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Rauw Alejandro is taking his 2025 Cosa Nuestra world tour to Europe, unveiling his visit across 11 cities including Paris, Amsterdam, Milan, Madrid and more. The European leg of the tour, produced by Live Nation, kicks off June 17 at The O2 in London, and will wrap on July 11 at the Palau Sant Jordi […]
Shakira celebrated her 48th birthday at the 2025 Grammys held at the Crypto.com Arena in Los Angeles on Sunday (Feb. 2), where she won a Grammy award and performed live. Gloria Estefan had the honor to introduce the “global superstar … the one and only, the incomparable, Shakira,” prior to a short tribute video in which the […]
Shakira won her fourth Grammy award on Sunday (Feb. 2) — the day of her birthday — for Las Mujeres Ya No Lloran, which took home the trophy for best Latin pop album. Jennifer Lopez presented the award to Shakira, who took the stage after hugging her two children. “Wow, this is incredible, thank you […]
Bad Bunny’s Debí Tirar Más Fotos develops a third straight week at No. 1 on the Billboard 200 albums chart (dated Feb. 8), earning 117,000 equivalent album units in the U.S. in the week ending Jan. 30 (down 22%), according to Luminate.
Also in the top 10 of the latest Billboard 200, new albums from Teddy Swims, Kane Brown and Central Cee all debut.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new, Feb. 8, 2025-dated chart will be posted in full on Billboard‘s website on Tuesday (Feb. 4). For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
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Of the 117,000 equivalent album units earned by Debí Tirar Más Fotos in the week ending Jan. 30, SEA units comprise 114,000 (down 22%; equaling 156.18 million on-demand official streams of the set’s songs; it’s No. 1 for a fourth week on Top Streaming Albums), album sales comprise 2,500 (down 45%; falling 11-48 on Top Album Sales) and TEA units comprise 500 (down 31%).
SZA’s former leader SOS is a non-mover at No. 2 on the Billboard 200 (87,000 equivalent album units; down 2%) and Kendrick Lamar’s chart-topping GNX rises 4-3 (60,000; up 1%).
Teddy Swims scores his highest-charting album and first top 10, as I’ve Tried Everything But Therapy (Part 2) debuts at No. 4. The set earned 50,000 equivalent album units, with album sales comprising 26,000 (it debuts at No. 1 on Top Album Sales), SEA units comprising 23,000 (equaling 30.38 million on-demand official streams of the set’s songs; it debuts at No. 17 on Top Streaming Albums) and TEA units totaling 1,000.
The album’s launch of 50,000 marks Swims’ biggest week yet by units earned, while his sales bow of 26,000 is also his best sales week ever. Plus, his streaming start (30.38 million) marks his best streaming week for an album.
The LP is the follow-up to the singer-songwriter’s I’ve Tried Everything But Therapy (Part 1), which spawned 2024’s year-end No. 1 on the Billboard Hot 100, “Lose Control.” That set topped out at No. 17 but has spent 69 weeks on the list (it slips 21-25 on the latest chart).
The new album was preceded by a pair of charting hits on the weekly Hot 100: “Bad Dreams” and “Are You Even Real” (the latter with Giveon).
The first-week sales of the new album were bolstered by its availability across eight vinyl variants (including a signed edition) and two CD variants (including a signed edition).
Morgan Wallen’s former leader One Thing at a Time climbs 8-5 on the latest Billboard 200 (41,000 equivalent album units; up 9%) while Sabrina Carpenter’s chart-topping Short n’ Sweet stays at No. 6 (just over 40,000; down 7%).
Kane Brown achieves his fifth top 10-charting album on the Billboard 200, as The High Road rides in at No. 7 with 40,000 equivalent album units earned. Of that sum, SEA units comprise 20,000 (equaling 26.76 million on-demand official streams of the set’s songs; it debuts at No. 21 on Top Streaming Albums), album sales comprise 19,000 (it debuts at No. 2 on Top Album Sales) and TEA units comprise 1,000.
The High Road was preceded by four entries on the Hot Country Songs chart: “I Can Feel It,” “Miles On It” (with Marshmello), “Backseat Driver” and “Gorgeous.”
The album’s first-week sales were aided by its availability across nine vinyl variants (including a signed edition), four CD variants (including a signed edition), and three digital download variants (a standard version, plus two with alternative cover art).
Gracie Abrams’ The Secret of Us falls 5-8 on the latest Billboard 200, with 37,000 equivalent album units earned (down 28%).
Rapper Central Cee scores his first top 10, with his first charting album, as Can’t Rush Greatness bows at No. 9 with nearly 37,000 equivalent album units earned. SEA units comprise 27,000 of that sum (equaling 36.91 million on-demand official streams of the set’s songs; it debuts at No. 14 on Top Streaming Albums), album sales comprise 10,000 (debuting at No. 5 on Top Album Sales) and TEA units comprise a negligible sum.
The album was preceded by two charting hits on both Hot Rap Songs and the all-genre Hot 100. On the former, “BAND4BAND” (with Lil Baby) hit No. 4, while “GBP” (featuring 21 Savage) has reached No. 16. On the Hot 100, the tracks hit Nos. 17 and 92, respectively, through the most recently published chart, dated Feb. 1.
Central Cee, who hails from London, scored his first U.S. chart hit with “Doja,” reaching No. 36 on Hot R&B/Hip-Hop Songs in 2022. He’s charted a total of seven hits on that ranking, including collabs with Drake, J. Cole and Ice Spice.
Can’t Rush Greatness debuted at No. 1 on the U.K. Official Albums Chart (his second leader there). Central Cee has notched eight top 10-charting hits on the U.K. Official Singles Chart, including the No. 1 “Sprinter” (with Dave). He also recently nabbed three BRIT Award nominations, including artist of the year.
Closing out the latest top 10 on the Billboard 200 is Billie Eilish’s Hit Me Hard and Soft, slipping 9-10 with 36,000 equivalent album units earned (down 2%).
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
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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Fonseca Surprises Newlywed Couple in Colombia
Colombian singer-songwriter Fonseca serenaded a newlywed couple in Colombia with this song “Qué Suerte Tenerte.” The surprise was captured on video, where he explains how and where he met the bride.
“I met Isabela about 10 days ago on a flight to Bogotá,” Fonseca explains in the clip. “She came up to me, told me that my music meant a lot to her and said ‘I’m getting married in eight days and your song ‘Qué Suerte Tenerte’ is going to be my official wedding song, the one I’m going to dance to.’ I know it’s going to be an unforgettable and very special moment because since we wrote this song with Elena Rose we always dreamed of a situation like this, not only for them, but for us it’s going to be unforgettable and very special. So, here we go.”
Watch the special moment below:
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Peso Pluma Performs at FireAid Concert
Mexican star Peso Pluma was among the many artists who performed at the FireAid benefit concert in Los Angeles on Thursday (Jan. 30). The música Mexicana hitmaker performed “La Bebe,” his reggaetón hit with Yng Lvcas. He took the stage at the newly opened Inuit Dome wearing an all-white ensemble and an L.A. blue baseball cap.
Jenni Rivera Love Foundation Gives Back
The Jenni Rivera Love Foundation hosted a charity event last week in Santa Ana, Calif., to help raise funds to support families affected by the wildfires in Los Angeles. Jenni Rivera’s children, Jacqie Rivera, Johnny López and Jenicka López, attended the event in the spirit of solidarity.
“Immediate help is essential during times like these,” Jacqie said in a statement. “We’re here to carry on our mother’s work, as she was deeply committed to her community. This event is a way to honor her legacy and give back to the people she cared about so much.”
Pitbull Gives Shout Out to SLAM! Students
During his ‘Vegas After Dark’ concert at Fontainebleau Las Vegas on Jan. 25, Pitbull gave a special shout out to the students of Sports Leadership and Management of Nevada (SLAM! Nevada), a charter school founded by Pitbull and supported by the SLAM! Foundation. The hitmaker highlighted SLAM! Nevada’s mission to empower future leaders and his personal connection to the school.
“We’re up to 12 schools around the United States of America, there’s one right here in Las Vegas and I want to tell them congratulations on doing such an amazing job and being one of the top schools in the state of Nevada,” he expressed while on stage.
This week, Billboard’s New Music Latin roundup and playlist — curated by Billboard Latin and Billboard Español editors — features fresh new music from artists including collaborations by Trueno and Feid, and Bomba Estéreo with Rawayana, as well as exciting albums from Christian Nodal, Pedro Capó, and Joaquina.
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Nodal kicked off 2025 with the second EP from his “PA’L CORA” series. The six-track PA’L CORA EP.02 further solidifies his distinct mariacheño sound — a subgenre fusing mariachi’s strings and horns with the norteño accordion — with other rhythms such as tropical (“Contigo al Cielo”) and dance (“Botox en el Cora”). Vulnerable yet protecting his heart, Nodal stamps personal experiences into themes of love, loss, and redemption in the lyrics.
Meanwhile, Capó’s new album, La Carretera, is feel-good, reflective, and charged with life lessons. Sonically, the 14-track set is powered by pop-rock melodies, soft ballads, and even a country-tinged cumbia as heard in the Carín León-assisted “Existo”—born during “Making the Hit, Live!” panel at the 2023 Billboard Latin Music Week.
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“This is the most honest and comfortable album I’ve ever created,” Capó said in a press statement. “Life is a journey, and like any road, it has its turns, ups, downs, good and bad times. The highway reminds us that it is not about the destination, but about the path we travel. Every experience, every step, defines us.”
Other new releases this week include Elena Rose and Morat’s “Un Beso Menos,” Daddy Yankee’s “En El Desierto,” and Jerry Rivera’s “Volver a Enamorarnos,” to name a few. Who should win this week? Give these new releases a spin and vote for your favorite new Latin music release here.
In our new “The Stars Behind the Stars” franchise, Billboard Latin and Billboard Español editors share stories that have yet to be told, directly from those who aren’t often in front of the spotlight. Think “todo lo que no se ve detrás de cámaras,” or “everything that happens behind the scenes.” These unsung heroes are essential to an artist’s team and its foundation. Today, we highlight Marlene Maseda, a Miami-based music publicist whose agency Fusion 4 Media celebrates 10 years this month.
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In the early 2000s, Marlene Maseda was one of the first publicists to work the reggaetón genre, when she was independently hired by the Machete Music label to represent its roster of artists — which included Don Omar, Hector El Father, Magnate y Valentino, Glory, and Luny Tunes, among others.
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“I was pretty much the first publicist who worked in the urban market,” she tells Billboard. “I had it tough, because at the time, none of the media outlets wanted to support urban music. They didn’t understand it. However, I was the first publicist putting these artists on popular shows like Sabado Gigante and Despierta America.”
Today, she’s the founder and COO of Fusion 4 Media, a publicity and marketing agency based in Miami, Fla. that’s celebrating 10 years since its launch this month. Her current roster includes Ivy Queen, Baby Rasta y Gringo, Pimpinela, J Alvarez, Paloma San Basilio and former Grupo Mania member Oscarito.
As a Cuban-American-Lebanese businesswoman, she also takes a lot of credit for supporting and helping shape the Cuban music scene in Miami. Most notably is her former client Osmani García, whom she worked with for almost 10 years. García, known as one of the pioneers of Cubaton (or Cuban reggaetón), gained international success via Pitbull’s “El Taxi” in collaboration with Sensato and Lil Jon. The song peaked No. 13 on the Hot Latin Songs chart in 2015.
But prior to working as a publicist, Maseda, 51, worked at concert venues such as the James L. Knight Center, where she booked shows for Tina Turner, Sting, Whitney Houston and Stevie Wonder. In her early 20s, she landed her “dream job” at Sony Discos, where she worked closely with music executives Alba “Albita” Eagan and Jorge Pino. And for eight years, she ventured into television, as part of the booking and production team of Alexis Valdes’ Esta Noche Tonight show.
“It hasn’t been easy, it’s not a walk in the park, but it’s worth it,” she says of her career today. Below, learn more about this month’s “Star Behind the Stars,” our first of 2025.
Ivy Queen and Marlene Maseda
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After so many years working in touring, record labels, and television, what made you want to branch out to build your own PR agency?
I feel that I had a good reputation and that people liked me. I had gained a lot of contacts and built many relationships when I worked on the Alexis Valdes show. It was the No. 1 show in the industry at the time. We had the biggest artists go to the show, but at the same time, I wanted to be on the other side of that — I wanted to be the one who takes the artists to these shows and sees their dreams come true. I felt that it was the moment. There wasn’t a certain time, but it was a feeling. I felt that I was ready, and I’m glad that I took the chance. It’s been 10 years of maintaining myself and proving that I could do it. It hasn’t been a walk in the park, but it’s worth it.
You’ve worked with notable artists such as Ivy Queen, Justin Quiles, El Tri, and Pimpinela, but you’re also known for representing a lot of the artists in the Cubaton and Reparto music scene.
We [Fusion 4 Media] were the first ones who started working with Cuban artists, because a lot of people didn’t want to get involved with their genre. Divan, Osmani, Los Van Van, Chacal y Yakarte — and then it became a trend. I feel that I take chances and it pays off. Look at the movement today. Now I’m working with Bebeshito, one of the hottest Cuban acts right now, who’s doing amazing things.
Do you face any challenges as a publicist for Cuban stars? And what change would you like to see in the movement?
Yes! Cuban artists are very misunderstood. They come from a country that’s oppressed. They don’t have access as we do to social media. They have a different mentality. In Cuba, you can be the No. 1 artist, but when you come to Miami, you’re one in a million. It’s a culture shock. I feel that someone needs to open the doors and give them a chance.
There’s definitely a market for it. I’ve never seen the craziness as I do with Bebeshito at his shows. The Cuban community sees it, he’s made an impact. The media is very powerful, and with the media support of these Cuban artists, a lot of great things can happen and a lot of doors will open for them. That’s what we need more of, the media’s respect.
What would you say is your proudest career moment until now?
Taking these Cuban artists to television networks like Telemundo and Univision for the first time. I’m making their dream come true. Another proud moment was securing Osmani Garcia a spot to sing at Times Square in New York City during New Year’s Eve in 2023. He was on live television on Telemundo, performing right when the ball dropped. That was a huge moment for me, because I’ve worked his career since he came to Miami — and to see someone who’s worked hard and perform at an international stage was incredible for me.
Looking back at your career in the Latin music industry, what do you owe your success to?
I had the best mentors. I had the people that I needed to have by my side to help me excel in this career. They saw something special in me, they invested their time in me. The most important thing is taking advice from the people you admire and who you know want to see you grow. I’m so proud that as a woman in the industry, I did everything with my own merit. Everybody is different and has their own way of getting things done, but from day one, I knew that I’m intelligent, focused, and wanted to leave a mark.
Marlene Maseda
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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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Astropical (Bomba Estéreo & Rawayana), “Me Pasa (Piscis)” (Sony Music Latin)
Bomba Estéreo and Rawayana are two of the most beloved contemporary bands from Colombia and Venezuela. Now together, as the supergroup Astropical, they deliver an explosion of flavor with “Me Pasa (Pisces)” – the first single from a project that combines the worlds of astrology and tropical rhythms. The song, which fuses Afrobeats with the sounds of the Colombian gaita flute and a nostalgic guitar line, makes references to the Colombian champeta, the Venezuelan arepas and songs by Juan Luis Guerra when talking about an irresistible attraction between two people who are ready to start a journey together.
The voices of Li Saumet of Bomba and Beto Montenegro of Rawa shine separately, but create magic when they meet in the infectious chorus: “What’s wrong with me? What’s wrong with me?/ The floor is moving and there is no one in the house/ My heart beats and that doesn’t happen to me/ But what do I care?” It’s a joyous and promising letter of introduction to the new supergroup that we didn’t know we needed. — SIGAL RATNER-ARIAS
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Elena Rose & Morat, “Un Beso Menos” (Kira Records/Warner Music Latina)
Elena Rose’s knack to craft love songs shines in her latest single, “Un Beso Menos,” with Colombian band Morat adding another layer of emotional depth to the sentimental song. In the heartfelt pop ballad, Elena Rose and Morat narrate a relationship where every kiss feels like a bittersweet goodbye, and time together is always too short. “I can’t help but think that every time we see each other, it’s not one more kiss, it’s one less/ So don’t let me go tonight,” they sing with pathos. — GRISELDA FLORES
Daniel Sabater, “danito” (Sony Music Entertainment Spain)
Emerging Spanish pop artist Daniel Sabater delivers a deeply emotional ballad with “danito,” a piano piece that evokes nostalgia and mourning for a lost love. With a delicate, cracked voice and a performance full of vulnerability, the singer-songwriter reflects on the longing for who he used to be, while saying goodbye to his former self, who lived tied to that relationship. The music video adds an even more intimate dimension, showing the artist performing the song in a single take. — LUISA CALLE
Trueno + Feid, “Cruz” (Sur Capital Records/Sony Music Latin)
In a first collaborative effort, Trueno and Feid deliver “Cruz,” which translates to “cross” in English. Effortlessly lacing the Argentine and Colombian lingo, the two artists sing to an ex who they miss but has moved on: “Baby your eyes are my light and my sins are bigger than the cross/ That’s why I go to where you are.” Notably is the track’s G-funk beat helmed by producers Tatool and LukasBL. “Cruz” fuses rap with funk, deep bass, snare drums, and groovy synthesizers, bringing to 2025 the g-funk made popular in the ‘90s by artists such as Snoop Dogg and Dr. Dre. — JESSICA ROIZ
Meme del Real, “Princesa” (DOCEMIL Music/HYBE Latin America)
Meme del Real, famously known as a key member of Café Tacvba, launches his solo debut with “Princesa,” under Hybe Latin America’s new label, DOCEMIL Music. The multifaceted singer-songwriter and multi-instrumentalist channels the serenity of the natural environment into his music, establishing an intimate connection between himself and his surroundings. The song starts as a soft ballad enriched with orchestral and harp elements, then seamlessly transitions into vibrant synth-pop. This single is the first from his upcoming album, and it heralds his personal rebirth as a vocalist.
“The opportunity to have such a close relationship with nature provided me with a different perspective on the ecology of systems; not only natural, but also how I relate to my family, my friends, and the environment,” Meme says in a press release. With production led by the legendary Gustavo Santaolalla, “Princesa” solidifies itself as an exceptional debut in Meme’s solo career. — ISABELA RAYGOZA
Check out more Latin recommendations this week below:
Latin Grammy-winning DJ and producer Michaël Brun has been churning out bangers for over a decade — but his latest single shifts him into history-making territory.
Out Friday (Jan. 31), “Touchdown” — the Haitian star’s new anthem – features Billboard Hot 100 chart-topper J Balvin, Jamaican dancehall legends Bounty Killer and Beenie Man, and rising Jamaican singer-songwriter Tasan, the daughter of reggae legend Papa San. Izy Beats, who helmed Koffee’s 2018 crossover hit “Toast,” helped co-produce.
A celebratory anthem, tailor-made for major sports victories, “Touchdown” beautifully marries the already closely intertwined genres of dancehall and reggaetón, using their shared DNA to combine contemporary Latin superstars with dancehall giants of eras past. J Balvin first premiered the track on ESPN as the network’s Monday Night Football ambassador, marking a rare usage of Caribbean music on the iconic sports brand’s broadcast. The cross-genre collaboration served as the official promotional anthem for the 2025 NFL Wild Card Weekend games.
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“Touchdown” previews a busy year for Brün that includes his first-ever arena show. On June 28, Brün will mount his BAYO! Festival at Brooklyn’s Barclays Center. The festival’s steady growth over the past half-decade is just one segment of Brün’s efforts to uplift Caribbean music around the world.
“I actually was part of the [Grammy] committee for best global music performance,” he exclusively tells Billboard hours before “Touchdown” hits DSPs. “At Spotify, I curate the ‘Haitian Heat’ playlist and help them with other Caribbean stuff.”
Last year, Brun prioritized collaborations, joining forces with artists spanning genres and generations, including Keyon Harrold (“Playa Noche”), Charly Black (“Jessica”) and John Legend (“Safe”). With an ever-growing festival and new music on the horizon, Michaël Brun caught up with Billboard to break down the making of “Touchdown,” his favorite Haitian artists and who he thinks will win the Grammy for best reggae album on Sunday (Feb. 2).
How did “Touchdown” come together?
This process has taken a couple of years. I’ve known J Balvin for years, and we’ve worked on a lot of projects together. My first platinum records and a lot of my No. 1s were with him. [Brun co-produced and co-wrote J Balvin’s Ed Sheeran-assisted “Forever My Love,” which topped Latin Airplay in 2022]. In the process of making some new songs together a couple of years ago, we started talking about the influence of dancehall in reggaeton and how much dancehall artists have influenced and shaped the global sound.
Then we had the idea to do something that honored [the songs] we used to listen to at parties. “Touchdown” came from the idea of that link between everything that’s happened in dancehall history and the way that Haiti has been influenced by the Caribbean, Latin America and our own local sounds.
Once we made that initial concept, I knew I wanted to tap in with some friends and icons from Jamaica. I reached out to Tasan, who sings the hook, and Beenie Man and Bounty Killer, who are two iconic dancehall artists from Jamaica. I also reached out to Izy – who produced iconic dancehall songs like Koffee’s “Toast” — to co-produce the song with me.
This is the first time Beenie Man and Bounty Killer have ever been featured on a track together, which is pretty monumental given their history. What does this moment mean to you as a dancehall fan?
I think that it’s really representative of what I believe in: [the power of] bridging different cultures and people. I want my music to make people feel good. I want you to feel that the culture is enriching you. I think that both of their careers have been incredible and have been so influential… not just in Jamaican sounds, but global sounds too.
We actually cut their verses around the time of their Verzuz battle [in 2020], it was literally that week that we started the process. It was really special. I’m grateful that we also got to link in Kingston and Miami. That’s all I care about: genuine cultural unity and authentic cultural portrayal.
Do you have any plans to get this performed live anytime soon?
I have BAYO coming up, and that’s been so much fun for me because it’s rooted in Haitian culture and history. I started it in Jacmel in the South of Haiti, but the music that I play and the artists that pop up for the show are from all around the world. Haitian music is very traditional — we have our genres like konpa and rara — but we also play music from everywhere. I’ve already had a couple of the artists on “Touchdown” pop up in past shows. We might get some really good surprises!
Talk to me a bit more about how BAYO! has grown over the past five years.
It’s been wild. The very first New York show we did was at Music Hall of Williamsburg, and there were about 500 people or so. BAYO! was such a crazy twist for me because, up to that point, I was a DJ doing electronic music and I wanted to set up this festival concept to bring the sounds that I love from the Caribbean and all the different global diasporas to New York and different parts of the U.S. Now we’re hitting Europe and Canada too. The energy at that first show was so special; it made sense to me as a concept, so to see it go from Irving Plaza to Brooklyn Steel and then to Central Park and Prospect Park has been a dream come true.
And the feedback I get from everybody that comes – whether it’s people flying from different cities or people in the New York community — is that it feels like a family. The show is the embodiment of my music. This is my claim, but BAYO! is the best party in the world!
Every festival has its own approach, but, personally, I love to be surprised. I work hard every year to surprise people with the lineup. We never announce who’s performing, so when you show up you might see Maxwell or J Balvin – anybody can pop up! This festival is my pride and joy.
It’s interesting to have a song like “Touchdown” arrive amid the ongoing “Dem Bow” copyright case. How do you feel the song honors and acknowledges the musical lineage of these genres?
We’re honoring icons for the work that they’ve done and creating new moments that incorporate different aspects of their lineages. We’re bridging culture-holders with modern-day and up-and-coming stars. Having these songs in these global moments is important for people to see. I feel like these cultures are very separate segments for a lot of people and if they’re not explicitly shown it, it’s hard for them to understand what the links are. This is my way of helping to create that mutual respect across the board and have all of us in community with each other. Everybody on “Touchdown” actually loves the other artists.
What’s the dream sporting event to perform “Touchdown” at?
Oh man, the Super Bowl! In terms of the song itself, it’s the perfect fit, and J Balvin has also already done the Super Bowl [as a guest of Shakira and J. Lo’s in 2020]. On a personal level, I really love football (soccer), so the World Cup too. Any stadium sporting event with people chanting works, that’s what the energy of the song was from the beginning. It’s also so cool to have Caribbean music on ESPN, I think it’s the first time they’ve ever done that! It’s pretty amazing to be part of that lineage now.
Is “Touchdown” leading to a larger project for you this year?
I’ve been working hard on a lot of stuff. There’s more music coming with some very special artists who I’ve been working with for the past few years, one of which everyone’s gonna be surprised about because she had such an insane 2024. I won’t reveal too much, but I feel like my entire bucket list has been checked off.
Who are some Haitian artists we should be keeping our eyes and ears on in 2024?
What Naïka is doing on a global scale with incorporating different sounds from Haiti — whether it’s twoubadou or konpa – is incredible. Her song “6:45” was pretty massive last year on socials and streaming. On the rap side, Baky is about to drop his new project which I know is gonna be crazy. One other person I think is fire is Rutshelle Guillaume; we worked on a song with John Legend together last year. She’s one of the big singers from Haiti. Everybody comes through to BAYO!, so you should pop out this year!
Who do you think will take home the Grammy for best reggae album on Sunday?
Oh, that’s a tough one. I think Vybz [Kartel] might take it, man. His comeback is a pretty big deal. It depends on the voter base, of course. What Vybz is doing right now is really important for the culture. I think it will probably go to [the Bob Marley: One Love soundtrack] though because of the movie. If the culture voted, it would be Vybz, in my opinion.
Outside of BAYO and your new music, what else can fans look forward to from you this year?
I’ve been producing a lot of projects. I’m really close with Naïka; she’s working on her debut album right now, and it’s a really, really special project that incorporates so many influences from her Haitian heritage. There’s a lot of really fun stuff that I’ve been involved with that I think will be rolling out at different points throughout the year.
On a personal note, my mom passed away in December, which was a pretty crazy journey because she had cancer for three years. With this show and my music, my career is all about honoring her. She was born in Georgetown, Guyana, and she was very philanthropic. I genuinely want to ensure that I’m continuing to honor her through philanthropy and community building. We created the Sharon Andrea Lee-Brun Memorial for BAYO Fund at the end of the year as opposed to people sending flowers and stuff. We ended up donating $12,000 to different education and food sovereignty organizations in Haiti.
I’m in my next life now without my mom, so I’m trying to keep her in mind always.
After becoming the youngest winner of the Latin Grammy for best new artist in 2023, at the age of 19, Joaquina finally released her highly anticipated first LP, Al Romper La Burbuja, on Friday (Jan. 31). The album, released under Universal Music Latino and co-produced by the young singer-songwriter mostly with Julio Reyes Copello, represents a crucial moment in her artistic and emotional evolution, with a mature, authentic, and reflective proposal.
“I believe that with this project I found myself for the first time fully,” Joaquina tells Billboard Español. “This year marks five years since I released my first song, [‘Primer Amor’], and I think all these years have brought me to this moment. Obviously, incredible things have happened, but I feel that right now it’s like the real beginning, so I am very grateful for this.”
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Comprising 14 songs, Al Romper La Burbuja — which follows her Latin Grammy-nominated EP Los Mejores Años from 2023 — includes the previously released singles “Quise Quererte,” “Escapar de Mí,” “Desahogo,” and “Pesimista,” among others, as well as an alternative version of “El Alquimista” and six new tracks, mostly a fusion of poetic folk-pop and classic rock.
The album’s title (which loosely translates to “breaking the bubble”), is “a metaphor for what it means to take care of the things that make you who you are,” she explains. “Having your own stronghold, your escape where you can grow and be yourself and flourish while you take care of your heart, and being able to have that place in your mind that you return to when you need it most and where you can remind yourself of your purpose always.”
It opens with “Carta a Mí” (Letter to myself), which is the way she defines the set as a whole, and closes with “Gracias por Estar Aquí” (Thanks for being here), an ode to her friends. “I think there is a lot of nostalgia on this album,” the Venezuelan artist adds. “That’s like a prevailing factor throughout the project, which is very nostalgic.”
At 20, she feels she has learned a lot about herself, personally and professionally, in the last few years.
“I’ve learned to believe more in myself and to be true to my instincts and the things that move me,” she says. “And making this album I have grown a lot as a songwriter, but also in areas like production. It was always a dream for me to grow in that field. So as a musician, as a producer, I am very proud that this is just the first project.”
Below, Joaquina breaks down five essential tracks from her new album, Al Romper la Burbuja.
JOAQUINA ‘AL ROMPER LA BURBUJA’
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“Capricho”
It’s one of my favorite songs on the album because I feel like it talks about an emotion that took me a long time to put into words. It talks about that moment when you want to understand why a person hurt you, and about always connecting the dots to understand why things happened a certain way. I am a person who likes to understand things a lot and I need to be talking about it all the time, I need to be like dissecting it all the time — and I found myself in a situation where I was talking too much about this thing that had happened to me, and I was so tangled in the subject, I couldn’t let go…
One day in a conversation with my mom and my sister, I kept going and they told me: “Joaqui, this is not you, this person is bringing out the worst part of you, you can’t let this happen.” And I said, “No, but I want that person to ask for forgiveness because I don’t understand why things happened the way they did, and I don’t understand why this person had to act this way because I didn’t do anything.” And in the end they told me, “You don’t have to understand anything, you don’t have to understand everything.” And that really stuck with me. The song talks about that, about you wanting to repay the person in kind for the situation, but deep down you know that that’s not you and that it’s just a whim — because you want the person to ask for forgiveness and you want things to have happened as you would have done them. It is a very complex feeling, a mixture of pain, anger, and sadness. That’s why I love that song.
“Desahogo”
It is one of the cheekiest songs on the album. It’s a song about not understanding what you’re feeling for someone, about a past love that you let go and that deep down you regret but don’t want to admit, so you’re kind of analyzing the situation from the outside and saying, “Well, I don’t remember if I miss you or if I miss the attention you gave me, or if it’s just nostalgia, but this is just a relief.” It’s a bit of a reflection on what it means not to know what you’re feeling for someone, whether you miss the version of yourself that was with them in the past or if you really miss them. In terms of production, I think it’s a perfect mix between a more organic world and a more synthetic world. I think that’s the whole album, but “Desahogo” especially is one of the songs that best combines that. I use Auto-Tune for the first time as an instrument.
“El Alquimista”
“El Alquimista” is the existential doubt of the album, that’s what I call it. And it’s placed as track seven, because for me it’s the climax of the album, but also seven is a divine number, so it’s like a nod to that. It alludes to the book [of the same name by Paulo Coelho], although the story and what I tell is not at all similar. Literature inspires me a lot, so when I read this book and heard that they called God by this term — and that an alchemist is someone who turns mud into gold — it seemed so powerful to me, and I decided to make a literary allusion. “El Alquimista” is a very honest song; it’s an analysis of everything that surrounds us on all levels.
And the creation process was almost supernatural. I wrote all the lyrics first as a poem in one day. I went to Julio [Reyes Copello]’s studio and it’s a very funny story because he tells me, “Oh, I love the idea, but I don’t have time to write today. Can we meet tomorrow?” I’m like, “Yes.” And he says, “But read me the lyrics, what do you have? Can we do something like that with the harmony?” And I go, “Yes, we can do something like that.” “Ah, what do you think?” And he started playing on the piano and we got carried away. I mean, it was done literally in an hour, him on the piano and me doing all the melody and the lyrics, improvising with the lyrics I had. And it’s a song that means a lot to me because I posted it on social media and the video went way more viral than anything I’ve ever posted in my life.
In the album there’s a version that’s inspired by Venezuelan folk music; it has arrangements inspired by llanero music and joropo. The musicians who played on the song are Venezuelan: There’s a cuatro, there’s a harp, there’s a bandola. We made the arrangement thinking of making an allusion to my Venezuelan rootsm and that was always the idea from the beginning. So I’m excited that the demo version on the piano came out and now the complete and more produced version comes out.
“Matices”
It’s a song that talks about when life wants to put you in certain categories. I think that as a human being, but especially as a woman, the world usually wants to put us in boxes and say that you can only be one thing or another. This song is a bit of a fun way of complaining about that, of analyzing. I am a person who thinks that black and white do not exist, that is, that everything has nuances, that nothing is black or white — neither what you should be as a person, nor the way you see life, nor the answers. So in a way the center and the inspiration of the song is my discomfort with people wanting to put me in a box. But I do it from a fun place. It’s a concept that I’m very passionate about and being able to put it into words was nice.
“Gracias por estar aquí”
This song (whose title means “Thank you for being here”) I wrote for my lifelong friends. It happened that I was on a work trip super far away, it was one of my first work trips. I arrived [back in Miami] and I was exhausted, but I went to the beach with my school friends who were here, and I hadn’t seen them in a long time [because they’re in college]. It was the best day of my life in a long time — and I realized that sometimes you have to get away from home and the people you love to appreciate them again.
Before, I always wanted to leave Miami and see the world because I was tired of the superficiality of the city and the people. I never felt good in high school, really, I always felt very uncomfortable and I have many songs that talk about that. So I find it interesting that the opening track of the album, which is “Carta a Mí,” says that the world is bigger than this city, bigger than your room. And at the end “Gracias por Estar Aquí” is like, “Wait, no, but I want to be at home, I want to be in my room, I want to see my lifelong friends, I want to see my sister, I want to see my parents.” I think that’s why the album is a complete journey.
The song also has my favorite chorus of the whole album. It says: “Where will time have gone? Where will it be? Who will be the owner? Will it be floating through the air waiting for someone to catch it? And if one day I catch it, I will squeeze it tightly with white fingers and in the hand a fist.” I wanted to explain the idea of grabbing something like that with your hands — I’m very passionate about that idea of nostalgia and wanting to capture every memory you’re living in your life, every memory you’ve lived, being able to take a photo and have it with you forever.