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Manuel Turizo is a Colombian with no Dominican roots and yet the 22-year old singer, known for catchy Latin pop songs that incorporate urban beats, has scored his biggest hit ever by dipping into bachata. The beloved Dominican genre known for its trademark syncopated rhythm, plucked guitar and guira carries Turizo’s latest single, “La Bachata” (La Industria/Sony Music Latin), which has been steadily rising up the charts since May.
The track, which replaces bachata’s traditional guitar with electronic riffs and R&B vocals, debuted at No. 44 on Billboard’s Latin Airplay chart June 18 and on Billboard’s Global 200 and Global Excl U.S. charts in July. Since then, it’s been slowly growing, reaching No. 6 on the Global 200 and No. 3 on the Global Excl. U.S. chart this week. On the U.S. Latin Airplay chart, “La Bachata” this week became Turizo’s fifth No. 1 but only his second solo track to reach the top spot since 2019’s “Sola.” And that success so far helps earn Turizo’s manager Juan Diego Medina the title of Billboard‘s Executive of the Week.
“It’s Manuel’s most important song, and it’s the song that’s placing him in the best and most decisive moment of his career,” says Medina — who also manages Nicky Jam and ChocQuibTown — noting that Turizo’s monthly listeners on Spotify went from 19 million to 32.7 million since releasing “La Bachata”.
While Medina built his company, La Industria Inc., to a large degree on the basis of data mining and savvy social media management, he attributes a big chunk of Turizo’s current success to international promotion and to his ability to connect with audiences at a ground level with his very personal take on a very distinctive genre. Now, “La Bachata” — written by Turizo, Edgar Barrera, Andrés Jael Correa Rios, Miguel Andrés Martinez and Medina himself — will kick off what’s likely to be his biggest album yet, 2000, slated for release in early 2023.
“With so many avenues open to promote music,” says Medina, “I’ve opted to go back to the streets, to the root of this business and touch people.”
Manuel has had big hits with pop/urban tracks like “Vaina Loca” with Ozuna and “La Nota” with Myke Towers. Why a bachata of all things?
Manuel is absurdly versatile at a musical level and he doesn’t get stuck on a genre. He wants to do everything. He hadn’t released a bachata before, but he’d recorded another bachata, which actually Romeo Santos produced [and will also be included in 2000]. This track was brought to us by Edgar Barrera, who wrote it with Rios [Andres Jael Correa Rios]. Then, Slo [one third of ChocQuibTown and the producer of most tracks on Turizo’s upcoming album] heard it and thought it would be perfect for Manuel with a bit of an urban touch. Manuel loved it. When they played it for me, I decided to go with it because it was different. It was a bachata, but not the kid of bachata Romeo or Prince Royce would do. It had an urban touch, a sort of hidden dembow. It was a gamble.
What were your expectations?
Truth, 50-50. It was 50% this will kinda work, and 50% this will break all rules. The song began with 400,000, 500,000 daily streams, and that’s a good start. Nowadays, to be on the top five, you have to do 5-6 million daily streams. We started slow, but once we saw that traction, I thought, we have to activate the Latin region. I called Afo [Afo Verde, Sony Latin Iberia’s president and chairman], who was in Croatia, and I said, “If we want this song to do what we want it to do, we need to activate Latin America.”
But before Latin America, you focused on Spain?
Manuel’s consumption in Spain has always been good, and we did our first big campaign there because that’s where the song first took off. Sony has an internal platform that details all consumption and we can see what countries things are working at. It first broke in Spain, then in Mexico. The U.S. is where we’ve had the hardest time. And, keep in mind, there are Spanish artists like C. Tangana and Rosalia who’ve released bachatas, but none had had Manuel’s repercussion, even though he’s neither Spanish nor Dominican. He’s Colombian.
Humbly, this was an organic success. Obviously, it comes with an investment and a strategy. But you don’t reach these levels only with investment and strategy. The song was received well when the algorithm proposed it.
So, Spain was key. What else do you think made a major difference here? Because there are a lot of bachata songs out there, including Romeo Santos’ entire new album, but none are having this impact.
Another key factor is that three, four days after the song’s release, we went to the Dominican Republic and did a lot of press, but we also spent time with bachata and Dominican organizations. That gave a lot of credibility to the fans. There’s a lot of Dominican migration to Spain. So, spending time in the Dominican Republic was key. That came linked to Manuel’s “Bailando Bachata con Manuel Turizo” TikTok campaign. Everywhere he went, he’d get out of the car in the middle of the street — in Mexico, Dominican Republic, Spain, everywhere — and he’d ask a woman to dance bachata with him [filming the interaction and posting on TikTok]. We’ve forgotten to connect with people and to make the fans feel you’re human, like them. Today, there are so many avenues to promote your music, that we’re saturated. I’ve opted to go back to the people, to the root of this business and to feel the street. We went viral on the ground, and then we did the big actions with the big tools. It’s not often that we do both those things. We do the big things, but we forget the people.
You say the U.S. was your hardest market to penetrate. Why is that, especially considering Manuel is so close to the U.S. and you’re based here?
Once the song broke in Latin America, it went viral in Asia, and then Europe. The U.S. was last. I feel it’s a market where urban, street music is far stronger today. It’s not an easy market to penetrate when your product is more clean, more lyrical. It sounds contradictory because there are successful pop acts like Camilo. But Manuel’s music is made for adults, not kids, and adult ears are not always geared toward romantic fare. Conquering the U.S. market isn’t easy when you have to compete with acts like Maluma, Balvin, Camilo.
You’re No. 1 on Latin Airplay, which is radio. How important is radio to you?
We always try to work with radio stations. I’m faithful to radio and I think I’m not one of those who thinks it doesn’t matter anymore. Some people are not tech-savvy, they like their radio, they like to hear the DJs. I think radio is the biggest ally of people who want to listen to music free. YouTube is also still very important to us, especially in Latin America.
Manuel has had other major hits. How important is “La Bachata” to him?
It’s his most important song, and it’s placing him in the biggest and most decisive moment of his career. He’s at that stage where he’s poised to go to the next level, and this is the song that will make him a star, God willing.
Do you have more bachatas planned?
Not for the moment [aside from the Romeo-produced track]. I feel we can’t abuse [the genre]. It’s about proposing new things, not getting stuck on a single one.
First Stream Latin is a compilation of the best new Latin songs, albums and videos recommended by the Billboard Latin editors. Check out this week’s picks below.
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Julieta Venegas, “La Nostalgia” (Altafonte)
The beloved Mexican artist knows her way around a perfect tune, the kind that instantly sticks and peeks into your soul. But above all, Julieta Venegas knows just how to capture those moments, the special ones, in just three minutes. “La Nostalgia” quintessentially embodies that feeling. In fact, the song came to fruition as she reminisced about her native bordertown, Tijuana — she’s now based in Argentina. Whether it’s her serene voice and whimsical wordplay (“I see you singing an old melody, the one you sang in another life,” she coos in Spanish), or the dusty acoustic guitar strums in the background, the single, off her upcoming album Tu Historia (due Nov. 10th), harkens back to another time. — ISABELA RAYGOZA
Paula Arenas, “Un Día A La Vez” (Do Re Millions LLC)
This week, Colombian singer-songwriter Paula Arenas releases “Un Día A La Vez” (One Day At A Time), an introspective pop song that is the result of a period of reflection and internal struggle with depression and anxiety. “If I turn off the lights I know/ That I am only soul, bone and skin/ And what judges me/ I wish I didn’t care later/ One day at a time, one day at a time,” sings the Latin Grammy-nominated artist in the chorus of the mid-tempo tune, which she co-wrote with Valentina Rico. The music video, directed by her husband Beto Pérez Fleta, offers a glimpse into Paula’s thoughts and feelings while writing the song. “Un Día A La Vez” is the third single from Arena’s next studio, album after “Volando Bajito” and “Puro Sentimiento,” featuring Manuel Medrano. The album, still untitled, should be out in the first quarter of 2023. — SIGAL RATNER-ARIAS
Don Omar & Akon, “Good Girl” (Unisono/Saban Music Group)
In the past year, Don Omar has made a remarkable comeback, collaborating with artists such as Residente, Nio Garcia, Wisin, Gente de Zona, Lil’ Jon, and most recently, Akon. In “Good Girl,” the reggaetón veteran joins forces with the renowned Senegalese-American hitmaker for a certified club banger that starts off with a reggae beat and transitions into an electronic mambo. Produced by Don’s longtime producer Alcover and co-written by Don and Akon, “Good Girl” addresses the titular female, whose looks are deceiving. A music video directed by Carlos Perez in Miami features both artists singing to a model at a strip club. — JESSICA ROIZ
Rauw Alejandro, “Dime Quien???” (Sony Music Latin)
Amid the TikTok success he’s been having with “Punto 40,” Rauw Alejandro takes a full leap into the synth-pop sounds of the ’80s, following along a similar formula to the one that worked for his global smash hit “Todo De Ti.” “Dime Quién???” is Rauw’s third single of his upcoming album Saturno, which drops on Nov. 11. The electro-pop track tells the story of when you lose someone and your ex has already found a new love. “Tell me, who is that? The one who now makes love to you in the car? The last one who speaks to you at night?” he pleads in the chorus. — INGRID FAJARDO
Lupita Infante, “Las Flores del Camposanto” (Sony Music)
On her mariachi rendition of “Las Flores del Camposanto,” Lupita Infante revitalizes the storied, impassioned ballad about comparing withering flower fields to heartbreak and despair. Originally written by poet Luis Rosado Vega in the early 1900s, and sung by the Mexican troubadour Óscar Chávez, the young traditionalist recorded the song to honor a bygone era for Day of the Dead and resurrect it for a newer generation. With twinkling harp strokes, sweeping violins, and an invigorating brass section, Infante’s rousing voice is simply astounding. “Las flores de camposanto” is also a lyric to the classic “La Llorona,” famously sung by Chavela Vargas. — I.R.
Natalia Lafourcade, De Todas las Flores (Sony Music México)
In a prosperous career that spans alternative rock, indie pop, and Latin American folk, Natalia Lafourcade returns to the scene with De Todas las Flores, after a seven year hiatus. This time, the esteemed singer-songwriter turns her attention to careful orchestration and grand symphonic arrangements. Produced by Adanowsky and recorded on analog tape, her pandemic-era 10th studio album sees Lafourcade in lockdown from her beloved Veracruz. However, she draws from a world inspired by her native landscapes, beaches and hummingbirds. For instance, “Llévame Viento” impressively recreates the whooshing and blowing of a furious ocean sea, but songs like “Canta la Arena” echo the carefree, feel-good lifestyle of life by the coast. — I.R.
Morat & Feid, “Salir Con Vida” (Universal Music Spain)
Morat recruits Feid for their new single, titled “Salir Con Vida.” The track unites the pop band with their fellow Colombian urban singer to reach the ultimate fusion of vocals, blending both worlds into one romantic combination. Produced by Andres Torres, Mauricio Rengifo and Juan Pablo Isaza, this new single is part of Morat’s new album slated to release on Nov. 4, which will portray a more mature image and sound. “Never leave, I want to get out alive/ And even if I tried to forget you, my mouth would not do it/ Don’t hurt me, I want to get out alive,” they sing in the chorus. — I.F.
El Fantasma & Yeison Jiménez, “Un Loco Enamorado” (AfinArte Music)
After teasing it on social media, regional Mexican and Colombian “Musica Popular” once again come together to gift fans a new collaboration between El Fantasma and Yeison Jiménez. Penned by renowned singer-songwriter Eden Muñoz and El Fantasma, this main banda rhythm track tells the story of a “crazy lover” who could fall in love with a woman by simply seeing her smile. The romanticism of both singers makes the song even more special. “A madman in love with her … just a quick smile excites him, and wants to give her his heart,” they sing. — I.F.
Manuel Turizo’s “La Bachata” notches a seventh week at No. 1 on the Billboard Argentina Hot 100 chart (dated Oct. 22). The song joins two other tracks that have topped the tally in 2022 for at least seven frames: Tiago pzk’s “Entre Nosotros,” with LIT Killa, Nicki Nicole and Maria Becerra (nine weeks) and Bizarrap and Quevedo’s “Bzrp Music Sessions, Vol. 52” (eight weeks).
While there’s slow movement in the chart’s upper region, two new top 10s emerge: Argentinian La Joaqui scores her first top 10 among five entries, as “Butakera,” with Alan Gómez and El Noba, lifts 17-9. Meanwhile, Argentinian reggae singer-songwriter Dread Mar-I (Mariano Javier Castro) and producer Big One (Daniel Ismael Real) earn their first top 10 thanks to “Perfecta,” their team-up with Rusherking, which climbs 34-10.
Elsewhere on the chart, Rauw Alejandro and Baby Rasta’s “Punto 40” claims the Hot Shot Debut of the week, at No. 57. Further, the Greatest Gainer of the week goes to Maluma’s “Junio,” which rallies 96-67.
The week’s other debut goes to Reik and Sech’s “5 Estrellas” which starts at No. 95. Lastly, two songs re-enter: Dua Lipa’s “Levitating” at No. 97, while BLACKPINK’s “Pink Venom” rebounds at No. 99.
Brazilian powerhouse singer Anitta, Puerto Rican hitmaker Luis Fonsi, Italian singer-songwriter Laura Pausini, and Mexican superstar Thalia are enlisted to host the 23rd annual Latin Grammy Awards. The telecast will air from the Michelob Ultra Arena at Mandalay Bay in Las Vegas on Thursday, Nov. 17, at 8 p.m. ET.
This marks the first time the Latin Grammys will have had four or more co-hosts since the inaugural broadcast, in September 2000, which had five — Gloria Estefan, Jennifer Lopez, Andy Garcia, Jimmy Smits and Antonio Banderas.
To date, Anitta has earned a total of eight Latin Grammy nominations, and she is currently in the running for record of the year and best reggaeton performance for her viral hit “Envolver.” (See the full list of 2022 Latin Grammy nominations here.) The same song charted on the all-genre Billboard Hot 100, peaking at No. 70.
Fonsi, best known for his record-breaking hit “Despacito,” alongside Daddy Yankee, has won five Latin Grammys, while Pausini has won four Latin Grammys and one Grammy Award. Thalia has been nominated six times at the Latin Grammys, and in 2003, the Mexican actress and singer entered the Hot 100 with “I Want You,” featuring Fat Joe, peaking at No. 22.
Prior to the Latin Grammys, the Latin Recording Academy will honor Mexican icon Marco Antonio Solís as Person of the Year. The gala in his honor will take place the day before, on Wednesday, Nov. 16. “Marco Antonio Solís is a living legend and one of the most emblematic figures in Latin music,” Manuel Abud, CEO of the Latin Recording Academy, said in a statement.
Last year, the ceremony was hosted by Ana Brenda Contreras, Carlos Rivera and Roselyn Sanchez. Tom and Caetano Veloso won the 2021 record of the year award for their piano ballad “Talvez,” and in 2020, that award was given to Alejandro Sanz for his romantic love song “Contigo.”
The Latin Grammy Premiere Ceremony, where the majority of the categories are awarded, will precede the telecast and will be announced at a later date.
Five months after releasing his mega-hit “La Bachata,” Colombian artist Manuel Turizo unleashes “Extasis” alongside Argentine songstress Maria Becerra.
Marking their first collaborative effort, the track moves away from the tropical bachata genre and into an infectious Afrobeat style with urban fusions. Beyond its striking rhythm, both Turizo and Becerra’s vocals perfectly mesh, bringing to life a story about unconditional love and finding extasis (ecstasy) in the simple things in life.
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The single follows Turizo’s “La Bachata,” which is currently No. 1 on Billboard‘s Latin Airplay chart and in its sixth week at the top of the Tropical Airplay chart. According to Turizo, “Extasis” will be his last single before dropping his upcoming studio album 2000.
Below, check out what each artist shared with Billboard Latin during an Instagram Live interview:
Becerra on collaboration: “Manu wrote to me and sent me the song. I loved it! I went to the studio to write and record my part, and he really liked it. Everything flowed as it should flow, the filming of the video clip was the same way. I feel that this is what gives good results in life.”
Turizo on meeting Becerra: “She’s super cool! I think we have similar ways of working. Honestly, it was very chill and felt very real and authentic. We connected a lot. And that’s something you don’t see often in other artists who have two personalities. Mari’s not like that. She’s relaxed, without problems or pressure.”
Turizo on the music video: “I wanted to demonstrate something very romantic but at the same time what people live on the day-to-day, whether it’s a childhood stage or adulthood. [In the video], you see Maria and me interpreting a couple who doesn’t have money to pay the bills but in the end, they are singing together, cooking together, and sharing a beer. That’s the simple moment of extasis. Those simple moments are what recharge you.”
Becerra on her outfits: “I had to wear something casual for the scenes where we were doing everyday things. And in other scenes, I’m dressed as an artist. But just as in every video, I let my fashion style guide itself by the context of the story, the art, and the ages. Each of us followed our own style and based on that is how we chose our outfits for the video.”
Duelo returns to the No. 1 spot for the first time in a decade and a half on Billboard’s Regional Mexican Airplay chart (dated Oct. 29) with its latest single “24 Siete.” The song marks the norteño group’s first visit to the summit since 2007. It also represents a new achievement for the group’s label La Bonita Music, winning its first leader among a collection of 16 entries.
“Everything we have been reaping, working hard these years, tours in Mexico and the United States and the truth, this new No. 1 caught us by surprise,” Oscar Iván Treviño, one of founding members of the group, told Billboard.
“24 Siete” was released Aug. 11 via La Bonita Music. It ascends to the top in its ninth week following a 19% gain in audience impressions, to 5.8 million, earned in the U.S. in the week ending Oct. 23, according to Luminate.
With its ascent, “24 Siete” becomes Duelo’s fourth champ dating back to the one-week ruler “Te Compro” in 2006. In between, the Monterrey-bred group nabbed two other one-week champs in 2007: “Un Idiota Como Yo” and “Olvidame Tú.”
As for “24 Siete,” Treviño adds, “We composed the song with the best intentions in the world. Doing the song and recording our new album No Digas No, well, it’s been exciting. It is important to always maintain that curiosity and that passion for music, doing what you love.” “24 Siete” is the second single from No Digas No, which hasn’t entered the charts yet.
Further, with the new champ, La Bonita Music claims its first No. 1 in the 28-year-old history of the Regional Mexican Airplay chart. It previously reached a No. 3 high also through a Duelo song, “Puño de Diamantes,” in July 2013.
Elsewhere, “24” steps into the upper region on the all-genre Latin Airplay chart with a 15-9 jump. The lift gifts the group its first top 10 in almost a decade, since “Puño de Diamantes” peaked at No. 8 in its 13th week in 2013.
Lasso (real name: Andres Vicente Lazo Uslar) was 11 years old when he discovered his passion for music. One December his father, who was also a music aficionado, brought an electric guitar home. “My friends and I began learning how to play the guitar,” he tells Billboard. “We had no clue about music, but we somehow convinced our school to do a talent show so that we could perform.”
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And that’s exactly when a then fifth-grader Lasso told his mother he wanted to pursue music for the rest of his life.
In 2012, the Venezuelan singer-songwriter unleashed his debut album Sin Otro Sentido, which also marked the first time he realized that he had garnered a following. “They had placed all my CDs at the front of the store, and that same day, they were all sold out,” he recalls. “The music store also had a ranking of the best-performing albums of the week, and mine was at the top. I was impressed.”
Since then, Lasso has been a Latin Grammy best new artist nominee and released a number of key collaborations, including “Un Millon Como Tu” with Chilean artist Cami, “Subtitulos” with Mexican pop star Danna Paola, and “Ni Vivo, Ni Muerto” with fellow Venezuelan act Micro TDH. But this year, he opted to stay away from features, and instead, give fans a more intimate look into his upcoming project.
Amongst the singles released in advance of that planned set — which he currently hopes to release in early 2023 — are “DIOS,” “Algodon,” “Yo-Yo,” and the track that earned him his first Billboard hit, “Ojos Marrones.”
“I remember that it began blowing up on June 17, and I didn’t understand why,” he notes of the song’s virality on TikTok. “It’s weird, because I invented a trend for the song and nobody paid attention to it. Suddenly, someone used the sound to compare Justin Bieber’s relationship with Selena Gomez with his relationship with his wife Hailey Bieber, and I thought it was such a bad idea to be comparing relationships. But then I saw that everyone began doing the trend.”
Fueled by its success on social media, Lasso entered the Billboard charts for the first time when “Ojos Marrones” peaked at No. 66 on the Billboard Global 200 chart and at No. 39 on the Billboard Global Excl. US chart, both dated Sept. 17. The song also earned him his first and only entry on the Billboard Argentina Hot 100 chart (dated Sept. 10). A remix with Sebastian Yatra also exists, which came together organically.
“The fact that you’re trying to forget an ex-partner by dating someone new, but there are times that you can’t forget them — I feel that there’s something very human about the lyrics,” he explains.
Currently, Lasso is on his Algodon World Tour, which will make its way to the U.S. in November, and plans to release his new single “Corriendo con Tijeras” part of his upcoming studio album, which he says will have no collaborations, and only songs “for the fans who follow him since day one.”
Below, learn more about this month’s Latin Artist on the Rise, in his own words:
Name: Andres Vicente Lazo Uslar
Age: 34
Recommended Song: “Ojos Marrones”
Biggest Achievement: The fact of knowing that great things can be achieved only with work and discipline. I was looking for a hit, a big collaboration for a long time but it was impossible. So I focused on the people who listen to me and who value me. I was trying to achieve something that didn’t exist. So, I calmed down and started seeing music completely differently. My biggest achievement is understanding my music and transforming my goal into simply the things that I enjoy.
What’s Next: My new single ‘Corriendo con Tijeras’ drops October 27. God willing, the album comes out in March of next year. But my plans, for now, are to continue touring and releasing new music. Fortunately, all the tracks are already recorded, and I don’t need to stress out while on the road.
Shakira returns to Billboard’s Tropical Airplay chart as her latest single “Monotonía,” with Ozuna, breaks into the top 10 on the Oct. 29-dated list. It’s her first appearance on this chart since 2017.
“Monotonía” was released via Sony Music Latin on Oct. 19 and bows at No. 8 on Tropical Airplay with five days of airplay. It starts with 2.8 million in audience impressions earned during the tracking week Oct. 17-23, according to Luminate.
“Monotonía” marks Shakira’s first chart appearance and top 10 effort since “Déjà Vu” with Prince Royce closed its 42-week frame in the top 10 on December 2017. Out of those, the track took over atop the tally for 11 consecutive weeks (April-July 2017). Ozuna, meanwhile, reached a No. 3 high earlier in the year with “Señor Juez,” with Anthony Santos (Feb. 19-dated ranking).
Back to Shakira, she continues to hold the third-most top 10s among female acts on Tropical Airplay, trailing Olga Tañon’s 28 top 10s and India’s 25. Here’s a recap of the women with the most top 10s since the list launched in 1994:
28, Olga Tañón25, India20, Shakira16, Giselle16, Gloria Estefan11, Paulina Rubio11, Thalia
Elsewhere, “Monotonía” arrives at No. 25 on the Hot Latin Songs chart. For its first week on the multimetric ranking, the song registered 3.1 million official U.S. streams in the week ending Oct. 20. Sales, too, push the song to a top 30 start. Despite its only one day of activity, the song sold 2,000 downloads, yielding a No. 1 debut on Latin Digital Song Sales.
Further, “Monotonía” launches at No. 36 on the all-genre Latin Airplay chart. With a total of 63 entries on his career chart history, Ozuna extends his second-most appearances rank just behind Daddy Yankee’s 80 entries.
Halloween is sneaking up on us, and if you’re a music junkie who hasn’t figured out your costume yet, don’t stress: Billboard has got you covered.
In true fashion, we compiled a list of easy, last-minute DIY (do it yourself) costume ideas to assist you in dressing up as some of the trendiest Latin stars of 2022.
The list includes inspirations from three of the most popular tours this year: Bad Bunny’s World’s Hottest Tour, Karol G’s Strip Love Tour, and Rosalia’s Motomami Tour. The list also suggests dressing up as two of the artists who are enjoying newfound popularity on TikTok: Colombian urbano singer-songwriter Feid and local Texas band Grupo Frontera, who’s making the rounds with their norteño version of Morat’s “No Se Va.”
For those who like to wear matching Halloween costumes with their significant other, we recommend a cute and simple Camilo and Evaluna Montaner look, inspired by their new parenthood stage. And, of course, if you’re obsessed with Rauw Alejandro’s “Punto 40” track, we’ve got a costume idea for you and your squad as well.
Point is, whether you’re trying to top your costume from last year or just looking to get in the spooky spirit, these DIY costume ideas won’t disappoint. Billboard recommends the following costumes inspired by some of our favorite Latin artists that are fun and easy to put together at the last minute. Check out the list below:
Anahí is making her official comeback to music with a new collaboration alongside Juan Gabriel.
The single—released posthumously, six years after Juanga’s passing—is a new version of his Rocío Dúrcal-assisted “Déjame Vivir” that launched in 1984. Almost 40 years later, the Mexican pop star gives it a modern EDM twist.
“Who’s excited to listen to it?” the singer asked her fans on Instagram on Tuesday (Oct. 25), sharing a 15-second preview of the video that features both stars.
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“Déjame Vivir,” which marks Anahí’s first official release since “Latidos” in 2020, follows El Divo de Juarez’s “Mía Un Año” released last month in collaboration with Eslabon Armado.
The collaborative track with Juanga comes after his duets with Marc Anthony, J Balvin, and other major artists who formed part of his Los Dúo 2 album released in 2015, which ruled the No. 1 spot on the Top Latin Albums chart for 20 weeks in 2016.
Although it’s Anahí’s first single in two years, she has kept herself busy with music endeavors in the time since — in June, the former Rebelde star joined Karol G on stage for an epic rendition of RBD’s 2004 hit “Salvame.” The performance that took place during the Bichota Reloaded tour in Mexico City became the first time Anahí performed live in 11 years. The singer’s last concert prior to that was in 2011 with her Go Any Go Tour.
Anahí has also been spotted spending time with her former RBD bandmates Maite Perroni, Christian Chávez and Christopher Von Uckermann — first in December 2020 when they hosted a virtual reunion called “Ser o Parecer,” and most recently for Perroni’s wedding to longtime boyfriend Andrés Tovar.
“Déjame Vivir,” which drops at 7 p.m. on Thursday, Oct. 27, will form part of the upcoming Los Dúo 3 set.
Watch a preview below: