as it is captivating. — SIGAL RATNER-ARIAS
Los Ángeles Azules, Alejandro Fernández, “La Cumbia Triste” (Seitrack/UMG Recordings)
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In a first collaborative effort, Los Ángeles Azules and Alejandro Fernández unleash “La Cumbia Triste.” Penned by Aureo Baqueiro and Leonel García, the track finds the Mexican ranchera superstar using his powerful vocals to dedicate a few words to the hopeless romantic. “For those who do not sleep/ Because their soul hurts/ For those who do not dream/ Since that past love that stole their peace […] This is the sad cumbia/ The one that hugs you/ The one who understands what’s happening/ This sad cumbia is for you,” he sings. Though the lyrics are melancholic, the rhythm is opposite of a “sad cumbia;” in fact, the Rodolfo Lugo and Jorge Mejía Avante-produced track is a captivating cumbia that can get anyone on their feet –whether they can relate to the lyrics or not. — JESSICA ROIZ
Caloncho, “Ánimo” (Universal Music México)
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Caloncho’s music perfectly blends his lyrics and melodies, which always bring a sense of peace. This time, the Sonora-born singer-songwriter presents “Ánimo,” which translates to “cheer up” — a reminder to keep moving forward. The new song begins with a delightful drum rhythm that, along with the bass and electronic elements, supports a refreshing, spontaneous and sophisticated sound with a wave of smooth chords and a reflection between its verses. “I keep learning from my mistakes/ It hasn’t been easy/ Not everything is flowers/ If colors are missing on the road/ I’m sure better times will come,” he sings in the chorus. — INGRID FAJARDO
Mexican Institute of Sound, Algo-Ritmo: Mexican Institute of Sound Hits 2004-2024 (Soy Sauce)
Mexican Institute of Sound, the brainchild of Camilo Lara, commemorates two decades of exploratory Latin productions with Algo-Ritmo: Mexican Institute of Sound Hits 2004-2024, a compilation that encapsulates Lara’s illustrious career. This collection features 24 songs, including fresh collaborations with Ceci Bastida (the psychedelic cumbión of “Stop!”), Esteman and Foudeqush (the haunting ballad of “Bolero”), with a retrospective and vibrant narrative woven from the threads of Mexican cultural heritage, electronic beats and global rhythms.
M.I.S., a maestro of musical fusion, has consistently blurred the lines between genres, melding funk, cumbia and electronic music. From his early experiments with Méjico Máxico to the collaborative richness of Distrito Federal, his work stands as a testament to his pioneering spirit and his commitment to social justice, through the universal language of music. Algo + Ritmo 2004-2024 is an invitation to celebrate the past, present and future of a project that continues to define and transcend the boundaries of the varied Mexican sound. — ISABELA RAYGOZA
Stream Billboard‘s New Music Latin weekly playlist below:
Chuy Montana, an emerging star in the booming corridos scene, was found dead in Mexico on Wednesday (Feb. 7).
His body was discovered along the highway connecting Rosarito to Tijuana. According to The San Diego Tribune, Fernando Sánchez, Mexico’s Secretary of Security and Citizen Protection, told local outlets that Cárdenas’s body bore multiple gunshots and was found handcuffed; law enforcement believes that he had been kidnapped prior to death.
Billboard has reached out to Tijuana police.
The Tijuana native, whose real name is Jesús Cárdenas, was part of the music roster at Street Mob Records, a label spearheaded by Jesús Ortiz Paz (JOP), the lead vocalist of Fuerza Regida.
“On behalf of Street Mob Records, we deeply regret the passing of our colleague and brother Chuy Montana,” wrote the label in an Instagram post Thursday. “We stand in solidarity with his family during this time of grief. We kindly request understanding and respect from the media at this difficult moment.”
The label and its artists have contributed significantly to the corridos tumbados and belikeada movement, subgenres of regional Mexican music that have gained notoriety in recent years. Montana’s career was marked by a significant online presence, boasting 816,000 monthly listens on Spotify. He often performed with his guitar for audiences in traffic lines at the Tijuana-San Ysidro border crossing point, where he was discovered by JOP.
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According to Punto Norte, a newspaper in Mexico, investigators believe that Montana may have attempted to escape his captors, leading to a chase and eventual fatal shooting. Responding officers found shell casings at the scene, according to the publication; Montana had gunshot wounds to his head and arms.
Montana’s music, particularly his 2023 single “Porte de Scarface,” had enjoyed success, amassing more than 22 million plays on Spotify. His collaboration with Fuerza Regida, “Polvos de Chanel,” also highlighted his rising status in the music industry.
The artist’s death has also raised concerns over the safety of artists in genres associated with contentious themes.
In October 2023, Fuerza Regida was threatened with death by means of a narco banner left in Tijuana. Following the appearance of the threat, the San Bernardino group canceled its concert at the Estadio Caliente in Tijuana, as did Peso Pluma weeks earlier, after having received the same death threat on a tarpaulin signed with the initials CJNG, alluding to the Cartel Jalisco Nueva Generación.
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Tijuana has taken steps to address the glorification of violence in music by banning narcocorridos in public performances, a measure reasserted by Mayor Montserrat Caballero in light of recent events.
The death of Chuy Montana adds to the ongoing trend of violence against artists in the corridos and narcocorridos genres that dates back to Chalino Sánchez’s murder in 1992. Other stars who have fallen victim to violence in the genres include Valentín Elizalde, Ariel Camacho, Zayda Peña, Sergio Gómez, Javier Reyes “El Príncipe del Corrido,” and more.
Mesita, Nicki Nicole, Emilia and Tiago PZK‘s “Una Foto” adds a fourth week at No. 1 on the Billboard Argentina Hot 100 chart as the team-up rules the Feb. 10-dated list. It’s the longest reign for Nicki Nicole since “Entre Nosotros,” also with Tiago PZK, LIT Killah and Maria Becerra, ruled for 16 weeks between […]
Just as Morat is wrapping up its U.S. tour dates, the Colombian band has unveiled dates to its upcoming stadium trek in Latin America. After a performance in Madrid on June 21, the Colombian band will begin the 20-date stint in cities such as Bogotá, Lima, Buenos Aires and Quito before wrapping up with four […]
In 2020, Shakira and Jennifer Lopez co-headlined the Super Bowl LIV Halftime Show. Each artist performed a medley of their biggest hits, while the former invited special guest Bad Bunny and the latter invited J Balvin. The two superstars closed off their energetic set by joining forces on Lopez’s “Let’s Get Loud” and Shakira’s World […]
If we’re going to talk snubs and surprises at the Grammys, let’s address the big Latin elephant in the room.
There was very little Latin presence at this year’s Grammy awards. Only three Latin names – Edgar Barrera, Gustavo Dudamel and 123 Andrés – were nominated in non-Latin categories (for songwriter of the year (non-classical), best orchestral performance and best children’s musical album, respectively). The first nomination is a major look, perhaps explained by the fact that this is a relatively new category with a fresh perspective.
And the latter two won – not entirely unsurprising, given Dudamel’s stature and new appointment as the director of the New York Philharmonic. The best children’s album win for 123 Andrés was the most poignant, a sign that the more innocent children’s music perhaps has less barriers.
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As for the show itself, only 10 to 12 awards of the 91 total are typically given out during the telecast. In his post Grammy column, Bob Lefsetz wrote, “Now if I want to be honest, a lot of other genres were recognized in the pre-show, but unless you won an award, or are related to or work with the winner, no one knows and no one cares. They won’t put this music on the telecast, it’s not broad enough.”
I beg to differ. First, many categories are given out in the pre-telecast simply because only a handful of awards are given out on air. There are many others that many people care about.
When it comes to the Latin music categories historically, however, they have hardly ever made the telecast – despite the fact that Latins now represent nearly 20% of the U.S. population, and that Spanish is the second most-consumed language in music in the country. But, the Grammys aren’t about representation, right? If that were the case, we would be advocating for Latin nominees in every category of the awards, because, well, we’re 20%. But that’s not it.
The Grammys are about quality, and cultural and artistic impact. That’s why the absence of Peso Pluma – a catalyst for the revival of an entire musical genre that has impacted the charts and American consciousness, and whose music is downright dazzling — in the general categories was so jarring.
The Mexican music superstar’s absence was especially conspicuous in the best new artist category. He was eligible among 405 new artists who competed for those eight slots, but he was not nominated. In fact, only two other artists who perform in Spanish have ever been nominated for best new artist – Rosalía in 2019 and Anitta in 2022, and neither artist won.
Why was Karol G considered good ratings fodder – the stadium headliner was seated at the front of the room and received her award for best música urbana album on air, after all — but was still shut out of any non-Latin category? This, despite the fact that she ended the year at No. 23 on Billboard’s year-end top artists chart, her Mañana Será Bonito was a top 20 album on Billboard’s year-end chart, and she played to sprawling sold-out crowds all year.
Clearly, despite all the positive moves towards diversifying the Recording Academy’s voting body, members are still resisting the concept of including music in Spanish as part of the mainstream. In the entire history of the Grammys, only one album in Spanish has ever received an album of the year nomination: Bad Bunny’s Un Verano Sin Tí in 2023. The last Spanish-language song nominated for song of the year or record of the year was “Despacito” in 2018. It didn’t win in either category, but it got the chance to compete. The importance of those opportunities to participate in the competition cannot be overlooked.
Ironically, the first-ever record and song of the year winner, back when the awards launched in 1959, was an Italian-language song, Domenico Modugno’s “Nel Blu Dipinto Di Blu (Volare).” Then in 1964, the Stan Getz/Astrud Gilberto version of “The Girl From Ipanema” won record of the year. Los Lobos’ hit cover version of Ritchie Valens’ “La Bamba” was nominated for both record of the year and song of the year in 1988, and Ricky Martin’s “Livin’ La Vida Loca” was nominated in those same two categories in 1999 (although Martin’s smash was mostly in English). That’s an awfully short list across 60-plus years, and yet we remain unable to even consider Spanish-language music as a real option in the Big Four.
Yesterday, a major Latin recording artist told me, “How come we never get nominated in the main categories? It makes me really angry.”
It doesn’t make me angry. Just sad.
Leila Cobo is Billboard’s Chief Content Officer for Latin and Español.
In the nascent days of 2019, a transformative wave of música mexicana was underfoot. Spearheaded by the rebellious strains of corridos tumbados, pioneered by Natanael Cano, this regional style began to take over the internet, and by the end of that year, the Billboard charts. Amid this burgeoning movement, a poignant counterpart emerged: sad sierreño. As música mexicana evolves, it continues to unfold into new and captivating configurations.
The latest installment of SoundCloud‘s SCENES documentary series, titled SCENES: Música Mexicana and released today (Feb. 7), captures that essence. Presented by Toyota and directed by Elías López-Julián Burgueño, it features Ivan Cornejo, DannyLux, Xavi, and Conexión Divina — some of the artists at the forefront of this new revolution. Each, in their own way, encapsulates the spirit of música mexicana, a scene that has grown exponentially since 2019.
As a Mexican-American journalist from the border who once played in a mariachi band, witnessing and helping document this cultural evolution feels deeply personal. Just as the new regional Mexican movement was emerging, I had started a role leading Latin music curation at SoundCloud. So I happily accepted when the platform invited me to participate and narrate this installment of SCENES.
Ivan Cornejo
Julian Burgueño
Cornejo — who graced the cover of Billboard in January — is the embodiment of this new era taking shape. As a young trailblazer who has infused sierreño music with emo-like lyrics and an electric guitar, he leads an evolving soundscape, heralding a chapter where tradition meets contemporary soul.
DannyLux, whose streams surged sevenfold following his breakout album, Las Dos Caras del Amor (2021), according to SoundCloud, represents the transformative power of sierreño music. Conexión Divina shatters traditional barriers as a pioneering queer female group in the genre, representing a shift towards inclusivity and diversity. Xavi, Billboard’s January Latin Artist on the Rise, whose single “La Diabla” continues to dominate the Hot Latin Songs chart, further showcases the global appeal of regional Mexican music with his own strain of tumbados románticos.
Behind this seismic shift is SoundCloud, a platform where these artists first found their voice and audience. “We’re thrilled to elevate Mexican-American artists who are proud of their culture and are deeply impacting communities worldwide,” says U.S. brand partnerships director at SoundCloud, Andrea Ropp. “This partnership is a testament to SoundCloud and Toyota’s shared vision of empowering artists whose passion for their community and determination to push boundaries are leading them to new heights.”
DannyLux
Julian Burgueño
Echoing this sentiment, Alex Chau, brand media manager at Toyota Motor North America, shares, “The creation of this first Latino-focused docuseries with SoundCloud aligns organically with Toyota’s commitment to supporting emerging artists and championing music discovery. These artists are taking the genre to new heights, elevating Latino culture and their community through their sounds.”
“Entire scenes and genres of music have been birthed on our platform, and tastemakers within the industry continue to look to SoundCloud to identify what’s next in music,” adds SoundCloud’s CEO, Eliah Seton. “The regional Mexican music scene is another case study on why tomorrow’s mainstream music trends are emerging first on SoundCloud. We’ve been following RMX (regional Mexican) for years and we’re thrilled to continue propelling the artists and scene into the limelight.”
Conexión Divina
Julian Burgueño
Whether a lifelong fan of música mexicana or newly curious, there’s something profoundly moving in witnessing the growth of a genre that’s as dynamic as the people it represents. The artists’ stories, as showcased in the docuseries, testify the power of passion, community, and innovation.
As Billboard has been reporting, regional Mexican music isn’t having a moment, it’s been a movement.
Watch the full documentary above.
Past SCENES include SoCal Soul, plugg, PC Music, East African Underground and more.
Xavi
Julian Burgueño
Ricardo Chamberlain has been named COO of Puntilla Music, where he will oversee the music company’s distribution, record label and publishing divisions, Billboard has learned. “I feel immensely proud and excited to embark on this journey with Puntilla and its visionary team,” Chamberlain said in a press statement. “Working side by side with Claudio Pairot […]
You won’t have to wait till Sunday to watch Grupo Frontera‘s cameo in Nissan’s Super Bowl ad starring Saturday Night Live breakout Marcello Hernandez.
The 60-second commercial released on Monday (Feb. 5) features Hernandez retelling the riveting story about his unexpected, yet adventurous journey while test-driving the latest Nissan Pathfinder. Just as he hits the road, Hernandez gets calls from his abuela (grandma), sister and uncle asking him — and the Nissan salesperson as his co-pilot — to pick them up. So, they do.
“From the dealership to the mountains, desert and beach, Hernandez and the salesperson make their way through this epic adventure, the Pathfinder navigates various terrains while thrilling everyone across all generations of the family,” an official description of the ad reads.
As he’s telling this nail-biting story in a diner, Grupo Frontera pops up from a booth nearby and asks Hernandez to keep narrating his epic adventure. “Qué? No, sigue, sigue (What? No, keep going, keep going),” the group orders.
The ad will air on TelevisaUnivision on Sunday, Feb. 11, as part of the networks’s Super Bowl 2024 broadcast for Spanish-language viewers.
Univision will also broadcast a pre-kickoff performance — featuring a special performance by Puerto Rican star Myke Towers — presented by Nissan, which will air on Univision at 4 p.m. ET Sunday from the Caesars Palace in Las Vegas.
“At Nissan, we’re always looking for ways to deeply connect with our customers,” said Marisstella Marinkovic, chief marketing Ooficer, Nissan U.S, in a statement. “We’re using the nation’s biggest game day to air an in-language spot that reignites the love of Nissan among bicultural Latinos, who comprise many of our customers. From our partnership with TelevisaUnivision, to the Latino talent and the director we casted, we brought music and sports together to create a thrilling in-language and in-culture experience.”
“This is a significant moment for TelevisaUnivision, and we’re excited for Nissan to debut their Spanish-language creative to our audience,” added John Kozack, executive vice president of multimedia sales at TelevisaUnivision. “Latinos are an economic powerhouse, and this national stage provides the perfect opportunity for brands like Nissan to reach this fast-growing demographic – and further our goal of showcasing the value and importance of in-language and in-culture advertising to this consumer base.”
Watch Nissan’s Super Bowl ad above featuring a cameo from Grupo Frontera.