songs ranked

30 Apr 2025

Revisiting Thalia’s ‘Arrasando’ at 25: All Songs Ranked

Twenty-five years ago, Thalia welcomed the new millennium with Arrasando, an album that would redefine her career and take her to new heights in the music industry, despite already being a star.

With an eclectic tracklist of 12 songs that fused pop with elements of dance, R&B, and Latin rhythms, Arrasando spent two weeks at No. 1 on Billboard’s Latin Pop Albums chart and reached No. 4 on Top Latin Albums. It also topped the charts with “Entre el Mar y una Estrella,” its most successful single, which hit No. 1 on Hot Latin Songs, Latin Airplay and Latin Pop Airplay, while tracks like “Arrasando,” “Regresa a Mí,” and “Rosalinda” also made appearances on the charts.

Released on April 25, 2000, by EMI Latin, the album was produced by Emilio Estefan, Roberto Blades, Kike Santander, and Thalia herself, who also co-wrote eight of the songs.

“The songs on this album are a turning point in my career as a performer, producer, and especially as a songwriter,” Thalia tells Billboard about her sixth studio album. “It’s one of my greatest sources of pride, and knowing that it’s still ‘Arrasandooo’ (triumphing) after 25 years confirms that when things are made with passion and with a team that understands your vision, they resonate in people’s hearts forever.

“This album represents an unforgettable and powerful moment in the music industry at the start of the new century,” the Mexican superstar adds. “It explores those early musical fusions in the industry in 2000 that back then weren’t as common as they are today.”

With more than 2 million copies sold, Arrasando received a wave of accolades, including the Latin Grammy for best engineered album (by engineer Juan Carlos “Charly” Ríos), the Star Award for Thalia at the Billboard Latin Music Awards, and the Premio Lo Nuestro Artist of the People Award, among others.

A quarter of a century later, the Billboard Latin staff dives back into its songs, counting them down below and ultimately getting to our very favorite.

“Pata Pata”

In this Spanish-language version of the classic popularized by South African icon Miriam Makeba in the 1960s, Thalia maintains the original’s infectious rhythm and cadence while inviting the listener to let go and shake their hips. With lyrics by Edgardo Franco (El General), who released a bilingual version in 1998 (the same year Chayanne recorded his own with Makeba), Thalia’s “Pata Pata” — one of many iterations of the song — respects its essence as a vibrant celebration of dance and movement. In case you were wondering, the title (in Xhosa language) means “touch, touch.”
“No Hay Que Llorar”

In this R&B-infused ballad, the ever-positive Thalia encourages us not to weep over heartbreak at the end of a relationship. “No need to cry when we think that love will leave/ No need to suffer when we feel like it will never come back,” she sings passionately over classic guitar and keyboard, while a robotic male voice repeats the song’s title in the background. With lyrics by Thalia and music by Lawrence Dermer, “No Hay Que Llorar” has that ’90s R&B sound reminiscent of Boyz II Men.
“Quiero Amarte”

Ready to give love and to be loved again, Thalia delivered the sweet “Quiero Amarte” (I want to love you). This flirty song laces the Mexican singer’s pop essence with futuristic beats and light reggae undertones, making it the perfect sound for the then Y2K era. Lyrically, she sings about wanting to love and care for someone without worrying about getting hurt again. “I want to love you freely and think/ That if I suddenly fall/ It’s your arms that will be there,” she sensually chants.
“Reencarnación”

The fourth single from Thalia’s seminal album brings a refreshing burst of energy, and dives deep into themes of transformation and spiritual rebirth. Co-written by Robi Draco Rosa and Thalia, and co-produced by Emilio Estefan, the track stands out as a triumphant celebration of renewal and self-discovery. Blending flamboyant electro-pop influences with traditional Mexican trumpets, “Reencarnación” creates a dynamic fusion that pushes the boundaries of her usual repertoire. It’s an empowering tune that encourages listeners to embrace new beginnings.
“Menta y Canela”

With a tropical rhythm that transports us to a beach party atmosphere, “Menta y Canela” (Mint and Cinnamon) is a cheerful and fun song about the incomparable feeling that occurs in the early stages of falling in love. “This tickle I feel inside/ Makes me completely lose my mind/ It rises, rises, rises with all the pressure/ It passes and devastates the heart,” says part of this song written by Thalia and Pérez Prado, which is as fresh and sensual as its title.
“Suerte en Mí”

Steering away from her pop, ballads and traditional Mexican music, “Suerte en Mí” finds Thalia exploring Latin dance and rumba melodies. Meant to hit the dance floor, the song is provocative and sexy, where the singer narrates being lucky to have finally found “the one.” “I have luck in me/ For finding you on my path with ease […] When you look at me I feel special/ When you hug me I want to faint,” she sings in the track. Produced by Emilio Estefan Jr. and Lawrence P. Dermer, the song is a Spanish version of Gloria Estefan’s 1998 track “Lucky Girl” — also produced by Estefan and Dermer.
“Siempre Hay Cariño”

Just when you thought you were feeling down, comes Thalia with a friendly reminder that “Siempre Hay Cariño” (There’s Always Affection) —an inspirational song about hope and love. In the first 50 seconds of the song, the Mexican singer is accompanied by a weeping orchestra before it transitions into a lively bossanova. “Goodbye sadness, don’t come back again/ That in life there is no time to cry […] Love came into my life, I will never cry again/ Pain, I bid you farewell/ That today my heart sings again,” says the uplifting lyrics.
“Tumba la Casa”

With “Tumba la Casa,” the Mexican singer ventures into urbano-pop territory, delivering a dynamic performance that continues to electrify today. Backed by pulsating keyboard melodies and irresistible rhythms, the song radiates pure energy, making it a natural fit for the dance floor. Radiating pure dance-floor energy, the track showcases Thalia’s undeniable charisma, heightened by the infectious “Tumba la Casa” chant woven throughout its 4.5 minutes — a sample of Sancocho’s ’90s house classic. Once again, she proves she can command a party anthem just as effortlessly as a heartfelt ballad.
“Rosalinda”

As the theme song for the 1999 telenovela of the same name starring Thalia, “Rosalinda” offers a contagious mix of pop and cumbia, accompanied by passionate lyrics courtesy of Kike Santander. With lines like “When passion calls us/ We find ourselves face to face/ To love each other madly/ And surrender ourselves without reservation to love,” and Thalia’s signature delivery, “Rosalinda” works as part of the eclectic Arrasando — although it may remind us more of other telenovela classics by the Mexican star, such as “María Mercedes,” “María la del Barrio” and “Marimar.”
“Regresa a Mí”

Infused with an electro-pop shimmer, “Regresa a Mí” highlights Thalia’s commanding vocal range. It brims with a bittersweet intensity, as the lyrics fervently plead for a lost love to return. The song’s glossy production deliberately leans into a playful, almost kitschy charm, creating a contrast between its nostalgic theme and its vibrant, slightly theatrical vibe. Thalia’s Auto-Tune-enhanced vocals add a modern edge while still preserving the emotional weight of the song. The result? A track that feels dramatic yet self-aware, making it a standout for fans of sentimental ballads wrapped in a polished, retro-futuristic package.
“Arrasando”

Though it only peaked at No. 25 on the Latin Pop Airplay chart, the album’s title track and third single release is one of Thalia’s most defining party songs to date. “Arrasando,” which can loosely translate to “triumphing” or “kicking ass,” is a vibrant club-friendly tune backed by techno-fused mambo and Thalia’s quick-paced rap skills. The lyrics are just as feel-good as the melody, sending a positive and powerful message about living life: “Arrasando with life/ Harvesting joy/ No obstacle can stop me/ Enjoying a new day.”
“Entre el Mar y una Estrella”

“Entre el Mar y una Estrella” is as majestic as its name (Between the Sea and a Star), and its magic remains intact even 25 years after its release. As the opening track of Thalia’s album, it beautifully captures emotions of longing and love through poetic lyrics and a tender melody. “And even though you’re gone, you’re still with me/ I feel the breath of your love,” she sings in Spanish, her voice floating over a breezy backdrop adorned with twinkling strings. Her vocal delivery effortlessly balances passion and vulnerability, evoking a sense of nostalgia and hope, while the orchestral arrangements create a timeless sound that solidifies this song as one of her most cherished classics.

12 Dec 2024

Staff Picks: The Best Latin Songs of 2024, Ranked

12/12/2024

See which is the No. 1 track of the year, according to Billboard Latin and Billboard Español editors.

12/12/2024

Karol G, Xavi and Jesús Ortiz Paz

Illustration by Mara Ocejo; Photos: Alfred Marroquín; Luis Hernández; Medios y Media/Getty Images

2024 has been another landmark year for Latin music, brimming with eclectic singles that have caught our ears and set new trends. As the year draws to a close, Billboard Latin and Billboard Español editors unveil their top choices for the best songs. This curated list features the 25 most compelling and memorable songs released over the past 12 months.

We witnessed the remarkable outcomes when two acts from different genres collaborate. Take, for example, bachata royal Prince Royce and música Mexicana performer Gabito Ballesteros. Their unlikely fusion of amargue and banda-style horns in “Cosas de La Peda” not only captivated listeners but also clinched a Billboard Latin Music Award for tropical song of the year. Latin pop princess Belinda and corridos tumbados pioneer Natanael Cano struck gold with their goosebump-inducing, piano-laced “300 Noches.” Moreover, let’s not overlook the legendary Los Ángeles Azules from Iztapalapa, who joined forces with Argentine pop sensation Emilia to deliver the irresistible Mexican cumbia jam “Perdonarte ¿Para Qué?”

While reggaetón and música Mexicana continued their chart dominance, tropical music surged forth with vigor. Karol G’s merengue anthem “Si Antes Te Hubiera Conocido” spread feel-good vibes, even inspiring stars like Taylor Swift and Post Malone to groove along from their VMAs seats. The hit has impressively maintained the No. 1 spot on the Tropical Airplay chart for 22 weeks. Furthermore, suave Puerto Rican crooner Rauw Alejandro captivated us with his rendition of Frankie Ruiz’s classic salsa track “Tú Con Él.”

Afrobeats also left a significant mark in 2024, with breakout star Kapo delivering one of the most captivating, succulent-sounding and melodious songs of the year in “Ohanna,” while Kali Uchis and Peso Pluma brought disco-tinged R&B bliss to the dance floors with “Igual Que Un Ángel.”

Without further ado, here are the top 25 songs of 2024, ranked.

Banda MS & Alfredo Olivas, “Tengo Claro”

Image Credit: Courtesy Photo

This was a highly anticipated collaboration between two powerhouse names in the world of regional Mexican music. The single boasts an infectious banda rhythm that compels you to move, paired with lyrics that resonate deeply, evoking a range of emotions. Banda MS brings its signature enveloping melodies, while Alfredo Olivas lends his celebrated vocal prowess and exceptional songwriting skills, creating a harmonious blend that captivates listeners. This exciting release marks the first time these talented artists have collaborated on a track, and it thoughtfully explores the poignant theme of recognizing when it’s time to close important chapters in life. — INGRID FAJARDO
Grupo Firme, “El Beneficio de la Duda”

Another surprise for Grupo Firme fans: this letter composed by singer-songwriter Joss Favela about what love could do, and asking for one last chance, although knowing that perhaps he does not deserve it. Eduin Caz breathes life into these poignant words with his extraordinary interpretation, infusing the performance with an abundance of emotional depth and soul. His soaring vocals resonate through the lyrics, capturing both the anguish and hope embedded in the message, making the listener feel every nuance of the heartfelt plea for reconnection. — I.F.
Prince Royce & Gabito Ballesteros, “Cosas de la Peda”

Prince Royce and Gabito Ballesteros struck gold when they found a way to flawlessly fuse bachata with música mexicana in “Cosas de la Peda.” The heartbreak song starts off with a wailing trombone that sets the tone for the melancholic lyrics about drowning your sorrows in alcohol. “Cosas” is an ideal balance of bachata’s hip-swiveling beats and regional Mexican’s signature instruments, such as the requinto, tololoche and trombone. The collab won tropical song of the year at the 2024 Billboard Latin Music Awards. — GRISELDA FLORES
Kapo, “Ohnana”

Born during a music camp in Jamaica, and after visiting The Bob Marley Museum for inspiration, Colombian newcomer Kapo gave life to his first major hit: “Ohnana.” A word he invented, meaning “‘trust everything will be fine,” the suave Afrobeats single is charged with poetic lyrics about a “a beautiful [love] story” that “in these times it is not seen.” With “Ohnana,” the former Billboard Latin Artist on the Rise earned his first No. 1 on any Billboard chart, crowning the Latin Rhythm Airplay chart in November. — JESSICA ROIZ
Ivan Cornejo, “Intercambio Injusto”

Image Credit: Le3ay Studio

“How did we go from saying I love you to being perfect strangers?” Ivan Cornejo sings delicately in “Intercambio Injusto,” a stripped-down, guitar-led power ballad that immediately tugs at your heartstrings. Cornejo’s delivery, injecting pathos into every verse, is not only moving but also convincing — and that’s Cornejo’s magic touch. — G.F.
Arthur Hanlon, Yotuel & Darell, “Repetimos”

Pianist Arthur Hanlon, Cuban rapper Yotuel and Puerto Rican urban artist Darrel teamed up to deliver a sophisticated fusion of mambo, reggaetón and a funky tumbao that reached the top 10 on Billboard’s Tropical Airplay chart. Backed by Hanlon’s exquisite piano, Yotuel’s sensual vocals and Darell’s raspier tones, “Repetimos” stood out for its rich Latin flavor and its catchy lyrics about reliving a romance’s good times. “What a great time we had, how great was what we lived/ How delicious was what we drank, and now why don’t we repeat it,” asked this song, which many of us had on repeat. — SIGAL RATNER-ARIAS
Los Ángeles Azules & Emilia, “Perdonarte ¿Para Qué?”

It’s been quite the year for Argentine pop princess Emilia Mernes. She sold out 10 Movistar arenas in Buenos Aires and her first WiZink Center date in Madrid. Equally “wow: was the surprising success of “Perdonarte ¿Para Qué?,” where she trades her urban pop for a saucy, attitude-laden cumbia alongside veteran ensemble Los Ángeles Azules. The Mexican group cedes the vocals to Mernes, who in turn gives this traditional cumbia an infusion of irresistible sex appeal. The track shot to No. 1 on Billboard’s Latin Airplay chart, the first chart topper for both artists and a testament to its multi-genre appeal. — LEILA COBO
Residente, Silvia Pérez Cruz & Penélope Cruz, “313”

“313” by Residente emerges from a deeply personal and mysterious experience, triggered by the recurring appearance of that number following the death of his friend and close collaborator, Valentina Gasparini. As an orchestral tribute to the ephemeral nature of life and the importance of living in the moment, Residente created this song, which features Silvia Pérez Cruz and Penélope Cruz. “313” serves as a cornerstone for his second solo album, Las Letras Ya No Importan (or Lyrics No Longer Matter), marking his return to music, six years after his post-Calle 13 debut project. The track encapsulates Residente’s introspective journey through mourning and reflection, urging listeners to find meaning in their own lives. — ISABELA RAYGOZA
Danny Ocean, “Por la Pequeña Venecia”

Image Credit: Luis Alejandro Marquez “Vomba”

Part of his surprise EP venequia., dedicated to his native Venezuela and narrated from the perspective of an emigrant, Danny Ocean’s “por la pequeña Venecia” is an emotional letter to the regime of the South American country, released just days before the disputed July presidential elections. In a premonitory way, Danny sings with resignation that he is willing to exchange justice for peace: “Just leave now, please/ Let’s not fight anymore, please… Let’s feign madness for the little Venice.” With a title that uses the meaning of the name Venezuela (little Venice), it is a song full of pathos that resonated with Venezuelans seeking and hoping for a change of government. – S.R.A.
Venesti, Maffio & Nacho, “No Es Normal”

Colombian newcomer Venesti teamed up with Nacho and Maffio for his breakthrough hit “No Es Normal.” Produced by the lattermost, the cheerful merengue-pop is powered by lyrics about a love that’s real and pure — one that’s not seen so often these times. “It’s not normal what I feel for you/ I swear I’ve never felt this way/ You’re my other half/ The ideal person,” they sing. The song reached No. 1 on Billboard’s Latin Airplay chart in March and won Latin Pop Song of the Year at the 2024 Billboard Latin Music Awards. — J.R.
Quevedo, “Kassandra”

The story of “Kassandra,” a beautiful, successful and unhappy nepo baby, is the center of this single that marks the forceful return of Quevedo, the Spanish singer with a deep voice. Despite its hint of nostalgia, this uptempo dance song is a club anthem that immediately invites you to dance, like at the height of the ’90s. With its lush synths and four-by-four beat, it’s that dance song with a story that you didn’t know you needed. — L.C.
Belinda & Natanael Cano, “300 Noches”

Belinda’s corridos era kicked off with the heartfelt “300 Noches” featuring corridos tumbados pioneer Natanael Cano. The track is striking both lyrically and sonically: It starts off with a soft piano tune and Belinda’s evocative delivery, setting the tone for this truly heartbreaking song. “I waited so long for you to realize you had left me behind/ What do I do now to forget?” Belinda sings evocatively. Doesn’t take long for Cano to join Belinda, as he sings with sorrow about not being able to move on from a broken relationship. — G.F.
Bad Bunny, “Una Velita”

Image Credit: Eric Rojas

There’s a nuance to Bad Bunny’s music, and that’s what makes him so hard to predict. In the poignant “Una Velita,” his first release of the year (from September), Bad Bunny was brutally honest about how Puerto Rico’s infrastructure, particularly its continued blackouts due to a weakened power grid, has yet to recover from the catastrophic Hurricane Maria, which resulted in thousands of deaths. “There were five thousand that they let die, and we will never forget that,” Bad Bunny sings over a riveting folkloric beat that grows with intensity. — G.F.
Rawayana & Akapellah, “Veneka”

It is impossible to keep still while listening to Rawayana and Akapellah’s “Veneka,” which celebrates the beauty and strength of the Venezuelan woman while giving a positive tone to a term that was previously considered derogatory. The viral hit is an empowering anthem that also references various cities in the South American country and iconic elements of the culture, evoking a sense of nostalgia. It includes a special participation of Waldemaro Martínez, an emblematic radio host and a distinctive voice of Venezuelan parties and minitecas, followed by fast-tempo electronic sounds fused with house music beats. Is one of those songs that becomes an instant party classic. — S.R.A.
Peso Pluma & Netón Vega, “La Patrulla”

Neton Vega quickly became an artist to watch in regional Mexican, which landed him a collaboration with Peso Pluma. “La Patrulla,” part of Peso’s Éxodo, is a laid-back, head-bobbing corrido that incorporates prickly guitars and wailing trombones as the pair sing about enjoying the fruits of labor. The track peaked at No. 47 on the Billboard Hot 100, Peso’s highest entry on that chart this year. — G.F.
J Balvin & Feid, “Doblexxó”

Among the songs on his new album Rayo, one of Balvin’s favorites is this collaboration with his colleague, friend and fellow Colombian Feid. The camaraderie is evident in the exchange of lines between two friends who are preparing to go partying, with a distorted perreo rhythm in the background. It’s definitely not new subject matter, but listening to Balvin and Feid exchange lines is always entertaining, and the innovative production keeps us hooked. — L.C.
Grupo Frontera, “Hecha Pa’ Mi”

Image Credit: Eric Rojas

In “Hecha Pa’ Mi” (made for me), Grupo Frontera keeps true to its characteristic Tex-Mex, norteño sound. Lyrically, the group continues its feel-good streak, delivering a song about sweet puppy love. “I want to thank your mom and dad/ For giving life to the love of my life/ I’m obviously talking about you/ the one who makes me happy,” kicks off the tune — a verse that also went viral on social media. “Hecha Pa’ Mi” reached No. 2 on the Billboard Regional Mexican Airplay chart in October, and followed star-studded collabs with Shakira and Romeo Santos. — J.R.
Fuerza Regida, “Tu Name”

Fuerza Regida delivers a hard-hitting anthem of liberation with “Tu Name,” perfect for anyone eager to forget a former flame. Frontman JOP pours heart and soul into the lyrics, as he narrates overcoming past heartaches through exhilarating nights and fresh encounters. Driven by a compelling corridos rhythm, the track radiates energy and portrays a journey of defiance and freedom — obliterating memories of an ex in a whirl of spontaneous romances. As the chorus repeats (“Party, party/ La shorty dice, ‘Daddy, daddy’/ No te conozco, mami, mami/ Se me olvidó tu name”), the message is clear – lose the past in the haze of the party. The hit made significant strides on the charts, reaching No. 66 on the Hot 100 and climbing to No. 2 on Hot Latin Songs. It’s a hooky, clever track that encapsulates the group’s success. — I.R.
Carín León, “Despídase Bien”

This song emerges as a deeply emotional testament to heartbreak, resonating with the soulful strains of blues, intertwined with the storytelling essence of country music. It serves as a sincere and humble plea for forgiveness, reflecting Carín’s regret for having caused pain through misunderstandings of love. As the words flow, there’s a touching desire for a final goodbye — an opportunity to find closure for a relationship that could not fully bloom. Carín’s voice, rich with emotion and layered with comforting hoarseness, is elevated by the stirring harmonies of a gospel choir, adding an extra layer of depth and resonance to the heartfelt message being conveyed. — I.F.
Rauw Alejandro, “Tú Con Él”

Rauw Alejandro mastered “Tú Con Él,” making one of the most timeless salsa songs his own. While the classic arrangements are nearly intact, it’s Rauw’s delicate and ethereal vocals that soar as he sings about seeing his ex with another man. An homage to his Puerto Rican roots, the legendary Frankie Ruiz and the sensual salsaof the late ’70s and early ’80s, “Tú Con Él” feels familiar but new at the same time. Hands down one of the best covers in recent memory. — G.F.
Boza & Elena Rose, “Orion”

Image Credit: Courtesy Photo

Named after the constellation that’s visible in the winter sky, “Orion” is an infectious reggaetón and afrobeat fusion powered by Boza’s profound vocals and Elena Rose’s dulcet range. “You have me on cloud nine/ I haven’t landed yet,” chants the Panamanian artist. “I also want to have you/ Just give me a chance to assimilate,” the Venezuelan singer responds. The feel-good, modern-day love song is about two people who like each other but are guarding their hearts and prioritizing self-care, and it peaked at No. 2 on Latin Pop Airplay in October, scoring both artists their first top 10 on the chart. — J.R.
Oscar Maydon & Fuerza Regida, “Tu Boda”

Inspired by Tim Burton’s Corpse Bride, the haunting sierreño ballad “Tu Boda” has taken the web by storm, and the Billboard charts, soaring to the top of Hot Latin Songs for seven consecutive weeks (chart dating Dec. 14) and peaking at No. 31 on the Hot 100. This eerie and enchanting collaboration between Óscar Maydon and Jesús “JOP” Ortiz Paz of Fuerza Regida, penned by Alexis “El Chachito” Armando Fierro, emerged from a moment of creative clarity. The song’s chilling melodies and narrative about a love tragically lost engage audiences deeply, demonstrating a profound synergy in their musical team-up and an ability to resonate across diverse listener demographics with its intense storytelling. — I.R.
Xavi, “La Diabla”

Xavi’s “La Diabla” became the first Hot Latin Songs No. 1 of 2024, where it topped the chart for an impressive 14 consecutive weeks. Singing about a girl who’s devious but beautiful — and a boy who’s just as bad — the song melds the raw spirit of corridos tumbados with tender romanticism, driven by Xavi’s enchanting vocals and a spellbinding requinto riff. “I’m the bad influence and you like that/ You’re a bad girl, I can tell, my love/ You’re a devil, look how you dance/ From one to 10, I give you a million,” he howls in the chorus. — J.R.
Kali Uchis, Peso Pluma, “Igual Que Un Ángel”

Drenched in disco-tinged ambiance, “Igual Que Un Ángel” supremely showcases the interplay between Kali Uchis’ silky vocals and Peso Pluma’s nasally tones. The track blends pop and R&B into a narrative about an elusive angel, pushing both artists beyond their typical musical boundaries. As Uchis’ smooth delivery melds with Peso’s raw edge, they forge a harmonious duet that resonated widely, with the song topping Hot Latin Songs earlier this year. Not only does this collab underscore the duo’s vocal prowess, but it highlights the Colombian-American’s talent for crafting hits that channel the pure essence of sensuality. — I.R.
Karol G, “Si Antes Te Hubiera Conocido”

Image Credit: Courtesy Photo

La Bichota dominated the summer with her hit single, which dropped just a day before the official start of the season. Karol G delivered this catchy merengue, which has impressively topped the Latin Airplay chart for a stunning 21 weeks. Karol became the first artist since 2014 to dominate the Hot Latin Songs, Latin Airplay and Tropical Airplay charts simultaneously, also racking up 22 total weeks at No. 1 on the latter. The song features playful lyrics that explore the theme of what might have happened, as suggested by its title, “Si Antes Te Hubiera Conocido” (or If I Had Met You Before). — I.F.

07 Aug 2024

Fuerza Regida’s ‘Pero No Te Enamores’: All 15 Tracks Ranked

With the raw energy of corridos and the dance-floor fervor of Jersey club, Fuerza Regida’s latest creation, Pero No Te Enamores, forges a bold, unprecedented fusion. At the helm, frontman Jesús Ortiz Paz, a.k.a. JOP, embraced the risk of blending these distinct styles.

“When I first heard [Jersey club] about one to two years ago, I loved it. I was like, ‘Man, I wanna do something with it.’ I just didn’t know how. But I knew that when I did, they were gonna talk sh–t,” he tells Billboard Español. “So when it got to the point to make a new album, I was like, ‘I wanna do Jerseys and dance music, I want to move something different but still keep the original Fuerza Regida [essence], with the guitars.”

The gamble paid off. This week, the album, which was released on July 25, made an immediate impact on the Billboard charts, debuting at No. 2 on the Top Latin Albums and No. 23 on the Billboard 200. The focus track, “Nel,” marked by its emotional-yet-disillusioned tone, entered the coveted Billboard Hot 100 at 91. Additionally, eight cuts from the album appear on Hot Latin Songs.

For this new sound, Fuerza Regida enlisted music producers Gordo — known for his work on Drake’s Baltimore club hit “Sticky” — and Synthetic, the architect behind Lil Uzi Vert’s Jersey club smash “Just Wanna Rock.” “Gordo has the dance s–t on lock, he’s the man; and Synthetic, he’s killing it with the Jersey club,” adds JOP.

The San Bernardino band’s innovative leap into Jersey corridos does more than fuse two disparate genres: It carves out a fresh niche in the musical lexicon, affirming that the barrios and dancehalls can, in fact, share a singular, resonant heartbeat.

Below, Billboard ranks all 15 songs from Pero No Te Enamores, from worst to best.

“Britney”

Image Credit: Courtesy of Fuerza Regida

“I look like Young Miko, I like chicks,” JOP sings in Spanish, sardonically, against a pulsating Jersey club beat, while playfully blowing kisses to the mic. There is, however, an unexpected sonic transition three-quarters into the track that significantly amplifies the overall vibe.
“Ale”

Not only does JOP slip in and out of different styles throughout the set, he does so in songs as well. In “Ale,” the almost-soothing acoustic guitar plucks fade mid-song, allowing reggaetón drums to fully take over.
“Belinda”

Excess, parties and superficial relationships: “Belinda” stands out as one of the few traditional-leaning corridos on the album, delving deep into the band’s hedonistic escapades. This track offers an unfiltered glimpse into Fuerza Regida’s world of debauchery, capturing its full indulgence in pleasure-seeking exploits.
“Kylie”

Don’t be fooled by a slow start to “Kylie” — it quickly picks up speed, turning into a spellbinding Jersey club track that promises to transform into an anthem.
“Bella”

“Bella” epitomizes the unique mix of Jersey corridos, merging EDM with acoustic guitar in a seamless fusion. With the creative prowess of producers Gordo, Rabba, Charly and JOP himself, the track accomplishes what seems unimaginable, electrifying the main room with horns. Throughout the song, JOP croons to a captivating “bella” love interest, crafting an atmosphere of pure delight.
“Fresita” (feat. Bellakath)

JOP leans on a bouncy trap/hip-hop beat for his team-up with Bellakath. The sound is innovative, the raunchy lyrics not so much.
“Fvck” (feat. Afrojack)

Infused with the electrifying essence of house music, Fuerza Regida collaborates with the celebrated Dutch DJ Afrojack to ignite the dance floor, drawing inspiration from the neon-hued ’90s era. Featuring an array of dynamic drops and euphoric beats, “Fvck” is designed to turn up the nightlife scene.
“Jesus”

Perhaps the most personal track on the album, “Jesus,” a nod to JOP’s first name, is a stripped-down, guitar-first song where he brags about carrying loads amount of money and being surrounded by girls who look like Bratz dolls.
“Tuqlo”

This intro track sets the stage for the album’s innovative fusion, and marks a new direction for the band. Featuring a Jersey club beat pattern and synths, the song exudes a raunchy vibe, where the band’s frontman flaunts his provocative f–ck boy charisma as he sings about admiring girls with a big “qlo.”
“Valeria” (feat. Maluma & Gordo)

JOP flaunts his versatility in this reggaetón bop with Maluma and Gordo. It’s a head-turning track, because you almost don’t expect a reggaetón cut in the set — but, safe to say, we were pleasantly surprised.
“Freestyle”

Very few Spanish-language drill tracks have broken into the mainstream. And “Freestyle” continues to carve out its niche as a gritty testament to JOP’s deep-rooted affinity with the genre — a raw fusion of his Mexican American identity and the stark, unfiltered ethos of East Coast drill. “The song was like 90% freestyle,” JOP articulated to Billboard Español about its recording process. This track not only underscores his versatility but also echoes his American upbringing, while pushing musical boundaries.
“Sofia” (feat. Major Lazer & Alok)

If you’re looking to get lost in a track, this one is it. “Sofia” is a form of musical escapism, powered by subtle electronic beats that aren’t too in-your-face. The simplicity of this song is what makes it a stand out track.
“Secreto Victoria”

Blending corridos-style guitars, horns and an infectious dance beat, “Secreto Victoria” is a homage to women in lingerie. Admiring the sensuous spirit of a Victoria’s Secret runway, JOP serenades with a provocative line, “Mamita, tu vas al gym pa’ ponerte más mamasita,” celebrating the dedication of women who sculpt their bodies to even greater allure. This track not only captivates with its rhythm but also charms with its cheeky nod to the iconic lingerie brand.
“Pero No Te Enamores”

If you’ve made it to the very end of the album, after all the head-bobbing and riveting jersey corrido anthems, you’ll find it almost comforting that JOP closes with this super chill, laid-back track powered by sierreño-like guitars, where he’s blunt and raw about how elusive he can be in relationships. “Just don’t fall in love,” he warns.
“Nel”

Image Credit: Courtesy of Fuerza Regida

If anyone was outraged about Fuerza Regida’s radical leap into uncharged sonic territory — Jersey corridos — “Nel” is bound to make them reconsider. Spanish slang for “Nah,” the track embodies the band’s bold, unapologetic ethos. The frontman sets the tone with a stirring plea, driven by a deep longing that might just be the catalyst for his disillusioned stance — the turning point in “pero no te enamores” (“but don’t fall in love”) where it all changes.

From the get-go, the production captures you, starting with a delicate, inviting tone before abruptly pivoting, sharply, into a throbbing club beat with a vigorous reggaetón thump. As the most standout track on the album, “Nel” not only challenges genre boundaries but also solidifies Fuerza Regida’s position as fearless innovators in the Latin music scene, unafraid to evolve and provoke.

06 Jun 2024

Gloria Estefan’s Biggest Hits, Ranked (Editors’ Picks)

The list includes all Estefan’s No. 1 hits on the Hot Latin Songs and Billboard Hot 100 charts, and some classics from her days with Miami Sound Machine.

Gloria Estefan photographed in 1993.

Rico D’Rozario/Redferns

Español

In English and in Spanish, with Miami Sound Machine and as a solo artist, Gloria Estefan has been a sweeping force that has made us dance and laugh, reflect and cry for more than four decades, with a unique sound and elegant, smart and profound lyrics.

With dozens of chart hits as part of the group that gifted us “Conga” and “Rhythm is Gonna Get You” in the ’80s — and later with her first Spanish album, the Grammy-winning Mi Tierra — the Cuban-American singer-songwriter (along with her husband, visionary producer Emilio Estefan) was “Abriendo Puertas (Opening Doors),” as her song says, infusing Latin flavor into English pop music while singing simultaneously in her native language.

On the Billboard charts, she has placed 29 songs on the Billboard Hot 100 — three of them reaching No. 1 (“Anything For You” in 1988, “Don’t Wanna Lose You” in 1989, and “Coming Out of the Dark” in 1991) — and 30 tracks on Hot Latin Songs, 15 of which reached the top (from “No Me Vuelvo a Enamorar” in 1986 to “Hotel Nacional” in 2012).

Estefan, who last year became the first Latin woman to be inducted into the Songwriters Hall of Fame, will receive the Legend award this week at the Billboard Latin Women in Music 2024 gala. For this reason, we ranked her greatest hits in both languages — and picking a favorite was no easy task, with so many to chose from in Gloria’s robust songbook. The idea is to relive all her great music and to celebrate her craft.

Below is our staff’s ranking of all of Gloria Estefan’s No. 1 hits on Hot Latin Songs and the Hot 100, as well as some of her big early hits with Miami Sound Machine. Check out which song takes the top spot!

Billboard Latin Women in Music 2024 will air at 9 PM ET (8 PM Central) on Sunday, June 9 via Telemundo, and can also be streamed on the Telemundo app and on Peacock.

“Hotel Nacional”

Chart: Hot Latin Songs
Weeks at No. 1: 1
Peak date: Jan. 14, 2012

With its uncanny yet catchy beat, “Hotel Nacional” boasts an upbeat tempo that stands out in Gloria Estefan’s catalog, as featured on her 2011 album Miss Little Havana. Although not her greatest hit, its distinctive rhythm propelled it onto the charts, reaching No. 1 on Hot Latin Songs, and highlighting Estefan’s versatility and broad appeal in the music scene.

Listen here.
“Tu Fotografía”

Chart: Hot Latin Songs
Weeks at No. 1: 1
Peak date: Feb. 21, 2004

Written by Peruvian singer-songwriter Gian Marco, “Tu Fotografía” is a sweet pop ballad where Estefan reminisces on some of her best life memories that now all live in a photo. “The color is no longer the same as before/ Your smile was almost erased/ And even if you are not clear, I will invent you/ In my thoughts and in my heart,” she sings. In the official video, Estefan performs the song to an audience as never-before-seen family photos are shared in the background.

Listen here.
“En el Jardín” with Alejandro Fernández

Chart: Hot Latin Songs
Weeks at No. 1: 6
Peak date: Dec. 27, 1997

Alejandro Fernández invited Gloria Estefan to accompany him in this perfect musical romance. The sensual ballad, powered by violins, boasts the magical chemistry between the deep voice of the Mexican singer and the melodious sweetness of the Cuban-American star.

Listen here.
“Oye”

Image Credit: Courtesy Photo

Chart: Hot Latin Songs
Weeks at No. 1: 1
Peak date: Sept. 5, 1998

A bonafide party song, “Oye” is almost a call for action, urging fans to get on the dance floor. “Hey, my body wants salsa,” Gloria sings over a bright and bouncy techno-salsa tune. “And with this rhythm, let’s dance, eh-eh.” The track is part of her 1998 Gloria! album.

Listen above.
“No Me Dejes de Querer”

Chart: Hot Latin Songs
Weeks at No. 1: 1
Peak date: June 10, 2000

This beautiful son cubano, which begins with powerful trumpets and conga rhythms, merges with the flavor of a tropical ballad. In the lyrics, Estefan asks her love to never leave her because she would not know what to do without his love: “Swear to me that I will always see myself in your eyes (kiss me)/ With your sweet lips (honey flavor)/ I just want to be by your side.”

Listen here.
“Cómo Me Duele Perderte”

Chart: Hot Latin Songs
Weeks at No. 1: 2
Peak date: Sept. 23, 2000

A melancholy classic in the purest style of Gloria Estefan, this song is a slow ballad with delicate tropical sounds that carries in each verse the emptiness of lost love. “How was it that you stopped loving/ And you forgot about yesterday/ About our looks, about our skin,” goes part of the lyrics.

Listen here.
“No Llores”

Chart: Hot Latin Songs
Weeks at No. 1: 2
Peak date: Sept. 8, 2007

Part of her album 90 Millas (90 Miles), which is the distance between Cuba and Florida, “No Llores” masterfully fuses Cuban danzón with salsa and contemporary sounds. The song features renowned musicians such as Carlos Santana, who contributes his distinctive electric guitar; José Feliciano, who contributes his acoustic guitar, and Sheila E. on the timbales. This combination results in a dynamic piece that celebrates Estefan’s Cuban roots, while incorporating a variety of modern musical influences.

Listen here.
“Más Allá (Beyond)”

Chart: Hot Latin Songs
Weeks at No. 1: 1
Peak date: Jan. 6, 1996

Charged with optimistic lyrics about peace and love, “Más Allá (Beyond)” speaks of someone who is caring, forgiving, understanding and asks for nothing in return. The track — a Christmas bolero ballad backed by captivating church bells — is part of Estefan’s 1995 holiday album Abriendo Puertas, her second LP in Spanish. “When you give without expectations/ When you love for real/ When you offer forgiveness/ Instead of resentment/ There is peace in your heart,” she sings at the beginning.

Listen here.
“Turn the Beat Around”

Image Credit: Courtesy Photo

Chart: Billboard Hot 100
Peak Position: No. 13
Peak date: Nov. 19, 1994

“Turn the Beat Around” was not only the biggest Hot 100 hit off Estefan’s 1994 Hold Me, Thrill Me, Kiss Me album, but it became the ultimate ‘90s party tune with its dancefloor-friendly electro-tropical beat. The disco song was originally a hit in 1976 for Vicki Sue Robinson. Estefan’s version was also part of the soundtrack to the 1994 film The Specialist, starring Sylvester Stallone and Sharon Stone.

Listen above.
“No Pretendo”

Chart: Hot Latin Songs
Weeks at No. 1: 1
Peak date: Aug. 2, 1997

Written by Kike Santander and released in 1997, “No Pretendo” is the Spanish version of “Steal Your Heart,” from the album Destiny. The song, which reached the top of Hot Latin Songs in August of that year, delves into Estefan’s Latin roots by incorporating more traditional elements of Cuban music with rhythmic guitars and percussion — while the lyrics, loaded with poetry, talk about unconditional and unpretentious love.

Listen here.
“Anything For You”

Chart: Billboard Hot 100
Weeks at No. 1: 2
Peak date: May 14, 1988

The ballad “Anything for You,” included on Gloria Estefan & Miami Sound Machine’s 1987 album Let It Loose, marked a milestone by giving Estefan the first of her three No. 1s on the Billboard Hot 100. The emotional song, with its characteristic 80s sound, became one of the artist’s most emblematic hits, and helped establish her as an international superstar.

Listen here.
“Words Get in the Way”

Chart: Billboard Hot 100
Peak position: No. 5
Peak date: Sept. 20, 1986

Capturing the tender side of ‘80s music, “Words Get In The Way” is a poignant ballad from Miami Sound Machine’s Primitive Love album. With its mellow melody and heartfelt lyrics, the song showcases Gloria’s emotive vocal prowess, making it a standout track — one that reached No. 5 on the Billboard Hot 100. This ballad resonated deeply with audiences, featuring introspective lyrics that reveal the struggles of expressing true feelings.

Listen here.
“Mi Buen Amor”

Chart: Hot Latin Songs
Weeks at No. 1: 2
Peak date: March 13, 1994

“Mi Buen Amor,” which translates to “my good love,” is one of the staples from Estefan’s 1993 album Mi Tierra. The heartfelt, modern-day bolero, backed by an enchanting flute melody, finds the Cuban artist passionately singing about an unforgettable first true love. “There are loves that take us to the abyss/ There are loves that we never forget/ Those who give all tenderness and fantasy/ They are good loves like you,” she chants.

Listen here.
“Con Los Años Que Me Quedan”

Image Credit: Courtesy Photo

Chart: Hot Latin Songs
Weeks at No. 1: 4
Peak date: Nov. 13, 1993

“Con Los Años Que Me Quedan” is a beautiful bolero included on Estefan’s third solo studio album, and her first in Spanish, Mi Tierra (1993). Accompanied by acoustic guitars, this charming song has sincere lyrics that express deep love and plead for a second chance, complemented by Estefan’s sweet and dreamy voice.

Listen above.
“Si Voy a Perderte” / “Don’t Wanna Lose You”

17 Apr 2024

5 Taylor Swift Songs I Ranked Too Low Upon Release (Critic’s Take)

04/17/2024

After multiple “songs ranked” instant reactions, it’s time to reflect on my biggest regrets, and champion the songs that were stronger than their initial rankings.

04/17/2024

A few years ago, the Billboard staff began publishing “songs ranked” album reviews, as a fun way to provide an instant reaction to the week’s big new album releases. These reviews were inherently subjective — no one’s personal ranking of a 13-song album is going to be exactly the same as everyone else’s — and obviously preliminary, with only a few listens granted to projects that often took time to fully reveal their artistry. And of course, no one on the Billboard staff would argue against listeners wanting to experience an album in the order in which the artist intended to hear them, first and foremost. Yet these reviews are snapshots, designed to be based on our experts’ gut feelings about the songs you simply had to hear on a full-length, and destined to be debated endlessly online by fans who were furious about whichever song would be ranked last.

I’ve written extensively about every Taylor Swift album released to date, and began writing “songs ranked” reviews of her albums with Lover in 2019. And since then, I’ve had some rankings I wish I could take back — specifically, tracks that have grown on me considerably and made me go, “How did I place that one so low on my personal list?” Sometimes, those pangs arrive in a few days, and sometimes I get them after a few years. But on the eve of The Tortured Poets Department — and another “songs ranked” review, and later, more regrets over that ranking — I decided to look back at the ones that got away at the time, but have entered my wheelhouse in the time since.

Here are five Taylor Swift songs I ranked too low upon their releases, including her last four studio albums (Lover, 2020’s Folklore and Evermore, and 2022’s Midnights), as well as her “From the Vault” songs.

“Miss Americana & The Heartbreak Prince”

Album: Lover
Preliminary Ranking: No. 16

At this point, ranking “Miss Americana & The Heartbreak Prince” so low on Lover looks especially foolish, considering its cultural impact: not only does Swift open her Eras Tour with part of the song, but her 2020 Netflix documentary also takes its name from the track. Perhaps most importantly, a direct connection can be made from the stormy synth-pop here and the sound of Midnights three years later, as the programmed drums, keyboard stabs and ambient haze help tell the story of cracked-open disillusionment. Swift tries a lot of different styles across Lover, and “Miss Americana” now stands as one of its biggest sonic and conceptual successes; “Cruel Summer” was the song went stunningly viral years later, but this one will continue to age quite well, too.
“My Tears Ricochet”

Album: Folklore
Preliminary Ranking: No. 17

“My Tears Ricochet” didn’t connect at all for me upon my first listens to Folklore, feeling like an eerie momentum-killer on the tracklist in between the towering spectacles of “Exile” and “Mirrorball.” Now, the song that I ranked dead last on Folklore is probably one of the three or four songs on the album I return to most often when diving in for a quick trip instead of a full listen. Chalk this one up partially to the Eras Tour, which features “My Tears Ricochet” as a ghostly centerpiece where backup dancers slowly envelop Swift and seal her fate — but also, the layered vocals and quaking percussion just take a few spins to fully land as the seesaw that provides the uneasy foundation of Swift’s gothic tale of woe. If you were cursing my name at my initial ranking here, in hindsight, I don’t really blame you.
“Champagne Problems”

Album: Evermore
Preliminary Ranking: No. 12

Another song that benefited from prime Eras tour placement — it’s difficult not to be affected by a song played on a moss-covered piano while everyone sings along in a stadium! — “Champagne Problems” serves as the necessary swoon following the falsetto-laden highs of “Willow” at the top of Evermore. I previously discounted the gut punch of Swift’s storytelling, as she reflects on an “I don’t” following a marriage proposal and the pain that honest feelings can cause; what first sounded like a too-muted piano ballad later revealed itself as the other side of the coin to a song like “Speak Now.” “Champagne Problems” deserved to be multiple notches higher on my Evermore assessment, although I’m glad that Swift has since given the track the live showcase it deserves.
“Karma”

Album: Midnights
Preliminary Ranking: No. 12

Sometimes, you can’t see the forest for the trees… and in the case of “Karma,” I discounted a five-alarm banger due to some questionable wordplay. “Not every metaphor lands,” I wrote upon the release of Midnights, when I slotted the song in next to last — but a few months later, “Karma” was all over the radio, flexing on me like a GD acrobat as I sang along to every word.

Fully harnessing the chilled-out synth-pop aesthetic of Midnights, “Karma” finds Swift naturally playing the part of unflappable superstar, rolling her eyes at doubters in the verses before blowing them out of the water in the hook. “Anti-Hero” remains the best song on Midnights, but “Karma” may be the purest distillation of Swift’s most recent imperial phase, as every naysayer or enemy has seemingly received a comeuppance while she stays on top.
“Castles Crumbling” (feat. Hayley Williams)

Album: Speak Now (Taylor’s Version)
Preliminary Ranking: No. 20 of all “From the Vault” songs

I wasn’t too high on this team-up with Paramore’s Hayley Williams upon the July 2023 release of Speak Now (Taylor’s Version), and still wasn’t a few months later, when ranking all of the “From the Vault” songs from the four Taylor’s Version re-records released thus far. Now… I’m not sure why I wasn’t? The song is a wonderfully self-aware slow burn from a pair of pros, both of whom became famous as teenagers and are now navigating the internal and external expectations of their adult careers. Swift and Williams complement each other — a country and pop-punk star, both still afraid of burning too bright — and “Castles Crumbling” boasts a chorus that earns its heightened drama. Out of all the “From the Vault” tracks, this one took the most time to unfurl as a gem for me.

14 Apr 2024

Ricardo Arjona’s ‘Historias’ Turns 30: All 14 Tracks Ranked

04/14/2024

See how Billboard ranks every song on the Guatemalan superstar’s seminal 1994 album.

04/14/2024

Ricardo Arjona sings a song from his new album titled “Galeria Caribe” October 19, 2001 in Guatemala City.

Andrea Nieto/Getty Images

Español

Ricardo Arjona has carved out a niche for himself as a socially conscious singer-songwriter who puts his heart and soul into every verse. His groundbreaking studio album Historias, released on April 14, 1994 by Sony Music, is a testament to this. 30 years later, the album has not only stood the test of time, but continues to resonate.

Certified four times platinum by the RIAA, the album’s success is undeniable. Historias marked Arjona’s debut on Billboard’s Top Latin Albums chart, where it reached No. 43. Some of its songs also entered the charts: “Libre” entered both Hot Latin Songs and Latin Pop Airplay, at No. 29 and No. 6, respectively. And “Señora de las Cuatro Décadas” reached No. 39 in Latin Airplay.

With each of his 14 tracks, the imaginative artist paints a vivid portrait of life’s many nuances. Each melody is a chapter and each lyric a character, from the epic tale of a cab driver’s fateful encounter in “Historia de Taxi” to the poignant exploration of the paradox of love in “Te Conozco”. Beneath a fusion of jazzy rock, pop and soulful guitar boleros, the Guatemalan maestro shines as a composer, delving deep into the human experience to reveal profound truths.

In commemoration of the 30th anniversary of this seminal work, the Billboard Latin and Billboard Español team pays tribute to the album that has aged gracefully — much like the protagonist of Arjona’s timeless track, “Señora de las Cuatro Décadas” — by ranking its 14 songs. Here our Historias ranking.

“Amor de Tele”

In “Amor De Tele,” Arjona recounts the journey of a platonic love directed towards a soap opera actress, and the disappointment that came when meeting her in person, discovering that much of what he admired on the screen did not correspond to reality. In the end, he concludes with a lament: “I fell in love with the role of a novel/ I know that you don’t exist, and I feel sorry for me.”
“La Noche Te Trae Sorpresas”

In the smoky ambiance of Don Pedro’s bar, Arjona spins a tale of unexpected twists and turns in “La Noche Te Trae Sorpresas.” With a swaggering rockabilly beat and the occasional solo wail of a steely guitar, Arjona sets the stage for a night of intrigue and adventure. As the rhythm sinks in, listeners are drawn into a world where chance encounters lead to unforeseen outcomes. His vivid storytelling paints a picture of a fateful encounter between a bold protagonist and a captivating woman, interwoven with themes of risk, desire, and the unpredictable nature of love. It’s a rollicking ride through the highs and lows of romance, reminding us that in the realm of the night, anything can happen.
“Chicos de Plástico”

A jab at those who live in a materialistic world, Arjona doesn’t hold back criticizing their superficial lifestyle. “It’s not that it’s bad to be well off, if you’ve earned it/ What’s wrong is to go bragging what your daddy gave you,” he sings spitefully in “Chicos de Plástico” (translating to Plastic Boys), almost bitter toward the guys who can get the girls simply because of their designer brands and luxury cars.
“Si Yo Fuera”

Bolstered by a horn section, and a jangle blues rock rhythm, “Si Yo Fuera” ponders hypothetical scenarios of being in different societal roles, such as a politician, cardinal, king, or even actress Demi Moore. Arjona uses these themes to critique societal and political norms, expressing his dissatisfaction with how things are. However, he also conveys a sense of resignation, acknowledging his role as a “passenger on this train,” he sings. Its lively rhythm and thought-provoking lyrics resonate, especially with listeners who question their place in society.
“Ayúdame Freud”

In “Ayúdame Freud” (or “Help Me Feud”), Arjona’s introspective journey begins before the first note is sung, as the singer-songwriter sets the scene with a dialogue between himself and his therapist, Freud. As the mid-tempo Latin pop ballad unfolds with emotional anguish, Arjona navigates the complexities of his inner world, while delving into the depths of personal struggle and the intricate dynamics of relationships. It also captures the essence of vulnerability, inviting listeners to join Arjona on his quest of self-discovery.
“Del Otro Lado del Sol”

This song reflects the contrasts and disappointments between the narrator’s world and the world that is observed on Earth. The lyrics depict an extraterrestrial visitor who has arrived to explore and comprehend the human world. The chorus emphasizes the deteriorating state of the world that lies beyond the sun. The lyrics imply that the connection between the downfall of the world and the rhyming of words like “tierra” with “guerra” (“earth” and “war”) and “humano” with “tirano” (“human” and “tyrant”) is not coincidental. It suggests that there is a lack of unity and cooperation among people.
“Me Están Jodiendo la Vida”

Composed by Arjona and Miguel Luna, the pop-rock song explores the struggles of dealing with adversities and societal pressures. Through its upbeat tempo, the Guatemalan artist expresses feelings of being a “soldier fighting against all odds, without understanding why,” he sings in Spanish. It reflects his frustration with various aspects of life, yet all he wants to do is sing. Ultimately, “Me Están Jodiendo la Vida” is a quintessential rebel rock outing that describes navigating life’s challenges.
“Historia del Portero”

This may be some of Arjona’s more cheesy love songs on Historias where he sings about his social status preventing him from hooking up with the girl that lives in the penthouse of a building where he works as the doorman. “I was the doorman of building 32/ You were the bourgeoisie, the penthouse princess/ That’s the way God wanted it,” Arjona sings in this southern-inspired country track powered by a lively banjo.
“Casa de Locos”

Accompanied by a baroque-like cartoonish melody apt for telling a good story, Arjona discusses the peculiar universe of his partner’s family in “Casa de Locos” (meaning “Crazy House”). From the grandmother to the cat and the dog, no member escapes his sharp criticism in this song. However, in the end, in a gesture of resignation, he welcomes his significant other into his own home, accepting that they may be destined to recreate the same story.
“Libre”

This power ballad delves into the depths of loneliness and longing about a man grappling with the aftermath of loss and disconnection. “I am free and it does not serve me,” Arjona sings with gut-wrenching delivery. As the protagonist navigates the wreckage of his existence, a haunting trumpet underscores the emotional intensity of his journey. This soulful song is an exploration of the paradox of freedom, highlighting the emptiness that can accompany liberation when faced with the absence of love and belonging.
“Realmente No Estoy Tan Solo”

In true Arjona fashion, this song carries a contradiction in each verse that poetically describes the absence of a loved one, but at the same time you can feel their presence. The song is carried musically by the notes of a piano found in arrangements of violins and electric guitars, while his voice deciphers those sensations of melancholy. “I have a coffee with your absence/ And I light a cigarette to the nostalgia/ I kiss your space on the neck/ Empty,” he starts off.
“Señora de las Cuatro Décadas”

This ballad brimming with poetry — and one of the most emblematic songs of the Guatemalan — serves as a tribute to women who have reached maturity. In this timeless ode, Arjona reflects on the beauty and allure of a woman in her 40s, describing her as a “perfect amalgam of experience and youth.” In a society often obsessed with youth, this musical gem celebrates the plenitude and grace that comes with the passage of time.
“Te Conozco”

The Guatemalan poet begins his hymn with a memorable piano intro and captures the irony of knowing someone you love perfectly, yet not being able to be with that person only to realize that love alone may not always be enough. This love letter expresses the feeling of understanding the person so well that you know they miss you even if they don’t admit it.
“Historia de Taxi”

Image Credit: Courtesy Photo

You really won’t notice (or even mind) that this song is almost seven minutes longs because the storyline instantly hooks you. A storyteller at heart, and a nod to the album’s title, Arjona becomes a taxi driver in his heart-wrenching track that narrates a rather slow day on the job that changes his life. Once he picks up a gorgeous blonde in a miniskirt, things begin to unfold. She sheds a tear telling the taxi driver that her rich boyfriend has cheated on her. He offers a rather cheeky proposal and the extraordinary ride includes a shocking twist. Matching the song’s dramatic, yet riveting twists and turns is a wailing saxophone that powers “Historia de Taxi.”

21 Mar 2024

Shakira’s ‘Las Mujeres Ya No Lloran’: All Tracks Ranked

In a journey of transformation, where tears evolve into diamonds and vulnerability into strength, Shakira reaffirms that her hits don’t lie. With her highly anticipated 12th studio album, Las Mujeres Ya No Lloran — with eight new songs of 17, including two remixes — the Colombian superstar plunges into the depths of her soul, alchemizing pain into pop gold while celebrating the strength of womanhood.

More radiant than ever, Shakira reveals a profound exploration of emotions and experiences that marks a pivotal chapter in her illustrious career and life, following a sentimental breakup that left her fragile and sensitive but brought her back to music.

“I feel like a cat with more than nine lives; whenever I think I can’t get any better, I suddenly get a second wind,” Shakira told Billboard in September. “I’ve gone through several stages: denial, anger, pain, frustration, anger again, pain again. Now I’m in a survival stage. Like, just get your head above water. And it’s a reflection stage. And a stage of working very hard and when I have time with my children, really spend it with them.”

On her first full-length release in seven years, Shak delivers a captivating blend of pop, Afrobeats (“Nassau”), bachata (“Monotonía”), Tex-Mex rhythms (“(Entre Paréntesis)”) and a return to her rock roots (“Cómo Dónde y Cuándo”). Infusing elements of electronic music, she maintains her signature versatility, showcasing not only her vocal prowess but also her songwriting prowess, and multi-instrumental abilities.

While Shakira shines brightly on solo tracks such as “Tiempo Sin Verte” and “Última,” she also collaborates with a stellar lineup across the set, including Cardi B, Grupo Frontera and returning artists like Rauw Alejandro and Bizarrap. With Las Mujeres Ya No Lloran, Shakira continues to offer a diverse array of melodies that evoke both pain and passion, irresistibly, inviting listeners to dance and contemplate simultaneously.

Below, Billboard ranks all 15 songs from Las Mujeres Ya No Lloran excluding two remixes, in descending order.

”Copa Vacía” (with Manuel Turizo)

“You’re always busy with so many businesses… Drop your phone, use your hands with me/ I know you’re hot but I’m hotter,” Shakira demands attention from her partner in “Copa Vacia” (empty glass). In the infectious pop-reggaetón song, Shak and Turizo have a back-and-forth discussion about not giving enough love and affection to the other person. “As if you don’t feel anything/ Now you see me differently/ I’m swimming against the current/ I’m looking in the streets who can fill this emptiness I feel,” Turizo chants back.
“⁠El Jefe” (with Fuerza Regida)

In “El Jefe,” Shakira steps into norteño music territory, embracing a spirited polka beat, or a kind of Mexican ska, as Shakira herself once described it. Collaborating with Fuerza Regida, the song pulsates with a punk energy and high intensity. Whether she’s dancing to the skanky ska rhythm or el zapateado, as shown in the music video, Shakira effortlessly navigates between styles, showcasing her versatility. At its core, the song delivers a powerful message about seizing control of your destiny, embodying the spirit of independence and self-determination.
“La Fuerte” (with Bizarrap)

Image Credit: Courtesy Photo

After hitting a home run with their “Music Session” together, which became a certified global smash hit, Bizarrap and Shakira unite once again on her new album. The club-ready “La Fuerte” starts off with a magnetic head-bobbing dance beat that powers the track and serves as a canvas for Shak’s piercing lyrics. “If I don’t look for you it’s because of my pride,” she confesses. “Don’t think I don’t miss you, because I do.” Although it’s not as instantly undeniable as its predecessor, this new Shak and Biza team-up doesn’t disappoint.
“Acróstico” (with Milan & Sasha)

This gorgeous piano-led ballad is a heartfelt, yet poignant open letter from Shakira to her two children. Singing in a delicate voice, Shakira showcases her raw vulnerability, expressing her deep and pure love for Milan and Sasha, who sing and play the piano alongside their mother. The track was up for song of the year at the Latin Grammys.
“Te Felicito” (with Rauw Alejandro)

This song is a special one because it officially marked Shakira’s comeback and became the first single off Las Mujeres Ya No Lloran. Released in April 2022, the Rauw collab “Te Felicito” is a catchy reggaetón-inflused electro-pop song that hit No. 1 on Latin Airplay, spending a total of 23 weeks on the chart. The hard-hitting lyrics (“Congratulations, you act really well”) also set the tone for Shakira’s no-holds-barred attitude during this latest era of hers.
“Monotonía” (with Ozuna)

Image Credit: Courtesy Photo

In her first collaboration with Ozuna, Shakira is vulnerable and honest singing about a relationship coming to an end, to the rhythm of bachata. With a raw narrative, the music video shows the Colombian wounded in her chest and running, literally, with her heart on her sleeve — until the reggaetón star protects it in a sealed box. The single, which came after the confirmation of the breakup of Shakira’s relationship with soccer player Gerard Piqué, topped Billboard‘s Latin Airplay and Tropical Airplay charts on December 3, 2022, where it remained for six and nine weeks, respectively. The song’s title also sparked an internet trend about the meaning of the word, which means “lack of variety in anything,” according to the Dictionary of the Royal Spanish Academy.
“TQG” (with Karol G)

Part of Karol G’s 2023 Mañana Será Bonito album, “TQG” marked the first time the two Colombianas laced together their star power. Short for “Te Quedó Grande,” and loosely meaning “I was too good for you,” the Ovy on the Drums-produced track is a somber, hard-hitting reggaetón smash packed with fierce and unapologetic lyrics about getting over an ex and successfully moving on. “It hurt me to see you with the new one, but I’m already doing my own thing,” declares Shakira. “TQG” spent five weeks at No. 1 on Billboard‘s Hot Latin Songs chart.
“Última”

“Última” (“Last One”) lives up to its title, as the last song to be added to Las Mujeres Ya No Lloran — against everyone’s will, as expressed by the Colombian superstar on her social media. “This is a song that was stuck here,” pointing to her throat, “that I had to get out no matter what, and the delivery deadlines for the album were already over,” she added. Furthermore, in an interview with the New York Times, Shakira expressed that it was the last song she was going to release about her ex Gerard Piqué. In the moving piano ballad, the star talks about coming to terms with the end of her relationship and leaving the past behind. “We lost our love halfway/ How did you get tired of something so genuine/ Don’t try to convince me, I ask you/ It’s already decided, we have what we learned left,” she sings in the chorus.
“Nassau”

Image Credit: Nicolas Gerardin

With a soothing tropical melody, Shakira ventures into Afrobeats with “Nassau.” The song seems to be the sequel to one of her hits: If in “Monotonía” she sang about putting her heart under lock and key, in “Nassau” she sings about taking it out to give herself a new chance at love. “I had promised that I would never love again/ You appeared to heal the wounds that that one left/ I had that locked/ With keys and a lock/ But what do I do, I like you too much” sings the superstar.
“Cómo Dónde y Cuándo”

In this track, Shakira goes back to the basics, where a guitar, a set of drums and her powerful vocals take the lead. This song — an homage to the sound that made her a household name in the ’90s — is a gift to OG Shakira fans, as she returns to her rocker era (think black hair Shakira). In “Cómo Dónde y Cuándo,” she gets reflective and encourages listeners to forget about the past, live in the moment while also staying optimistic about the future. “Time goes by flying when you’re having fun/ It doesn’t mater how, where and when, what matters is with who,” she declares.
“Puntería” (with Cardi B)

“You have a good aim/ You know where to hit me so I’ll surrender/ You have the style to get my attention,” sings Shakira over a pulsating electro-pop beat. In “Puntería,” listeners can savor Shakira’s effortless flow, as she acknowledges the allure of a potential flame with impeccable style. Meanwhile, Cardi B injects her unmistakable bad-girl swagger and bilingual prowess into the mix, elevating the track to new heights. With its infectious energy and the undeniable chemistry between the two artists, we’re betting “Puntería” is poised to soar high on the charts.
“Tiempo Sin Verte”

Image Credit: Courtesy Photo

A return to the pop rock sound that characterized Shakira in the early ‘90s, “Tiempo Sin Verte” is a punchy alternative track fused with subtle dance melodies. On the lyrical side, the Colombian artist vents about someone she’s missing. “I haven’t seen you in a while and I’m still here/ Not a day goes by that I don’t think about you/ I haven’t seen you in a while and tell me if you still love me and remember me,” she chants in her potent rockera vocals.
“(Entre Paréntesis)” (with Grupo Frontera)

In a first collaborative effort, Shakira and Grupo Frontera drop a melancholic cumbia-norteño track about someone who changed. “You can tell when you love someone/ But when you don’t you can notice more/ Before you used to come over without me calling/ Now you leave without warning,” Frontera’s frontman Payo chants. While Shak sings: “There’s no need to fake it if you put our ending in a parenthesis/ This can’t go on any more.” The Texas group first shared a snippet of the track during its set at the Bésame Mucho Festival earlier this month.
“Cohete” (with Rauw Alejandro)

Rauw Alejandro and Shakira once again match hearts while they ignite the dance floor with their latest collaboration. “Cohete” — a pulsating pop anthem that celebrates a love capable of launching you to another planet — is loaded with infectious beats and a swoon-worthy melody. The song’s lyrics paint a vivid picture of soaring into the unknown, propelled by the intensity of passion, while iridescent keys and metallic hues add a futuristic allure to the song. It’s a cosmic journey fueled by love and dance-pop brilliance.
“Shakira: Bzrp Music Sessions, Vol. 53” (with Bizarrap)

Image Credit: Courtesy Photo

“Shakira: Bzrp Music Sessions, Vol. 53” isn’t just a hit; it’s a seismic cultural moment. Teaming up with the Argentine producer during a vulnerable period, the Colombian superstar’s dis track (targeting her unfaithful ex Piqué) became the most-played Latin song on Spotify in 24 hours, while breaking several Guinness World Records. The electro-pop anthem is an unfiltered expression of Shakira’s highly publicized breakup, boldly naming names and defying industry norms. Its new remix enlists super producer Tiësto.

With lines like “Las mujeres ya no lloran, las mujeres facturan” (“Women no longer cry, women cash in”), it emerges as a powerful female post-breakup manifesto (also inspiring the name of this new album), challenging the prevalent double standards often imposed on Latin women in entertainment, and oftentimes, in heteronormative relationships. Soaring on multiple Billboard charts — including Latin Pop Airplay, where it spent 12 weeks at No. 1, and the Billboard Global 200, where it peaked at No. 2 — “Vol. 53” is a fearless exploration of love and loss that redefines contemporary pop with unapologetic honesty.

13 Oct 2023

Bad Bunny’s ‘Nadie Sabe Lo Que Va a Pasar Mañana’: All 22 Tracks Ranked

In an ever-evolving musical landscape where artists are increasingly unveiling their album release dates with plenty of lead time — unlike the unexpected album drops of yesteryear — Bad Bunny, the Puerto Rican pioneer of the unpredictable, gave fans only a few days’ notice, and revived the art of the surprise.

Today, he once again seizes the spotlight by dropping his fifth solo studio album, Nadie Sabe Lo Que Va a Pasar Mañana, on a superstitious Friday the 13th. The megastar has an unparalleled track record of delivering his music on unconventional dates (e.g. X100Pre on Christmas; YHLQMDLG on leap day; Las Que No Iban A Salir on Mother’s Day; El Último Tour del Mundo on Thanksgiving), turning album drops into cultural celebrations.

In contrast to Karol G’s album title, Mañana Será Bonito, which suggests optimism for the future, Bad Bunny’s Nadie Sabe Lo Que Va a Pasar Mañana delves into the enigmatic uncertainties of what tomorrow may hold. This ambitious, 22-track release comes packed with hard-hitting trap beats, introspective rhymes and a back-to-origins style, with a promise “to revolutionize the music industry yet again” in an official press release — and we’re betting it will.

The album features a star-studded lineup of producers — including usual suspects MAG, Tainy and La Paciencia — with appearances by Arcángel, Bryant Myers, De La Ghetto, Eladio Carrión, Feid, Luar La L, Mora, Ñengo, Young Miko and YOVNGCHIMI. The album also offers a genre-bending experience that sets new standards for pop music, all while the Bunny continues to pay homage to his roots and his beloved Puerto Rico.

Billboard Latin and Billboard Español have combined for a preliminary ranking of all 22 tracks from worst to best, celebrating the artist who keeps us guessing what tomorrow will bring.

“Europa :(“

An 11-second interlude that serves as the perfect intro to “Acho PR,” a prideful song about repping Puerto Rico and being puertorriqueño. “Your flight to Europe has been cancelled,” we hear a flight attendant say in an airport-like setting. “Please check for future dates.”
“Hibiki”

The word “Hibiki” in Japanese can be translated as “echo” or “resonance.” Throughout the 3:28 length of the song, this quality is perfectly encapsulated through deep, resonant sounds. The collaboration between Bad Bunny and Mora features their signature fast-paced house beats and BPMs. This, along many tracks in the album, brings Benito back to his trap foundations while incorporating futuristic sounds of an alternate 2023 reality.
“Baby Nueva”

“And if you thought that I was suffering because of you / You probably haven’t seen me on the streets killing it,” boasts the Puerto Rican star on “Baby Nueva.” Starting with an staccato bass synth that evolves into an electro-hop mix, and with lines like “There is no way you can recover me” and “Where there was fire, ashes remain, and I threw them into the sea,” the track allows Benito to make it clear to his former love that has he already turned the page. The final blow is undoubtedly the resounding “Not even mommy loves you anymore.” Yikes.
“Seda”

Bad Bunny reels in one of his frequent collaborators, Bryant Myers, for this ultra-sensual, slow-paced trap song, taking the Puerto Rican hitmaker back to the style that made him a household name. The song starts off with a robotic vocal delivery by Bryant Myers, who introduces Bunny with “dímelo conejo.” Bunny then jumps in to trade verses with Myers about staying busy with a girl that’s turned their worlds upside down.
“Baticano”

Powered by heavy synth riffs accompanying lyrics that address the double standards of institutions, this explicit trap song reinforces the message that no one is exempt from their own shortcomings. In other words, no human being has the right to judge others in the name of Christ.
“Gracias Por Nada”

On “Gracias Por Nada,” Benito offers a masterclass of creating heartbreak anthems, while juxtaposing them in a gleefully-moving-on approach — a rare skill. “If I see you again, it’s in the rearview mirror,” he conveys over piano melodies and slow-paced beats, in one of the album’s most sentimental songs.
“Mr. October”

“Sometimes I would like to have no money again, so I can start jostling again, and do it again / Look how I move,” Bad Bunny raps over a repetitive yet evocative keyboard riff and drums. The song title refers to baseball legend Reggie Jackson, whom Bunny name-checks along with other legends: “Walking on the moon, Michael Jackson / Mr. October, Reggie Jackson,” he says.
“Vou 787”

For “Vou 787,” Bunny samples the deep house groove of Madonna’s “Vogue” and fuses it with a slow-tempo trap beat. Singing about his new luxurious lifestyle since moving to the West Coast, Bunny chants about his “California Love” and dating a “Vogue” model (referring to Kendall Jenner), but still being from the 787 (Puerto Rico’s area code). “Now I’m a model, a photo for Vogue/ I’m doing the model who comes out in Vogue/ She wants me to take her to Dior and give her dembow/ She knows she’s doing it with a goat/ 787, cabrón, will be the code even if I move to Mars,” he declares.
“Mercedes Carota”

Bad Bunny re-assumes the title of Latin trap king as he unflinchingly delves into this ominous soundscape, underpinned by menacing trap beats and a blend of unapologetic lyricism. Featuring YOVNGCHIMI, “Mercedes Carota” resonates with a dark, no-nonsense edge that’s perfect for fueling more hustle. As the two traperos navigate this suspenseful sonic terrain, they remind us that appearances can be deceiving in a world where authenticity reigns supreme.
“Vuelve Candy B”

“I’ve spent five years atop,” Bad Bunny boasts throughout this trap-heavy, introspective track where he reflects on fame, success and the loneliness that comes from stardom. “Sometimes I feel alone, I have no one next to me.” On the flip side, he’s joined by his braggadocio: Bad Bunny raps about his now-luxurious lifestyle, “Mucho Dior, Gucci, mucho Givenchy.” The hard-hitting lyrics take center stage in this song where he reassures his stronghold on pop culture. “Those that have a Billboard don’t have a Grammy. Those that have a Grammy don’t have a Billboard, look at my trophy case, how I combine them,” he spits.
“Cybertruck”

Bolstered by a maniacal edge, “Cybertruck” storms in with an exhilarating intensity and detuned synth keys, unleashing a sonic frenzy impossible to ignore. The chaos is juxtaposed with the backdrop of Jersey club drums, transforming the track into a certified anthem. Bad Bunny’s signature confidence shines through as he unapologetically flaunts his uniqueness and asserts, “You listen to me on a track and you know you’re going to kill it.” Benito leaves no room for doubt about his dedication to authenticity in his craft, even if that means defying the conventional notion of “normal,” like he suggests in the lyrics.
“Where She Goes”

Image Credit: Courtesy Photo

After telling Billboard last year that was going to take a break in 2023, Bunny unleashed “Where She Goes” as his first track of the year. The certified club banger was the first to showcase Bunny’s new experimental era. Inspired by Jersey club, “Where She Goes” is a sensual song about chasing that person you like. On the Billboard charts, it peaked at No. 2 on Hot Latin Songs, No. 8 on the Hot 100, and reached No. 1 on the Billboard Global 200 chart, making Bunny the first soloist with as many as three No. 1s since the survey began in 2020.
“Los Pits”

Backed by a smooth ’90s hip-hop beat, “Los Pits” finds the Puerto Rican artist celebrating life and all the successes he’s achieved before turning 30 years old. In between chanteos and monologues, El Conejo sings about all the awards having his name and becoming a millionaire, but also about having a special light. “What curse are you talking about?/Nothing is going to knock me down/I have the whole world on top of me, my lower back already hurts/But the light that guides me does not stop illuminating me/Bad Bunny at the top, they have to get used to it,” he sings.
“No Me Quiero Casar”

He said it in “Tití Me Preguntó” and reiterates it in “No Me Quiero Casar”: Bad Bunny prefers, for now — and at least in song — to remain single. “I will be your bandit lover, Miguel Bosé/ But nothing else, nothing else, mami, nothing else,” he sings over keyboards and a drum beat, in a nod to Bosé’s famous song “Amante Bandido.” “My life’s a bitch, hey/ I don’t want to get married.” He also refers to the title of the album, and his state of mind: “I started dreaming and I said ‘I have to change my future today’/ Because tomorrow I don’t know what’s going to happen/ I feel sad, but It will pass.”
“Un Preview”

Image Credit: Courtesy Photo

The song that lived up to its name, as one of the album’s previews, has positioned itself at No. 2 on the Hot Latin Songs chart as of October 14. In the chorus of this catchy reggaetón track, produced by Tainy, MAG, and La Paciencia, Bunny sings, “Baby, I’m not afraid, no/ Of trying you and falling in love again.” A few weeks ago, the music video dropped with a cowboy aesthetic, hinting at the theme of the album as a whole.
“Teléfono Nuevo”

On “Teléfono Nuevo,” Bad Bunny opens up about the price of fame by singing that he only looks happy in old photos, and that his mind never clears up: “My body is free and my heart is behind bars/ People see a goat and I’m just another sheep.” The song begins with a soft keyboard melody and transitions into a more upbeat pop beat, before giving way to hard rap production featuring Latin trap artist Luar La L.
“Fina”

A hip-hop song through and through, “Fina” with Young Miko is one of the best songs on the album because of the precision of the collaboration. Still high off her own world tour and a stadium run as an opening act for Karol G’s U.S. tour, Young Miko has cemented herself as one of the best rappers out there, and shines in “Fina,” which is powered by a head-bobbing beat. She sings about a girl who is fancy but still likes the streets — enter a sample of Tego Calderón’s “Pa’ Que Retozen” for the chef’s kiss.
“Thunder y Lightning”

Eladio Carrión and Bad Bunny team up for a thunderous trip together, guided by eerie piano keys that pave the way to a suspenseful build-up. As the track unfolds, it introduces a relentless drill beat infused with a sinister flair, featuring sliding bass lines that electrify with their combined raw power. Their lyrical exchange unfolds like a Puerto Rican bravado showdown, and the track exudes an unstoppable flow that references legends, wealth and street cred. Carrión and Bunny’s powerful verses underline their dominance, transcending the Latin music scene to establish them as formidable figures in the rap world.
“Perro Negro”

In 2023, we witnessed the much-anticipated fusion of two musical worlds as Bad Bunny and Ferxxo united for their inaugural collaboration; their synergy is a homage to a vibrant urbano club in Medellín, Colombia. Their voices soar atop this scintillating new reggaetón track, complete with pulsating beats that transport listeners mentally to the heart of Medellín’s nightlife. The song encapsulates the spirit of “Medallo mor,” capturing the essence of the city in a reggaetón gem that’s bound to keep you moving.
“Nadie Sabe”

“Nadie Sabe” is the pensive opening track sets the tone of Bunny’s new album with a brooding, symphonic backdrop and otherworldly choruses. In the song, the Puerto Rican star reflects on fame and fortune, expressing his inner struggles amidst external admiration for what he’s achieved. With a mix of humility and confidence, he critiques societal judgments and longs for genuine connections while asserting his formidable presence in the world. The song is a reminder that nobody can predict the future, so live in the moment and be true to yourself, just as Benito does.
“Monaco”

Image Credit: STILLZ

Nothing short of an avant-garde fusion, “Monaco” is backed by the elegant violin and piano melodies heard on French-Armenian singer Charles Aznavour’s 1964 song “Hier Encore” (“Just Yesterday”) and laced with Bunny’s hard-hitting trap sound. In true “Trap Bunny” fashion, the Puerto Rican artist chants about being the best in the game and having no comparison. “What you do doesn’t impress me/It’s like scoring a goal after Messi and Maradona/They don’t even know you in your neighborhood/Yesterday I was with LeBron, also with Di Caprio,” he sings. “Monaco” ends with a part of Aznavour’s original song.
“Acho PR”

“Real G for life, the movement is still solid,” declares Bunny alongside De La Ghetto, Arcángel and Ñengo Flow on the trap banger “Acho PR,” an ode to life in the barrio in Puerto Rico — with its parties and its music, its crime and excess. “Straight from Bayamón, the most powerful mafia,” says part of the lyrics. “This is our neighborhood thing/ We came in shooting, it’s been many years proving/ And the street knows who keeps killing,” he spits, once again alluding to the album title, “We don’t know tomorrow, but today, we are on fire.”

Tour

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MONTGOMERY, AL

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Sep

Amsterdam, NL

Heineken Music Hall

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Sep

Lisbon, Portugal

Atlantico Pavillion

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songs ranked

“Pata Pata”

“No Hay Que Llorar”

“Quiero Amarte”

“Reencarnación”

“Menta y Canela”

“Suerte en Mí”

“Siempre Hay Cariño”

“Tumba la Casa”

“Rosalinda”

“Regresa a Mí”

“Arrasando”

“Entre el Mar y una Estrella”

Banda MS & Alfredo Olivas, “Tengo Claro”

Grupo Firme, “El Beneficio de la Duda”

Prince Royce & Gabito Ballesteros, “Cosas de la Peda”

Kapo, “Ohnana”

Ivan Cornejo, “Intercambio Injusto”

Arthur Hanlon, Yotuel & Darell, “Repetimos”

Los Ángeles Azules & Emilia, “Perdonarte ¿Para Qué?”

Residente, Silvia Pérez Cruz & Penélope Cruz, “313”

Danny Ocean, “Por la Pequeña Venecia”

Venesti, Maffio & Nacho, “No Es Normal”

Quevedo, “Kassandra”

Belinda & Natanael Cano, “300 Noches”

Bad Bunny, “Una Velita”

Rawayana & Akapellah, “Veneka”

Peso Pluma & Netón Vega, “La Patrulla”

J Balvin & Feid, “Doblexxó”

Grupo Frontera, “Hecha Pa’ Mi”

Fuerza Regida, “Tu Name”

Carín León, “Despídase Bien”

Rauw Alejandro, “Tú Con Él”

Boza & Elena Rose, “Orion”

Oscar Maydon & Fuerza Regida, “Tu Boda”

Xavi, “La Diabla”

Kali Uchis, Peso Pluma, “Igual Que Un Ángel”

Karol G, “Si Antes Te Hubiera Conocido”

“Britney”

“Ale”

“Belinda”

“Kylie”

“Bella”

“Fresita” (feat. Bellakath)

“Fvck” (feat. Afrojack)

“Jesus”

“Tuqlo”

“Valeria” (feat. Maluma & Gordo)

“Freestyle”

“Sofia” (feat. Major Lazer & Alok)

“Secreto Victoria”

“Pero No Te Enamores”

“Nel”

“Hotel Nacional”

“Tu Fotografía”

“En el Jardín” with Alejandro Fernández

“Oye”

“No Me Dejes de Querer”

“Cómo Me Duele Perderte”

“No Llores”

“Más Allá (Beyond)”

“Turn the Beat Around”

“No Pretendo”

“Anything For You”

“Words Get in the Way”

“Mi Buen Amor”

“Con Los Años Que Me Quedan”

“Si Voy a Perderte” / “Don’t Wanna Lose You”

“Miss Americana & The Heartbreak Prince”

“My Tears Ricochet”

“Champagne Problems”

“Karma”

“Castles Crumbling” (feat. Hayley Williams)

“Amor de Tele”

“La Noche Te Trae Sorpresas”

“Chicos de Plástico”

“Si Yo Fuera”

“Ayúdame Freud”

“Del Otro Lado del Sol”

“Me Están Jodiendo la Vida”