State Champ Radio Latin
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It’s been one years since the death of Mexican legend Vicente Fernández, who passed away on Dec. 12 in his native Guadalajara at 81 years old. With family, fans and fellow musicians remembering and honoring his legacy today, Billboard is remembering the ranchera titan with his biggest Hot Latin Songs hits.
On the Billboard charts, the iconic singer and actor placed 40 entries on Top Latin Albums, including 25 top 10s and six No. 1s. On Hot Latin Songs, he logged a total of 61 entries, from 1987 to 2013, including 20 top 10s and one No. 1.
Fernández holds the record for the most entries on Hot Latin Songs for a regional Mexican solo act, with 61, the record for the most entries on Regional Mexican Albums, with a total of 52, and the record for the most No. 1s for a regional Mexican solo act on Regional Mexican Albums, with a total of 17.
His career totals in the U.S., according to MRC Data (which began in 1991), stand at 23.4 billion in cumulative radio audience for all his songs; 5.5 billion on-demand streams; and 9.2 million albums sold.
Fernández’s cause of death was due to complications following surgery for a cervical spine injury after a serious fall last August. The ranchera singer had remained hospitalized since then in stable but serious condition but in the last 24 hours, his condition deteriorated.
“It was an honor and a great pride to share with everyone a great musical career and to give everything for his audience,” reads a statement on his official Instagram account. “Thank you for continuing to applaud, thank you for continuing to sing.”
Below, see all of Chente’s greatest hits to enter the Top 10 on Hot Latin Songs.
“Dos Corazones” peaked No. 10 on chart dated Feb. 6, 1988
“Aunque Mal Paguen Ellas” peaked at No. 4 on chart dated Aug. 26, 1989
“Por Tu Maldito Amor” peaked at No. 10 on chart dated Dec. 2, 1989
“Que Sepan Todos” peaked at No. 6 on chart dated June 1, 1991
“Yo Quiero” peaked at No. 9 on chart dated July 25, 1992
“Aca Entre Nos” peaked at No. 8 on chart dated Oct. 31, 1992
“La Fiesta” peaked at No. 8 on chart dated Feb. 20, 1993
“Lastima Que Seas Ajena” peaked at No. 3 on chart dated Sept. 25, 1993
“Miseria” peaked at No. 6 on chart dated Sept. 24, 1994
“No, No y No” peaked at No. 8 on chart dated Dec. 17, 1994
“Aunque Me Duela El Alma” peaked at No. 2 on chart dated June 24, 1995
“No Te Vayas” peaked at No. 5 on chart dated July 6, 1996
“Nos Estorbo La Ropa” peaked at No. 4 on chart dated Nov. 1, 1997
“Me Voy a Quitar De En Medio” peaked at No. 4 on chart dated March 27, 1999
“Borracho te Recuerdo” peaked at No. 8 on chart dated Jan. 13, 2001
“El Ayudante” peaked at No. 9 on chart dated Sept. 29, 2001
“Estos Celos” peaked at No. 3 on chart dated Oct. 20, 2007
“La Derrota” peaked at No. 7 on chart dated June 14, 2008
“Para Siempre” peaked at No. 2 on chart dated Aug. 16, 2009
“El Ultimo Beso” peaked at No. 1 on chart dated Feb. 21, 2009
Penske Media Corporation’s music, art and food festival LA3C closed its inaugural edition on Sunday (Dec. 11) with a Latin music-centered lineup, a nod to Los Angeles County’s’ Hispanic population, where more than 4.8 million Hispanics live, accounting for almost half of the county’s population.
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The second day of LA3C — which started off gloomy and rainy — included performances by Colombian hitmaker Maluma, regional Mexican star Gerardo Ortiz and Mexican-American rapper Snow tha Product.
Check out Sunday’s best moments below.
El Pana Con Más Flow Just as the sun peeked through the clouds for some much needed sunshine, Panamanian artist Chicocurlyhead marked his first main stage performance at a festival in the U.S. Wearing a monochromatic military green outfit and black sunglasses, Chico effortlessly zigzagged through R&B, trap and rock showcasing his versatility. “For those that don’t know me, I’m Chicocurlyhead. I was born in Panama and raised in Atlanta,” he told a small but mighty crowd. “That’s what you hear in my music. Spanglish. The real deal. I’m ‘El Pana con Flow.’”
Welcome to my paradiseMexican-American singer-songwriter Monogem delivered a soulful performance. With a set that began 50 minutes late, the crowd was forgiving offering her a warm L.A. welcome. One fan ran towards the stage holding a vinyl of the artist’s Gardenia, her first Spanish-language album. “I see you,” Monogem acknowledged the fan. “I’m so happy to be here. Soy mitad mexicana (I’m half Mexican) and it’s an honor to celebrate my Latin roots.” Mid-set, she welcomed fans to her paraíso and proceded to ask fans: “Is it ok if I get high with you guys? I mean we’re in L.A. My hometown.” However, she couldn’t light her joint due to the wind.
Os prometo que hemos ensayadoFrom Spain to L.A.! Marc Seguí and his band — who all wore bright colored t-shirts (red, yellow, blue and pink — one that had “we promise we rehearsed” written across it) — delivered a breezy performance paired with groovy visuals from outer space, the ocean and flowers. In the middle of his 30-minute set, the Spaniard brought a friend out to join him onstage. “I haven’t come alone. A big round of applause for Xavibo.” The pair were like best friends onstage enjoying every second of the performance — which included Segui’s “360” and his and Xavibo’s “Contigo Loca” — jumping up and down to pump up the crowd.
PR In the House“Hace un frío cabron aquí afuera,” Chesca said at the top of her performance,acknowledging the colder temperatures. The Puerto Rican artist delivered a high-energy performance with a troupe of dancers. “I feel so proud to be here with all of you,” she said just minutes before introducing her special guest, who flew in from Mexico just to join her onstage. It was none other than her fellow Puerto Rican hitmaker Villano Antillano, marking the first time she performs in L.A. “Thank you LA3C for having me. Latinos to the top. You should all feel so proud.”
Music of todayColombian singer-songwriter Fonseca got everyone dancing with his vallenato anthems. He kicked off with “Vine a Buscarte” and then got emotional with a heartfelt speech. “We’re very happy to be here tonight. It feels amazing to be back in L.A. We’re proud to be part of a festival that is featuring so many genres from all over the world. It represents the music of today.” The artist, who’s celebrating 20 years in music, went on to sing “Volvámonos a Enamorar” and of course the highly-anticipated “Te Mando Flores.” “Thank you for being part of this dream. Cheers to 2023, I hope it’s filled with good health, friends and family.”
Long live regional Mexican musicRegional Mexican star Gerardo Ortiz, who was born in Pasadena, Calif., enjoyed a homecoming with a set that proved to be a highlight of the night. Transforming the stage into a Mexican party — with a banda and norteño group in tow — Ortiz didn’t waste any minute belting out anthems such as “Quién Se Anima,” “Tranquilito,” “Por Qué Terminamos” and “Recordando a Manuel.” Wearing black jeans, a leather jacket with blue patches and silver studs styled with a cowboy hat and pointy boots, Ortiz, a much-experienced artist whose dynamic and interaction with his fans throughout proved to pull in not only fans who were there to see him, but also new ones who were just discovering him. Never too late to join the Gerardo Ortiz club.
“My favorite thing is women supporting women”Snow Tha Product meant business when she took the stage at LA3C. The Mexican-American rapper performed a riveting one-hour set where she showed off her slick verses and rapping skills. Her performance also included shots straight from a tequila and champagne bottle, a sea of women twerking onstage and Snow’s proud mom. She started off with a quick homage to Vicente Fernandez, who passed away one year ago. She took a shot in his memory. She then brought her mom onstage to take a shot with her and celebrate her success. “I didn’t go to college and I’m doing pretty good,” Snow said. “I told my mom I’d be the most famous lesbian Mexican rapper that ever existed. Mom, say a few things while I take a shot.” Her mom took the mic and started with, “Cómo estan todos (how is everyone doing)? I love you all so much for loving and respecting my daughter. God bless you all.”
She also invited multiple women to join her onstage and dance up there for the remainder of her show. “My favorite thing is women supporting women,” she declared. During her performance, she made sure she got what she paid for and give fans the best performance she could. After production wouldn’t light the fire effect onstage because the dancers “weren’t behind an orange line,” she protested. “I paid $5,000 to have the fire, I should have the fire. The apply rules to a woman that they wouldn’t to a man. If I don’t get fire in this next song, return my money.” She left her fans with advice: “In 2023, go where you’re loved and appreciated.”
Maluma BabyBefore the Colombian hitmaker took the stage, a short video played in front of a crowd that gathered to see Maluma front and center. “Today, my heart stops like if it was the first time [performing],” he said in the video. “Now, I give you my heart.” Then, the man of the hour appeared. Wearing black leather pants, a Supreme biker jacket and red leather gloves, he kicked off his one-hour set with the smash hit “Hawái.” “Good night, L.A. I’m Papi Juancho,” he greeted the audience. In a span of 60 minutes, Maluma delivered a show-stopping performance powered by fireworks and back-to-back hits including “Borró Cassette,” “Felices Los 4,” “Sobrio,” “Chantaje,” “Vente Pa’ Acá,” “11PM” and “Corazón.”
“Where are my Latinos?” he asked. “Los Angeles are you ready? It’s good to be back in one of my favorite cities.” Toward the end of his set, he reflected on his trajectory. “How cool that we’re all here. Is everyone drinking here because I am definitely drinking tonight. We’re ending the year and I want to thank you for the love you give me every single day. Without it, I wouldn’t be anyone. It’s been 11 years since I began my career but we’re just starting. There’s Maluma for many more years. Cheers.”
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MEXICO CITY — For some fans, going to Bad Bunny’s Estadio Azteca show Friday night in Mexico City was a dream come true. But for others, it turned into a nightmare after they became victims of a scam, with Ticketmaster Mexico canceling their tickets at the entrance to the show saying they were fake and a throng of angry fans at the door demanding to go inside.
Dozens of people who had arrived hours and some days earlier — coming from different places in Mexico and the U.S. — were not able to get inside Bunny’s fist night in Mexico City, which also marks the end of his tour.
Valeria Carrillo, a young fan who came from the seaside town of Isla Mujeres and said she had paid over 9.000 Mexican pesos (some $455), was one of the unlucky ones. She stood in line since early in the morning to be one of the first to get inside the stadium. She couldn’t.
“I didn’t come all the way from Isla Mujeres to have this happen to me!” she told Billboard Español, in tears.
Some desperate fans climbed over the main gates of the stadium trying to get inside but were blocked by security.
In a press release posted Saturday, Ticketmaster Mexico admitted that “the issues with access were the result of an unprecedented number of fake tickets, which led to a not normal agglomeration of people and an intermittent operation of our system.
“The above generated confusion and complicated the entrance to the stadium, with the unfortunate consequence that people with legitimate tickets were denied access,” added the release.
Mexico’s Federal Attorney for the Mexican Consumer (PROFECO) said it had opened an investigation and asked those who had been affected to present their complaint on a website provided by the institution. By Friday evening, PROFECO said in the same release that only seven people had submitted complaints, but more were expected.
On its end, Ticketmaster said it would refund ticket-holders who hadn’t been able to get into the venue and would also provide additional compensation of “no less than 20% of the price paid for the ticket, in accordance with the terms of article 92 Bis of the Federal Law of Consumer Protection, which states that right when a service is deficient or is not rendered.”
Issues with tickets delayed the show for nearly 60 minutes. Originally scheduled for 9 p.m., it started at 10 p.m. But once the lights went out, it was party time. Benito Ocasio Martínez took the stage in front of 85,000 attendees, with a slew of special guests that included Bomba Estéreo for “Ojitos Lindos,” Chencho Corleone for “Me Porto Bonito,” Mora for “Una vez” and Jowell & Randy, with whom he sang “Safaera.” Bunny finally brought up his friend and fellow hitmaker Jhayco for “Tarot.”
One of the highlights of the evening came when the Puerto Rican star paid homage to the late Mexican music idol Juan Gabriel by sampling his hit “Querida,” and later, when performing “Yo No Me Visto Así,” which also references “Querida” and Juan Gabriel in its lyrics.
For Bunny’s second Mexico City show on Saturday, PROFECO had personnel at the entrance to the stadium beginning early in the afternoon, and there were reports on social media of fans with fake tickets being turned away.
Few things faze Noah Assad, Bad Bunny’s manager. But even he admits that launching a stadium tour barely three months after an arena tour was a bit daunting.
“We knew it was going to be a learning experience and something none of us had done before,” Assad says now, “but we went for it and worked through it with the help of old and new partners and set new industry standards.”
Bad Bunny ends the year as the top touring act of 2022, grossing $373.5 million from 1.8 million tickets across 65 shows, according to Billboard Boxscore, and that number doesn’t even include his last 20 Latin American stadium shows. This makes Bunny — born Benito Martinez Ocasio — the first act who doesn’t perform in English to ever top the year-end tally.
World’s Hottest Tour broke venue revenue records in 12 of the 15 U.S. markets that it hit, including Chicago and Washington, D.C., and New York, where he played Yankee Stadium. All told, the North American leg of tour averaged $11.1 million per show – the biggest per-show average gross by any artist in any genre in Boxscore history (dating back to the late 1980s).
Bunny also became the only artist to ever launch separate tours each topping $100 million in the same calendar year. His stadium tour launched after he played his 35-date El Ultimo Tour Del Mundo, an arena tour that earned $116.8 million from 35 shows.
So, how did an artist who only records in Spanish, who is signed to an independent label and has only been five years in the market achieve this feat? To find out, Billboard spoke with agents, promoters and producers to piece together the ingredients of Bunny’s spectacular touring success.
The seeds for World’s Hottest Tour, which ends with sold out shows Friday (Dec. 9) and Saturday (Dec. 10) at Mexico city’s Estadio Azteca, were sown April 15, 2021, when tickets went on sale for Bunny’s April 2022 arena tour. The tour sold out in a matter of hours, says Jbeau Lewis, one of Bunny’s agents at UTA, with some 200,000 to 300,000 people in virtual queue in individual arenas trying to score tickets, and it became clear how much demand there was for Bad Bunny concerts.
“I remember vividly Noah having a discussion that day and saying, ‘We have to hold some stadiums for next year.’ We saw the unprecedented demand for [2022 arena tour] Ultimo Tour del Mundo,” says Lewis. “And knowing that tour was going to be nine months away and that Benito had plans to release more music, the only way to provide enough supply to alleviate the demand was to move to bigger venues. And that’s when we started working on it.”
Last year Assad signed on with Henry Cardenas of Cardenas Marketing Network (CMN), Bunny’s longtime promoter who was already doing his arena tour who’d been booking him since he played 1,000-people club shows back in 2017 and 2018 in cites like New York and Miami. Cardenas brought in Live Nation, which has vast experience with stadiums, as his partners in the U.S.
In the U.S., the biggest challenge was not the prospect of selling out stadiums; Lewis felt very confident that wouldn’t be an issue if they stuck to those markets where Bunny had strongest demand. Scheduling was the problem, given that the tour was being booked just 15-16 months in advance, and MLB and NFL teams already had dates locked down. Assad and Bunny were also adamant that he not play more than two dates per city, so fans wouldn’t think that one market was preferred over another.
In the end, they settled on 15 U.S. cities and tickets went on sale before the tour design even was finalized, something tour producer Roly Garbalosa says is unusual. “Normally for a tour this big, you design, then look for the markets. Not here. Here we just went.”
Bad Bunny hit road Aug. 5 with a massive production hauling his massive “beach,” palm trees, LED screens and of course, the contraptions needed for his flying stunt, where he gets on top of a small island with a palm tree and soars over the crowd, singing all the way. While a typical tour will take about 20 cargo trucks, Bunny traveled with up to 36, carrying 100 tons of equipment. While CMN and Live Nation promoted the entire U.S. trek of the tour, in Latin America CMN took over seven concerts. The others went to independent promoters Assad has long worked with in the past, including Bizarro in Chile, Westwood Entertainment in Mexico and Dale Play in Argentina.
“Noah has a code of honor,” says Fede Lauria, the founder of Dale Play, who promoted Bunny’s two shows at Velez Sarsfield Stadium in Buenos Aires. “I promoted Benito’s first tour here in Luna Park in 2016. This time, it’s been the biggest production I’ve ever done. We sold 90,000 tickets, but I would have sold 900,000. We sold out in half an hour. I had over a million people in virtual line trying to buy tickets.”
For Latin America, Bunny again insisted on his no more than two shows per city rule. He also insisted that his show had to be exactly the same as what his fans saw in the U.S. This is easier said than done. Usually, promoters will pay artists their guarantee plus the cost of local production. But Bunny couldn’t rely on local production for such a technically complicated show. Many countries and venues simply don’t have the equipment necessary to replicated what can be done in state-of-the-art stadiums in the U.S. And many local promoters can’t afford to pay the costs of importing production and still break even, especially in countries that are suffering from massive devaluation. So, instead of modifying the show to meet local production standards, “He took all his equipment, put it inside a 747 jet, and took it with him,” Cárdenas says. “And he paid for that.”
Even then, says Garbalosa, adjustments were required. Bunny’s flying stunt in the U.S. is done commonly by hitching the equipment to the lights and towers. Because many stadiums in Latin America don’t have that capability, “We had to rent cranes and place them outside the stadium,” says Garbalosa.
Bunny traveled through Latin America with the 747 cargo jet for his more than 100 tons of equipment; a passenger jet for his 130-plus crew and personnel and a private jet for himself and his immediate five-to-six-person team. And he paid those costs.
“No other artist does that,” says Cárdenas.” I will say it in plain English: He’s the only artist who invests that kind of money in his production in Latin America.”
What that decision translates to is less money for the artist. Shows in the U.S. make more because ticket prices are higher and the cost of production, in this case, can be far less.
“But he said, my fans deserve the same show,” Cárdenas says. “It will pay off in the future.”
In some ways, you could say it’s already paying off.
“I’ve been doing this for 30 years,” adds Garbalosa, the production manager. “I’ve never worked with an artist that creates this kind of frenzy.”
From career milestones and new music releases to major announcements and more, Billboard editors highlight the latest news buzz in Latin music every week. Here’s what happened in the Latin music world this week.
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Maestro Cares 2022 Gala
This week, the Maestro Cares Foundation, co-founded by Marc Anthony and Henry Cárdenas, hosted the ninth annual “Changing Live, Building Dreams” gala at Cipriani Wall Street in New York City, hosting more than 600 guests, including J Balvin, Ariana Debose, key industry leaders and more. This year’s event, co-hosted by Ana Navarro and Cesar Milan, recognized five key personalities in the music, sports and business fields: Gloria and Emilio Estefan with the community hero award, Mariano Rivera with the all-star award, Jeff Hoffman with the courage to care award, and Eduardo Trujillo with the corporate social responsibility award. Proceeds from the fundraiser will provide essential support for Maestro Cares, which is a nonprofit organization established to improve the quality of life of disadvantaged children and communities in Latin America and the U.S.
The Good Bunny Foundation
The Good Bunny Foundation (a nonprofit organization founded by Bad Bunny) will host its “Bonita Tradición” gift drive, where they will give out 25,000 gifts related to the arts (sports equipment, instruments, paint materials and more) to children in Puerto Rico. The event will include many stations serving traditional food and drinks, as well as live music and the opportunity to snap a photo with Los Reyes Magos. “We want to close the year in the best way, bringing a bit of joy, hope, and love to the children with an event that reflects the best of this time with a very special emphasis on the traditions of our island,” said José “Che Juan ” Torres, director of the Good Bunny Foundation, in a press statement. “Bonita Tradicion” will take place at 8 a.m. local time on Dec. 27 at Coliseo Roberto Clemente in San Juan.
Karol G’s Film Venture
After her successful Strip Love Tour, Karol G picks up the mic for a new venture — this time, lending her voice for the Puss in Boots: The Last Wish movie soundtrack in a song dubbed “La Vida es Una.” In true Karol fashion, the Ovy on the Drums-produced track is a vibrant reggaeton with a flair of flamenco guitars in honor of Spanish actor Antonio Banderas, who returns as the voice of the notorious PiB. The animated film, which comes 11 years after the premiere of the 2011 film Puss in Boots, will be available in theaters this Christmas.
Love Is in the Air
A lot of love is in the air as of late, starting with Becky G who just got engaged to her longtime boyfriend, soccer star Sebastian Lletget. The couple, who began dating in 2016, shared the news on social media with a sweet photo carousel. “Our spot forever,” they captioned the joint post.
Meanwhile, Puerto Rican artist Jay Wheeler and his girlfriend, singer-songwriter, Zhamira Zambrano, celebrated their one-year anniversary this week. “You are the best thing that has happened in my life, princess, thank you for being part of my happiness and for giving me peace in this world that is so heavy and full of so much damage,” Wheeler expressed. The couple got engaged in the summer.
Argentinean Artists Celebrating
A wave of Argentinean music stars are celebrating after a very suspenseful match between Netherlands and Argentina at the 2022 FIFA World Cup. After a nearly three-hour game, Lionel Messi and the team have qualified for the semifinals with a 4-3 win in the penalty kicks round. On social media, many artists shared their excitement, including Fito Paez. Others, like Lali Esposito and Bizarrap, celebrated at the actual game in Qatar. And artists such as Maluma, Bad Bunny and Daddy Yankee, were spotted supporting the game.
This week, there were multiple Latin music releases, including brand-new albums by Anuel AA and Maria Becerra.
First, we’ll talk about the Puerto Rican artist’s ambitious 33-track sixth studio album. It begins characteristically, with a “bandit musical” opener he dubs “BRRR” that features a hypnotic Mobb Deep sample (“Shook Ones, Pt. II”) as he raps about the sinister side of the hustle and grind culture. He takes a joyride through maximalist EDM (“Vibra”) alongside David Guetta, and then slashes it up with the introspective “Monstruo.” Some key collaborations on the set include tracks with and Bryant Myers, De La Ghetto, his boo Yailin la Mas Viral, DaBaby, and others.
Meanwhile, Becerra showcases Argentine pride in her new 13-song album, La Nena de Argentina, which explores different genres. She zigzags from a romantic bachata on “Hasta Que La Muerte Nos Separe” to a cumbia and reggaetón fusion in “Adiós” to an experimental trap blend with dembow in “Mandamientos.” About her set, Becerra said: “I wanted to be myself, María. This reflects my love of making music and my fascination with all genres of music. In these songs, my two sides are exposed; the wilder side — full of sexual tension and seduction — and my sensitive side, where I’m emotional and dramatic.”
Other new releases include Grupo Frontera and Carin Leon‘s collaboration “Que Vuelvas,” Natti Natasha‘s banger “To’ Esto Es Tuyo” and Prince Royce‘s new bachata track “Otra Vez.”
Which release is your favorite? Cast your vote — or enter in your favorite selection — in the poll below.
Google’s Year in Search list has been released, spotlighting some of the most-searched lyrics, phrases, recipes and more of 2022. Many Latinos in the U.S. were not only scouting for Bad Bunny lyrics and “where is Rosalia from?,” but they were also curious about Carin León’s “La boda del Huitlacoche.”
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“¿Qué es un Huitlacoche?” (what is Huitlacoche) is among the top 10 most-searched terms of this year, following “¿Qué es monotonía?” in reference to Shakira and Ozuna’s heartfelt bachata.
According to León, “huitlacoche” is corn fungus, but there’s also a bird called Cuitlacoche, which he attributes to his song. “Basically the story is that two birds get married: The Huitlacoche and the Urraca,” León’s representative tells Billboard.
“La boda del Huitlacoche” is a famed Mexican song first recorded in 1998 by Los Broncos de Reynosa. León dropped his playful version alongside the Hermosillo-based group Los Honorables in December 2020. This year, the song picked up virality on social media, earning more than 250K video creations on TikTok.
“This song is well known in Culiacan, Sinaloa, and it’s more like Regionalism,” León previously said on Live With Billboard Latin. “Hence that not-so-polished live sound — we wanted to give it a more folkloric sound to remember our culture.”
In July, the track reached the top 10 on the Regional Mexican Airplay chart, skyrocketing with a 21-9 sprint. The song also earned the Greatest Gainer honor assisted by a 97% increase in audience impressions, to 4.37 million, and debuted at No. 27 on Latin Airplay, becoming Leon’s highest debut among seven chart entries.
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.
Anuel AA, Las Leyendas Nunca Mueren 2 (Real Hasta La Muerte)
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Building up the momentum with the second series of his Las Leyendas Nunca Mueren opus, Anuel AA forges an ambitious 33-track sixth studio album with his follow-up LLNM2. It begins characteristically, with a “bandit musical” opener he dubs “BRRR” that features a hypnotic Mobb Deep sample (“Shook Ones, Pt. II”) as he raps about the sinister side of the hustle and grind culture. He takes a joyride through maximalist EDM (“Vibra”) alongside David Guetta, and then slashes it up with the introspective “Monstruo.”
“Sufro,” which begins with a Gilberto Santa Rosa sample, hits hard with a me-against-the-world vibe as he joins forces with Kodak Black and Ñengo Flow. The Puerto Rican trap star battles his demons as much as he revels in tropical-styled debauchery (“Borracha & Loca,” “Wakanada”). While the record honors some great musical legends, it also embraces key players of the urban and urbano scene: Bryant Myers, De La Ghetto, his boo Yailin la Mas Viral, DaBaby, and others.) Ultimately, the grim rapper drills down on the Latin trap that made him a star in the first place, while never being constrained to a singular style or beat. — ISABELA RAYGOZA
Maria Becerra, La Nena de Argentina (300 Entertainment)
Maria Becerra flaunts her Argentinean pride in her sophomore album out today that follows the Latin Grammy-nominated Animal. The 13-song tracklist explores different genres, traveling from a romantic bachata on “Hasta Que La Muerte Nos Separe” to a cumbia and reggaetón fusion in “Adiós” to an experimental trap blend with dembow in “Mandamientos.” The set is named after Becerra alter-ego La Nena de Argentina and captures her chameleonic and unapologetic personality. Meanwhile, Becerra recruits her sister Ailín for the background vocals on “Pídelo.”
“I wanted to be myself, María — La Nena de Argentina — and go with the flow,” she explains of the set in a press release. “This reflects my love of making music and my fascination with all genres of music. In these songs, my two sides are exposed; the wilder side — full of sexual tension and seduction — and my sensitive side, where I’m emotional and dramatic.” — INGRID FAJARDO
Natti Natasha, “To’ Esto Es Tuyo” (Pina Records/Sony Music Latin)
Natti Natasha is celebrating her upcoming 36th birthday with a new certified party banger called “To’ Esto Es Tuyo,” which loosely translates to “all this is yours.” Produced by renowned Latin hitmakers Hear This Music, the artist brings the best of her country’s musical essence in a vibrant bachata-meets-dembow-meets-electronic dance track. In the lyrics, she’s flirtatious as ever on a chorus that offers, “Papi if you elevate me, you won’t bring me down, all of this is yours.” She oozes sensuality in the song’s attractive music video, directed by Chacha. — JESSICA ROIZ
Paloma Mami, Pailita & El Jordan 23, “Síntomas de Soltera” (Sony Music Latin)
“Síntomas de Soltera” marks a new era for Paloma Mami, who’s stepped back from the spotlight for nearly a year. Her first track since releasing “Cosas de la Vida” in October 2021, this new song is simply about living life whether you’re single or not. An infectious reggaetón beat powers the song from beginning to end, which features Chilean rappers Pailita and El Jordan 23. “The way I’ve approached my music right now is very different than it was two years ago,” she explains. “I’m experimenting a bit with this new album, with the lyrics and the flow but it still feels very me and very Mami.” “Síntomas” is the first single off her upcoming album due next year. — GRISELDA FLORES
Carin León x Grupo Frontera, “Que Vuelvas” (BorderKid Records/Sony Music Latin)
Carin León wasted no time to collaborate with the viral sensation Grupo Frontera (known for their banger on TikTok, “No Se Va”). On a mission of stepping away from covers, the Texas-based group releases a new original single dubbed “Que Vuelvas,” where León interlaces his signature raspy vocals with Payo’s deeper ones. Penned and produced by Latin Grammy winner Edgar Barrera, “Que Vuelvas” is a suave Tejano track about yearning for a lost love. “You should be here where I love you but on the contrary, you’re over there where I miss you/ I want to ask you to come back so that my soul returns to my body,” goes the romantic-yet-nostalgic chorus. The music video was filmed in a live format in Las Vegas during Latin Grammys week. — J.R.
Prince Royce “Otra Vez” (Smiling Prince Music/Sony Music Latin)
Prince Royce is celebrating the end of his Classic Tour — where he celebrated his decade-long career — with a new track that’s poised to become a bachata anthem. The lilting “Otra Vez” thrives on a subtle bachata beat that makes it almost soothing and therapeutic to listen to. Of course, Royce’s velvety vocals shine as he sings about falling blindly in love again, which he’s willing to do even if that means he’ll get hurt again, continuing a vicious love cycle caused by past relationships.— G.F.
Rawayana & Spreadlof feat. Fernando Palomo, “Soy tu papá” (Brocoli Records)
Soaked in tropical dance sunshine, “Soy Tu Papá” simply sparkles. The single, by Venezuelan indie fusion band Rawayana, features rapper Spreadlof, and it brings forward a feel-good vibe that harkens back to ‘90s Latin pop with a dash of bossa nova-style choruses. The release comes two years after their 2021 album, Cuando Los Acéfalos Predominan, and the song is about the friendly rivalries that arise with the FIFA video game. — I.R.
Caloncho, Bomba Estéreo, “Regalo” (Universal Music Group México)
Caloncho and Bomba Estereo present the official music video of “Regalo,” part of Caloncho’s Buen Pez deluxe album. As in everything that the Sonora-based artist delivers with his music, this unique single tells of the powerful meaning of giving. With tropical roots, a calypso fusion, and synth melodies (true to Bomba’s style), this song is a whole vibe, or as Caloncho describes it himself, “a victorious circle of affection.” The lyrics narrate the importance of giving what you have to offer and waiting for what life has in return: “This, you know, I’m not making anything up/ It’s like sacred geometry, and what you give one day will return,” the artist sings in the first verse. — I.F.
Brray, RaiNao, “Tú y Yo” (UMG Recordings)
Two of Puerto Rico’s hottest rising acts, Brray and RaiNao, have joined forces on “Tú y Yo.” To promote the track, the pair channeled the classic Monchy y Alexandra “Hoja en Blanco” cover photo — but very far from being a bachata track, the artists released a sultry and captivating house track produced by PLYBCK (marking Brray’s first-ever EDM track). Co-written by Mora, RaiNao, and others, “Tú y Yo” highlights two people who like to be together but also enjoy their liberty. A neon-drenched music video by Dad Filmed It shows both artists enjoying their chemistry at the club. — J.R.
Alejo X CNCO, “Estrella” (Jungl/ONErpm)
They don’t call him “El Favorito de las Nenas” for nothing, and to make the ladies swoon even more, Puerto Rican newcomer Alejo has recruited Latin boy band CNCO for their first-ever collaborative effort. The lyrics, penned by both artists, talk about the mutual attraction that exists between two people. “I saw you at the club dancing, our eyes connected,” says part of the track, which is backed by an infectious urban-pop melody and EDM beats perfect for a night of perreo at the club. — I.F.
Besides gifting fans with her powerhouse vocals in top Billboard hits such as “De Contrabando,” “Inolvidable,” and “Ya Lo Se,” the late Jenni Rivera had a passion for fashion. Whether it be on the stage or on a red carpet, La Diva de la Banda was hard to miss with her iconic looks.
When people think of Jenni, they automatically envision the prideful Mexican superstar in her long, colorful gowns with beautiful floral embroideries and matching shawls. Others picture the laid-back Long Beach native wearing a cozy jogger set and baseball cap. Oftentimes, she dressed sassy on stage with leather jackets, cowboy hats, and miniskirts.
Ten years after her sudden death in a plane crash in Mexico on Dec. 9, 2012, Rivera’s legacy continues to shine in her very own Jenni Rivera Fashion store that re-opened in November 2022 at the Brea Mall in Orange County, Calif. The store offers merch that includes T-shirts, memorabilia jackets, and more, running from size small to 2XL, and ranging from $19.99 to $99.99. The Rivera family hopes to expand to an online store for fans.
“She’s come a long way from the first store that was opened in 2013, and it is a very proud moment for us to be able to achieve this milestone to honor our mother’s legacy,” Jacqie Rivera said in a press statement. “I bet she is smiling down remembering the days she used to sell CDs at the swap meets, and now she has a whole store in a prime location honoring her music career and legacy.”
Below, we celebrate Rivera’s legacy with some of her iconic outfits.
Chiquis has released a mariachi version of her debut single “Paloma Blanca” in honor of her mother Jenni Rivera’s death 10 years ago, on Dec. 9, 2012. The new interpretation comes eight years after the original banda track debuted in 2014.
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Accompanied by the all-female Mariachi Divas, the Mexican-American singer belts out a heartfelt love letter to La Diva de la Banda, expressing how much she misses her, what she would’ve changed about their mother-daughter relationship, and her biggest life lessons learned.
The song was produced by Cindy Shea, Ulises Lozano El Licenciado and Janney “Chiquis” Marin, and co-written by Marin and Claudia Brant.
“When ‘Paloma Blanca’ was originally released, I wasn’t entirely happy with the way it was recorded. I have always wanted to re-release it,” Chiquis said in a press statement. “My vocals and delivery have greatly evolved over these last eight years and I feel better than ever about my music so I decided to record it alongside Mariachi Divas. It will always be dedicated to my mom who passed away ten years ago but I also wanted to re-record it for her fans as well as mine.”
Bringing the emotional lyrics to life, a music video helmed by director Oscar Eden shows Chiquis performing the song dressed as an angel as well as never-before-seen footage of her mother.
The sweet tribute comes a month after Chiquis received her first-ever Grammy nomination for best regional Mexican album and her second Latin Grammy win in the best banda album category with Abeja Reina.
Watch the music video for “Paloma Blanca” below:
