Latin
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When Argentine musicians Gustavo Cerati, Zeta Bosio and Charly Alberti released their debut album as Soda Stereo 40 years ago, regional success was the ceiling for most Latin rock bands. In the early ‘80s, most Latin American rockers didn’t tour outside of their home country, much less play Anglo-style arena rock to tens of thousands of fans.
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Until Soda Stereo.
The band’s eponymous debut album, released on Aug. 27, 1984, on Discos CBS, laid the groundwork for Sodamania — a passion characterized by hordes of screaming fans wherever the trio went, not unlike the frenzy surrounding the band’s Liverpudlian idols, The Beatles. On the strength of their sophisticated songcraft and high-energy live shows, Soda Stereo’s fame spread throughout Latin America; tours would take them as far north as Mexico and even into the U.S., where the band was the first Latin rock act to headline a tour in the country.
For many Latin rock fans, their first concert experience was seeing Soda Stereo live. “Back in the early ‘80s, we had a huge musical void in Latin America,” recalls Miguel Gálvez, a former radio journalist in Mexico who launched a petition to get Soda Stereo inducted into the Rock & Roll Hall of Fame.
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“A heavily growing segment of young people, between 15 to 25 years old, was uninterested in what Latin music had to offer — but totally into the music coming from the English-speaking world with bands like U2, The Cure, Depeche Mode and The Police.”
That “void,” he says, was also a result of Latin music at the time not reflecting the reality of millions of young Latin Americans “who were breaking up with old traditions and paradigms” as dictatorships in Argentina and Chile were beginning to crumble. Soda Stereo emerged at an auspicious moment, and the band’s first album even took note of the generational shift underway in the outro of the song “Dietético”: “El regimen se acabó, se acabó!” (the regime is over) Cerati exclaimed. Democracy had returned to his country the prior year, following the collapse of Argentina’s military dictatorship, and the times were changing. “With Soda Stereo,” Gálvez continues, “we discovered that great rock was possible in our own language, with lyrics closer to our own reality. Soda Stereo became the band that made us proud to be Latino.”
By the time the group broke up in 1997, it had produced seven studio albums, sold millions of units and headlined tours that were drawing audiences of more than 100,000 — an unheard-of level of success for a Latin rock group, at least back then. And as a testament to the group’s enduring appeal, Gálvez’s Rock Hall petition has collected more than 36,000 signatures from 67 countries.
Cerati — Soda Stereo’s charismatic frontman, guitarist and principal songwriter — died in 2014 at age 55 of respiratory failure, after suffering a stroke that left him hospitalized in 2010. To mark the band’s 40th anniversary, Billboard caught up with bassist Bosio and drummer Alberti, who not only went deep on four highlights from the group’s discography but revealed that previously unreleased music is on the way.
“About the songs, it was very particular — because, as a matter of fact, the songs would come out from the three of us together,” Alberti says. “We composed and made song bases all the time, we rehearsed all week long, including Saturdays and Sundays, and the song bases were coming from those rehearsals. And Gustavo would add the melody and the lyrics to those bases to finish the songs.”
There’s A Previously Unreleased Song Coming Soon
Alberti confirms the forthcoming release of a song that he declines to name (for the moment) but says it is the first song that the members of Soda Stereo wrote together. “The lyrics talk about a kid who stares at the sky … a very youthful lyric, very naive. But, well, it was the first thing we did.” Alberti found the track on a tape that also included a longer version, with different lyrics, of “Por Qué No Puedo Ser del Jet Set?” — the first song on the first album, in which the singer asks why he can’t be part of the jet-set lifestyle.
As for the new, previously unreleased song, Alberti continues: “The audio is quite good. The most we’re going to do is a little mastering, but the idea is not to do another mix or split the tracks, because I think it would lose the essence of what it means. It’s important that people understand how we started, how the band sounded in that moment — obviously, arrange it to a more current sound, but not much more.”
“Trátame Suavemente” (from Soda Stereo, 1984)
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One of Soda Stereo’s most enduring love songs, “Trátame Suavemente” was at first a faster-paced dance song — and not suggestive of romantic love at all.
“In those days, we went to see a lot of bands, and one of our favorites was Los Encargados,” says Bosio. “They were like a rock-techno band … Richard Coleman was part of that group, and there was also Daniel Melero (the composer of ‘Trátame Suavemente’). We were big fans of them, and we became very close friends.
“We made a slow version of ‘Trátame Suavemente’ because the original one was more dance-oriented. Our version and our vision put the song into a melodic setting, like a love song. But originally, the lyrics were inspired by the Malvinas (Falklands) War. (The singer) is talking to the general, not a girl. We made it into a love song.”
“Cuando Pase El Temblor” (from Nada Personal, 1985)
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From Soda Stereo’s second album, “Cuando Pase El Temblor” — in which the narrator asks to be awoken after a (presumably romantic) tremor passes — would eventually take on outsized significance across Latin America. In Chile, Galvez explains, fans there imagined the “tremor” referred to the dictatorship of Augusto Pinochet.
Fans in Peru and Mexico, meanwhile, interpreted the song as a lament over a literal tremor from an earthquake, all of which helped turn the song into, as Bosio put it, the group’s first genuine anthem.
“We rented a house outside of Buenos Aires, and we went there a couple of months in winter. This song was born in that situation,” said Bosio. “We supposed that we were comfortable to rehearse in that place, but the explosion of the band … we worked a lot. All the days of the week. We didn’t have time to rehearse, because of the success. So, we didn’t have much time, but one day when I went to the supermarket to buy food, and I came back, I found Charly and Gustavo playing this kind of folkloric rhythm — trying to do an adaptation with the drum and bass drum. So I took the bass and began to play.”
“Luna Roja” (from Dynamo, 1992)
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Like The Beatles they idolized, Soda Stereo’s members were musical chameleons. Their songs veered from new wave to post-punk, shoegaze and symphonic pop. Dynamo, Soda Stereo’s shoegaze record, was the band’s least commercial release but produced several concert staples, like “En Remolinos,” “Fue” and “Luna Roja.”
“The whole concept of (Dynamo) was that we were changing again,” explains Bosio. “The next step was always a challenge for us. What are we doing now? We were getting very into Massive Attack and a lot of things happening in the British scene at the time. The Jesus and Mary Chain. A lot of distortion, and in distortion you can a lot of times find harmonies and different things, very psychedelic. So we got into that with a lot of passion.”
Bosio explains that the creation of a song like “Luna Roja,” with its evocative imagery of a red moon over a black sea, was made possible because “we became an organism that could think together. Like when the brain tells the finger to move, and the finger moves. We were like that, without even talking! We made songs, and we just knew when the chorus has to come. Nobody told us. And it never happened with a band for me again, a thing like this, this kind of feeling. Playing, all floating together.”
“Ella Usó Mi Cabeza Como un Revólver” (from Sueño Stereo, 1995)
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Soda Stereo’s final album found the group at the height of its songcraft. It was also jam-packed with Beatles references. The bass line on “Paseando Por Roma” is reminiscent of Paul McCartney’s in “Taxman,” while the brass-heavy chorus invites a comparison to “Got to Get You Into My Life.”
“Ella Usó Mi Cabeza Como un Revólver,” meanwhile, has a chord structure and backing reminiscent of “I Am the Walrus.” And the song, which laments a woman who used the narrator’s head like a revolver, even has a Beatles album in the title.
“That song was the last song of the record,” explains Bosio. “We had all the record done, but we didn’t feel like we had a hit. We said, ‘Well, let’s make one.’ So we began to work the last two rehearsals on the hit. We said, ‘If it doesn’t happen, we’ll still have good songs — but it needs a hit.’ We began to play almost together, and it comes, almost like water. All the notes — and when we listened to it, we began to imagine something like The Moody Blues, with an orchestra. I couldn’t believe it. But it was like, let’s do a hit.”
“There are phrases like ‘Ella usó mi Cabeza como un Revolver,’ which is something I mentioned to Gustavo once, when I told him about a girlfriend I had who triggered me very intelligently with a very interesting cerebral game. I told Gustavo a very similar phrase,” says Alberti. “Gustavo knew how to take that and develop the idea.”

Mexican music powerhouse Fuerza Regida has always delighted in coming up with unexpected stunts to promote their music and shows, from an impromptu concert on the 210 freeway near Los Angeles to a performance alongside street musicians on the Tijuana border.
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This past April, when the band announced its current, 37-date arena tour – Pero No Te Enamores — the drumbeat started with the band wearing jerseys emblazoned with the number 12, and with a recurring logo of a heart with a line drawn over it popping up in Fuerza’s social media posts. On April 12 (see the number connection now?) the band announced their tour, and also unveiled a mural of the crossed-out heart, painted on the black wall of a liquor store in San Bernardino, the city where frontman Jesús Ortiz Paz, better known as JOP, grew up.
“It’s a liquor store where my father goes to buy his beer,” says JOP. “I went and asked the owner, and he said yes, como si nada.”
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Engagement on social media following the mural unveiling was so high, that JOP started toying with the idea of expanding the concept for other major announcements.
Fast forward to today (July 16), when the band has unveiled 15 murals in six cities – Miami, Phoenix, Chicago, Los Angeles, New York and San Bernardino, of course — to announce their upcoming new album, also titled Pero No Te Enamores (which translates to But, Don’t Fall In Love). Like the original mural in San Bernardino, which has been retouched for the occasion, the murals feature a giant crossed-out heart drawn inside a circle, similar to a traffic signal, with the album’s release date, July 25, and a parental warning on the side, all against a black backdrop.
Fuerza Regida
Courtesy of Street Mob Records
“It’s a heart with the ‘Not allowed zone.’ The ‘No love zone,’” laughs JOP, speaking to Billboard about his marketing strategy. “They’ll see the murals and say, ‘S–t, he has an album and it has no love.”
That, he adds, is the whole theme of the upcoming set: “Don’t fall in love. I want to say, don’t feel comfortable where you are in life. If you have a job, don’t fall in love with that. Want more. Don’t fall in love with that drug you’re addicted to, or with whatever it is.”
While JOP wouldn’t provide details on the album itself, he says it will be radically different from anything the group has done before. “It’s not your typical Mexican music album with guitar, tololoche. We’re getting into something different, something new, something risky. That’s why we took our time to really market this, we invested money,” says JOP, noting that “this the album we’ve invested the most money on — in marketing, producing it and making it.”
This week’s murals will go up in tandem with Spotify-supported billboards in Los Angeles and Mexico that will reveal a snippet of lyrics to one of the album’s songs.
Fuerza Regida
Courtesy of Street Mob Records
Interestingly, this is the first time Fuerza tries its out-of-the-box stunts far from California. Prior to these efforts, the group — which made history by becoming the first Latin band to top Billboard‘s Top Artists, Duo/Group Year-end Chart in 2023 — had amplified its actions on social media, but never actually done marketing actions on the ground in other cities to promote their music. But in February, after the group released the EP Dolido Pero No Arrepentido, they managed to place seven songs in the top 10 on Apple’s Latin Top Songs chart.
“I never imagined achieving that,” said JOP. “It was always one or two. When I saw seven up there, I was happy, but I also said, ‘Oh, shit. I have to do something different.”
Beyond the murals, a “crazy album release party” is also in the works, along with “lots of crazy s–t” that should shift Fuerza’s stunt-meter into high gear.
“We really pushed this album to the max,” says JOP. “But what I really like about these murals is we put them in mom and pop businesses owned by regular people. And as soon as this rolls out, our fans are gonna come and look and them and bring business to these people.”
Pedro Fernández, one of the greatest exponents of ranchera music, releases Te Doy La Vida on Friday (July 19), the 40th album of his career and his first in five years. It is also the first under his own label, Fernández Music, an “important” step with which he hopes to “meet the public’s expectations,” he says.
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“That’s why it took time,” explains the Mexican singer in an exclusive interview with Billboard Español. “We worked on it very carefully.”
Produced by Fernando de Santiago, Te Doy La Vida includes 15 tracks, six of them co-written by Fernández. In addition to the artist’s usual romantic ballads — such as the title track, “Dime Que Sí,” “El Milagro De Tus Ojos” and “Solo Para Mí” — and more dance-worthy tracks such as “El Mariachi,” Fernández covers two classics: “Cómo Te Extraño,” first popularized by Leo Dan, and “Cómo Será La Mujer” by Rigo Tovar. These are “jewels” of “two people I respect very much,” he says.
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Among his favorites from the album are three romantic tracks: “Dulcesito de Chamoy,” a ballad in which he uses very Mexican expressions such as the title of the song, which refers to something sweet and spicy, to describe a couple; “Dime Que Sí,” an upbeat song he co-wrote with Francella Ortiz and Xavier Santos; and “Solo Para Mí,” a song by an unknown author with a mariachi string section that perfectly accompanies the love-themed lyrics.
As for the album’s title, Te Doy La Vida — which loosely translates to “I give you my life” — the star says, “In life there is sadness and there are joys, it is part of every experience. But love is a feeling that is above all. When we sing to love, we are singing to a universal feeling.”
With career that has spanned four decades so far, Fernández remains faithful to traditional mariachi. “I am part of the old school and I will continue defending mariachi music because it represents my country, it is the genre that identifies us as Mexicans,” he affirms, although he also understands that the new generations “must add their own style.”
The star, who is also a lifelong actor — his screen credits date back to his starring role in the 1979 film La Niña De La Mochila Azul — was preparing his new album while working on Telemundo’s Malverde: El Santo Patrón (2021-2022) and HBO’s Mariachis (2022). “Acting has always been a very important tool for me,” he reflects. “I feel very grateful for the audience because they have been very generous with me. I’ve been in great productions both for TV and film with a lot of success, and that has allowed me to be close to the people.”
“It has also allowed me to stay current, because music is not a sure thing,” adds the singer of hits such as “Mi Forma de Sentir,” “Sin Verte” and “Quien,” all of which have entered the top 10 of Billboard‘s Hot Latin Songs chart.
Fernández recently signed with Starmedia Consulting for management and touring. “I am very excited because it is an alliance that will give a different impulse in my career, and the project will also go hand in hand with my new album,” he said, adding that he expects to announce “very soon” tour dates in Mexico and the U.S. slated for 2024-2025.
It’s taken nearly 28 years for Los Ángeles Azules to score a No. 1 on Billboard’s Latin Airplay chart, but the group’s winning week finally arrives as “Perdonarte Para Qué?” — their collab with Emilia — vaults 15-1 in its fifth week on the chart (dated July 20).
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The Mexican cumbia, released May 23 via Promotodo/Virgin Music Latin, ascends to the summit on the overall Latin Airplay chart with 8.1 million audience impressions, up 69%, earned across U.S. reporting radio stations during the July 5-11 tracking week, according to Luminate. A pair of Univision stations lead the charge among all reporting stations for the most audience gains, starting with WOJO-FM in Chicago, while KLQB-FM in Austin comes in second.
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The new No. 1 unseats Grupo Firme’s “El Beneficio De La Duda,” which dips 1-4 despite a 1% gain in audience to 6.2 million.
With “Perdonarte ¿Para Qué?” both Los Ángeles Azules and Emilia score a career milestone on the overall Latin Airplay tally, checking into the penthouse for the first time.
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Among their nine-career top 10s, Los Ángeles Azules managed a No. 3 best through “Nunca Es Suficiente,” featuring Natalia Lafourcade, in February 2019. Plus, the Mexicans achieved another top 10 in 2024: the No. 5 high “La Cumbia Triste,” their first partnership with Alejandro Fernández. (The group premiered on Latin Airplay in December 1996 with “Come Te Voy a Olvidar,” which peaked at No. 7 the following February.)
Emilia also celebrates her first champ on her second try, after the Argentinian pop artist reached a No. 26 high with “La_Original.mp3” alongside Tini, in April. With the new champ, Emilia becomes the first Argentinian woman to land atop Latin Airplay since Maria Becerra took the throne for one week with “Te Espero” with Prince Royce in June 2022. Since then, another Argentinian has seized the crown: Bizarrap, through two “Bzrp Music Sessions” — Vol. 52 with Quevedo and Vol. 53 with Shakira — in November 2022 and February 2023, respectively.
Beyond its Latin Airplay coronation, “Perdonarte ¿Para Qué?” gifts Los Ángeles Azules its fifth No. 1 on Regional Mexican Airplay where the song pushes 8-1 with the Greatest Gainer honors, awarded weekly to the song with the largest gain in audience impressions.
Plus, Emilia joins two other pop artists who have achieved their maiden No. 1 on the Mexican radio ranking in 2024: Shakira with her Grupo Frontera collab “(Entre Parentesis)” (May 18-dated list) and Becky G through “Por El Contrario,” her Leonardo Aguilar and Angela Aguilar team-up (March 9).
Thanks to its strong radio pull, “Perdonarte ¿Para Qué?” debuts at No. 35 on the airplay-digital sales- and streaming-blended Hot Latin Songs chart, for Emilia’s first chart appearance. Meanwhile, the siblings’ group secures its highest debut since “El Listón De Tu Pelo” in 1999 (No. 32 start, No. 4 high in 2000).
Dale! Pitbull is confirmed to headline the halftime show at the 2024 AT&T WNBA All-Star Game, taking place Sat. July 20 at Footprint Center in Phoenix, Arizona. Explore Explore See latest videos, charts and news See latest videos, charts and news “We have an opportunity to use AT&T WNBA All-Star to showcase an incredible league […]
The atmosphere at Brooklyn’s Mercury Store was electrifying on Saturday (July) thanks to a fierce rap competition. At Red Bull Batalla‘s regional qualifier, New York’s AdonYS emerged as the victor, spitting punchline after punchline alongside other MCs with an eye on the Red Bull Batalla USA National Final, to be held in Miami in October. For the first time, fans will be able to watch the New York regional battle tonight (July 16) at 7 p.m. ET.
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The event highlighted the exceptional talent gathered from across the country, with 16 aspiring Latin MCs — including 4ases, Eckonn, El Dømi, La Eminencia, Zkart, Kingkique and others — battling through incendiary rounds. Their exuberance and linguistic prowess confirmed the deep-rooted connection and evolving style of the Spanish freestyle community.
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“Every time I rap, I take you in waves/ You’re spoiled, you don’t know how to even rub a gun/ This is rap, tomorrow vacilón, this is hip-hop and also a sensation,” AdonYS spat in Spanish against Freites, a Venezuelan lyricist from Orlando, Florida, who the Dominican New Yorker eventually defeated. Both advanced to the national finals, along with Raiiden and Metricoh Flowster.
The battles were adjudicated by a panel of three judges: rappers El Dilema, Snow Qlq and Latin Grammy nominee J Noa, the latter of whom the audience got to see in action on the mic at the close of the Batalla night.
J Noa
Nick Watkin / Red Bull Content Pool
Red Bull Batalla, now entering its sixth year in the United States, has grown throughout the Spanish-speaking world. The first Batalla (initially known as “Batalla de los Gallos”) was held in Puerto Rico in 2005, following the success of the Eminem-starring blockbuster 8 Mile. The event has established itself as one of the largest Spanish-speaking freestyle competitions in the world, resonating with the battle-rap community and receiving more than 8,000 applications annually from hopefuls around the world.
The 2023 World Final in Bogota captivated more than 12,000 attendees, underscoring the broad appeal of the event. Looking ahead, the excitement builds toward the 2024 World Final set for Madrid’s Wizink Center on November 30, which sold out within a week of ticket release.
With each passing year, Red Bull Batalla continues to establish itself as a cultural phenomenon, pushing the boundaries of freestyle rap and showcasing the talent that Spanish-speaking communities harbor.
Below, watch AdonYS win the regional title in New York, and more than a dozen rappers compete for the crown. The video will begin streaming at 7 p.m. ET.
The date for the Red Bull Batalla USA National Final in Miami in October to be announced soon.
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Prajin Parlay Inc. and Double P Records announced on Tuesday (July 16) a joint deal with Mexican-American DJ and producer Deorro, who joins the imprints for management and label services effective immediately, Billboard has learned. Led by George Prajin, Prajin Parlay Inc. is home to superstar Peso Pluma, Santa Fe Klan and Codigo FN, among […]
For the first time in its history, Google dedicates its famous doodle to one of the greatest figures of Mexican music and his invaluable artistic legacy: Juan Gabriel.
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On Monday (July 15), the logo that appears on the search engine’s home page in Mexico honors the legendary composer and performer to remember that on this day in 1995, his song “El Palo” reached the top spot on Billboard‘s Hot Latin Songs chart.
“Today, our Google Doodle honors a legend, Juan Gabriel, ‘El Divo de Juárez’. One of the most important singer-songwriters in Latin America. His songs and his entire legacy continue to live on in Mexico and the world,” wrote Google México on its X account.
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According to information from Google Mexico, the doodle was created by Mexican illustrator Humberto Irigoyen, who spent four months working on it in order to gather many details about the artist’s life and work.
To the rhythm of his famous song “Noa, Noa”, Internet users can navigate the 2D illustration, which shows different stages and facets during a fruitful career spanning more than four decades, in which he became a true benchmark of Hispanic music in the world: from his youth on stage, his foray into television, his creative process when writing his songs, as well as his bright and colorful costumes that sealed part of his artistic personality.
The doodle also illustrates his historic 1990 performance at the Palacio de Bellas Artes, Mexico’s most important cultural venue, which was recorded and released as the live album Juan Gabriel en el Palacio de Bellas Artes. That recital made the artist the first Mexican popular music singer-songwriter to perform there with the Orquesta Sinfónica Nacional.
Juan Gabriel, known internationally for classics such as “Querida” and “Amor Eterno”, died on August 28, 2016 at his home in Santa Monica, California, of natural causes, in the middle of a concert tour. He was 66 years old.
“El Palo” was part of his album El México Que Se Nos Fue, which won the 1995 Premio Lo Nuestro award for best regional Mexican album.
Inducted into the Billboard Hall of Fame in 1996, Juan Gabriel built a legacy as a multifaceted artist over more than four decades, recording songs in genres as diverse as rancheras, baladas, pop and boleros, songwriting and producing other artists.
Among his many accomplishments, El Divo de Juárez (his nickname) sold more than 150 million records, composed more than 1,800 songs, released 34 studio albums, was nominated six times for a Grammy, won three posthumous Latin Grammys and more than 20 of his hits reached the top 10 on the Billboard charts, including seven No. 1s on the Hot Latin Songs chart. His song “Yo No Sé Qué Me Pasó” opened the first edition of that chart in 1986 at No. 1.
Check out the doodle dedicated to Juanga below:
🇲🇽🎤▶️Hoy, nuestro #GoogleDoodle honra a una leyenda, Juan Gabriel, “El Divo de Juárez”. Uno de los cantautores mexicanos más importantes en América Latina.Sus canciones y todo su legado siguen vigentes en México y el mundo. Dale play al Doodle y sigue leyendo.👇👇👇 pic.twitter.com/u3gzjp8zPn— Google México (@googlemexico) July 15, 2024
In the midst of promoting her sophomore set GRASA, Nathy Peluso visited the NPR headquarters in Washington, D.C. for an intimate Tiny Desk performance.
“We’re fulfilling another dream today with these wonderful people by my side,” Peluso, wearing an oversized black tee and rocking her long, straight hair, said. “Thank you everyone for coming. We’re going to start with a magical song that’s been with me since I wrote it. Enjoy, have fun!”
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The nearly 19-minute set kicked off with “Buenos Aires,” the 2020 R&B-tinged tune that ultimately put Peluso on the map and was nominated for a Latin Grammy. Joined by eight musicians and two vocalists, Peluso delivered a powerful performance that captured her hard-hitting rap bars and effortless vocals, all while sending messages of self-love and empowerment as heard in the following tracks “Aprender a Amar” and “Legendario.”
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“My new album has gems from the heart, from deep within, from love, for you that I made with that desire to make you emotional,” she expressed. “In the end, that’s what it’s all about.”
One of those gems is “Envidia,” a song that she performed accompanied only by a piano, and that narrates the story of a woman who hustles, follows her dreams, and ignores all negative comments. It’s a song for those who know how to win in life. Peluso then wrapped her set with the funk-jazzy “Remedio.” “Thank you, we feel blessed. May you be happy, listen to ‘Grasa,’ and long live music!” she signed off.
Earlier this year, the Argentine-born, Spanish-raised singer-songwriter opened up to Billboard about her new album, which can easily be reflected in her Tiny Desk performance.
“There is a very important message in the album which is ‘Aprender a Amarse’ (learn to love yourself), which is something we all deserve, because at the end of the day, you have to be your best friend and best companion,” she noted. “For that, you have to be brave and face things that are very difficult. [I wanted to] shed a little light and energy so that people who maybe don’t find that strength in their daily lives, maybe they can put on some music on and feel encouraged. Because music has saved me many times.”
Watch Peluso’s “Tiny Desk” performance below:
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Billboard is excited to partner with Pinterest to reveal an exclusive board featuring editorial content curated by Billboard’s editors. The boards, brought to you by Pinterest, aims to showcase the multifaceted nature of Latin music, highlighting both its traditional roots and the journey that has resulted in Latin music genres being among the most popular in the world.
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Latin music is known for its ability to evoke emotion and capture the essence of its culture. From the passionate rhythms of salsa to the heartfelt ballads of bachata and the infectious beats of reggaetón, each genre tells a story of its own.
The boards offer a comprehensive look at Billboard’s prominent role in supporting Latin music’s global explosion. Each sub-genre will have its own unique board, composed of Pins featuring content from Billboard’s archive.
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Fans can look forward to original photography, behind-the-scenes video, and other content from events like Billboard Latin Music Week and Billboard Latin Women in Music.
These exclusive editorial boards are more than just a showcase of music; they represent a celebration of identity, creativity, and the power of cultural expression. Pinterest’s visual discovery platform is perfect for this project, allowing users to explore, save, and share their favorite moments from Latin music culture effortlessly.
“These boards provide a beautiful and vibrant snapshot of Latin music through history and today. We are so proud to highlight the rich versatility of Latin music and all its genres through Pinterest’s unique visual platform, which provides a completely different discovery experience. We’re eager to expand Latin music’s reach even more,” said Leila Cobo, Billboard’s Chief Content Officer for Latin content and Español.
Billboard and Pinterest’s partnership not only brings visibility to Latin music but also fosters community engagement. Users on Pinterest can immerse themselves in the distinct styles and personalities of each subgenre, as well as discover emerging talents who are redefining the boundaries of Latin music.
“We are thrilled to partner with a world-renowned publication like Billboard to bring Pinterest users an exclusive look into the distinct styles and personalities of Latin music genres, as well as offering them the opportunity to discover emerging talents,” said Nadine Zylstra, Pinterest’s Global Head of Programming and Originals.
“Pinterest is a platform for inspiring content, and it’s so special that Billboard has opened their archives so that half a billion users on Pinterest can discover their iconic collection of covers, red carpet looks, photoshoots and events photography.”
As users explore these boards, they are invited to dive into the narratives behind the music, gaining a deeper appreciation for the Latin music diaspora and its enduring impact on the global stage. Get ready to experience Latin music like never before.