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At the beginning of 2023, Quevedo announced a stop in his career. Six months earlier, the Spanish artist had topped the Global 200 chart with “Bzrp Music Sessions, Vol. 52” alongside Bizarrap, making him and Bizarrap the first artists from Spain and Argentina, respectively, to reach No. 1 on the listing.
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By then, Bizarrap was already known for his provocative Music Sessions, but outside of Spain, Quevedo was relatively unknown — even though a few months earlier he had reached No. 145 on the same chart with “Cayo La Noche,” a collaboration with El Ima, Cruz Cafuné, Bejo, La Pantera, Juseph, and Abhir Hathi.
However, “Vol. 52” was his big ticket to a global audience that immediately connected with his deep voice and catchy mix of dance, pop and urban music. In a matter of months, Quevedo became a star — and in January 2023, he released his first album, Donde Quiero Estar, which debuted at No. 9 on the Billboard Latin Rhythm Albums chart.
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Although everything looked rosy, privately, Quevedo, who had just turned 21, felt tired and overwhelmed by the media, tours, pressure, and releases.
“From when I started to when we made ‘Cayo la Noche’ and the session with Bizarrap, I really didn’t have a chance to stop and decide: Do I like what I’m doing?” he says today. So he stopped.
For a year, he didn’t release music or give interviews. Until now.
On November 21, Quevedo returned with his second album, Buenas Noches, distributed through Rimas Entertainment, the home of his idol Bad Bunny. The 18-track set is a mix of pop and urban, with collaborations including Sech and De LaGhetto, but also surprises like Aitana and Pitbull, on a journey that ranges from totally fun to more introspective.
Not everything is as it seems. Much of the album’s aesthetic is based on red carpets and paparazzi, and the cover shows a smiling Quevedo with dark glasses talking to the cameras. But the photo is inspired by one of Michael Jordan, finally smiling when he decided to return to basketball after his father’s death. Now, after a year, Quevedo too is ready to return. Here is the story, which he tells to Billboard below.
Tell me about Buenas Noches.
It’s an eclectic album. Since I had not released music for a long time, what I most wanted was to flow in the studio and do things that I felt like doing. Make a fun album above all, not so introspective. There are songs that are more personal, but the majority are for people to have fun with. I made the album in very different stages. I released my first album in January 2023, but just before, when I had finished it in 2022, I started making this album. I made the first tracks in 2022. Then last year I did many camps, and this year I really got into the studio. But it has taken me over two years to make the album.
So, you really didn’t take a break from music?
For me, the break is not about not going to the studio. I love going to the studio. For me, it was about not being in the public eye. What I didn’t want was media pressure, keep traveling every week. It was about stopping and saying, okay, where do I want to take my career. I wanted was to disappear a bit from public view.
Why?
Everything was so pressed by the next thing that there was a moment when I said, “This was my dream, but it’s been a long time since I’ve considered if I’m happy with what I’m doing.” I started doing music because I love it. I don’t like being famous. It’s a consequence that I’m willing to assume if it means I can make music and live from it. But I don’t like being famous, I don’t like people getting into my life. What I love is that moment of creation.
I needed to stop and focus. Now I feel I have the strength to take everything up again, and I’m willing to deal with the things I don’t like so I can make my music.
Was there something that made you take the break and come back?
In 2022 I wrote “Ahora Qué,” a song that said: “2021 to sow, 2022 to reap, 2023 to crown, 2024 to disappear.” When I wrote that, I thought I’d take things a bit more slowly. But over time, in 2023, with the tour, the writing camps, there was a moment when I was making music only in camps, but not in my day-to-day. And at the same time, I moved to Madrid and was far from my family and my friends and my partner and there was a moment when I felt quite alone. There wasn’t a specific moment, but there was a moment of, “Damn, maybe I should take that song seriously.” At no point did I consider not coming back. What I specifically wanted was a moment to take for myself.
Can you describe the album?
It’s a very eclectic album, but there’s a sound with a lot of synths, drums, very 2008-2011 —Jason Derulo, Timbaland — strange mixes with new sounds and I think that’s the sound that repeats the most. The album is quite lively lyrically.
I hear many songs with many stories. The focus track, “Kassandra,” talks about a night with a celebrity who is always accompanied but ultimately is alone; “Iguales” is about a womanizing guy who sleeps with as many as he can, for example. Do all the songs have that element of storytelling?
Almost all. Ideas always flow more when I write [about] specific situations. There are many stories that I haven’t lived through 100%, but they’re inspired on things my friends tell me. That’s where my songs come from. I try to imagine situations.
You have a song with Pitbull, “Mr. Moondial.” How did it happen?
We always said, “Let’s do something very pop… very Pitbull.” We made the track, I recorded my bit, we called the song “Mr. Worldwide.” And we always said, we have to get Pitbull. But we didn’t know him. I don’t know him to this day, because he recorded two and a half weeks ago! But I’m sure we’ll meet him.
It’s an album with a beginning and an end and a context, at a time when many albums are simply collections of singles. What recent album inspires you?
In the current era, from the last eight years, I would say Motomami by Rosalía, for the way she created a new concept after El Mal Querer and all the imagery that album had. And then at a more urban reggaetón level, [Bad Bunny’s] YHLQMDLG is the album that changed the entire industry for me. Obviously, Latin music was already very popular, but that album confirmed Latin music ruled. It made people try to do things better. When I heard it, I said, “That’s it: From now on people are going to start making real albums.”
Watch the “Kassandra” video here.
With an electrifying roar that resonated in every corner, Carin León took over Madrid’s WiZink Center, marking his historic debut in Spain. Part of his Boca Chueca Tour, the show not only marked the Mexican star’s first performance in Europe but also broke records: With an audience of 17,426 people, it surpassed Metallica’s mark set in 2018, becoming the event with the highest attendance of the more than 1,200 concerts held at the venue.
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The atmosphere at the WiZink was unique, transformed into a 360-degree Palenque style, with spectators surrounding the arena like in a boxing ring, an unprecedented layout for this Madrid venue. Among the attendees were music stars such as Vanesa Martín, India Martínez, C. Tangana, and Ximena Sariñana, as well as the legendary soccer player Sergio Ramos, all witnesses of a night in which Mexican and Spanish music intertwined for two and a half hours of pure spectacle.
From the beginning, León’s excitement about being in Madrid was palpable. “I’ve always said it: the second place I would go after Hermosillo is Madrid,” he confessed, making clear the special place this city holds in his heart. One of the first surprises of the night was the live performance of “Recorrerte,” a song in collaboration with Sen Senra that he described as “sexy,” managing to arouse the audience’s emotions. The song, which has not yet been officially released, will be part of the Galician artist’s album PO2054AZ, VOL. II of the Galician artist, scheduled for release on November 15.
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One of the most emotional moments of the night came with the presence of his great friend and mentor, Álex Ubago, with whom León shared a special bond since he invited him to his birthday party in San Carlos, Sonora last July. Together they performed two of Ubago’s classics, “A Gritos de Esperanza” and “¿Qué Pides Tú?,” in a tribute to the influence that Spanish music has had on the Sonoran’s career. “What a dream to share with the artists I admire, long live Spain and long live its artists and music,” exclaimed León, visibly moved.
The connection between the two artists was reinforced with a dedication by León to those affected in Valencia by the DANA (a meteorological phenomenon that usually causes heavy rains and recently caused a tragedy in the region). “Life is sometimes very uncertain and very unfair. I want to dedicate this concert to the people of Valencia,” he said, receiving a standing ovation from the audience. “More than a minute of silence, I want an eternity of joy. Long live Valencia and this song goes with much affection and respect,” he added before performing “Vida Pasada.”
After singing “Por Culpa De Un Tercero”, the venue rumbled with the arrival of another of the stars of the night: Pablo Alborán. Together they performed “Viaje a Ningún Lado” in a duet that showed their mutual respect and admiration. “This man is a bully, how you sing!” joked León, to which Alborán responded with a wink: “For me, being together on stage in Madrid, there is no better place.” In this musical communion, the artists gave each other another joint performance, “De Piedra a Papel”, which became one of the most acclaimed moments of the evening.
Among the special guests was also Omar Montes, who performed with León the song “Ron con Coca” and, in a tone of admiration, said: “How proud of you, Carin León, who comes to Spain and breaks more than the Spaniards. You deserve all the good things that are happening to you.”
The night progressed with a series of hits, such as “Que Vuelvas,” “Talento de Televisión,” “Tóxico” and “Aviso Importante.” But the energy reached another level with the arrival of Manuel Carrasco. Together, they performed their collaboration “No Me Llores”, as well as a little-known gem by Carrasco that the Mexican himself asked him to sing, “Yo Te Vi Pasar,” which reflected the palpable chemistry between the two artists. “I’m delighted in front of so many beautiful people at your party. Let’s enjoy, brother,” exclaimed Carrasco, infecting the audience with his enthusiasm.
The musical display continued with a surprising version of Enrique Urquijo’s classic “Aunque Tú No lo Sepas,” to which León added his unique style. And, to close the night, the León could not leave out one of his most beloved anthems, “Primera Cita,” which sealed a spectacular debut in the Spanish capital.
“More than faith, I’m sure there will be more dates like this one,” anticipated León, before saying goodbye.
The next destination of his Boca Chueca Tour is London, this Sunday, November 3, followed by Amsterdam and Paris, on November 4 and 5, respectively.
The Spanish recorded music industry is having a promising year, so far. PROMUSICAE (Productores de Música de España), which represents more than 95% of Spain’s recording industry, recently released half-year figures — and they continue to ascend. The recorded music industry has generated a total revenue of 249.8 million euros ($277.3 million) during this period, reflecting an impressive growth rate of 16.6% compared to the same period in 2023 when the income stood at 214.3 million euros ($237.9 million).
“It is very encouraging that in this first part of the year the figures growth of recorded music in Spain keep over 16%, as this highlights that the efforts and talent of Spanish artists and recording companies bear fruit, and music continues grabbing the interest of the public,” said Antonio Guisasola, president of PROMUSICAE.
The digital market remains a catalyst for this growth, experiencing a significant rise of 18.8%. Digital formats now account for 89.7% of the industry’s turnover, totaling 224.15 million euros ($248.82 million). That’s nearly all streaming, which captured 88.8% of the total market and generated revenues of 221.86 million euros ($246.28 million) — up 19.1% compared to the first half of 2023.
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Audio streaming represented 83.5% of all consumption and contributed 185.22 million euros ($205.6 million) to the industry. Video streaming accounted for 36.64 million euros ($40.67 million), totaling to 16.5% of streaming.
Karol G, Sabrina Carpenter, Spanish indie rock band Arde Bogotá, Dani Fernández, and Benson Boone are some of the artists that have placed No. 1 songs on the Spanish charts. Meanwhile, albums by Quevedo, Karol G, Bad Bunny, Aitana, and C.Tangana continue to dominate the 100 Albums annual chart.
Guisasola added, “Streaming is obviously the main way in which we consume recorded music and the greatest economic support of recording market, but the public is still demanding physical products such as vinyl, which sales steadily grow and is most valued by consumers.”
The physical market this year so far matches the growth of the same period of 2023, ever so slightly increasing to 0.03%. The consumption of vinyl rose 11.9% in 2024, like last year, whereas CD purchases decreased by 15%. Other formats also decreased compared with the same period of 2023, down 32.9%, and DVD salesdecreased by 15.1%.
“The challenge remains to push the Spanish recording production even stronger, helping companies of our country to invest in national talent, for which it is essential to be supported with public measures as can be tax incentives to Spanish production and the support to internationalization of our recording production,” stated Guisasola.
He mentioned that the challenges the industry faces is to get the public to “make a decided commitment to consume music through payment subscriptions, as it happens in our surrounding advanced countries.” Guisasola stated that this not only enhances the listening experience but also provides the financial returns needed to continuously support our artists’ talent.
Spanish Recorded
PROMUSICAE
Promusicae has released the third edition of its annual report on the state of the recorded music industry in Spain. The report reveals that revenue from recorded music in Spain saw a significant increase of 12.33% in 2023, earning 520 million euros (about $567 million) and surpassing the average growth rate seen in neighboring countries. This increase was driven primarily by streaming, which accounted for nearly 77% of the sector’s total revenue.
“The positive figures of 2023 should not distract us from the significant challenges we face, including improvements in gender equity and support for local production,” said Antonio Guisasola, president of Promusicae, in a press release. “It’s crucial to capitalize on the boom in Spanish music to properly position our music on a global scale.”
Carried out in collaboration with the Department of Audiovisual Diversity of the Universidad Carlos III de Madrid, an exhaustive analysis is made using the data published by the Spanish recording industry through Promusicae and the International Federation of the Phonographic Industry (IFPI).
Other key data from the Spanish market includes:
19 million Spaniards use audio streaming services, with 6 million subscribed to premium accounts.
The average music consumption is 22.1 hours per week per person, above the global average of 20.7 hours.
Recorded music exports contributed 41 million euros (about $45 million) in 2023, growing 17.2% compared to 2022, and accumulated 154% compared to 2018.
For Guisasola, it is key to “take advantage of the good moment of Spanish music to position our music in the place it deserves through all the possibilities it has per se or together with other forms of entertainment.”
The report also highlights the need to enhance the profitability of music consumption in Spain and emphasizes the importance of a sustainable streaming consumption model that promotes premium usage. Additionally, it underscores the necessity of public and institutional support to encourage the production, marketing and development of Spanish musical talent both domestically and internationally.
The presentation was given by Guisasola, Nacho Gallego (professor of the Department of Audiovisual Communication and Director of the Master’s Degree in Music Industry and Sound Studies at Charles III University of Madrid), and managing director of Promusicae Soco Collado who explained the main data and conclusions of this report.
The president of Promusicae concluded by adding that “from the sector and the organization we represent, we maintain the maximum disposition to defend the interests of all the Spanish record companies that are developing so much talent.”
The complete report is available for download on the Promusicae website, offering a more detailed look at the trends and strategies needed to sustain and expand the impact of Spanish music worldwide.
Radiografía Del Mercado De La Música Grabada En España 2023
PROMUSICAE
The Spanish Society of Authors and Publishers (abbreviated SGAE in Spanish) has been fined 6.38 million euros (more than $6.9 million, using the average 2023 conversion rate) by the Comisión Nacional de los Mercados y la Competencia (CNMC) for anti-competitive practices related to its licensing deals with radio and TV stations.
SGAE has been fined for “two infractions of abuse of dominant position” by designing and applying its licensing rates in a manner that forces radio and TV operators to accept an “averaged availability rate” (comparable to a flat rate) to be able to use its repertoire, according to a CNMC press release on Wednesday (June 26).
The widespread application of the flat rate by the Spanish collecting society “has had a double anti-competitive effect,” the CNMC says. The first effect, which the CNMC refers to as “exploitative abuse,” results from SGAE’s practice of forcing licensees to pay the flat rate “unrelated to the actual use they make of their repertoire, both in terms of the number of works and the intensity of their use,” according to the release, which states this practice has been ongoing since “at least” Jan. 1, 2016.
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Because licensees are forced to pay the flat rate regardless of the extent of their use of SGAE’s repertoire, the CNMC adds, licensees’ incentives to contract with SGAE competitors with less substantial repertoires are limited — a second anti-competitive effect that hinders “the entry and expansion” of those competitors in the marketplace.
According to the CNMC, SGAE “enhanced” the latter effect — which it says SGAE instituted from “at least” Jan. 1, 2016, through Dec. 31, 2017 — by “presenting its musical repertoire to users as universal and offering guarantees of indemnity against possible claims by third parties for the use of rights that do not belong to its repertoire.” The CNMC argues this further limited incentives for licensees to contract with SGAE competitors.
In addition to fines, SGAE has been ordered to cease these behaviors.
Investigations into SGAE began after complaints were made by audiovisual media copyright entities Management Entity (Dama) and Unison Rights, S.L. (Unison), the release states.
Billboard reached out to SGAE but had not heard back by press time.
Earlier this year, Billboard reported SGAE’s intentions to improve its reputation under new CEO Cristina Perpiñá-Robert, who was appointed a little more than a year ago.
“SGAE is one of the world’s leading CMOs, with a crucial role to play for its members,” Perpiñá-Robert previously said. “This year is our 125th anniversary, which is a chance to celebrate what we’ve achieved but also highlight where we need to reform. I’m determined that SGAE should achieve a greater presence internationally.”
Last year, SGAE took in 349.1 million euros ($377.8 million, based on the 2023 average conversion rate) and distributed 354.1 million euros ($383.2 million), according to its 2023 financial results, while the number of members with authors rights grew from 36,956 to 83,148.
Catalan rapper Morad began a six-month jail sentence Monday (April 9) for reckless driving offenses committed in 2022. According to multiple Spanish news outlets, the artist known for viral tracks such as “Se Grita” (2023), “Sigue” (2022) and “Bzrp Music Sessions, Vol. 47” (2021) voluntarily entered the Brians 2 penitentiary center near Barcelona. Explore Explore […]
Jesús López, chairman/CEO of Universal Music Latin America and Iberian Peninsula, has received a special honor from the King and Queen of Spain. On Wednesday (April 3), the music executive received the Gold Medal for Merit in the Fine Arts — an award that recognizes individuals and entities who have “excelled” in the field of […]
Expectations are growing as the 68th edition of the Eurovision Song Contest, scheduled for May 11, approaches. This year, Spain will be represented by the duo Nebulossa, formed by singer María “Mery” Bas, 55, and keyboardist and producer Mark Dasousa, 47.
Owners of an electro-pop project with an ’80s touch, Nebulossa has stood out from the start for its unique style, releasing several singles and an album, Poliédrica De Mí — home to songs such as “Anoche,” “Glam” and “Armada Roja” — with which they have been able to tour stages all over Spain.
Although their music career began in 2018, their union as a couple goes back more than two decades, during which time they have formed a solid family with two children and have undertaken other business projects. Specifically, Mark stands out as a recognized producer in the Valencian alternative scene through his company Atomic Studio, while Mery runs an aesthetic beauty clinic that she inherited from her mother.
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Since their victory at Benidorm Fest 2024, where they won over the audience with their song “Zorra,” Nebulossa’s rise has been meteoric. The duo never expected to find themselves representing Spain at Eurovision when they started out. However, fate had other plans for them. In fact, Mery submitted the candidacy to Benidorm Fest without telling Mark: “I thought it was a good opportunity, a way to make ourselves known, but I didn’t think that everything that has happened would happen,” she tells Billboard Español.
After their victory at the Benidorm Fest, an unexpected controversy arose around the title of “Zorra,” as many felt that it was inappropriate for Eurovision (zorra in Spanish slang roughly translates to slut). However, María Eizaguirre, director of communication of RTVE (the Spanish radio and television corporation), counters that the song is in accordance with the current regulations — and, in addition, the European Broadcasting Union (EBU) has given it its approval.
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The success of “Zorra” speaks for itself. In a period of almost three months since its release on December 15, 2023, it reached more than 10 million plays on Spotify. “It is very big what is happening with ‘Zorra’ and the controversy is behind us. We are slightly on the margins with the networks and we have been focused on what we had to be; we have not been affected almost at all by the controversy around the song,” adds Mery.
“The song comes from an experience, it’s an emotion that Mery had inside that she wanted to get out, so people got the message and liked it,” adds Mark. “Our intention was simply that, there was no premeditation. When we were selected we decided to go with it and have fun; we still have the same attitude. We are enjoying this, we are of an age now, which is something the song also talks about, ageism, and we take things differently. Everyone is free to have their own opinion.”
Thanks to the success of “Zorra,” Nebulossa teamed up with Gloria Trevi for a new remix of the song that they recorded in Miami and premiered on March 15 at Radio City Music Hall in New York City, in front of 6,000 people, closing the Mexican artist’s show. “The anecdote is incredible, because María tells us: ‘I have managed to get Gloria Trevi to come and record the song tomorrow,’” Mark recalls. “So from one day to the next we set to work to find a studio, Gloria lent herself to this and came, something that was very cosmic, very magical; everything aligned. And so one thing led to another. Then, when we were proposed to go to Radio City Music Hall, we didn’t have to think about it for more than two seconds, obviously.”
Gloria Trevi and Nebulossa perform at New York’s Radio City Music Hall on March 15, 2024.
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As the Eurovision 2024 date approaches, Nebulossa is preparing to face its biggest challenge yet. With “Zorra” as its introduction letter, the duo is ready to conquer the stage in Malmö, Sweden, and bring their music to international audiences. Throughout April, the pair will travel to London, Amsterdam, Stockholm and Rome as part of the official pre-Eurovision festivities, to which they are eager to see the public’s response. But first, they will pass through Madrid and Barcelona, aware that “it is a tour that many emerging artists would like to live, especially with the people’s acceptance,” says Mark.
Regardless of the competition’s outcome, the duo from Alicante, Spain is grateful for the experience. “We already feel like the winners of hearts of so many people who have told us that they identify with our message. I think the song itself is already a winner,” Mery reflects. Mark adds, “Whatever position we finish in, we would like it to be the best, especially for all the people who are putting their enthusiasm in this, both from RTVE and the audience. We are happy. If we land in a good position, even better, if not, nothing will tarnish us.”
With a steadily growing fan base, they are both ready to continue captivating audiences with their music and unmistakable style. While they have concerts and festivals already booked for the upcoming months, Nebulossa is also poised to drop their EP, Virturrosismo, containing new songs that they had planned to release before Benidorm Fest. But for now, all the focus is on the May 11th date in Malmö.
Back in the 1980s and even the 1990s, Spanish artists like Raphael, Julio Iglesias and Camilo Sesto were hugely popular both in Latin America and among U.S. Latin audiences — a situation replicated in the 1990s and 2000s by the likes of global superstars like Mecano and Alejandro Sanz, both of whom hailed from Spain. […]
Spain‘s recorded music industry enjoyed revenue of nearly 520 million euros ($567 million) in 2023, marking the third consecutive year of double-digit growth. The industry witnessed a notable 12.33% increase from the previous year, with music sales contributing 465 million euros ($507 million), according to the latest report from PROMUSICAE, an association representing over 95% of the Spanish recording sector.
The growth is attributed to a robust digital market, which now accounts for 86% of music consumption in Spain, with streaming services leading the charge. Remarkably, nearly 99% of digital sales, amounting to 398.6 million euros ($435 million), came from streaming, with audio platforms generating 330 million euros ($360 million) and video accounting for the remainder. This trend underscores the continuing shift towards digital consumption, with physical sales also seeing an uptick, particularly in the vinyl segment, which experienced a 19% revenue increase and commanded over 56% of the physical market’s turnover.
The report highlights the increasing embrace of premium subscription models, with over 6 million Spaniards opting for such services in 2023, a 15% jump from the previous year. This reflects a growing willingness among consumers to pay for enhanced music experiences, although Spain still lags behind other markets in terms of premium subscriber shares.
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PROMUSICAE’s president, Antonio Guisasola, reflected positively on the industry’s achievements in 2023, underscoring the pivotal role of the streaming model in providing consumers access to a vast array of recorded music at a modest price. He credited this success to the collective talent of artists and the concerted efforts and investments of the recording industry. “We make a very positive assessment of the 2023 year’s closure, with big hopes in the reasonable advance of the streaming model that brings to the consumer at a modest price all recorded music created thanks to the sum of artists’ talent and the work, effort, and investment of all the recording industry of our country,” he said in a press release. However, he acknowledged the industry’s ongoing journey to recover and reach the pre-piracy-crisis levels of 2001 when revenue was 37% higher than it was last year.
Guisasola advocates for comprehensive support from the public sector and continued investment in artist development to reach and surpass the revenue levels seen before the piracy crisis, with the aim of Spanish music having a stronger presence on the international stage. “These aids, combined with the recording industry’s enormous commitment — investing over 30% of its benefits in marketing and developing its artists, and with worldwide investments exceeding 7.1 billion dollars as per IFPI details, spanning all facets of phonographic production and the commercialization and promotion of works — shall allow us to take the definite plunge and overcome,” said Guisasola. He claims this will allow the Spanish recording industry to surpass all-time revenue highs, as has been achieved in other countries.
Top 10 albums in Spain by revenue in 2023:
Quevedo, Donde Quiero Estar
Karol G, Mañana Será Bonito
Bad Bunny, Un Verano Sin Ti
Bad Bunny, Nadie Sabe Lo Que Va a Pasar Mañana
Aitana, Alpha
C. Tangana, El Madrileño
Rauw Alejandro, Saturno
Taylor Swift, 1989 (Taylor’s Version)
Feid, Feliz Cumpleaños Ferxxo Te Pirateamos el Álbum
Mora, Paraiso
Top 10 songs in Spain by revenue in 2023:
Bizarrap x Shakira, “Shakira: BZRP Music Sessions, Vol. 53”
Marshmello x Manuel Turizo, “El Merengue”
Vicco, “Nochenterai”
Manuel Turizo, “La Bachata”
Yandel x Feid, “Yandel 150”
Karol G x Shakira, “TQG”
Quevedo x Myke Towers, “Playa Del Inglés”
Quevedo, “Columbia”
Rosalía x Rauw Alejandro, “Beso”
Myke Towers, “Lala”