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Music Artists Coalition (MAC), a nonprofit dedicated to advocating for music creators, has responded to Universal Music Group’s new AI deal with Udio, asking questions about how artists will be compensated. “We’re cautiously optimistic but insistent on details,” said Jordan Bromley, leader at Manatt Entertainment and board member of MAC, in a press release put out by MAC on Friday (Oct. 31).
The UMG-Udio deal, which was announced Wednesday night (Oct. 29), is multifaceted. First, it involves a “compensatory” legal settlement for UMG, which sued Udio last summer, along with the other major music companies, for copyright infringement of their sound recordings during Udio’s training process. (Sony and Warner’s lawsuit against Udio is ongoing.)
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It also provides go-forward licensing agreements for UMG’s recorded music and publishing assets, which is said to open up a new revenue stream for the company and its signees who decide to opt in. Those artists and songwriters who participate will be compensated for both the training process of the AI model and for its outputs, according to a source close to the deal.
As part of the agreement, Udio plans to pivot its offerings significantly. In 2026, the company will launch a new platform “powered by new cutting-edge generative AI technology that will be trained on authorized and licensed music. The new subscription service will transform the user engagement experience, creating a licensed and protected environment to customize, stream and share music responsibly, on the Udio platform.” This will include new tools that let fans remix, mashup and create songs in the style of participating UMG artists. It will also allow fans to use UMG artist voice models.
Opting into the Udio deal is not a one-size-fits-all approach. According to a recent interview with Udio CEO Andrew Sanchez about the deal, the company “[has] built and invested an absolutely enormous amount into controls. Controls over how artists’ songs can be used, how their styles can be used, really granular controls…One of the things that you’ll see is we’re going to launch with a set of features that has a spectrum of freedom that the artist can control.”
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One area that Sanchez and UMG’s announcement about the deal did not provide clarity on was how exactly participating artists will be compensated. This is why MAC put out a press release on Friday (Oct. 31) asking exactly what is going on — and noting the organization is only “cautiously optimistic” about the agreement.
As Irving Azoff, top artist manager, entrepreneur, board member and founder of MAC, put it in the announcement: “Every technological advance offers opportunity, but we have to make sure it doesn’t come at the expense of the people who actually create the music — artists and songwriters. We’ve seen this before — everyone talks about ‘partnership,’ but artists end up on the sidelines with scraps. Artists must have creative control, fair compensation and clarity about deals being done based on their catalogs.”
The press release goes on to say that while MAC appreciates that the deal is “opt-in” and with “granular control,” the organization still has questions, which are quoted below:
“Meaningful consent: How do artists actually control what uses they authorize? What happens when multiple songwriters or performers on a single song disagree about participation?”
“Revenue splits: What percentage of revenue goes to artists versus the label versus the AI company when their music is used to train models or generate new works?”
“Data and deal transparency: Was settlement money paid? How will that be distributed to artists? Will artists’ pay-outs for a new revenue stream just be applied to old unrecouped balances? Will artists see exactly how their work is being used within the AI system and have ongoing visibility into its use?”
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“Artist opt-in sounds promising, but participation without fair compensation isn’t partnership; it’s just permission,” said Ron Gubitz, MAC’s executive director, in the press release. “Artists create the work that makes these AI systems possible. They deserve both control over how their work is used and appropriate compensation for its value generation. It’s the three C’s: consent, compensation, and clarity.”
“The music industry is at a crossroads,” Gubitz added. “The decisions being made right now will shape how music gets created, distributed, and monetized for decades to come. That’s exactly why MAC exists — to ensure artists have a seat at the table when those decisions are made.”
Bromley added: “True partnership requires appropriate oversight and remuneration for all involved parties. The industry needs to get this right — for artists, for fans, and for the future of music itself.”
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As you put the final touches on your Halloween costumes for tonight, why not listen to some new music from your favorite queer artists? Billboard Pride is proud to present the latest edition of Queer Jams of the Week, our roundup of some of the best new music releases from LGBTQ+ artists.
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From Tyler the Creator’s latest track to Reneé Rap’s victory lap, check out just a few of our favorite releases from this week below:
Tyler, the Creator, “MOTHER”
With his deluxe edition of Chromakopia, Tyler, the Creator only added one new song — but it’s a track that he called the “grounding piece” to the album. Throughout “Mother,” a nearly-5-minute track filled with sonic and lyrical switch-ups, Tyler manages not only to flex his dexterity as an artist, but the true excellence of his writing. Dedicated to his mom Bonita Smith and the various lessons she taught him growing up, “Mother” sounds like Tyler’s entire Chromakopia run bundled into one glorious, messy, all-encompassing new track.
Reneé Rapp, “Lucky”
For her next trick, Reneé Rapp is turning a one-off song for the soundtrack of Now You See Me: Now You Don’t into a genuine pop-rock banger. “Lucky,” featuring credits from pop songwriting royalty like Ryan Tedder and Omer Fedi, sees Rapp strutting out a victory lap from her Bite Me era with a cheeky new single. As she flexes her accolades and taunts her haters, the singer comes to a simple conclusion with the track’s bridge: “Okay, got my way/ It’s almost like I’m Reneé.”
Orville Peck, “Drift Away”
After taking a light detour by starring in a Broadway show, Orville Peck is back in his full cowboy glory on “Drift Away,” the first single off his upcoming new album Appaloosa. Lamenting the state of life in a post-pandemic world, Peck offers an alternative to the dismay and disconnection of modernity with a dreamy, escapist country melody that offers to make like the title and simply float off into the distance.
Cat Burns, How to Be Human
She may be in the midst of a lying streak on The Celebrity Traitors in the UK, but Cat Burns is nothing but radically honest on her latest album How to Be Human. Throughout the magnificent new record, the singer-songwriter recounts in often excruciating detail how she got through a particularly trying period of her life. With raw lyrics, inventive production and Burns’ best vocal performance to date, How to Be Human is a must-listen for any music fans out there.
MIKA, “Modern Times”
As life in our current era gets more complicated and chaotic, pop singer MIKA is here to try and make a little sense out of “Modern Times.” On his first single in two years, MIKA takes an avant garde, dance-pop approach to the constantly-moving changes of the world today, all while constructing the kind of soaring melodies that made him a star in the first place. With new production flourishes bolstering his already well-established vocal talent, MIKA makes his comeback feel all the more glorious with “Modern Times.”
Check out all of our picks on Billboard’s Queer Jams of the Week playlist below:
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To open its career on Billboard’s Mainstream Rock Airplay chart, The Pretty Reckless rattled off four No. 1s in a row. Nearly a decade later, the Taylor Momsen-led band has done it again.
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“For I Am Death,” The Pretty Reckless’ first new music since its 2021 album Death by Rock and Roll, climbs to No. 1 on the ranking dated Nov. 8. It’s the band’s eighth leader and fourth straight, a streak that dates to 2020, when “Death by Rock and Roll” led for three weeks, followed by reigns for “And So It Went” and “Only Love Can Save Me Now” in 2021.
In 2013, The Pretty Reckless made its maiden appearance on the tally with “Heaven Knows,” a song that ended up reigning for four weeks beginning in March 2014. That kicked off a streak of four consecutive No. 1s, with “Heaven Knows” followed by “Messed Up World” (2014), “Follow Me Down” (2015) and “Take Me Down” (2016).
In fact, 80% of the band’s charted titles have reached No. 1, while 90% have been in the top two. Easy math there, as The Pretty Reckless has charted 10 entries on Mainstream Rock Airplay; its non-No. 1s are the No. 2-peaking “Oh My God” and the band’s only song to peak outside the top two, “Back to the River,” a No. 12 hit, both in 2017.
With eight No. 1s, The Pretty Reckless solely boasts the most by a woman-fronted group (or, for that matter, women soloists) in the Mainstream Rock Airplay chart’s 44-year history. Previously, the band was tied with Halestorm, which notched its seventh in 2024. (Of note: Linkin Park, currently co-led by Emily Armstrong, has 13 No. 1s, but only three since she joined.)
Concurrently, “For I Am Death” ranks at No. 7 on the all-rock-format, audience-based Rock & Alternative Airplay chart with 3.2 million in audience in the week ending Oct. 30, up 12%, according to Luminate. That’s a new weekly high in impressions for the song, although its chart-position best so far remains No. 5, achieved on the Nov. 1 tally. It’s The Pretty Reckless’ top-performing song on the survey, surpassing a pair of No. 6 peaks via “Death by Rock and Roll” and “Only Love Can Save Me Now.”
On the most recently published, multimetric Hot Hard Rock Songs chart (dated Nov. 1, reflecting data Oct. 17-23), “For I Am Death” debuted at No. 23. In addition to its radio airplay, the tune drew 240,000 official U.S. streams.
Although The Pretty Reckless hasn’t yet announced a proper follow-up to 2021’s Death by Rock and Roll, Oct. 31 brings the release of a new holiday EP, Taylor Momsen’s Pretty Reckless Christmas, with Momsen reprising her vocal on “Where Are You Christmas?” from the 2000 film How the Grinch Stole Christmas, in which she portrayed Cindy Lou Who. The Mariah Carey co-write has become a perennial holiday hit for Faith Hill since 2000.
All Billboard charts dated Nov. 8 will update Tuesday, Nov. 4, on Billboard.com.
Simply the best new dance tracks of the week.
10/31/2025
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New Music Latin is a compilation of the best new Latin songs and albums recommended by Billboard and Billboard Español editors. Check out this week’s picks below.
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ROSALÍA feat. Björk & Yves Tumor, “Berghain” (Columbia Records)
Music for musicians and food for thinkers — that’s the best way to describe “Berghain”, the first single from Spanish superstar ROSALÍA’s upcoming album, LUX, featuring Björk and Yves Tumor. Laden with symbolism both in its lyrics and accompanying video, the piece — structured in operatic movements —surprises with Rosalía’s lyrical performance, gliding seamlessly between English, German, and her native Spanish. “Berghain,” possibly a nod to the exclusive Berlin nightclub, is steeped in a gothic mystique that frames its central theme: a woman tormented by a toxic relationship, portrayed most vividly in the video, where Rosalía embodies a Snow White straight out of the Brothers Grimm.
Surrounding her, the London Symphony Orchestra, appearing as she performs domestic chores like ironing, seem to personify the thoughts that haunt her, in a mise-en-scène rich with religious symbolism. In the end, Rosalía breaks free, transforming into a dove that takes flight. As a preview, the single leaves a lasting impression and builds anticipation for the full album, set to be released on November 7. Just watch it above. — LUISA CALLE
Maria Becerra & XROSS, “JOJO” (Warner Music Latina)
Through her latest release “JOJO,” co-produced and co-written with XROSS (real name: Xavier Rosero), Maria Becerra introduces her new alter ego. Sensuality, dominance, and fiery power embody Becerra’s new chapter that sonically, is a hard-hitting dancehall fused with R&B elements, and lyrically, it’s about a girl named Jojo, who has a magnetic force and has no competition. “She knows she’s a badass/ And that no one can match her/ She’s always like this/ Jojo wants dembow,” Becerra chants with confidence. “JOJO” marks the first single off of Becerra’s forthcoming studio album, QUIMERA, set for Nov. 20. — JESSICA ROIZ
GALE, Lo Que Puede Pasar (Sony Music Latin)
On her second studio album, Puerto Rican singer-songwriter GALE delivers a sharp, shimmering pop across 13 tracks that explore heartbreak, new beginnings, and the nostalgia of first times. The LP, which includes the previously released singles “Ciao!“, “Ysilandia” featuring ROBI, “Skittles,” and “Por Si Las Dudas” with LAGOS, also features collaborations with Danny Ocean on “Pa’ Qué Te Quedas” and Abraham Mateo on “No Quería Quererte” — both similar in rhythm (mid-tempo pop songs that explode into a powerful EDM beat) but with distinct vibes and messages.
The set opens with “Perspectiva,” a catchy track about beginning to fall for someone, and closes with “Domingo,” a moving reflection on the passage of time with a soothing vocal and guitar arrangements. The title track stands out for its infectious rhythm and lyrics about the excitement of “anything that can happen” on that first date with that special someone. Beautifully produced from beginning to end, Lo Que Puede Pasar showcases an evolution in the sound of GALE, one of the most sought-after songwriters in Latin music, whose credits include hits for superstars like Shakira, Christina Aguilera, and Juanes. — SIGAL RATNER-ARIAS
Banda El Recodo, “Solo Tú” (FONO/El Recodo Enterprises)
One of Camilo Sesto’s greatest classics is given new life in the Sinaloan banda style with this new cover by Banda El Recodo. The trumpets lend a romantic, even sensual touch to this anthem of desperate love, complemented by the vocals of Ricardo Yocupicio and Geovanni Mondragón and the rest of the instrumentation, which includes the essential tuba, clarinets, and horns. Originally released in 1976, “Solo Tú” speaks of a love for which one gives and sacrifices everything. The song is the first single from the upcoming album by “the mother of all bands,” and its video features the band members in black and white tuxedos, giving this work the elegance it deserves. — TERE AGUILERA
Majo Aguilar, “Chilo” (Universal Music México)
In her latest single, the young star of the Aguilar dynasty shows how to transform the pain of a breakup into a feeling of freedom and peace. She does so with great style, to the rhythm of a classic ranchera, but adding sierreño guitars for a contemporary touch. This empowering anthem, which emboldens and motivates her to move forward with dignity after a heartbreak, borrows a popular colloquial expression from the northern Mexican states of Sonora and Sinaloa, where people often use the word “chilo” to refer to something “nice,” “amazing,” or “great.”
“Chilo, I’m doing great/ Don’t worry, I won’t seek your affection anymore/ Chilo, I’m here at 100%/ I wish you the good and the bad you did to me,” goes the chorus, which highlights Aguilar’s melodic and powerful voice. The track is accompanied by a music video directed by QUIÉN, which features Majo on a recording set, with a vibrant orange desert and skies filled with lightning, creating a dramatic and powerful tone. — NATALIA CANO
Check out more Latin recommendations this week below:
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Megan Thee Stallion and Jennifer Hudson said they often get mistaken for each other, and that once Hudson’s security even tried to protect the Texas rapper instead of her.
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Meg stopped by The Jennifer Hudson Show for the episode airing Friday (Oct. 31) to talk about her new single, “Lover Girl,” and at one point revealed she’s often mistaken for the talk-show host. It turns out, Hudson could also relate, and admitted Meg’s fans sometimes mistake her for the rapper too.
“Remember that time we was in Italy for the Dolce thing?” Meg asked. “Jennifer’s security kept snatchin’ me up! They was like, ‘C’mon, we gotta move, we gotta move.’ I’m like, ‘I’m not with you! It’s not me, I’m not her, I promise! But I’ll go with you if you really want me to.’ Your security kept snatchin’ me up, and I was like, ‘Where is my security?’ … Jennifer’s security wanted me to be her real bad that day.”
Hudson replied, “It’s really bizarre cause we were at the Super Bowl. I was leaving the event, guys, and they was like, ‘Megan!’ I was like, ‘Are you serious?’”
Hudson clarified that she’s flattered to be mistaken for the Houston rapper.
Meg’s appearance comes after Queen Latifah stopped by the talk show to praise the rapper earlier this week, calling her the future of hip-hop.
“She’s so cool, she’s so fun, she’s so very talented and strong in her spot,” she told her The Secret Life of Bees co-star about Meg. “I love that energy carrying hip-hop into the future, of course.”
Check out a clip of Meg’s interview with Jennifer Hudson below.
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Cardi B hopped on Spaces early Friday morning (Oct. 31) to address the “hate coming from different angles” in her life.
The Bronx native rehashed the “dark energy” she was feeling being sent her way throughout the pregnancy, and while she’s been laying relatively low and says she’s “at peace,” Cardi had some words for the haters on Halloween.
“Remember when I said at the meet-and-greet that I felt like a lot of dark energy and weird things coming on my pregnancy,” she recalled. “I felt a lot of hate coming. I felt like there was a lot of hate coming from different angles, and today, I see that I’m still proving that.”
Cardi continued: “And there’s hate that was coming from bloggers. There’s hate that was coming from women that my baby dad dealt [with] in the past. There was hate that’s coming from f–king enemies that I have, rappers wishing all type of f–king STDs on me while I’m pregnant, and clearly partners that I dealt with.”
The “partners” she’s referencing could possibly be tied to her ex Offset, who appeared to blast Cardi and her boyfriend, Stefon Diggs, on his Haunted by Fame project, which arrived on Halloween.
“How the f—k you leave Jordan for Rodman/ You a fool if you think that I’m hurt/ You ain’t happy, I know how it work/ How you married and still giving birth/ Get some help, b—h, you going berserk,” he raps on the Coupe-produced “No Sweat.”
While Cardi kept Friday’s response more general and didn’t address Offset by name, she had a message for those praying on her downfall. Cardi believes she’ll be the one having the last laugh, as she’s convinced God typically punishes those who hate on her.
“However, one thing I notice, I swear to God, and it’s so real … anybody that messes with me while I’m at my most vulnerable — and my most vulnerable is always when I’m pregnant — God always punishes them,” she shared. “Two three years might pass … and God goes and punish them the worst way.”
Cardi B’s heading into the final months of pregnancy before giving birth to baby No. 4, which will be her first child with her NFL player boyfriend. She’ll then hit the road for the Little Miss Drama Tour in February.
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Fugees rapper Pras Michel must pay a whopping $64 million to the government following his conviction on illegal foreign lobbying and conspiracy charges, a federal judge ruled Thursday (Oct. 30).
The rapper’s lawyers had called such a massive order “grossly disproportionate” to his 2023 conviction, in which Michel was found guilty on accusations that he orchestrated a “foreign influence campaign” to get the U.S. to drop an investigation into fugitive Malaysian financier Jho Low.
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But in the ruling on Thursday, Judge Colleen Kollar-Kotelly said that Michel had “obtained proceeds in the amount of at least $64,923,226 from his offenses,” which included conspiracy, witness tampering and failing to register as an agent of China. The judge’s written opinion explaining her rationale was not made publicly available.
Michel faces sentencing on those same convictions next month, when he could receive a decades-long prison sentence. His attorneys have called for a far lighter sentence of only 36 months. A spokeswoman for Michel did not immediately return a request for comment on Thursday.
Composed of Lauryn Hill, Wyclef Jean and Michel, the Fugees rose to fame in the 1990s with hits like “Killing Me Softly,” “Ready or Not” and “Fu-Gee-La.” After splitting up in 1998, the three each had successful solo careers and mostly stayed separate until recent years, when they’ve attempted multiple reunion tours.
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In 2019, Michel was hit with sweeping federal criminal charges over accusations that he funneled money from Low, the mastermind of the billion-dollar 1MDB embezzlement scheme, to a lobbying campaign aimed at getting the first Trump administration to drop its investigation into the disgraced financier. He was also accused of secretly funneling Low’s money to Barack Obama’s 2012 presidential campaign, and of later trying to influence an extradition case on behalf of China.
In April 2023, following a trial that included testimony from actor Leonardo DiCaprio and former U.S. Attorney General Jeff Sessions, Michel was convicted on 10 counts, including conspiracy to defraud the U.S. government.
Thursday’s forfeiture order was delayed by several months after Pras announced in August that he’d had emergency surgery for colon cancer removal. The August hearing was eventually rescheduled for last week, setting the stage for Thursday’s decision.
Following his sentencing next month, Michel will likely appeal both his sentence and the underlying convictions to a higher court.
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Udio now says it will briefly allow subscribers to download their existing songs following widespread backlash to drastic changes made to the platform following the AI firm’s licensing settlement with Universal Music Group (UMG).
The move comes in response to growing outrage — and even threats of legal action — from users after Udio struck the UMG deal, under which the AI company immediately barred its paying subscribers from downloading their own songs, even those they had created long before the UMG deal.
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In the statement posted late Thursday (Oct. 30) to Reddit, Udio said it would provide a 48-hour window starting Monday (Nov. 3) for all users to download their existing songs. Any songs downloaded during that time will be covered by the prior terms of service that existed before the UMG settlement.
“Not going to mince words: we hate the fact we cannot offer downloads right now,” Udio CEO Andrew Sanchez wrote in that post. “We know the pain it causes to you, and we are sorry that we have had to do so.”
In the Reddit post, Sanchez also tried to explain the reasons for the original change, saying that Udio is a “small company operating in an incredibly complex and evolving space” that had chosen to partner directly with artists and songwriters. “In order to facilitate that partnership, we had to disable downloads,” he said.
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If the download ban is a requirement of the legal settlement with UMG, how can Udio now reverse course and allow users to download their songs? Sanchez said Udio had “worked with our partners to help make this possible.” A spokesman for UMG did not return a request for comment.
Any existing songs that are downloaded during next week’s window will be owned by the users who made them. Under Udio’s terms of service, the company grants all users of the platform — paid subscribers or free users — any ownership rights to their songs, including express permission to use them for commercial purposes. The company does require users of the company’s free tier to include attribution that the song was made with Udio.
The deal between UMG and Udio, announced Wednesday (Oct. 29), will end UMG’s allegations that Udio broke the law by training its AI models on vast troves of copyrighted songs. Under the agreement, Udio will pay a “compensatory” settlement, and the two will partner on a new subscription AI service that pays fees to UMG and its artists, and allows artists to opt in to different aspects of the new service.
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The revamped Udio will be quite a bit different from the current service — a “walled garden” where fans can stream their creations but cannot take them elsewhere. While the new version won’t launch until next year, the firm immediately disabled all downloading on Wednesday, a move that drew predictable backlash from its users, particularly on the company’s Reddit sub.
“This feels like an absolute betrayal,” wrote one Reddit user. “I’ve spent hundreds of $$$ and countless hours building tracks with this tool,” wrote another. “No one warned us that one day, we wouldn’t even be able to access our own music. You can’t just pull the plug and call that a ‘transition.’”
Some Udio subscribers even floated the idea of legal action: “What you have committed is fraud. Just so you understand,” wrote one user. “You may not feel any legal ramifications immediately, but not everyone who used your platform is without resources.”
The window for downloads will kick off on Monday, but it’s unclear exactly when. Udio said in the post that it would “provide the exact starting time and end time” on Friday (Oct. 31), but had yet to do so by Friday afternoon. An Udio spokesperson did not offer more details when reached by Billboard for comment.
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All-inclusive resorts in Cancun have undergone a steady evolution over the years. Once popularized for its convenience and value, hotels are now pivoting to more structured and elevated experiences with a variety of amenities and entertainment designed to captivate all types of travelers. A case in point for Hilton Cancun, an all-inclusive beach front resort.
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Surrounded by lush mangroves and set on 100 acres of unspoiled Mayan coastline, this Hilton resort offers a seamless connection to nature, culture and relaxation. The hotel delivers 13 dining options, on-site spa treatments, an amphitheater with live music events, country club access and plenty of sports activities.
For an ultimate Cancun retreat, here’s everything you need to know about eating, drinking and dancing your way through Hilton’s tropical resort.
Rooms With A Luxe View
At Hilton you can focus on maximizing your time with a mix of relaxation and activities without leaving the resort. Its Cancun location feels like a private retreat as it’s nestled away from other resorts in the main hotel zone, but still pretty close to the airport (9 minutes to be exact) as well as the main town area in case you want to go exploring.
Drawing inspiration from local artisans and the surrounding coastline, Hilton Cancun, an all-inclusive resort offers a wide range of rooms and suites (715 in total) with either an ocean view or a mangrove view. Some rooms offer swim-up patios while others include panoramic sea views for a private sanctuary feeling.
A Food Lover’s Beach Paradise
If you’re a foodie, prepare to eat well on this vacation. Hilton Cancun offers up 13 delicious gastronomic experiences to eat at during your stay. Each restaurant and bar offers a wide variety of cuisines to satisfy the food craving you’re looking for. From La Luce, a beachfront restaurant serving up steamy pies from its central wood-fired pizza oven, to Maxal, a Mexican restaurant dishing out traditional cuisine and a rotating selection of tacos from its walk up window. If you have a sweet tooth, make sure to stop by La Churrería, an all-you-can-eat ice cream & churro shop, for delicious desserts.
For a truly special dining experience, guests can upgrade to a private dinner at Hilton’s “Dinner Under the Moonlight” experience, which features a five-course menu by the beach. After, wash all that food down with unlimited cocktails and drinks at the resort’s Azulinda Lobby Bar, a lounge offering regional and imported beer, wine, and daily cocktails.
Dance the Night Away
Hilton Cancun includes all the on-site amenities you’d expect from a resort, like fitness facilities, multiple pools for both adults and kids, beach access, as well as an amphitheater filled with live music, performances and themed events like glow parties, live DJ sets and even a recent Halloween concert.
For kids, the resort features a kids and teen zone for the little ones to enjoy their own exclusive safe space with plenty of activities to keep them occupied, including sports tournaments, video games, beach games, volleyball, and water sports.
If you’re into sports, teeing off at the Cancun Country Club’s El Tinto golf course is a must. Guests have access to play one of Latin America’s premier golf courses, which is just 9 minutes from the resort. The country club also has tennis and paddle courts for friendly matches or competitive play, as well as semi-Olympic and recreational pools for both exercise and relaxation.
Relax and Unwind
If you truly want to slow things down and unwind, just steps from Hilton Cancun is the award-winning Waldorf Astoria Spa Riviera Maya, where ancient Mayan rituals meet cutting-edge therapies in a lush jungle sanctuary. Guests can choose from over 20 indoor and outdoor treatment spaces designed for deep restoration. Using fresh garden herbs, locally sourced oils and healing crystals, align your body and soul with a 60-minute hydrotherapy circuit, a 50-minute relaxing massage or a 60-minute rejuvenating facial. Guests can book appointments right at the hotel or online.
