Music

Las Letras Ya No Importan encapsulates Residente’s transformation from trailblazing rapper to a multifaceted cultural commentator and artist. With disparate collaborations spanning from SFDK to Christian Nodal, Jessie Reyez and Busta Rhymes, each track delves into diverse themes — like “313” with Sílvia Pérez Cruz and Ponélope Cruz, a reflection on time and mortality, and “Bajo Los Escombros,” featuring Amal Murkus, which portrays the Palestinian struggle. Tracks like “Jerga Platanera” with Nino Freestyle explore the nuances of Caribbean slang, while “El Malestar en la Cultura” and “Artificial Inteligente” examine the implications of societal and technological shifts, respectively. Residente’s second solo album not only pushes musical innovation but continues to cement his status as a rap star, challenging listeners to rethink the intersections of music, culture and politics. — ISABELA RAYGOZA

You don’t even need to know what Anitta is singing about to really get into her music; the Brazilian funk beat alone that powers her songs is alluring enough. After efforts to go mainstream with more pop-leaning records, Anitta ditches trying to “fit in” and places all bets on the sound that made her a household name in her native Brazil. Packed with club-ready and cheeky songs, Funk Generation is a testament to the trilingual star’s determination to globalize baile funk. — GRISELDA FLORES

In his first studio album in three years, Colombian singer/songwriter Manuel Medrano — he of the deep, luxurious voice that stands out in Latin pop — returns with an eclectic set full of funk, pop, electric guitars and retro vibes. This is feel-good stuff that veers from happy-go-lucky (“Este cuento”) to ethereal (“Luna” with pianist Arthur Hanlon), and full of whimsy. Check out the wonderful “Mojado,” where a guy who can breathe in and out of the ocean “filled with positive energy,” serves as a metaphor for standing up for one’s uniqueness. It’s quirky and beautiful, like Medrano himself. — LEILA COBO

For her past several albums, García has relentlessly explored different avenues as a singer/songwriter while remaining very true to her core, a highly melodic and personal sound that is often imbued with tropical rhythms. But in García, she stretches her boundaries even more, collaborating with three regional Mexican stalwarts – Christian Nodal, Carín León and Edén Muñoz — for decidedly Mexican songs that highlight the versatility of García’s music. Another collab with Young Miko also underscores García’s identity as a queer woman. But the most beautiful and significant track in this album of gems is the opening title song, full of vulnerability and storytelling. — L. Cobo

TINI’s delivery in every single one of the songs on this album is what makes it a memorable and striking one. The no-holds-barred attitude allows the Argentine star to narrate just how much she’s been through in the past few years, dealing with stuff like heartbreak and her father’s near-death experience. Mostly produced by hitmakers Andrés Torres and Mauricio Rengifo, the stripped-down, lyrically strong set follows TINI through moments of vulnerability, pain, resilience and growth, showcasing a more mature approach to connecting with listeners. — G.F.

Vida, Ana Tijoux’s first album in a decade, resounds as a captivating exploration of loss, rebirth and empowerment. An innovator in Latin American hip-hop, she navigates everything from grief to motherhood and inner evolution with lyrical bravado. Songs like “Millonaria” skillfully contrast the metaphorical wealth of personal relationships with the allure of material riches, as “Bailando Sola Aquí” uses upbeat Afrobeat rhythms to underscore themes of self-recovery and introspection. “Busco Mi Nombre” addresses identity and resilience with verses that touch on both personal loss and collective mourning. It’s a narrative of resistance and a celebration of the human spirit, reinforcing her role in shaping the narrative of Latin hip-hop. She posits, “The world of hip-hop and rap is about community… therein lies its strength.”  — I.R.

With Llamada Perdida, Prince Royce took us on a profound roller coaster of emotions, after the pandemic derailed his touring plans to support previous studio album Alter Ego (2020) and the bachata star also went through a divorce. 

Comprised of 23 tracks that are mostly bachata, but also boasting fusions with regional Mexican (in “Cosas de la Peda” with Gabito Ballesteros,” which reached No. 1 on Latin Airplay), disco, merengue, urbano and more, Llamada Perdida — which reached No. 2 on Billboard‘s Tropical Albums chart — is not only his most eclectic work to date, but arguably his most personal. Here, the rather shy artist opens up for the first time about his life, sharing intimate details of the pain of his separation in songs like “Un Papel” or “Frío en el Infierno.” It is, all in all, a charming and deeply honest set that made us both dance and reflect. — SIGAL RATNER-ARIAS

Omar Montes has become a major artist with his “flamenco urbano” sound that fuses flamenco music with trap, hip-hop, reggaetón, and electronic music. But, on his third studio album, Lágrimas de un Maleante (Tears of a Bad Boy), the Spanish singer-songwriter traces it back to the traditional roots of the pure and authentic flamenco sound. What makes the 11-track album a standout piece is Montes’ ability to break down the vibrant and passionate sounds within the genre, such as buleria, tanguillo, rumba and sevillana. Also bringing to the forefront his fellow talented Spaniards, Lágrimas de un Maleante includes collaborations with Lola Indigo, Israel Fernandez, María Toledo, Kiki Morente and Las Chuches. — JESSICA ROIZ

Three years after their debut album, LAGOS does not disappoint with their second studio album Alta Fidelidad inspired by ’80s pop. Using Roland Juno 106 synthesizers and the LinnDrum drum machine, instruments that defined pop and rock of the time, for the production, the Venezuelan duo (formed by musicians and producers Luis Jiménez and Agustín Zubillaga) explores love in all its stages, from the sweetness of romance to the end of a relationship. The set of 11 songs and a 20-second intro includes the collaborations “No se Acaba Hasta que Acabe” with REIK, “Blanco y Negro” with Elena Rose, and the emotional “Si Supiéramos Esta Noche” with Greeicy, in addition to the single “Tengamos Pasado” and its counterpart, “Tuvimos Futuro.” With Alta Fidelidad, LAGOS manages to link the past with the present while solidifying their essence and bringing a breath of fresh air to current music. — LUISA CALLE

Mexican band Reik returned to its pop roots with Panorama, a 13-track album that honors the group’s past while exploring more avant-garde compositions, with songs including “Baja California,” “Abril,” “Gracias por Nada,” and “El Correcto” featuring Carín León. After spending several years experimenting with Latin urban sounds, the popular trio, which also includes guitarists Julio Ramírez and Bibi Marín, teamed up with the MiSHNRZ, a duo of producers made up of Ismael Cano Jr. and Matthew Rey, for their first LP since 2019’s Ahora (which was mainly comprised of past hits, with only a few new tracks). It is a welcome change that his hard-core fans must have been waiting for, and shows that the hit-making group is still at the top of their game.

“We haven’t made an album like this since Des/Amor [in 2016],” Reik’s vocalist Jesús Navarro previously told Billboard Español. “So it was super special.” Their fresh take on pop took them back the Billboard Latin Pop Albums chart, where it debuted at No. 25. — S.R.A.

For their third studio album, Mau y Ricky literally returned to their roots by taking a three-month trip through their native Venezuela, 15 years after moving to Miami as children. Led by producer Malay (Frank Ocean, Lorde, Fletcher), and inspired by music they listened to since their childhood, the Montaner brothers created songs using entirely acoustic arrangements, along with a lot of horns and brass, while experimenting with pop, funk, Latin and urban sounds. 

The result is Hotel Caracas, an eclectic, upbeat 15-track pop set that includes the singles “Vas a Destrozarme,” “Pasado Mañana,” “Gran Día” with Guaynaa and “Canción 2,” as well as collaborations with Arcángel on “Hasta Olvidarte” and Ilegales in “Espectacular.” Each comes with a music video filmed in different corners of Venezuela, along with a touching 15-episode documentary on their exciting journey, directed by Daniel Durán. It’s a fun ride from start to finish, full of nostalgia, humor and good vibes — and, perhaps for the first time, it showcases the true level of music Mau y Ricky are capable of making. — S.R.A.

In a nearly-45-second intro that kicks off his third studio album, El Último Baile (The Last Dance), Trueno freestyles about “keeping it real,” “having knowledge,” and “representing” the hip-hop movement. The 13-track set that has no collaborations is an ode to the generational and cultural impact of the now-half-century-old genre, and a journey through its eras and decades. “Tranky Funky” and “Ohh Baby,” for example, are backed by potent piano, bass and drum beats, bringing to life a psychedelic funk-rap fusion à la De La Soul and A Tribe Called Quest. Trueno also fuses rap with groovy R&B, as heard in the viral “Real Gangsta Love,” and sultry Afrobeats, as heard in “Como Antes,” further showcasing his experimental edge. — J.R.

From the hypnotic basslines and sparkling notes of “Perdido” to the synth-pop groove of the title track, Dime Precioso pulls you into Alex Anwandter’s world — a disco-pop realm where every beat compels movement. This nine-track LP marries the urgency of dancefloor rhythms with profound lyrical introspection. Tracks like “Tu Nueva Obsesión” resonate with funky beats, while “Paris, Tal Vez?” envelops listeners in the romantic haze of Parisian allure, contrasted sharply by the artist’s reflections on global realities. Meanwhile, Anwandter muses on the absurdity and tragedy of seeking constant desire against a backdrop of chaos. Inspired by everything from Burt Bacharach to ’90s house, Gil Evans, Brazilian MPB, and Latin American pop, Dime Precioso cements Anwandter’s position as a pioneering force in Latin indie pop. — I.R.

Perhaps Danny Ocean’s most personal album to date, the Venezuelan singer-songwriter shines sonically and lyrically in Reflexa. In the 12-track set, Danny, who has described his music as pop of the future, navigates through the life’s most relatable topics — heartbreak, lust, love and the desire to live authentically as yourself — with an elevated pop sound that’s fused with electro and even Middle Eastern influences. Meanwhile, Ocean’s lyrics are real, raw and almost too honest about life, and that’s precisely why his loyal fanbase is with him for the journey. — G.F.

The opening track of Young Miko’s debut album, att., is aptly titled “rookie of the year” — but this is not your run of the mill, bragaddoccious rap opus intro. Opening with a man’s voice (Miko’s father speaking with his daughter when she was a child), “rookie” is reflective and poignant even as it is defiantly assertive: “To live the dream you have to be awake,” she says in one breath, then adds: “I don’t understand how the hell this happened. You ask, how do I do it? Better than you.”

The shift from vulnerable to assertive, from party girl to sexual creature, permeates an album that sounds and feels deeply personal, but doesn’t wallow in self-importance. It’s a fun set and it’s also an unapologetically queer set, of a woman talking to and about other women, veering from playfully flirtatious to heartbroken. In that alone, att. is different from anything else out there in the Latin space. But this album — which features collabs with Feid, Villano Antillano and Jowell & Randy– shines for its execution, its intention and lyrics that are as personal as they are relatable. A fine introduction to a new star. — L. Cobo

From his studio, El Taller Creativo, Colombian singer-songwriter Camilo (along with a group of talented musicians) embarked on a musical journey that culminated in his album cuatro. The project is a compilation of the series of EPs un, dos, tres, released individually, in which he explores a variety of tropical rhythms, highlighting the elegance of live instruments, such as saxophone, trumpets, trombones, conga and güira, accompanied by charming musical arrangements and poetic lyrics.

The set includes salsa songs like “PLIS” (with his wife Evaluna), “Gordo” and “Una Vida Pasada,” the latter of which features regional Mexican star Carín León singing salsa, as well as the cumbia “Misión Imposible” and the bachata “No Se Vale” In addition, it includes a cover of the Mexican group RBD’s hit “Sálvame”, and a romantic acoustic ballad dedicated to Evaluna, titled “Una Canción de Amor Para la Pulga.” The album closes with a flourish with the bossanova-inspired salsa “La Boda”, which puts the finishing touch on this eclectic musical journey, where Camilo sheds light on these beautiful Latin rhythms that are worth keeping current. — L. Calle

Making honor to his nickname “La Voz Favorita” (the favorite voice), Jay Wheeler’s powerhouse vocals shine on his seventh studio album Música Buena Para Días Malos (via Dynamic Records). The 13-track set includes two collabs (“Textos Fríos” with Puerto Rican hitmaker Mora and “Maquillaje” with Venezuelan newcomer Noreh), but what truly stands out are the melodious voices, backed by futuristic synth beats and smooth instrumentation. Co-produced by Kevin Omar Ortiz (Bones) and Elvin Jesus Roubert Rodriguez (Botlock), the album explores themes of time, destiny and alternate realities, and really captures the state Wheeler’s currently in: utterly in love. Música Buena Para Días Malos — which also includes the English-language gospel-influenced “Save Me” — debuted at No. 4 on Billboard‘s Latin Pop Albums chart in May. — J.R.

Carrion is his most personal and vulnerable on his sixth studio album, a 17-track heartfelt ode to his mother, Sol María. Musically, the set navigates Afrobeats, dancehall and Jersey club, without compromising the Puerto Rican artist’s trap and reggaetón roots. Lyrically, it details Carrion’s family values and his journey of making his parents proud, all while being faithful to his no-holds-barred flow.

“Bendecido,” the opening track, is a trap ballad that sets the tone with its focus on familial devotion and resilience. In “Sigo Enamorau,‘’’ featuring Yandel, the pair reinvent Sean Paul and Sasha’s Dutty Rock classic “I’m Still In Love With You.” The Rauw Alejandro-assisted “Hey Lil Mama” is a sultry R&B cut that strikes a balance between sensuality and sweltering beats. Other featured collaborators include Árcangel, De La Ghetto, Duki, Sech, Nach and Milo J. Sol María reached No. 6 on the Billboard’s Top Latin Albums chart and No. 3 on the Latin Rhythm Albums chart. — J.R.

Nathy Peluso’s Grasa erupts with the raw force of a woman unafraid to dive deep into her roots. An album title partially inspired by the poignant imagery of her father’s hands, greasy from toiling at a gas station, Peluso’s LP is a powerful ode to perseverance and the working-class spirit. Set against a backdrop of rap bravado and soul-stirring ballads, this 16-track opus is an eclectic mix that swings from the emotive strains of “El Día Que Perdí Mi Juventud” with Blood Orange to the electrifying electronic syncopation of “Todo Roto” alongside Ca7triel & Paco Amoroso. Each track in the album pulses with Peluso’s badass energy, sculpting a space where genre crossovers feel not only natural but necessary — salsa meets soul (“La Prensa,” “Envidia”), and acoustic vibes coalesce with gritty rap (“Corleone,” “Manhattan”). Meanwhile, Peluso delves into mental health, urging listeners to embrace self-love and personal growth. — I.R.

Grupo Frontera unleashed the year’s most relatable breakup album with Jugando a Que No Pasa Nada, which loosely translates to “pretending that nothing’s wrong.” With songs such as “F*ckin Amor,” “Ya Pedo Quién Sabe,” and “Quédate Bebé,” the McAllen, Texas-based group navigates the different stages of a heartbreak, from letting go of that person to trying to forget them to wanting to get back together. “It’s about what’s going on in your love life… so you have to act like nothing’s wrong but as soon as you close that door, and you’re locked inside, it takes over,” percussionist Julian Peña Jr. previously told Billboard. “It’s what we’re trying to convey: we’re good but we’re not good.”

Last year’s El Comienzo marked the beginning and set the tone for who Frontera is, but while their sophomore set sees the group staying true to its signature cumbia, tejano, and Norteño melodies, they also not only experiment with tribal guarachero (“Desquite” with Nicki Nicole) but reel in starry features from Morat (“Los Dos”), Maluma (“Por Qué Será) and Shakira (“(Entre Paréntesis)”), with the latter collab reaching No. 1 on both the Billboard Latin Airplay and Regional Mexican Airplay charts. Overall, the set hit No. 6 on the Regional Mexican Albums chart and No. 10 on the Top Latin Album chart. — J.R.

Sure, Carín León may be often described as a regional Mexican hitmaker, but in his latest album, he proves he’s more than a one-trick pony. With Boca Chueca, León gives himself that freedom to really showcase just what a versatile artist he can be, dabbling in pop (“Otra Vez”), R&B (“Despídase Bien”), alt-rock (“Frené Mis Pies”) and even ska (“No Sé”). While his signature norteño sound is still a big part of the album, with this set León cements himself as one of the most eclectic and exciting Mexican artists today. — G.F.

Blooming with opulent sensuality, Orquídeas unfurls with an intoxicating allure. This 14-track collection transports listeners with its lavish soundscapes and Kali Uchis’ heavenly voice, solidifying Uchis as a maestro of mood. The album’s evocative palette spans pulsating Afrobeats (“Diosa”), a hauntingly beautiful bolero (“Te Mata”) and neo-soul elegance (“Tu Corazón Es Mío”).

Each track blossoms with its own unique spirit — the energetic dembow beats of “Muqueñita” or the sultry reggaetón strains of “Labios Mordidos” — showcasing Uchis’ versatility and vocal charisma. Venturing into new musical domains, Uchis garners contributions from an all-star roster (Karol G, Rauw Alejandro, El Alfa, JT), featuring unexpected vocal twists from Peso Pluma (“Igual Que Un Ángel”), who infuses his signature rasp with an unlikely R&B flair. Across the album, Uchis weaves poetic narratives with supreme production, crafting songs that explore themes of love, transformation and resilience, akin to the growth and beauty of Colombia’s revered national flower. — I.R.

Some may want to call this a comeback album — and, to be fair, it was her first LP in seven years. But Shakira never really left. As one of the most consequential Latin artists of her generation, the Colombian star’s essence is forever ingrained in culture. So when she began releasing music again in 2020, we knew we were in for a ride. Megablasts like “Te Felicito” and “Monotonía,” the first two singles off the album, previewed just where Shakira was emotionally, and how raw and honest she was willing to be about her breakup from longtime partner and father of her two children.  

Then came her Bizarrap-produced session (which ultimately gave name to this album), where she turned tears into diamonds and gave women of all generations across Latin America a new girl-power anthem. That level of bravado and confidence is sustained throughout the album, and ultimately, makes it a remarkable standout in her catalog. Las Mujeres Ya No Lloran is a testament to Shakira’s ability to capture the peaks and valleys of womanhood, making her music relatable to so many around the world. — G.F.

Éxodo signals a dramatic evolution in the corridos bélicos genre, blending audacious conviction with compelling narratives that span personal, cultural and national realms. Peso Pluma’s fourth studio album is artfully divided into two distinct parts: Disc 1 showcases a deep exploration of música mexicana, while Disc 2 boldly ventures into música urbana terrains with trap (“Gimme a Second” with Rich the Kid), reggaetón (“Put Em in the Fridge” with Cardi B) and a dash of EDM (“Teka” with DJ Snake).

The album reaches its zenith with “La People II,” a fiery continuation of the saga that began with “Génesis,” intensifying with narratives of cartel bravado and dramatic confrontations with law enforcement. Complementing this, “Vino Tinto” highlights Peso Pluma’s camaraderie with Natanael Cano and Gabito Ballesteros. Together, these tracks not only highlight the Guadalajara superstar’s versatility but also bridge tradition, solidifying Peso Pluma’s status as a transformative force in the booming regional Mexican music landscape. — I.R.