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This week, Billboard’s New Music Latin roundup and playlist — curated by Billboard Latin and Billboard Español editors — features fresh new music, including albums by Máximo Grado (Somos Leyenda), Fito Paez (Novela), Venesti (Origen) and Natanael Cano (Recordando Ariel Camacho). Plus, Emilia, Tini and Nicki Nicole team up for “blackout,” an electro-pop cheeky collaboration powered by fast-paced merengue rhythms that redefines what […]
Nick Cannon is realizing that having 12 kids isn’t cheap. The star recently sat down with People, where he reflected on his viral comment from Courtney Bee’s We Playin’ Spades podcast, in which he said he’s not ready to rule out the possibility of having more kids in the future. “My grandmother called me last night, like ‘Another One!’ I […]
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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Máximo Grado, Somos Leyenda (Warner Music México)
The album’s cover art is enough indication that Somos Leyenda is bound to be revolutionary. In the middle of the Eugène Delacroix-inspired artwork, you have Máximo Grado’s frontman Christian Felix waving a flag in triumph surrounded by a powerful battalion comprised of some of the biggest powerhouses in regional Mexican music today, including Carín León, Natanael Cano, Luis R Conriquez, Junior H and Fuerza Regida, to name a few — all featured as collaborators on the album. Released via Warner Music México, the 15-track set cements Máximo Grado’s stronghold on música mexicana and a legacy that has not only stood the test of time but has also influenced a new generation of Mexican hitmakers along the way.
The LP includes reimagined versions of Máximo Grado’s accordion-powered corridos, including “Gallos y Caballos,” “La Guera y La Morena,” “Yo Soy Ivan” and “Unas Heladas.” Besides the aforementioned artists on the album, Somos Leyenda also includes collabs with Grupo Firme, Eden Muñoz, Tito Double P, Netón Vega, Belinda, Los Dareyes de la Sierra, Alfredo Olivas, Grupo Marca Registrada, Codiciado and Legado 7. The significant number of artists who jumped on the project is a nod to the the genre’s collective effort to grow the regional Mexican music global movement. — GRISELDA FLORES
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Emilia, Tini & Nicki Nicole, “blackout” (Sony Music Latin)
When Argentine powerhouses Emilia, Nicki Nicole and Tini unite, they deliver an electrifying collaboration titled “blackout.” This riveting track, part of Emilia’s upcoming new EP, emerges as a vibrant anthem that radiates desire, confidence and unapologetic feminine energy. The song bursts with a dynamic electro-pop backdrop, seamlessly merging vibrant, fast-paced merengue rhythms that invite listeners to get up and dance. The lyrics and melodies not only celebrate physical attraction but also reframe the notion of “being hot,” transforming it into a bold and empowering statement of independence and self-confidence. — INGRID FAJARDO
Natanael Cano, Recordando Ariel Camacho (Live) (Los CT Records/Rancho Humilde)
It’s no secret that Natanael Cano holds deep admiration for Ariel Camacho, the fallen sierreño idol who passed away far too soon at the age of 22. Cano, a key figure in the corridos tumbados movement, credits Camacho — as do many other youth from the booming música mexicana explosion — as a major inspiration behind his groundbreaking sound and career. Recorded during a live performance in Guadalajara’s palenque alongside Camacho’s band, Los Plebes del Rancho, Recordando Ariel Camacho captures Cano’s heartfelt homage through ten tracks that reimagine the late artist’s legacy. Highlights include fan favorites like “El Karma,” “Hablemos,” and “Te Metiste,” paired with new versions of classics such as “El Toro Encartado.” “Ariel Camacho inspired me and so many others,” Cano stated in the 2024 documentary The Global Rise of Mexican Music. “He’s the only person I’ve ever cried for in my life. I admired him, and I still admire him. I never got to meet him”. — ISABELA RAYGOZA
Fito Páez, Novela (Sony Music España)
Fito Páez gifts fans a fascinating rock musical with Novela, a 25-song project he spent more than 35 years writing, between 1988 and 2024. The work tells the magical story of Villa Constitución, a town in the province of Santa Fe, Argentina, where a strange circus arrives to revolutionize the lives of its inhabitants. Through songs like “Universidad Prix,” “Cuando el Circo Llega al Pueblo,” “Superextraño,” and “El Triunfo del Amor,” Páez introduces us to his singular characters: The school’s dean, Rectitud Martirius; the witches Maldivina and Turbialuz; the young protagonists of the love story Loka (daughter of the circus owner) and Jimmy (singer of a rock band), and more.
“Fantastic adventures, disturbing cabarets. Neighbors darks and freaks. Characters with anguish, tragedies, lights and shadows, who spend their days in the limit between a town and a poor circus that defines the antagonism and the staging of daily life and its reaction to supernatural events that constantly happen, among them, the appearance of love,” the production notes summarize. Co-produced by Páez with Gustavo Borner and Diego Olivero, and recorded between Abbey Road in London and 5020 Studios in Madrid, the album arrives with the uplifting focus track “Sale el Sol,” which, like other songs on the set, works perfectly on its own. But the magic occurs collectively: It’s impossible to listen to Novela without having the whole movie playing in your head. – SIGAL RATNER-ARIAS
Venesti, Origen (AP Global Music)
After scoring his first Billboard Latin Music Award last Fall (for Latin pop song of the year with “No Es Normal,” featuring Maffio and Nacho), the rising Colombian artist returns to his roots with Origen, his second album. The set, featuring a roster of local Colombian talent, from DJs to rappers, marries Venesti’s signature melodic urban sound to Afro Caribbean rhythms, from the Pacific Coast’s currulao (in the catchy “Taca Tu Tacu”) to the Afro Pop of “Felina,” featuring Nacho. The mixes are layered and subtle, yet convincing. This is an artist coming into his own with a singular sound that touches many borders. — LEILA COBO
Debi Nova, “Tu Manera de Amar” (Sony Music Latin)
An infectious drum and bass line invites the listener to move from the first chords of “Tu Manera de Amar,” the electrifying new love song from Debi Nova. “If you could feel what I feel, you would reach high, to the sky” the Costa Rican singer-songwriter sings over a soft, surrounding pop-rock rhythm. “Your way of loving is what I want.” “‘Tu Manera de Amar’ is a kind of ritual for me, a cleansing, a dance, a shaking off of everything I want to leave behind and the perfect beginning for this new era,” she wrote on X. “So I hope you shake it off and dance to it and make it your own.” For example and inspiration, just watch her dance in the video. – S.R.A.
Check out more Latin recommendations this week below:
Alex Warren has gone back to back with a second week at No. 1 on the U.K. Singles Chart with “Ordinary” (March 28). The rising U.S. singer-songwriter and former Hype House member first hit the top spot last week for his maiden No. 1 single. “Ordinary” is the most streamed track in the U.K. over […]
Leigh band The Lottery Winners has bagged its second No. 1 on the U.K. Albums Chart. KOKO follows their previous LP Anxiety Replacement Therapy, which achieved the feat in 2023.
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The indie-rockers praised their hometown of Leigh in Greater Manchester when celebrating the news, and toasted the local scene and small venues where they learned their craft. Speaking to the Official Charts Company, the four-piece said, “This is for grassroots music. This is for the working class. This is for Leigh. This is for anybody who has a dream — go out there and get it. Make it happen!”
It continues the group’s upward momentum on the Official Albums Chart over the past few years following the band’s 2020 debut, The Lottery Winners (No. 23), its 2020 follow-up Sounds of Isolation (No. 61) and 2021’s Something to Leave the House For (No. 11).
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The group has played at festivals including Glastonbury, and supported British pop icon Robbie Williams on tour. KOKO’s guest vocalists include Nickelback’s Chad Kroeger, Britpop band Shed Seven and more.
Elsewhere, Sabrina Carpenter’s Short n’ Sweet completes the week at No. 2, while Scottish band Deacon Blue’s 11th studio album, The Great Western Road, lands at No. 3, and gives the group its seventh top 10 U.K. album.
Selena Gomez and Benny Blanco’s joint LP, I Said I Love You First, debuts at No. 4 and is Gomez’s second U.K. top 10 album, following 2020’s Rare (No. 2). It’s the first top 10 LP for her fiancé Blanco, who has a number of U.K. No. 1 singles to his name as a writer and producer, including Katy Perry’s “Teenage Dream.”
Lady Gaga’s MAYHEM finishes at No. 5, Playboi Carti’s Music falls from the top spot to No. 7, while The Horrors’ first album in eight years, Night Life, enters the charts at No. 16.
Tyler, the Creator and Nardwuar linked up at VanDusen Botanical Garden in Vancouver, B.C., for their seventh interview in 14 years, and of course, Tyler had some things to say in the chat that dropped Thursday (March 27).
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Nardwuar asked him about how he felt about all the Hip-Hop 50 celebrations, and Tyler expressed gratitude for being able to make a living doing something he loves. “I’m so happy that in some timeline that I get to be apart of something so special,” he said. “Hip-hop has changed so many of our lives, kept so many of us out of trouble. I’m so grateful for it. I’ve had my criticisms of it and all types of s—t, but that’s out of love ’cause man, I love music and hip-hop specifically so much. I’m a true student, I’m a true nerd.”
He continued by bringing up how much the Black Eyed Peas‘ debut album, Behind the Front, and Dr. Dre‘s album 2001 helped shape his ear and inspired him to write his first raps. “I love hip-hop, I love rap. It’s one of the most beautiful things to exist on Earth,” he said before criticizing rappers who get into the game to make a quick buck.
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“We the coolest ever,” he began. “And all these motherf—kers want to copy us and do everything and some n—as be mimicking and mocking it and they just ain’t got the juice, ’cause they don’t really believe it [in their heart]. You can see it, man, some of these folks, man. They be like, ‘I fell in love with hip-hop on this day.’ I don’t know what that is because it’s been around me my whole life. I am rap. I am hip-hop. That’s all I know.”
He added: “Some of these folks, they look at this as a quick money-getting thing. They look at it as a commodity. They look at it just to criticize it, and, like, y’all ain’t grow up the same.”
Tyler has broached this subject before during an interview with Maverick Carter, during which he criticized Ian for biting flows and even rapped, “White boys mocking this s–t and y’all mad at me/ Y’all can suck my d–k” on the Chromakopia track “Thought I Was Dead.” Ian then addressed Tyler’s allegations in a Lyrical Lemonade freestyle earlier this month, rapping, “Back then, I really loved Odd Future/ I ain’t never sat down tryna mock Future/ I ain’t wanna show no disrespect, so I kept my mouth shut and that’s not human.”
Tyler then brought up some of the chatter he noticed online when he dropped his well-received “Hey Now” freestyle in December. “I saw someone say, ‘How Tyler just gonna take Kendrick’s song right after it comes out, and do the same flow over the same beat,’” he recalled. “And I’m like, ‘Damn, that’s somebody else who did not grow up listening to rap or hip-hop.’ ‘Cause if you grew up listening to rap or hip-hop, you know that’s f—king normal … You should have to do a survey and show your ID before you could say s—t on the internet ’cause folks be saying dumb s—t.”
Watch the full interview below.
03/28/2025
Here’s how we feel about Durk’s latest LP.
03/28/2025
Harry Styles made his cab driver do a double take during a recent drive to London.
A private pink taxi service owner named Paula shared on Instagram March 23 that she’d given the pop star a ride to the English capital without even realizing who her famous passenger was at first. Sharing a selfie she took with Styles after the fact, the driver wrote, “Picked up this young fella on my way home tonight.”
“We got chatting, and I said, ‘You really sound like Harry Styles,’” she added. “He said ‘That’s because I am Harry Styles.’ He was such a friendly young chap!”
In the snap, Paula leans out her driver’s-side window as the “Watermelon Sugar” singer — sporting a trim mustache, baseball cap and blue button-down — smiles politely at the camera. On Friday (March 28), Paula reshared the picture onto her Story and wrote, “I drove Harry Styles in One Direction all the way to LONDON.”
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Based on his serendipitous taxi ride, it seems that Styles is back in his home country after spending time in Japan earlier this month. The Grammy winner participated in the Tokyo marathon March 2, finishing in 6,010th place out of a group of more than 37,000 runners, and averaging about 7:47 per mile.
From Tokyo to London, Styles is all over the map, but one place he isn’t headed anytime soon is Las Vegas. At least, he isn’t setting up shop in Sin City for a 2025 residency at The Sphere, as was widely rumored up until March 13, when a rep for the venue shut down the speculation via a statement shared exclusively with Billboard.
“To set the record straight, there has never been plans for Harry Styles to perform at Sphere,” the spokesperson said at the time.
Styles hasn’t toured since 2023, when he closed out his global Love On Tour after two years on the road. His last album, Harry’s House, arrived in 2022. In addition to spawning 15-week Billboard Hot 100 No. 1 single “As It Was” and spending two weeks atop the Billboard 200, the LP won album of the year at the following year’s Grammys.
Once considered a quiet season for the music industry, Ramadan is now a full-blown musical phenomenon. As Firas Abou Fakher, the vp of audience growth and strategy at Universal Music Middle East, puts it, “Ramadan is no longer a ‘break period’ for the music scene like it used to be.”
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In recent years, Ramadan has become a prime time for music releases, fueled by the rise of TV series, commercial campaigns and a growing appetite for nostalgia. But music has always been an essential part of Ramadan’s artistic memory. From the golden voices of Ammar El Sherei and Sayed Mekawy to legendary lyricists like Salah Jaheen, Sayed Hegab and Abdelrahman El-Abnoudi, paired with artistic talents like Nelly and Sherihan, Ali Al Hajjar and Assala, music has long set the stage for unforgettable Ramadan moments.
However, nothing compares to today’s musical boom, where TV series soundtracks and brand-backed anthems dominate streaming charts, transforming the Holy Month into a dynamic season for artists and production houses alike.
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So, how did we get here? Billboard Arabia sat down with top industry insiders and traced the evolution of Ramadan’s soundscape since the ’80s.
More Than Just TV Soundtracks: Music as Part of the Storyline
Lately, Ramadan has become a launchpad for hit songs, with artists strategically linking their releases to trending TV series. According to Wissam Chartouni, co-founder of Glava Holding (home to Watary and Music Is My Life), “artists now have a higher chance of success when their songs are tied to popular TV shows. Additionally, old classics are getting a fresh revival when featured in pivotal scenes.”
A perfect example? This year, Sherine Abdel Wahab’s 2018 album Nassay saw a massive resurgence after its tracks were featured in the Ramadan series Ekhawati (My Sisters), propelling her back to the top of the Billboard Arabia Hot 100 chart.
Karima Damir, the vp of artist development and repertoire growth at Universal Music Middle East, also notes a shift in how artists engage with Ramadan series: “Singers are becoming integral to the storyline itself. We’re even seeing rappers take on acting roles.” Take, for example, Abyusif, who joined Ahmed Mekky in El Ghaoui during the current season, or Shahin, who starred in Lunchbox last year. Arabic music and drama have never been more intertwined.
From Fawazeer to Viral Ads
For decades, Ramadan’s “fawazeer” (riddle-based variety shows) ruled the entertainment scene, with stars like Nelly and Sherihan leading the stage. Nelly dazzled audiences with standout performances in works like Al Khatba (The Matchmaker) and Arousati (My Doll), where she collaborated with iconic poet, lyricist and playwright Salah Jahin. Meanwhile, Samir Ghanem brought to life the beloved character Fatoota, accompanied by a long, comedic opening theme composed by Sayed Mekawy—one that still lingers in memory today.
In the ’90s, Sherihan reigned supreme with productions like “Hagat W Mehtagat” (Needs and Wants), penned by Egyptian songwriter Sayed Hegab and set to music by composer Moudy El Imam, who blended fast-paced rhythms with vibrant orchestral arrangements.
These productions were packed with elaborate song-and-dance numbers composed by musical giants. But as the 2000s rolled in, fawazeer faded, making room for a new powerhouse: Ramadan commercials. In recent years, brands have gone beyond simple jingles. Instead, they have invested in cinematic-style music videos with chart-topping stars, sometimes downplaying their product’s presence to ensure the song has standalone appeal.
Some of these ad songs have become cultural hits, such as “Asmar Oyonoh Samrah” (Brown-skinned, brown-eyed) and “Ramadan Fi Masr Haga Tanya” (Ramadan in Egypt is something else), performed by Hussein Al Jassmi, a staple on Billboard Arabia’s charts.
This year alone, A-list artists like Al Jassmi, Sherine, Elissa, Tamer Hosny, Angham, Wegz and Ahmed Saad (who led an impressive seven different ad campaigns) dominated Ramadan’s musical space.
Mohamed Jaber, vice president of Mazzika Group, explains this shift: “Brands are now creating songs that can live beyond Ramadan. The goal is for people to play these tracks at gatherings and celebrations, making them more than just an ad—they become part of our culture.”
The Soundtrack Lives On
Despite all these shifts, one thing remains unchanged—TV series intro songs still reign supreme. Since the 1980s, Ramadan drama intros have been a gateway for timeless hits. Legendary collaborations like Sayed Hegab and Ammar El Sherei set the foundation for this genre, creating unforgettable classics. This is evident in the iconic Layali El Helmeya (Al-Hilmiya Nights) theme song, written by Hegab, composed by Michel El Masry and performed by Mohamed El Helou in 1987.
The 1990s ushered in the golden era of intro soundtracks in both Egyptian and Syrian drama. In Egypt, poets like Ahmed Fouad Negm in Zizinia and Abdelrahman El Abnoudi with Ze’ab El Gabal penned lyrics for TV dramas, while Ali El Haggar’s performances of the songs “Bawabat El Halawani” and “El Mal wel Banoon” became iconic.
Meanwhile, in Syria, the 1994 series Nihayat Rajol Shujaa (The End of a Brave Man) marked a turning point. Featuring a fully composed original score by Tarek Al Nasser, its theme, “Ya Rouh La Tahzani,” became an integral part of the show’s identity.
Syrian drama also saw a flourishing partnership between director Hatem Ali and composer Taher Mamelli, who infused an epic musical approach into productions like “Al Fosoul Al Arbaa,” “Boqaat Daw” and “Thikrayat Az Zaman Al Qaadem.” Mamelli often unearthed local voices, adding authenticity to his scores.
The Rise of Pop Stars and the Evolution of Ramadan’s TV Theme Songs
TV series like Salah Ad Din Al Ayyubi (2002), Qasim Amin (2003) and Nizar Qabbani (2005) marked a turning point. Following their success, production companies began recruiting top pop stars for theme songs. Pop star Assala lent her voice to all three, bringing celebrated poets’ words to life and leaving a deep impression on Arab audiences. These songs transcended their series, taking on national and emotional significance.
During this era, Egypt’s Ramadan TV season changed, with more channels and bigger productions. Some lyricists preserved the ‘90s spirit, like Ayman Bahgat Kamar’s “Abbas Al-Abyad fi Al-Yawm Al-Aswad” (2004), composed by Mahmoud Talaat and performed by Medhat Saleh. However, commercial pressures meant lyricists often wrote intros based solely on show titles, leading to more generic hooks, as seen in the show El Kaboos.
New voices emerged in theme songs. Hisham Abbas performed “Yetrebba Fi Ezo” (2007), composed by Talaat. In 2010, Ahmed Mekky broke new ground by writing and performing his own hip-hop intro, a massive success in rural Egyptian dialect.
In the Gulf, Nawal Al Kuwaitia became a staple Ramadan drama voice, singing for Al Raha, Al Dereesha and Damat Omr, while Asma Lamnawar mastered Khaleeji music with Oyun Al Hob, Sara and Ahbabtak Mundhu Al Sighar.
Meanwhile, historical Syrian dramas grew in popularity. The iconic show Bab Al Hara (2006–2017) featured a legendary theme song, “Elli Beddo Yetahadda,” performed by Adnan Al Hallaq with lyrics by Osama Al Saud and music by Saad Al Husseini.
Pop stars continue to shape TV intros, making them more like standalone hits designed for viral success. This year, Syrian dramas introduced fresh voices like Ziad Bourji, Nassif Zeytoun, Rahma Riad and Abir Nehme. Rising star Al Shami debuted with Taht Sabe’ Ard, marking a strategic shift as producers capitalized on his recent fame.
The Rise of Shaabi and Mahraganat Music
By the mid-2010s, Ramadan’s musical landscape had expanded beyond traditional soundtracks. Enter the street anthems: Mahraganat and traditional hip-hop-infused tracks became regulars in TV series intros, performed by artists such as Hassan Shakosh and Bousy. In 2020, Bi 100 Wish (With a Hundred Faces) became the first show to feature a Mahragan intro song, Millionaire, performed by El Madfaagya and famed actress Nelly Karim.
Fast forward to Ramadan 2024 and 2025. Mahraganat star Essam Sasa achieved record-breaking success with his intro songs, ranking among the few to reach the Billboard Arabia charts. His track “Etnen Be Maqam Malayin” (Two Are Worth Millions), from the series Massar Egbari, landed in the Hot 100’s top 10 last year.
With Ramadan now a season of cultural significance beyond religious observance, its musical phenomenon continues to evolve, marking a unique space where nostalgia, innovation and commercial success intersect.
Dylan Scott’s “This Town’s Been Too Good to Us” jumps three places to No. 1 on Billboard’s Country Airplay chart (dated April 5). During the March 21-27 tracking week, the song increased by 17% to 27.5 million audience impressions, according to Luminate.
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Scott co-wrote the single with John Byron, Ashley Gorley, Taylor Phillips and Ryan Vojtesak.
The fourth Country Airplay leader for 34-year-old Scott from Bastrop, La., follows his duet with Dylan Marlowe, “Boys Back Home,” which hit No. 2 in January. Scott earned his first No. 1, among seven top 10s, with “My Girl,” in July 2017. He led again with “New Truck” in August 2022 and “Can’t Have Mine” in December 2023. All three of his previous chart-toppers ruled for one week each.
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Scott’s two other top 10s both reached No. 2: “Nobody,” in June 2021, and “Hooked,” in September 2018.
Meanwhile, as Scott’s latest leader hits the summit in its 55th chart week, it completes the longest trip to No. 1 since Parmalee’s “Gonna Love You” needed 56 frames to reach the apex in December.
Scott’s next album, Easy Does It, is due May 30.
38’s Special
Blake Shelton claims his 38th Country Airplay top 10 as “Texas” steps 11-10 (16.6 million, up 2%). The song follows his Post Malone collaboration “Pour Me a Drink,” which dominated for three weeks last October, becoming his 29th No. 1 (and Post Malone’s second).
Shelton’s first of 63 Country Airplay entries, “Austin,” dominated for five weeks starting in August 2001.
“Texas” is the lead single from Shelton’s album For Recreational Use Only, expected May 9.
All charts dated April 5 will update Tuesday, April 1, on Billboard.com.
