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When Shakira announced the stadium tour dates for her Las Mujeres Ya No Lloran trek, Chicago was not part of the list, leaving fans wondering why the Windy City was left out. Soon after, it was unveiled that she’d headline Sueños Festival and on Saturday (May 24), the Colombian star closed out day one of the two-day event in Chicago’s Grant Park.
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What was originally billed as a two-hour performance starting at 8 p.m., Shakira went onstage closer to 8:30 p.m. and played a 90-minute set. The crowd — which had quickly dispersed after Peso Pluma’s set — slowly returned to find a good spot to watch Shakira and the empty spots filled up, especially when the main stage lights were turned on.
Shakira’s crowd was multigenerational, which is noteworthy given that Sueños caters to a younger, perhaps Gen Z-leaning crowd. Many women in attendance paid homage to Shakira, wearing her signature belly-dancing hip belts. And Colombians proudly waved their flags, eager to hear La Loba howl.
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“I was really looking forward to being with you tonight,” a beaming Shakira said, speaking in a mix of English and Spanish. “This is incredible. This city, wow I’m in love with this city, it’s so beautiful. Thank you for making me feel at home. There is definitely no better reunion than a she-wolf with her pack. Chicago, tonight, we are one.”
While it’s hard to replicate a stadium tour stage in a festival setting, it’s safe to say Shakira gifted Chicago fans an unforgettable night. Going from wearing a shimmery white jumpsuit and large black sunglasses to a sparkly pink dress in a blink of an eye, the “Pies Descalzos” singer, backed by a troupe of fierce dancers, kicked off with bangers, including “Girl Like Me,” “Las de la Intuición,” “Estoy Aquí,” “Inevitable,” “Te Felicito,” “TQG” and “Don’t Bother.”
“These last few years have not been easy for me, nobody is saved from falls. But if I have learned anything, it’s that the fall is not the end but the beginning of a higher flight. We, women, get up a little stronger, a little more wiser, every time we fall,” Shakira said, a nod to the empowering theme of her Las Mujeres Ya No Lloran era, inspired by the healing that comes from a heartbreak.
During her 90-minute set, Shakira’s hypnotizing dance moves and choreography were on full display, including her unmatched belly-dancing in “Ojos Asi” and the champeta and calypso footwork during “Waka Waka.” But a fan favorite moment was when Shakira revisited her rockera roots, singing “Pies Descalzos, Sueños Blancos” and “Antología.”
Of course, she closed with the global hit “Bzrp Music Sessions, Vol. 53,” which had all the women in attendance singing at the top of their lungs, ending an epic reunion between a she-wolf and her pack.
Sueños continues on Sunday (May 25) with Grupo Frontera and Don Omar as headliners. Meanwhile, Shakira’s Las Mujeres Ya No Lloran is set to visit Boston, Atlanta, Miami and Los Angeles next.
Sueños fans waited one year for Peso Pluma to headline the Latin music festival in Chicago’s Grant Park after his set was canceled by festival organizers last year over thunderstorms.
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“It’s good to be in Chicago,” Peso told attendees at the top of his one-hour-and-15-minute set on Saturday (May 24). “Remember last time we got rained out? Well, no rain can stop me this time.”
The significant crowd that gathered to see him perform at the event’s main stage roared, crowding the stage area to be closer to Peso.
Although the air was crisp and unseasonably cold temperatures had festival-goers rethinking their summery wardrobe choices, it did not rain. This time, mother nature was on Peso’s side. And so he went on to sing his biggest hits, including “AMG,” “Rubicón,” “Nueva Vida,” “La Patrulla,” “Rompe La Dompe” and “Lady Gaga,” to name a few on his Sueños setlist.
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Dressed casually in jeans, a black T-shirt with a black puffer jacket over it and a black and white Chicago White Sox baseball cap (which he later traded for a beige one), Peso was accompanied by his band composed of nearly 10 musicians — giving life to signature sound powered by instruments like charchetas, trombones and trumpets and following Peso’s lead.
“They are my family,” Peso gushed about his band. “Over the past three years, we’ve grown this project together.”
A handful of artists joined him onstage as special guests, including Oscar Maydon and El Alfa — both who had performed earlier in the day — and labelmates Tito Double P and Jasiel Nuñez. Throughout his show, Peso expressed his Mexican pride and wrapped a Mexican flag at the end of his set saying, “Viva la cultura mexicana!”
And, although he didn’t address head on the bans on narcocorridos in Mexico and the U.S., and how they’ve impacted a few of his fellow regional Mexican hitmakers, Peso made note during his set that he’s focusing on romantic corridos.
According to Sueños’ website, as of Saturday, about 95% of the passes to the event were sold, although actual daily attendance figures were not made readily available by festival organizers. Now in its fourth edition, day one of Sueños featured other acts like NSQK, El Malilla, Dei V, Oscar Maydon, El Alfa and Arcángel. Shakira closed out Saturday with a 90-minute set.
Don Omar and Grupo Frontera will headline day two of Sueños on Sunday (May 25).
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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Los Tigres del Norte Honored in New York
Los Tigres del Norte Way is officially a street in New York, named after the legendary norteño group. “As of today, a street in Brooklyn bears the name of Los Tigres del Norte. Thank you for walking with us, today and always,” the group posted on Instagram. See the photos from the street naming presentation here.
During their stop in New York — where they are set to perform at Madison Square Garden today (May 24) — Los Tigres also honored the fallen Mexican Navy cadets, América Yamilet Sánchez and Adal Jair Marcos, who died after crashing into the Brooklyn Bridge on May 17. “Honor and eternal memory,” the Mexican band posted with a video from the vigil alongside New York’s Mayor Eric Adams.
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Rauw Alejandro & Dad
During one of his Cosa Nuestra shows in New York, Rauw Alejandro and his father shared a special moment onstage. “I want to introduce you to my dad, Raul Ocasio on the guitar,” he told the crowd. The moment was particularly special given that his father was born in Brooklyn and the Cosa Nuestra tour concept pays homage to the Nuyorican diaspora.
See the sweet moment onstage below:
Billboard Latin Music Week Dates Unveiled
Billboard Latin Music Week will return to Miami from Monday, Oct. 20 to Friday, Oct. 24, with the Billboard Latin Music Awards set for Thursday, Oct. 23.
Set once again at the historic Fillmore Miami Beach, ticket and lineup information for Billboard Latin Music Week 2025 will be announced in the coming weeks. Pre-register now for the latest information at billboardlatinmusicweek.com.
More than 10,000 people attended Latin Music Week last year, including the live shows by Fuerza Regida with Majo Aguilar; a reggaeton night with Omar Courtz, Dei V, and Saiko; and LMW’s 35th anniversary party with Young Miko, Tito Double P, Belinda, Elvis Crespo and more, among other events.
Myke Towers’ New Soccer Initiative
Myke Towers’ Young Kingz Foundation and soccer star David Villa’s DV7 Academy officially kicked off their global partnership earlier this weekend. The event, held in Madrid, marked the start of a series of joint initiatives with projects underway in Puerto Rico, Colombia and Spain that include free sports clinics, exchange programs, urban space revitalization and educational support for vulnerable youth.
“I’m not doing this expecting it to blow up like a song,” Towers told Billboard Español then. “It’s more about leaving a legacy. Creating a habit. Inspiring those who can help to do so, in their own way.”
Get more details on the partnership here.
Mexican star Julión Álvarez has postponed his Saturday show at AT&T Stadium in Arlington, Texas, after not being able to enter the United States, according to the artist’s team.
Álvarez — alongside the show’s promoter CMN and his management/booking company Copar Music — issued a statement Friday (May 23) explaining that, “Due to unforeseen circumstances,” he was “unable to enter the United States in time for the event.”
Adding, “With nearly 50,000 tickets sold, this sold-out show was set to be an unforgettable night for fans. Both CMN and Copar Music, along with Julión’s team, are actively working to reschedule the performance as soon as possible. Julión Álvarez extends his heartfelt thanks for your patience and continued support, and he looks forward to reuniting with his Texas fans very soon.”
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In April, the regional Mexican star, known for hits like “Póngamonos de Acuerdo” and “Te Hubieras Ido Antes,” made his grand return to the United States with three historic sold-out shows at SoFi Stadium in Los Angeles.
The shows in L.A. saw Álvarez perform in the U.S. again, eight years after a legal process that began Aug. 10, 2017, when the U.S. Treasury Department singled out the singer for alleged money laundering and links to drug trafficking. This caused the closure of his social media accounts and the rejection of U.S. companies to work with the Chiapas-born singer, and kept him away from stages in this country.
In May 2022, the charges were dropped and Alvarez announced in a press conference that everything had been “cleared up.” The three shows in L.A. and the one in Texas this year were setting him up for his upcoming 4218 Tour in the U.S., although the tour dates had yet to be announced.
While it’s unclear why Álvarez was not able to enter the U.S., the news comes at a time when international artists have faced a visa situation that has impacted a handful of regional Mexican acts and events. Earlier this month, Michelada Fest in Chicago was canceled over artists’ visa uncertainty.
Today’s press statement mentions that previously purchased tickets “will be honored for the new date,” but if unable to attend the rescheduled concert, “refund details will be provided.”
The instrumentation of the song “Tiempos Violentos” reminds the listener of the James Bond saga. But when the unmistakable voice of the Chilean-Mexican alternative star Mon Laferte appears in it — adding melancholic nuances and a dramatic air, and then merging with the soft and powerful singing of the American St. Vincent — this new bilingual version of the song “Violent Times” reinvents itself.
Released Friday (May 23) on digital platforms under the Virgin Music Group label, the new collaboration between St. Vincent and Mon Laferte not only translates into the language of Cervantes one of the most outstanding tracks from this year’s Grammy winner for best alternative music album, All Born Screaming (2004), but also transforms it into something new through two languages and two visions that connect in a masterful piece.
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“Collaborating with Mon gave the song new shape, new blood, new depth,” St. Vincent told Billboard Español on Thursday in a video call. “Like a dream falling into another dream.”
“Tiempos Violentos”, the Spanish-language adaptation of “Violent Times,” was originally included in the translated edition of All Born Screaming, titled Todos Nacen Gritando, which singer/songwriter and guitarist Annie Clark, better known as St. Vincent, released last November as a “humble tribute” to her Hispanic-American fans who go to her concerts and sing her songs in perfect English without it being their native language.
“I just think she’s so powerful and incredible and I thought that her voice would be so well suited to this song because she has all of that jazz standards in her body, but also an edge to her voice,” Clark explains. “So yeah, I initially reached out seeing if she might want to cover the song or reinterpret it and then she made her own translation of it and then we made it this duet really between us, which I think has ended up being just interesting and beautiful.”
Meanwhile, Mon Laferte says that when she first heard the Spanish version of “Violent Times,” she felt “a deep pull.”
“It was beautiful and haunting. I wanted to give it my own voice, to make it mine too — and to do it alongside an artist I’ve long admired,” recalls Mon Laferte, according to a statement from Virgin Music Group shared with Billboard Español.
And that is precisely what she did. On “Tiempos Violentos,” the Chilean-Mexican singer/songwriter delivers a poignant and intimate verse in Spanish that reframes the emotional meaning of the song, while St. Vincent’s English refrains resonate like distant memories, creating a raw, cinematic version.
“Tiempos Violentos” was recorded in a studio in Bogota at the end of last March, when both artists were in the Colombian capital to participate in the Estéreo Picnic music festival, where the friendship blossomed.
“Her voice is just fire,” St. Vincent notes about the Chilean-Mexican artist. “It’s emotional. It’s pure. It has an edge. And I’m just very honored to get to be on the same track with.”
Part of the experience of learning and improving her Spanish also includes listening to music in that language, and in Portuguese, so St. Vincent’s Ibero-American playlist naturally includes Mon Laferte, but also artists such as Bomba Estéreo, Caetano Veloso and Rosalía, according to the artist.
Regarding the relationship between Latin America and Spain, St. Vincent points out that it has become closer. She confesses that Mexico is one of her favorite places to perform, but she also feels a great affection for her fans in South America, where next week she will play concerts in Chile, Argentina and Brazil, with former Sonic Youth bassist Kim Gordon as opening act.
“I just think what’s so incredible is just the way that people love music,” says Clark of her Latin followers. “It just feels so authentic and true. It just feels like music isn’t some other extra commodity. It’s like it is life itself. It is as essential as like food and air.”
This week, Billboard’s New Music Latin roundup and playlist — curated by Billboard Latin and Billboard Español editors — features fresh new music, including a handful of new albums by Alejandro Sanz (¿Y Ahora Qué?), Jesse & Joy (Lo Que Nos Faltó Decir), and Los Tigres del Norte (La Lotería), to name a few. Explore […]
Dan Storper, the co-founder and CEO of Putumayo World Music, died on Thursday (May 22) at 74, just two days after his birthday. Sources confirm that he passed peacefully at home in New Orleans, surrounded by family, after a battle with pancreatic cancer.
Jacob Edgar, founder of the label Cumbancha and Storper’s longtime friend and colleague, shared a heartfelt statement with Billboard Español: “Just three days ago, I posted birthday wishes to Dan Storper, the founder of Putumayo World Music and my colleague and friend for nearly 30 years. I knew then that Dan was in his last days, but I couldn’t imagine a world without him. He passed away yesterday after a battle with pancreatic cancer.”
Edgar, who began working with Storper in 1998 after being offered what he called “the dream job no one could dare dream of,” described the late visionary as “an exceptional human,” he wrote. “Funny, energetic, passionate, micromanaging, and compulsive. A workaholic to the extreme. He could drive you crazy, but you loved him anyway because his heart was in the right place, and he was a good soul.”
In 2023, the globetrotting entrepreneur marked 30 years of his groundbreaking label.
But Storper’s journey with Putumayo began long before the label existed. Originally launched in the 1970s in New York as a store selling handcrafted goods and musical finds from his travels in Latin America, Africa, India, and beyond, the shop gradually shifted its focus to music. By 1993, it had transformed into Putumayo World Music, a record label dedicated to curating global sounds for a wider audience, co-founding it with Michael Kraus.
The label became an international success, celebrated for its uplifting and culturally diverse compilations. Known for its signature brightly illustrated album covers and expertly sequenced playlists, Putumayo invited listeners to embark on musical journeys across continents, introducing many to the rhythms, traditions, and languages of faraway lands. Storper’s leadership helped bridge cultural divides through the universal language of music.
In an interview with Billboard Español in 2023, Storper reflected on what he saw as Putumayo’s mission. “I look back with a certain measure of pride at the fact that we’ve really introduced so many people to music that they were not familiar with — whether it be Latin, African, Caribbean, European, and more,” Storper said at the time, as he reflected on his company’s three-decade legacy. He also mentioned that Carlos Santana met several African bands through the Putumayo catalog that the guitarist later ended up collaborating with.
Storper also spoke fondly of how the label crafted its signature compilations. “Putumayo’s strength is not only selecting some great songs with that human touch, but putting together a sequence to take you on a musical journey, and as we say, it’s guaranteed to make you feel good,” he added.
Even as his health declined, Storper’s commitment to preserving global music remained unwavering. This April, he and Edgar donated their shared archive of 37,000 CDs — a collection built over more than 30 years — to the Harvard Music Library and the ARChive of Popular Music. “He and I listened to almost every one of those albums and scrawled notes over most of them marking out the tracks we thought had a chance to make into a Putumayo collection someday. I’m glad to know that legacy will be preserved,” said Edgar.
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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Jesse & Joy, Lo Que Nos Faltó Decir (Warner Music Latina)
With a range of sounds representative of their bicultural upbringing (Mexico-U.S.), Jesse & Joy present an eclectic 13-track album that spans pop, regional music, singer-songwriter styles, and soul. “A sonic journey between two worlds, five cities, and all the words yet to be said,” as described in the press release, the Huerta siblings’ seventh album was produced by Martin Terefe along with Jesse, and recorded across London, New York, Los Angeles, Bogotá, and Mexico City.
Collaborators include Carlos Vives, Banda MS, Elsa y Elmar, Eden Muñoz and Poo Bear, on songs as varied as the focus track “Empinar el Codo” with Vives — a heartbreak-themed pop song with a festive vibe — or the bilingual reggae track “Nube” with Poo Bear, about feeling on cloud nine when experiencing the excitement of new love. The album opens with the sweet instrumental “Canción de Mylo” and follows with the uptempo “Digas Lo Que Digas,” one of the previously released singles, which also include “Cuando Estamos a Solas” in support of Coming Out Day. Especially moving is the title track, a heart-wrenching ballad in Jesse & Joy’s signature style.
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Lo Que Nos Faltó Decir coincides with the launch of the duo’s El Despecho Tour 2025. It also comes at a special moment for Joy, who was recently nominated for a Tony Award as a composer for the Broadway musical Real Women Have Curves. — SIGAL RATNER-ARIAS
Morat, Ya Es Mañana (Universal Music Spain)
Morat’s fifth studio album Ya Es Mañana showcases a loyal band that skillfully navigates its evolution without sacrificing its true essence. Inspired by the powerful electric guitar riffs of the ’90s, this emotional set travels from the engaging “Faltas Tú” to the captivating “Me Toca A Mí,” a collaboration with Camilo that thunders with potent drum beats and echoes Def Leppard’s classic sound. Among the 14 gems are “Antes De Cumplir Los 30,” which tells a story of youthful reflection; “Por Si No Te Vuelvo A Ver,” filled with poignant longing; “La Policía,” which carries an undercurrent of social commentary; and “Cuarto De Hotel” with its rich, atmospheric emotion. The standout “Vuelvo A Ti” captures the spirit of a new awakening with its refreshing and heartfelt approach.
“This is the moment to make the most of life, to be aware of what we must do now to create an incredible future. For us, this album embodies the idea of the band we have always wanted to be, and we hope you enjoy it,” said Juan Pablo Villamil during the band’s album release party in Miami on Thursday (May 22). — INGRID FAJARDO
Carín León & Maluma, “Si Tú Me Vieras” (Socios Music)
After teaming up for the runway hit “Según Quién” two years ago, which peaked at No. 1 on Regional Mexican Airplay, Carín León and Maluma join forces once again for “Si Tu Me Vieras,” one of the new tracks from León’s Palabra de To’s (Seca) deluxe album. The two songs couldn’t be more different from each other: Unlike “Según,” which leans more pop with horn instruments giving it that regional touch, “Si Tu Me Vieras” is more acoustic, with prickly guitars and a slapping tololoche leading the way for a more stripped-down approache. Lyrically, both are ultra vulnerable singing about not being able to overcome a heartbreak. “If you could see how I suffer realizing you’re no longer with me,” they sing, almost wailing. León’s deluxe release includes three other new songs, including “Me Está Doliendo” with Alejandro Fernández, “Tres Pesos” and “Por La Suave.” — GRISELDA FLORES
Sergio George, Ataca Sergio! Presents: Urban Salsa Sessions (Sony Music Latin)
In early 2024, Latin producer Sergio George gave the first taste of his ambitious project “Urban Salsa Sessions” with the release of “La Puerta” in collaboration with Jay Wheeler. The heartfelt tropical tune set the tone for what would become the hitmaker’s new studio album — where he reunited some of the biggest names in urban & pop to create brand new salsa songs. The focus track, “La Gata y el Ratón,” features Fariana’s sensual vocals, Juanes’ electric guitar riffs and a sample of Cheo Feliciano’s original voice for a bold interpolation of Cheo’s 1974 classic “El Ratón.”
Moreover, George reeled in Ryan Castro on “Amor Material,” Anthony Ramons singing salsa in English on “I Was the One,” Elena Rose and Oscar D’ Leon on “Me Das Fever” and Cuban newcomer Bebeshito on “Lo Sabe,” where he cleverly blends salsa music with Cuba’s booming urban genre, reparto. Beyond its colorful and flavorful rhythms, Ataca Sergio! Presents: Urban Salsa Sessions, is also home to uplifting and motivational tunes such as the Mike Bahía and Annasofia-assisted “Gracias,” a modern-day salsa with gospel undertones about gratitude, and closing track “La Vida es Una FIesta” with Wisin. — JESSICA ROIZ
Mau y Ricky, Danny Ocean & Yorghaki, “Samaná” (Why Club Records)
After collaborating in 2024 on “La Penúltima,” Venezuelan stars Mau y Ricky and Danny Ocean join forces again —this time also with their compatriot Yorghaki— on “Samaná,” a summer love song whose title is the name of a Dominican coastal city. In this fusion of bachata with Latin and Caribbean sounds, the artists sing about their desire to rekindle a fleeting romance with the woman of their dreams amidst sandy, sun-drenched parties: “I ask God to take care of you/ And if you’re with someone, to be careless/ I don’t know if it took me too long to tell you/ But I want to finish what started in Samaná.”
“‘Samaná’ is the result of several friends coming together to do what they love,” Mau y Ricky says in a press release — a camaraderie that’s also evident in the music video and the artists’ social media posts. — S.R.A.
Alex Ponce, “Como Ella Ya No Hay” (Neon16/Sony Music Latin)
Ecuadorian singer-songwriter Alex Ponce addresses his ex’s new love in his new single “Como Ella Ya No Hay.” The lyrics are a manual for loving a lost love well. With an electropop base, an irresistible electric bass groove and enveloping harmonies, the song vibrates between what was and what will no longer be. For those who have loved badly and understood it too late, this song hits straight to the soul. — LUISA CALLE
Myke Towers, “Baja California” (From F1 The Movie) (Atlantic Records/Apple Video Programming)
Set against the rugged terrain of the Northern Mexican state it’s named after, Myke Towers’ “Baja California” captures the thrill of adrenaline-fueled velocity with unapologetic swagger. Interpolating Black Sheep’s early-’90s hip-hop classic “The Choice Is Yours,” the Puerto Rican rapper turbocharges the track with the chaos and control of dirt bike trails, daunting mountains and the tempestuous coastline.
Produced by El Guincho and Oscar, the single also mirrors the tension and raw energy of the Formula 1 universe. Towers weaves sharp bars about risk, mastery, and chasing victory, embodying a speed demon fearlessly living on instinct (“a la adrenalina nunca le he tenido fobia,” he raps). “Baja California” is part of F1: The Album (out June 27), the official soundtrack for the Apple Original Film, starring Brad Pitt. As the only Latin artist featured on the soundtrack album, Towers holds his own on a star-studded roster that includes Ed Sheeran, Sexyy Red, Burna Boy, and Tiësto. — ISABELA RAYGOZA
Bronco, Tour 45 En Vivo (REC PRIME INC)
The iconic regional Mexican group celebrates its four-and-a-half-decade-long career with this compilation of 16 songs recorded live — 13 of which are duets with international acts from various music genres, such as Julieta Venegas, Matisse, Aleks Syntek, Vagón Chicano, Guaynaa, and Los Auténticos Decadentes. The album was recorded throughout 2024, during the group’s Tour 45 performances in the U.S., Central and South America, in iconic venues including Luna Park in Buenos Aires, Argentina, Arena Ciudad de México in Mexico City, and the Jockey Club in Asuncion, Paraguay. Among the songs included in this collectors piece are “Pastillas de Amnesia,” “Libros Tontos,” “Oro,” “Nunca Voy a Olvidarte” and “Con Zapatos de Tacón.” Definitely a great gift for true fans of Bronco, a legend of Spanish-language music. — TERE AGUILERA
Check out more Latin recommendations this week below:
Christian Nodal‘s highly anticipated new album has officially arrived: The acclaimed regional Mexican artist released ¿Quién + Como Yo?, his first solo LP since Ayayay! in 2020, on Thursday (May 22). The 12-track production highlights Nodal’s commitment to “showcasing the ‘mariacheño’ sound” (mariachi + norteño) he coined, while “making us proud of our roots,” he says to Billboard Español.
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Released through Sony Music México, ¿Quién + Como Yo? — which follows his January EP, PA’L CORA EP. 02 — features previously dropped singles like “El Amigo,” “Amé,” and “X Perro.” These tracks gave fans a glimpse of the direction Nodal’s new music was headed: a fresh blend of sounds that he brought to Mexican music nearly a decade ago, paired with deeply emotional lyrics.
But for those wondering, Nodal clarifies: “There’s nothing personal in it,” he says. “These are songs that truly touched my soul. I think we’ve all been through things like this.”
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In this album, the 26-year-old Sonoran artist teams up with three major stars in regional Mexican music, each bringing their own unique style: Alfredo Olivas, on the heartbreak-filled track “Se Vienen Días Tristes”; Tito Double P, on a corrido tumbado titled “La Loba”; and Netón Vega, on the motivational single “EBVSY,” the focus track.
Ahead of the album’s release, Nodal shared a heartfelt video on his social media, reflecting on this moment in his career. “This isn’t just an album,” says the six-time Latin Grammy winner. “It’s a toast to what’s been lost, to what hurts, and to what still stands.”
Nodal has also announced a new U.S. tour, the Gira 2025, featuring nearly 20 dates starting Nov. 7 in Los Angeles. The hitmaker sat down for an exclusive interview with Billboard Español to discuss the making of his new album, ¿Quién + Como Yo?
Christian Nodal
Courtesy of Sony Music México
Musically, what can we expect to find in this new album?
The goal is to showcase the mariacheño sound, to make us feel proud of our roots, our instruments, and all the beautiful arrangements. In the videos, we’re also highlighting Mexico. There’s just one “tumbado” (urban corridos) track.
How did the collaborations with Alfredo Olivas, Tito Double P, and Netón Vega come about?
The song with Alfredo Olivas came about thanks to my engineer, who’s a friend of his. I asked him to give Alfredo a call, and he agreed to collaborate. It’s a real pleasure working with him — he’s an amazing musician and performer. With Tito, there’s a lot of camaraderie, and as for Netón, we happened to cross paths in Culiacán. He’s one of the most-listened-to Mexican artists in the world.
How was the recording process for these tracks with them?
Everything was recorded remotely. I only filmed the video with Alfredo, but there was always good communication with everyone, and everything came together really well. The videos will be released little by little. I’m sure people will enjoy this new work.
Has what you’ve experienced personally in recent months influenced the lyrics of the songs?
No, not at all — there’s nothing personal in the album. These are songs that truly touched my soul. I think we’ve all been through things like this. In fact, the songs came out of a songwriting camp, with many people from Sonora, Sinaloa, Mexicali, and so on. There was a lot of great energy. I can honestly say this is one of the albums where I’ve had the least involvement in terms of the lyrics — I let them do their thing. They’ve studied my style really well, so they know what works for me.
If you had to choose your favorite songs from the album, which ones would they be?
Without a doubt, “Sé Feliz Sin Mí” and “Se Vienen Días Tristes.” When I heard “Amé,” I knew it was a perfect song. Honestly, so many great songs came out of this project, and many were saved for the next album.
A very important U.S. tour is coming up this year.
I really miss my fans — it was about time. I’ve been enjoying the shows in Mexico a lot. This year, I did many palenques, which I love because there’s a much closer connection with the audience. This year, I’ll also be heading to Colombia, and we’re working on scheduling the dates for Europe before the U.S. tour.
Your fans have shown their love during the good times and the tough ones…
Without a doubt, they’re the best. About a year and a half ago, I went to France to step away from everything for a bit. When I came back, I wasn’t No. 1, I wasn’t trending, and the regional Mexican scene had changed a lot. It was so beautiful to see people showing up to my shows and singing the songs from [the 2024 EP] Pa’l Cora — an album that was musically experimental — along with my usual repertoire. Those kinds of moments are priceless.
You’re one of the young artists who are truly building a catalog…
I draw a lot of inspiration from the [genre] greats and the legacies they leave behind. Since the beginning of my career, I’ve worked hard to contribute to Mexican music in every way possible, and I’ll continue to do so with great pride so it keeps gaining recognition all over the world.
Stream Christian Nodal’s ¿Quién + Como Yo? below:
Karol G celebrates Latin women and a new career era in her new single “Latina Foreva” out Thursday (May 22) via Bichota Records. Marking her first official release of the year, the vibrant track — produced by Mazzarri and Misha, and co-written by Karol and Daniela “La Guru” Aponte — blends an early 2000s reggaetón […]
