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Every month, Billboard Latin and Billboard Español editors spotlight a group of rising artists whose music we love. Think “diamantes en bruto,” or “diamonds in the rough.” These are newcomers who have yet to impact the mainstream — but whose music excites us, and who we believe our readers should make a point to discover.
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Our latest edition of On the Radar Latin includes a wave of emerging artists, who we discovered either by networking, or coming across their music at a showcase, or elsewhere. See our recommendations this month below:
Artist: Estevan Plazola
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Country: Mexico
Why They Should Be on Your Radar: The world was introduced to Estevan Plazola on a larger scale through Peso Pluma’s Exodo version of “Hollywood,” written by (and featuring) Plazola, which charted at No. 11 of Hot Latin Songs. A grim, introspective corrido with raw poetry about fame and struggle, the song showcased Plazola’s soul-baring songwriting ability, and turned the spotlight on one of música mexicana’s hidden gems. Though he originally released “Hollywood” under Rancho Humilde in 2020, Plazola has collaborated with multiple independent labels before and after.
His most recent release, “Vibrar +,” comes via Peso Pluma’s own Double P Records — a melancholy sierreño with spine-tingling and even haunting melodic arrangements. An early adopter of música Mexicana’s rise, the singer-songwriter released his debut 25 Años (2019) along the genre’s growing revolution. He followed it up with Archive Music, Vol. 1 (2022), a bilingual rap-corridos fusion. With lyrics exploring resilience, hardship and the bittersweet nature of success, the L.A.-based Mexican-American has emerged as an artist whose authenticity strikes a chord with listeners. — ISABELA RAYGOZA
Song For Your Playlist: “Vibrar +”
Artist: Jombriel
Country: Ecuador
Why They Should Be on Your Radar: Jombriel is a 21-year-old rapper poised to become one of the next breakout stars in the Latin urban genre. Last November, he began gaining widespread attention with the release of his viral hit “Parte & Choke,” in collaboration with Alex Krack and Jøtta. The song later counted with a remix by Colombian sensation Ryan Castro, ultimately reaching No.1 on the Billboard Argentina Hot 100 chart in March. His latest releases include “Vitamina” with DFZM, and “GPS,” which features DFZM alongside legends Jowell and Randy — both showcasing Jombriel’s unique, raspy vocals and hard-hitting perreo sound. As someone who’s putting Ecuador’s urban scene on the map, Jombriel is carving out his own musical identity, blending local sonics with dancehall influences. — INGRID FAJARDO
Song For Your Playlist: “Vitamina” (feat. DFZM)
Artist: Kakalo
Country: Mexico
Why They Should Be on Your Radar: I first became familiar with Kakalo about two years ago when Spotify recommended the captivating track “Mil Maneras de Morir,” his collaboration with Carín León. What struck me immediately was not only his enchanting vocal quality, but also his unique interpretive style that adds depth and emotion to the music. This year he represented Mexico at the renowned Viña del Mar International Song Festival in Chile, where he not only drew attention with his performance but also received the Silver Gaviota. Kakalo has showcased his songwriting abilities through collaborations with well-known figures in the industry, including León, Pepe Aguilar and Spanish pop crooner Pablo Alborán. — I.F.
Song For Your Playlist: “Tierra Trágame” (feat. Carín León)
Artist: Melanie Santiler
Country: Cuba
Why They Should Be on Your Radar: A mesmerizing voice blesses Santiler — one I would have never discovered if it weren’t for the music recommendation on Instagram stories. Searching for the perfect 15-second soundtrack for a selfie, I came across Melanie Santiler’s “Un Momentico +” in collaboration with Cuban hitmaker and artist, Dale Pututi. The song immediately captivated me with its slow-tempo, sensual reparto (a musical genre that derives from the barrios of the Caribbean island) melodies, and it drew me outside of Instagram and into her Spotify.
Born and residing in Havana, the 23-year-old artist is bringing an edgy touch to pop music, fusing it with the traditional sounds that best represent her country. Most notably is her effortless sensuality and dreamy, powerhouse vocals, giving life to her empowering alter ego “La Mami Fina” — and which I dare say gives me Rosalía vibes. Though she’s only been releasing music since 2024, Santiler has also penned songs for important female artists, including Ana Torroja and Gaby Moreno. — JESSICA ROIZ
Song For Your Playlist: “Un Momentico +” (feat. Dale Pututi)
Artist: Pascal
Country: Peru
Why They Should Be on Your Radar: Pascal André Marie Fernand Marchand Lañas, simply known as Pascal, has made his name in his native country, where he’s been releasing music since 2018 —first performing songs for soap operas and more recently achieving massive popularity with romantic ballads and urban pop hits like “Nos Duele Tanto,” certified double platinum in Peru, and “Pa La Luna,” his latest release. The 24-year-old singer-songwriter, who studied at Berklee and plays guitar and piano, opened for Camilo in Lima at the end of March, performing live for the first time in front of such a large audience (10,000 people). Now seeking international recognition, he participated in the Gran Canaria Carnival in March with LOS40 and plans to travel next to Mexico to continue expanding his horizons. — SIGAL RATNER-ARIAS
Song For Your Playlist: “Pa La Luna”
In today’s mainstream Latin music landscape — a space often dominated by música urbana, tropical rhythms, and regional Mexican music — CA7RIEL & Paco Amoroso have carved a lane entirely their own. Armed with flamboyant charisma, virtuosic musicality, and a penchant for genre-defying audacity, the Argentine duo represent a new wave of artistry that refuses to fit neatly into any box. At a time when the mainstream clamors for familiarity, they bring chaos and innovation to the table, pushing the boundaries of what Latin music can sound like.
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Their meteoric rise is nothing short of groundbreaking. Last week, the pair performed two back-to-back sold-out shows at New York’s Bowery Ballroom — as part of their wildly ambitious 60-date world tour, which includes stops in global festivals like Coachella (U.S.), Fuji Rock (Japan), Glastonbury (England), Roskilde (Denmark), and Lollapalooza (Berlin, Paris). Just weeks earlier, the duo made their debut on The Tonight Show Starring Jimmy Fallon, a rare feat for Argentine artists, and a testament to their growing influence on the global stage.
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But for them, fame doesn’t come without complication — a sentiment captured in their latest EP Papota and its opening track, “Impostor.” The song serves as a brutally humorous and raw meditation on their skyrocketing success, grappling with the absurd pressure of becoming icons seemingly overnight. The Tiny Desk concert that launched them to international acclaim six months ago — now one of the most-viewed performances on the channel by a Spanish-language artist, with 33.5 million views — serves both as a badge of honor and a symbol of what they jokingly call “síndrome de impostor” (imposter syndrome) on the aforementioned song.
“Coming all the way from el culo del mundo (the ass of the world), we didn’t expect this,” CA7RIEL tells Billboard Español backstage at the Bowery, referencing their South American roots. “To suddenly appear here, with all these cameras and lights — it’s insane. We’re from way down there; we’re still adjusting to being up here.” Yet their poised combination of rock star energy and mayhem proves they’re more than ready.
CA7RIEL & Paco Amoroso
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Their chemistry isn’t just professional — it’s personal. The duo met when they were just six years old, drawn together by matching surnames (Guerreiro and Guerriero) and the mistaken assumption by their teacher that they were brothers. That fateful connection would snowball into a lifelong friendship and artistic partnership that thrives on curiosity, trust and unabashed eccentricity.
Raised in Buenos Aires, their musical influences stem from both the streets and their homes. CA7RIEL grew up watching his father play guitar, and today he’s an impeccable guitarist who plays jazzy, progressive riffs on his Fender. “I wanted to be Michael Jackson. I wanted to be Queen — the whole band,” he admits. Paco Amoroso, meanwhile, was hooked on pirated compilations of the Argentine rock icons, like Patricio Rey y sus Redonditos de Ricota, whose legacy courses through their veins. “For years it was the only thing I listened to, those 18 tracks,” Paco recalls. He adds, “Argentine rock is more like a way of life, I feel. You wanted to be like those guys, we didn’t want to go to work. We wanted to be drinking champagne. And when you’re a kid, you want that.” He also references the Dutch violinist André Rieu: “I wanted to play the violin, he is a total master.”
Their early inspirations laid the foundation for their ability to mix genres and embrace experimentation. “We go through different phases,” Paco explains, “vicios diferentes” (different vices). “At one point, it was all about rapping, then playing instruments, which was how we started. We even had a phase where we just gamed all the time and did nothing else. Then you keep evolving,” he adds. The duo’s knack for innovation — mixing intricate jazz chords, gospel-style vocals, live instrumentation and electronic rhythms, as they masterfully demonstrated that night at the Bowery — has made them boundary-pushers in their own right.
Though CA7RIEL & Paco Amoroso rose to prominence as a duo, their journey has also been defined by daring forays into solo territory. After their breakthrough collaboration on tracks like 2019’s “Ouke” and “Mi Sombra,” both artists paused their partnership to venture into their individual projects. CA7RIEL’s solo debut featured two EPs before evolving into the eclectic El Disko, a 2022 Latin Grammy-nominated album that fused funky grooves, old-school hip-hop, glowing synths, and lo-fi minimalism. For his part, Paco Amoroso explored bold sonic textures in his brooding 2021 album Saeta, further pushing the boundaries of Argentinian trap and electronic music.
Despite their time apart, their connection remained intact, culminating in a magnetic reunion for 2024’s Baño María and their latest EP, Papota. The new era finds them reuniting as friends and collaborators, carrying with them the richness of their individual experiences and a renewed creative spark.
Their Tiny Desk performance — previously mentioned in connection to the introspection of “Impostor” — stands as a pivotal moment, showcasing their identity as sons of Buenos Aires and bringing their unorthodox artistry to the global stage. The performance became one of the series’ most successful videos, reaching numbers comparable to Latin icons like Natalia Lafourcade’s seven-year-old set, all while introducing viewers to the raw complexity of their sound.
CA7RIEL & Paco Amoroso perform at Bowery Ballroom in New York on April 23, 2025.
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Their taboo-breaking flamboyance — including playful moments on stage, sometimes even kissing each other on screen as a symbol of their camaraderie — adds a theatrical flair to their shows that captivates. It’s this kind of unorthodox, boundary-defying presence that makes them not just stars but leaders of Latin music’s avant-garde.
No moment encapsulated this better than their closing number, where CA7RIEL & Paco Amoroso invited audience interaction, holding out their microphones for fans to belt out the lyrics. “Interacción total,” CA7RIEL called it.
When asked what lies ahead, the duo keeps it grounded, “Seguir estando vivos” — just staying alive. Paco elaborates with a laugh: “For some people, that’s easy. For others, not so much.” It’s an ethos reflective of their unfiltered approach to music. With every new song, stage and daring experiment, they’re proving that their bold vision isn’t just about breaking boundaries — it’s about living fully through the music they create.
Name: Catriel and Ulises
Age: Both 31
Recommended Song: Paco recommends “El Día del Amigo” because “it speaks about friendship” and showcases the essence of their project. CA7RIEL, on the other hand, picks “Mi Sombra,” a track he describes as “something that stayed in the bottom of the drawer,” which makes it an unexpected favorite for him.
Biggest Accomplishment: Both agree on one simple yet deep accomplishment: “Being born and not yet dead,” they say with a wry chuckle.
What’s Next: “Lots of touring,” they reply in the midst of their 60-date tour, which includes stops in the United States, Latin America, Europe and Asia, as well as performances at international festivals like Coachella, Glastonbury, Lollapalooza and Fuji Rock.
Twenty-five years ago, Thalia welcomed the new millennium with Arrasando, an album that would redefine her career and take her to new heights in the music industry, despite already being a star.
With an eclectic tracklist of 12 songs that fused pop with elements of dance, R&B, and Latin rhythms, Arrasando spent two weeks at No. 1 on Billboard’s Latin Pop Albums chart and reached No. 4 on Top Latin Albums. It also topped the charts with “Entre el Mar y una Estrella,” its most successful single, which hit No. 1 on Hot Latin Songs, Latin Airplay and Latin Pop Airplay, while tracks like “Arrasando,” “Regresa a Mí,” and “Rosalinda” also made appearances on the charts.
Released on April 25, 2000, by EMI Latin, the album was produced by Emilio Estefan, Roberto Blades, Kike Santander, and Thalia herself, who also co-wrote eight of the songs.
“The songs on this album are a turning point in my career as a performer, producer, and especially as a songwriter,” Thalia tells Billboard about her sixth studio album. “It’s one of my greatest sources of pride, and knowing that it’s still ‘Arrasandooo’ (triumphing) after 25 years confirms that when things are made with passion and with a team that understands your vision, they resonate in people’s hearts forever.
“This album represents an unforgettable and powerful moment in the music industry at the start of the new century,” the Mexican superstar adds. “It explores those early musical fusions in the industry in 2000 that back then weren’t as common as they are today.”
With more than 2 million copies sold, Arrasando received a wave of accolades, including the Latin Grammy for best engineered album (by engineer Juan Carlos “Charly” Ríos), the Star Award for Thalia at the Billboard Latin Music Awards, and the Premio Lo Nuestro Artist of the People Award, among others.
A quarter of a century later, the Billboard Latin staff dives back into its songs, counting them down below and ultimately getting to our very favorite.
Thalia
Courtesy Photo
“Pata Pata”
At 20 years old, Mexican music star Xavi became the youngest artist to receive the ASCAP Latin Music Award for songwriter of the year on Tuesday (April 29). Meanwhile, Colombian singer Feid won songwriter/artist of the year for the second consecutive year, while the hit “QLONA” by Karol G and Peso Pluma was named Latin song of the year.
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The American Society of Composers, Authors and Publishers (ASCAP) celebrated El Premio ASCAP 2025, its top ASCAP Latin songwriters awards for the most performed Latin music songs of the past year.
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Xavi, known for his signature romantic tumbados and his unparalleled voice, has captivated a new generation of listeners with hits like “La Diabla” and “La Víctima.” The former topped Billboard‘s Hot Latin Songs chart for 14 weeks, while the latter reached No. 2. By the end of 2024, the Mexican-American singer-songwriter also became the first solo artist to hit No. 1 on the Regional Mexican Airplay chart with his first four songs in a single year, when “Flores” climbed from No. 3 to lead the ranking dated December 21.
Feid, whose Billboard Hot 100 hits include “Perro Negro” with Bad Bunny, “Revolu” with Rauw Alejandro, and “+57” with Karol G and other Colombian collaborators, boasts close to a dozen No. 1 hits on the Latin Airplay chart, including “Doblexxo” with J Balvin, “Si Sabe Ferxxo” with Blessd, and “Háblame Claro” with Yandel among his most recent.
“QLONA,” co-written by songwriter Dani Raw and published by Kobalt Music Publishing, won the ASCAP Award for Latin song of the year. Featured on Karol G’s album Mañana Será Bonito (Bichota Season), the track led Hot Latin Songs for five weeks and reached No. 28 on the all-genre Hot 100.
Among other winners, Universal Music Publishing Group was named publisher of the year for the third consecutive year, thanks to hits like “(Entre Paréntesis)” by Shakira and Grupo Frontera, “Adivino” by Bad Bunny and Myke Towers, “Alch Si” by Carín León and Grupo Frontera, “Gata Only” by Cris MJ and FloyyMenor, and “Igual Que Un Ángel” by Kali Uchis, to name a few.
Additionally, Daddy Yankee broke his own record by earning his 52nd Premio ASCAP as “Bonita” was recognized as one of the most-played songs of the past year.
El Premio ASCAP 2025 honored the songwriters and publishers of the most-performed songs of 2024 in Latin music. Winning songs were determined based on data for terrestrial and satellite radio, and for programmed and on-demand audio streams, all provided by Luminate Data LLC in accordance with ASCAP’s publicly available rules.
Check out a full list of winners on ASCAP’s website.
Shakira is gearing up for a monthlong takeover on The Tonight Show Starring Jimmy Fallon, Billboard can announce Tuesday (April 28). With three confirmed appearances, the Colombian superstar will first perform her global hit “Hips Don’t Lie” in honor of the song’s 20th anniversary on Tuesday, May 6. A sit-down interview with Fallon — during […]
On her new album, Cosas Que Sorprenden A La Audiencia (Things That Surprise the Audience), Vivir Quintana uses the strength of her voice and the power of her words to tell real-life stories of women who were imprisoned after killing their abusers in self-defense. She does so through the corrido, a traditional Mexican genre often associated with glorifying violence and misogyny — but transforming it into a narrative of denunciation, dignity, and justice.
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Told in the first person, Quintana’s sophomore LP is the result of a decade of research and collaboration with women who shared “their hearts, their homes, and their cells” to recount their stories and the reasons that led them to defend themselves against their abusers, ultimately losing their physical freedom after being accused of “excessive self-defense.”
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“Fifteen years ago, a friend of mine was a victim of femicide, and it made me incredibly sad — I didn’t know who to blame or how to cope,” the Mexican singer-songwriter shares in an interview with Billboard Español. “For a long time, I kept thinking about what would have happened if my friend had killed her abuser instead of him killing her.”
Her friend’s femicide inspired her popular 2020 release “Canción Sin Miedo” (Song Without Fear), the powerful feminist anthem that accompanies marches and protests against gender violence in Mexico, as well as the fight of mothers searching for their missing children.
But in her album Cosas Que Sorprenden A La Audiencia, released last Thursday (April 24) on digital platforms, the artist, originally from the northern state of Coahuila, goes further by reflecting deeply on the causes of machista violence — the same that results in the killing of 10 women every day in Mexico for gender-based reasons, according to reports from UN Women.
Released under Universal Music, the album features 10 corridos, a genre that emerged during the Mexican Revolution (191–1917) as an alternative account to official history, according to experts consulted by Billboard Español.
With resonant guitar sounds and a powerful accordion, Quintana uses this musical style — characteristic of the region where she was born and raised — to tell stories like that of Yakiri Rubio, the protagonist of the song “La Nochebuena Más Triste” (The Saddest Christmas Eve). In 2013, Rubio was kidnapped by two men who took her to a hotel to sexually assault her, and she ended up killing one of her attackers in self-defense.
Another example is the corrido that opens the album, “Era Él o Era Yo” (It Was Him or Me), which narrates the story of Roxana Ruiz, who was sentenced to six years in prison for killing her attacker in 2021. “Files and more files/ With my name and the names of other women/ Who fiercely dodged death/ Justice destroyed our luck,” goes part of the lyrics.
The album also includes titles like “Mis Cuarenta” (My Forty), “Mi Casita” (My Little House), “Más Libre que en Casa” (Freer Than at Home), “Mi Cobija” (My Blanket), “Claro Que No” (Of Course Not), “Kilómetro seis” (Kilometer Six), “Al Tiro” (At the Ready), and “Cosas Que Sorprenden a la Audiencia,” the album’s title track, inspired by Marisol Villafaña, who was sentenced to 20 years in prison for defending herself against her abusive husband.
“That’s why the album is named this way,” Quintana explains, “because we’re so surprised when a woman defends herself, but we’re not surprised when a man receives an exemplary sentence for committing femicide.”
Recognized in 2024 as one of the Leading Ladies of Entertainment at the Latin Grammys, the 40-year-old artist is one of the new faces of corrido music in Mexico, although she has revolutionized the genre since her debut over a decade ago, by using music as a tool for activism and denunciation. In addition to “Canción Sin Miedo,” she is the author of “El Corrido de Milo Vela” (The Milo Vela Corrido), a tribute to journalist Miguel Ángel López, who was murdered in 2011 along with his wife and son in Veracruz. In 2024, she also wrote “Compañera Presidenta” (Madam President), a letter dedicated to the then-possible first female president of Mexico, a position now held by leftist Claudia Sheinbaum.
“With this album, I hope people open their hearts — but beyond that, I hope they open their minds to understand that gender violence needs to be addressed by all of us,” Quintana says. “And may we never forget that the voices of women deprived of their physical freedom also matter.”
Regarding the controversy surrounding corridos that glorify drug trafficking — subject to bans and restrictions in public spaces across ten Mexican states, though not officially prohibited by the federal government — Quintana believes that prohibition “is not the solution.”
“The children born into a world of organized crime, where their social context is that, where their family members are part of that life, and one day they realize they want to sing or play the guitar — what are they going to talk about?” Quintana questions. “Music is nothing more than a reflection of the reality or social context you live in, so narcocorridos should be regulated, but through education. That way, we can distinguish between reality and fiction, between good and bad.”
Cazzu’s Latinaje album has topped Billboard’s latest new Latin music poll published on Friday, April 25. In support of the weekly New Music Latin roundup and playlist, curated by Billboard Latin and Billboard Español editors, music fans voted for the Argentine artist’s new studio album as their favorite music release of the week.
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The 14-track set, helmed by her longtime producer Nico Cotton and released via Dale Play Records and Rimas Entertainment, generated more than 93% of the vote, beating out other new album releases last week including Boza’s San Blas, Natalia Lafourcade’s Cancionera, Javiera Mena’s Inmersión, and Bunbury’s Cuentas Pendientes.
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Latinaje is home to the previously-released singles “La Cueva,” “Dolce,” and “Con Otra”—the latter two also won the fan-related poll on Billboard.
If these tracks were any indication, lyrically and musically, Cazzu has evolved since her 2022 set Nena Trampa. On Latinaje, the artist born Julieta Cazzucheli is vulnerable and mature, singing about overcoming a heartbreak, finding her self-worth, but most importantly, motherhood—”Inti” is a sweet dedication to the daughter she has with ex-boyfriend Christian Nodal.
The very diverse album is home to trap, cumbia, salsa, merengue, flamenco, and tango melodies, and collaborations with Elena Rose, Maka, and WIU.
On the previous New Music Latin poll, Kenia OS and Anitta’s “En 4″— a provocative fusion between perreo and Brazilian funk— won the fan-related music poll. See the results of the latest one below that also included new songs by Elena Rose, Camilo, and Los Ángeles Azules; Juanes; Ivy Queen; and Young Miko.
See the complete poll results below:
Anuel AA is hitting the road (and resuming) his Real Hasta La Muerte 2 tour this year, presented by CMN Events. The 20-date stint — which started last November in Argentina and was originally meant to end this March in Miami — will officially kick off at the SAP Center in San Jose, Calif., on […]
Lady Gaga unleashed her divine chaos in Mexico City, where on Saturday night (April 26) she held her first concert in 13 years, captivating just over 61,000 attendees (according to promoter OCESA) with the gothic dreams emanating from MAYHEM, her celebrated dark and avant-garde new album.
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The pop star brought the striking opera-style show that dazzled this year’s Coachella festival to the Estadio GNP Seguros (formerly Foro Sol), immersing her “Pequeños Monstruos” (Little Monsters) into a dark parallel universe. During the show, which marked the start of the international leg of her new stadium tour, Gaga read an emotional letter to her fans.
“To all my beautiful little monsters who are here tonight, it is an honor for me to be here, in your beautiful country, performing for you. It’s been 13 years since the last time I was here. I hope you see how hard I’ve worked on stage tonight to show you how much I admire and respect you. I sincerely thank you for choosing to spend the night with me,” Gaga read in Spanish from a balcony while a Mexican flag unfurled in front of her.
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“Mexico City holds a special place in my heart because it’s where I ended my first stadium tour, the Monster Ball,” she added. “I will never forget the excitement and passion you shared with me that night as I bid farewell to the most important show of my career. I’m proud to share this moment with you again, only this time, it’s not the end but the beginning.”
Mother Monster’s return to Mexico was also accompanied by the live debut of the song “Blade of Grass,” a track written for her fiancé, businessman Michael Polansky.
“I wrote this song for the person I love most in the world, my fiancé Michael,” she said in English. “It’s on my new album, and I’ve never performed it before, but I really wanted to perform it here tonight. I just wanted to remind everyone, just for my life, that love can make us so happy. Always follow love and it will make you happy”.
After performing the song on the piano, she moved on to “Shallow” in an intimate moment that brought her to the brink of tears.
The majestic show in Mexico, dubbed “¡Viva La MAYHEM!”, kicked off with “Bloody Mary,” her 2011 hit that experienced a resurgence on TikTok, and “Abracadabra,” the first single from MAYHEM, with Gaga donning a massive three-tiered Victorian-era-inspired red dress. The 22 songs included in the setlist, nearly identical to the one presented at Coachella, featured tracks from her new album, like “Perfect Celebrity,” alongside older hits like “Poker Face” and “Born This Way,” delivered in acts that celebrated an internal battle between the lighter and darker sides of the 14-time Grammy and Oscar winner.
The Mexican “Little Monsters” paid tribute to Gaga by taking creativity to the next level with their outfits, which captured the early years of the diva with costumes inspired by that era, as well as her iconic meat dress worn at the 2010 MTV Video Music Awards; her portrayal of Harley Quinn in Joker 2; and the country style blue outfit with red bows from “Die With a Smile,” her hit collaboration with Bruno Mars.
The star closed the night by stepping off the stage to greet fans in the front rows and performing her mega-hit “Bad Romance” alongside dancers, as the sky lit up with green, white, and red fireworks — a nod to the Mexican flag — in a celebration that will undoubtedly remain etched in the memories of both the artist and her local fans.
Lady Gaga will perform a second concert at the Estadio GNP Seguros on Sunday night (April 27) before heading to Brazil, where she will give a massive free show on May 3 at Copacabana Beach in Rio de Janeiro.
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.
RIAA Honors Selena Quintanilla
The tejano superstar was honored with an RIAA Lifetime Achievement plaque in recognition of 17 million certified units across her career, including 62x Platino Dreaming of You — marking the highest certified Latin album. The honor was presented at St. Jude Children’s Research Hospital on April 21, “paying tribute to the enduring impact of her music and cultural legacy,” according to a press release.
“The Recording Industry Association of America (RIAA) believes music can change lives, connecting generations and unifying those who speak different languages through shared emotion,” RIAA svp, state public policy & Latin music Rafael Fernandez Jr. said in a statement. “We have seen this as Latin Music in the US gains popularity as the fast-growing genre and through Selena’s legacy.This special moment with St. Jude Children’s Research Hospital ahead of Dia del Niño (International Day of the Child) reminds us of Selena’s passion for bettering the lives of children and encourages each of us to make an impact wherever we can.”
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Jimmy Humilde Goes to Harvard
The founder and CEO of powerhouse indie label Rancho Humilde was the keynote speaker for the event Into the Music, which took place at Harvard University last week. Organized by Harvard-Radcliffe Raza and NEON16, the West Coast-based executive shared his vision regarding Mexican music, Chicano identity, and the role of the Latin community in the United States.
“I didn’t go to college, but I totally understand the crucial role that academia fulfills in our society,” Humilde said during his speech, according to a press release. “As Latinos, we all have a responsibility in the fight for the recognition of our roots, our traditions, and our culture. It’s critical that more young people in our community access quality education at universities such as Harvard. That not only opens doors on an individual level, but it also makes us stronger as a community.”
Ivy Queen Teams Up With Wendy’s
Ivy Queen’s trailblazing trajectory in the industry has recently inspired Wendy’s latest campaign in Puerto Rico, which seeks to inspire authenticity. The reggaetón icon is the new voice of Wendy’s Presents the Breakfast Baconator with next-level ‘flow.’
“Ivy Queen represents a milestone in the world of urban music,” Wendy’s chief marketing officer Lizmarie Medina said in a statement. “She’s the undisputed ‘Queen’ who paved the way for other women and is recognized for her impact and legacy in the genre, for being ‘real,’ daring, and authentic, similar to what we do at Wendy’s. We break molds and make bold decisions in the face of industry challenges.”
Check out the commercial in Spanish here.
Noel Schajris at Barnes & Noble
As of May 2, Noel Schajris’ recordings will be available exclusively at Barnes & Noble throughout the U.S., including vinyl and collector’s CDs. According to a press release, the Argentine singer-songwriter becomes the first artist with an independent label to have national distribution at the bookseller.
“For me it is an immense honor to be able to present my album work alongside a brand like Barnes & Noble,” Schajris said in a statement. “To be able to bring these albums to those fans who love the physical product, the art, the booklets, the smell of the paper… that’s priceless. It’s a way to keep the essence of music alive as a tangible experience.”
2025 Latin Women in Music is a Wrap
The third annual Billboard Latin Women in Music took place Thursday (April 24) where Anitta, Belinda, Celia Cruz, Chiquis, Ha*Ash, Natti Natasha, Olga Tañón and Selena Gomez were honored for their groundbreaking careers and contributions to Latin music.
Watch the pink carpet livestream here and check out all things 2025 Billboard Latin Women in Music here.