8 of the Best Latin-Themed Musicals Ever on Broadway: From ‘West Side Story' to ‘Buena Vista Social Club'
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Buena Vista Social Club — which narrates the story of the Cuban artists who brought the acclaimed Grammy-winning album of 1997 to the world — competes in categories including best musical, best performance by an actress in a featured role (Natalie Venetia Belcon), best book (Marco Ramirez) and best direction (Saheem Ali). Furthermore, the musicians who make up the band in the show will be recognized with a special Tony Award.
Real Women Have Curves: The Musical is nominated for best original score — by Latin music star Joy Huerta (half of the Mexican pop duo Jesse & Joy) and Benjamin Velez — and best performance by an actress in a featured role (Justina Machado). Based on the play by Josefina López and HBO's movie adaptation, it follows 18-year-old Ana García, a daughter of immigrant parents who struggles between her ambitions of going to college and the desires of her mother for her to get married, have children and oversee the small, rundown family-owned textile factory.
And a third Latin-themed show is currently in the works: BASURA, with music and lyrics by no other than Cuban-American superstar Gloria Estefan and her daughter, songwriter Emily Estefan. Inspired by a true story, BASURA (Spanish for 'garbage') will narrate the journey of Paraguay's Recycled Orchestra, a group of young artists who turn scrap material into instruments and music into possibilities.
But Broadway has had a long-standing history affair with Latin music and artists, with shows ranging from classics like West Side Story, Kiss of the Spider Woman, Evita and Man of La Mancha, to more recent productions like In the Heights and On Your Feet! — and legendary stars from Rita Moreno and Chita Rivera, to Lin-Manuel Miranda.
There was also the short-lived The Capeman [1998] starring Rubén Blades, Marc Anthony and Ednita Nazario, a Paul Simon musical based on the life of convicted murderer Salvador Agrón which closed after only two months; and Women on the Verge of a Nervous Breakdown [2010], an adaptation of Pedro Almodóvar's iconic black comedy film, which received mostly negative reviews and lasted three months.
Meanwhile, some non-Latin themed shows have featured Latin stars throughout the years, like Hamilton, starting with creator Lin-Manuel Miranda and including Anthony Ramos and Javier Muñoz; and Chicago, with Mexican actress Bianca Marroquín playing both Roxie and Velma intermittently since 2006, and star guests including Sofía Vergara, Jaime Camil and Sebastián Yatra.
In honor of the 78th Tony Awards, scheduled for June 8 at the Radio City Music Hall and airing live on CBS and Paramount+, here are eight of the best Latin-themed Broadway musicals from past and present, in alphabetical order.Opening Date: Mar 19, 2025
Closing Date: n/a
About: Inspired by true events, Buena Vista Social Club brings the 1997 Grammy-winning album to life as it tells the story of the Cuban legends who lived it.
Music By: Buena Vista Social Club
Book By: Marco Ramirez
Main Original Cast: Natalie Venetia Belcon (Omara), Julio Monge (Compay), Mel Semé (Ibrahim), Jainardo Batista Sterling (Rubén), Isa Antonetti (Young Omara), Da'Von T. Moody (Young Compay), Wesley Wray (Young Ibrahim), Leonardo Reyna (Young Rubén), Renesito Avich (Eliades), Ashley De La Rosa (Young Haydee), Justin Cunningham (Juan De Marcos).
Tony Nominations: 10
Tony Awards: TBDOpening Date: Sep 25, 1979
Closing Date: Jun 26, 1983
Revival: Apr 5, 2012 to Jan 26, 2013
About: Set in Argentina, Evita tells the story of Eva Perón, the iconic first lady of the Latin American country, who rose from poverty to become a powerful figure in the region. The musical explores her political ambitions, charity work, and eventual death from cancer at age 33.
Music / Lyrics by: Andrew Lloyd Webber / Tim Rice
Book By: Tim Rice
Main Original Cast: Patti LuPone (Eva Perón), Bob Gunton (Perón), Mandy Patinkin (Che)
Main Revival Cast: Elena Roger (Eva Perón), Michael Cerveris (Perón), Ricky Martin (Che)
Tony Nominations: 11 for the original, 3 for the revival
Tony Awards: 7 for the original, including best musical, best book of a musical, best original score, best actress in a musical (Patti LuPone), best featured actor in a musical (Mandy Patinkin), best lighting design, and best direction of a musicalOpening Date: Mar 9, 2008
Closing Date: Jan 9, 2011
About: A story of heritage, faith and healing love, In the Heights is about the hopes and struggles of residents of New York City's Washington Heights.
Music / Lyrics By: Lin-Manuel Miranda
Book By: Quiara Alegría Hudes
Main Original Cast: Lin-Manuel Miranda (Usnavi), Andréa Burns (Daniela), Janet Dacal (Carla), Robin De Jesús (Sonny), Carlos Gomez (Kevin), Mandy Gonzalez (Nina), Christopher Jackson (Benny), Priscilla Lopez (Camila), Olga Merediz (Abuela Claudia), Karen Olivo (Vanessa)
Tony Nominations: 13
Tony Awards: 4, including best musical, best original score written for the theatre, best choreography and best orchestrationsOpening Date: May 3, 1993
Closing Date: Jul 1, 1995
About: Based on the 1976 novel by Manuel Puig, Kiss of the Spider Woman explores the complex relationship between Molina and Valentin, two cellmates in an Argentine prison during the Dirty War. Molina, a gay man, uses his imagination and his love for movies to create a world of escapism for himself and, unexpectedly, for Valentin, a political prisoner.
Music / Lyrics By: John Kander / Fred Ebb
Book By: Terrence McNally
Main Original Cast: Chita Rivera (Spider Woman / Aurora), Brent Carver (Molina), Anthony Crivello (Valentin)
Notable Replacements: Vanessa Williams played Spider Woman from Jun 27, 1994 to Mar 18, 1995; Maria Conchita Alonso portrayed the role from Mar 20, 1995 to Jul 01, 1995
Tony Nominations: 11
Tony Awards: 7, including best musical, best book of a musical, best original score, best actor in a musical (Brent Carver), best actress in a musical (Chita Rivera), best featured actor in a musical (Anthony Crivello), and best costume designOpening Date: Nov 22, 1965
Closing Date: Jun 26, 1971
Revivals: Jun 22, 1972 to Oct 21, 1972; Sep 15, 1977 to Dec 31, 1977; Apr 24, 1992 to Jul 26, 1992; Dec 5, 2002 to Aug 31, 2003
About: A retelling of Miguel de Cervantes' Don Quixote and his quest, Man of La Mancha celebrates the perseverance of one man who refuses to relinquish his ideals and who is determined to see life not as it is, but as it ought to be.
Music / Lyrics By: Mitch Leigh / Joe Darion
Book By: Dale Wasserman
Main Original Cast: Richard Kiley (Don Quixote – Cervantes), Irving Jacobson (Sancho Panza), Joan Diener (Aldonza – Dulcinea)
Tony Nominations: 7 for the original, 1 for the 1977 revival, 3 for the 2002-2003 revival
Tony Awards: 5 for the original, including best musical, best composer and lyricist, best actor in a musical (Richard Kiley), best scenic design, and best direction of a musicalOpening Date: Nov 5, 2015
Closing Date: Aug 20, 2017
About: On Your Feet! tells the inspiring true story of Emilio and Gloria Estefan, two people who believed in their talent —and each other— to become an international sensation. Featuring their hits like 'Rhythm Is Gonna Get You' and 'Conga', the show is a celebration of their musical journey and the challenges they faced in music and in life.
Music / Lyrics By: Gloria Estefan, Emilio Estefan
Book By: Alexander Dinelaris
Main Original Cast: Ana Villafañe (Gloria), Josh Segarra (Emilio), Andréa Burns (Gloria Fajardo), Alma Cuervo (Consuelo), Eduardo Hernandez (Nayib)
Tony Nominations: 1
Tony Awards: 0Opening Date: Apr 27, 2025
Closing Date: n/a
About: Set in the Boyle Heights section of Los Angeles in 1987, Real Women Have Curves follows Ana García, an bright 18-year-old determined to become the first member of her family to go to college. But when the family garment business receives a make-or-break order for 200 dresses, Ana finds herself juggling her own ambitions, her mother Carmen's expectations, and a community of women all trying to make it work against the odds. The show is based on the play by Josefina López and HBO's movie adaptation.
Music / Lyrics By: Joy Huerta, Benjamin Velez
Book By: Lisa Loomer, Nell Benjamin
Main Original Cast: Tatianna Córdoba (Ana García), Justina Machado (Carmen García), Florencia Cuenca (Estela García), Mauricio Mendoza (Raúl García)
Tony Nominations: 2
Tony Awards: TBDOpening Date: Sep 26, 1957
Closing Date: Jun 27, 1959
Revivals: Apr 27, 1960 to Dec 10, 1960; Apr 8, 1964 to May 3, 1964; Feb 14, 1980 to Nov 30, 1980; Mar 19, 2009 to Jan 02, 2011; Feb 20, 2020 to Mar 11, 2020
About: A modern representation of Romeo & Juliet, West Side Story is set in the West Side of New York City during the summer of 1957, and explores the rivalry between two youth warring street gangs: The Jets, of European roots, and the Sharks, of Puerto Rican origin. Things get complicated when Tony, a member of the Jets, falls madly in love with Maria, the sister of the Sharks' leader.
Music / Lyrics By: Leonard Bernstein / Stephen Sondheim
Book By: Arthur Laurents
Main Original Cast: Mickey Calin (Riff), Larry Kert (Tony), Carol Lawrence (Maria), Ken Le Roy (Bernardo), Chita Rivera (Anita)
Tony Nominations: 6 for the original production; 2 for the 1964 revival; 2 for the 1980 revival; 4 for the 2009-2011 revival
Tony Awards: 2 for the original production, including best scenic design and best choreography; 1 for the 2009-2011 revival, for best featured actress in a musical (Karen Olivo)
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Yahoo
an hour ago
- Yahoo
Everyone is listening to secular praise music. Yes, even you.
Artists like Benson Boone, Teddy Swims and Alex Warren have tapped into a genre of music that sounds religious, but isn't. It's working. 'They say, 'The holy water's watered down, and this town's lost its faith,'' a man sings soulfully. This is not a religious condemnation of the terrible things that have happened on Earth. It's a tune that follows you as it plays on car radios, blasts from the grimy speakers in dive bars and rears its head in countless Spotify playlists. You can't escape it — the deep-voiced crooning of a former TikToker who finally cracked mass virality with a hit that sounds religious but isn't. Those words are the opening lyrics to 'Ordinary,' Alex Warren's 2025 breakout hit, which has now spent seven weeks at No. 1 on the Billboard Hot 100. It's just a love song. And it's everywhere. If its sheer ubiquity hasn't given it away, there's a strong chance 'Ordinary' could become 2025's song of summer, according to Billboard's annual chart. Even when the speed and mood of the song pick up, it stays borderline religious. Warren sings about 'the angels up in the clouds,' the 'hopeless hallelujah on this side of Heaven's gate' and 'at your altar, I will pray, you're the sculptor, I'm the clay.' He references the Bible frequently, but he's talking about his real-life, present-day wife. It sounds religious, but 'Ordinary' is part of a growing genre of secular praise music. 'Close their eyes, lift their hands and transcend the moment' As someone who grew up playing music in church, Americana artist Nate Currin has seen the way religious music gets a physical reaction in its audiences. There's something 'inherently emotional about praise and worship music,' he tells Yahoo, that 'invites people to close their eyes, lift their hands and transcend the moment.' Secular praise music takes that feeling and emotion, harnesses those elements and markets it to both religious and nonreligious audiences. It's a trend now, but it's been around forever. 'Artists have long wrestled with themes of God, heaven, mystery and meaning. Some call it 'Christian' or 'worship,' but to me, it's simply a poetic exploration of the universe and what might lie beyond,' Currin says, citing U2 as an example. 'The continued connection people feel to this kind of music reveals something deeply human — a curiosity, a longing, a hope — that maybe there's more to all of this than what we can see.' So, how do you know if a song is secular praise music? For starters, it sounds like something that might be performed by a band in a church, when the congregation is asked to stand and sing along as they worship God. It's a common occurrence for many Americans — 62% of U.S. adults describe themselves as Christians, according to the 2023-24 Religious Landscape Study from Pew Research Center. Those who go to church are listening to many of the same songs — ones that are trending among other members of their denominations and timeless classics — but the sound of worship music has pervaded even nonreligious airwaves. There are at least four other songs like 'Ordinary' on the Billboard Hot 100 right now, including 'Lose Control' by Teddy Swims (No. 9), 'Beautiful Things' by Benson Boone (No. 16), 'Good News' by Shaboozey (No. 24) and 'Backup Plan' by Bailey Zimmerman featuring Luke Combs (No. 44). Take me to church Secular praise songs like these include poetic verses that build to a striking, emotional chorus that singers belt at the top of their lungs. The lyrics appeal to members of a community or to someone powerful — a woman, a family member or the concept of a better time — and when they mention God, it's usually as part of a familiar phrase rather than an actual appeal to a spiritual being. Elements of stomping and clapping in the background — or even the addition of a backing choir — only add to the praise song vibe. Tero Potila, a music producer and composer, tells Yahoo that streaming has shaped this format, because now, 'songs must grab the listener's attention quickly and deliver a strong emotional payoff to keep them engaged.' 'From a producer's perspective, the use of reverb, gospel-like chord progressions and dynamic builds all help create a church-like experience — something that uplifts and draws listeners in,' he says. 'Artists like U2 and Coldplay have done this for years, but what's different now is how emotionally raw and direct this style has become.' Take 'Ordinary,' for instance. Mentions of angels and altars distract from the fact Warren is clearly singing about his wife, who's featured in the song's music video. 'You got me kissin' thе ground of your sanctuary. Shatter me with your touch, oh, Lord, return mе to dust,' he sings. His passion borders on sexually suggestive without going explicit. That means it's fine for the radio. One of the biggest radio hits of all time, Teddy Swims's 'Lose Control' has been on the Billboard charts for a whopping 100 weeks — the first song to crack that milestone. It came out in 2023, when Taylor Swift's 'Cruel Summer' and Morgan Wallen's 'Last Night' were ruling the airwaves, and it's still unavoidable. He sings about his desire for the presence of a woman he loves, saying 'I lose control when you're not next to me,' after crooning that 'the devil's knockin' at my door' when he's left alone. He admonishes himself for acting like an 'addict' and giving into 'bad habits' — admitting his flaws and begging for forgiveness — two common elements in worship songs, sung in that context to God rather than a nameless woman. The religious elements of these two songs make them sound vaguely like they could be played in church. They aren't overtly explicit, so you could play them on a loudspeaker in mixed company. They're slow with repetitive choruses that are easy to memorize, led by smooth, easily digestible voices. All those elements make it easy for them to become radio hits. And once a song is in a radio station's rotation, it's hard for it to get out — just look at 'Lose Control' and Benson Boone's 'Beautiful Things,' which has been on the Billboard Hot 100 for 77 weeks and is still No. 16. That makes it a mainstay on the chart and feeds into its streaming success. These are artists that the music industry sees as culture-making budding superstars — it's no coincidence that Teddy Swims, Benson Boone and Shaboozey were all Best New Artist nominees at the 2025 Grammys. 'Big, cathartic hooks' Though secular praise music is clearly a huge trend at the moment, it's not a new phenomenon. In addition to Coldplay and U2's use of praise music sound in rock, alternative artists like Florence + The Machine, Hozier and Mumford & Sons ushered us into a secular praise music era 10 years ago, music consultant and founder of the artistic development program Music Industry Mentor Atlanta Cobb tells Yahoo. 'This trend in big anthemic production and layered choir-like vocals that sounds like it was made from the church is simply coming back around again 10 years later,' she says. 'What's different now is how listeners use music.' Cobb believes that secular praise songs are still the soundtracks of people's big life moments, and we see that a lot with influencers and content creators. They'll record and upload videos of breakups, breakthroughs and gym sessions and edit them down to mini-cinematic masterpieces, backed by songs like 'Ordinary' and 'Beautiful Things.' The millions of viewers who watch those videos feel particularly emotional with those powerful songs in the background. 'And worship-style production works perfectly for these apps that need music with strong builds, releases and certain lyrical hooks, which work for social media usage,' she says. 'It also performs well on streaming. Slower intros give you space to lean in. Big, cathartic hooks get replayed. It's a clever style of writing.' There are a number of bona fide religious songs on the Hot 100 right now, including 'Your Way's Better' by Christian artist Forrest Frank and 'Hard Fought Hallelujah' by Jelly Roll and pastor/singer Brandon Lake, though they haven't found the same success as secular artists emulating religious songs. However, they are appealing to an untapped market for religious bro music and crafting a new genre which musicologist Kelsey McGinnis calls 'barstool conversion rock.' Those songs include heavy doses of masculinity, faith and party culture, though they're undeniably religious. They're borrowing elements from mainstream songs to elevate Christian messages, whereas secular praise music is borrowing elements from Christian music. Crossing over benefits both sides of the aisle. 'Labels are so desperate for community' There's a reason mainstream artists might want to emulate what church bands and Christian artists are doing. Chad Gerber, a Christian musician who first started playing in church bands when he was 6, has a hunch that members of the mainstream music industry may have noticed how religious artists have maintained audiences. 'Churches do not have to chase listeners because their audiences are already part of the community,' he says. 'Labels no longer get that kind of reliable connection from clubs or festivals because everything else is oversaturated and constantly competing with new forms of media.' He explains that praise music has always been functional — it's written to aid worship rather than to simply be listened to. 'Labels are desperate for community because selling community is the only way they make money now,' Gerber says. 'They see the community, the emotional connection and the numbers, so they copy the sound, the feeling and sometimes even the overall aesthetic.' Praise music is meant to be simple so that 'weekend musicians,' or people who play music as a hobby, can easily pick up the songs and perform them for large congregations without extensive rehearsal. 'The formula now is to simplify the song, repeat the chorus to help people engage in worship and repeat that pattern,' he says. 'The congregations respond most to this, so worship pastors give them more of it.' 'Deeply personal, massively shared' With secular praise music, we're going through that same phase. 'Lose Control' and 'Beautiful Things' haven't fallen off the charts as most songs naturally do, which helps to elevate newer, similar-sounding songs like 'Ordinary.' Though these songs walk the line between pop and rock, it's happening in country music as well, as Shaboozey's 'Good News' and Bailey Zimmerman's 'Backup Plan' also hold firm. Unlike their pop-rock counterparts, they're less about women and more about overcoming bad behavior and bad circumstances to achieve something more in life. Keith Urban tells my colleague Taryn Ryder that it's understandable that country songs have become part of the secular praise trend. 'So much of country music is the existence between a hellacious Saturday night and a redemptive Sunday morning pew,' says the country star, who's currently on his High and Alive tour, says. 'That's so much of where country resides is in those dualities of the human experience.' Secular praise music genres transcend country too, according to Amani Roberts, a music professor at Cal State Fullerton who also works as a DJ. She tells Yahoo that in the 1970s, the Isley Brothers and Earth, Wind & Fire weren't technically gospel artists, but they were spiritual. R&B groups in the 1990s like Boyz II Men ('A Song for Mama'), Jodeci ('Forever My Lady') and En Vogue ('Don't Let Go (Love)') used 'gospel-rooted vocals and lyrical arcs of devotion and redemption.' 'These were secular love songs that hit like sermons,' she says. 'What's different now is how genre-blending and streaming culture have made these songs feel both deeply personal and massively shared. We're in a moment where vulnerability isn't just accepted, it's expected.' So, releasing songs with vague religious elements, as well as memorable, anthemic choruses and family-friendly lyrics can unite listeners across the country despite how we're fractured in other ways by algorithms and political tension. 'Musical tastes are cyclical, and this format is resonating right now because people are craving emotional release,' Roberts says. 'We're living in a time where everything feels loud — digitally, socially, politically. These songs slow things down, pull you in gently and then give you that euphoric burst in the chorus. It's a structure that mimics the arc of a personal breakthrough.' Amen.
Yahoo
4 hours ago
- Yahoo
Everyone is listening to secular praise music. Yes, even you.
Artists like Benson Boone, Teddy Swims and Alex Warren have tapped into a genre of music that sounds religious, but isn't. It's working. 'They say, 'The holy water's watered down, and this town's lost its faith,'' a man sings soulfully. This is not a religious condemnation of the terrible things that have happened on Earth. It's a tune that follows you as it plays on car radios, blasts from the grimy speakers in dive bars and rears its head in countless Spotify playlists. You can't escape it — the deep-voiced crooning of a former TikToker who finally cracked mass virality with a hit that sounds religious but isn't. Those words are the opening lyrics to 'Ordinary,' Alex Warren's 2025 breakout hit, which has now spent seven weeks at No. 1 on the Billboard Hot 100. It's just a love song. And it's everywhere. If its sheer ubiquity hasn't given it away, there's a strong chance 'Ordinary' could become 2025's song of summer, according to Billboard's annual chart. Even when the speed and mood of the song pick up, it stays borderline religious. Warren sings about 'the angels up in the clouds,' the 'hopeless hallelujah on this side of Heaven's gate' and 'at your altar, I will pray, you're the sculptor, I'm the clay.' He references the Bible frequently, but he's talking about his real-life, present-day wife. It sounds religious, but 'Ordinary' is part of a growing genre of secular praise music. 'Close their eyes, lift their hands and transcend the moment' As someone who grew up playing music in church, Americana artist Nate Currin has seen the way religious music gets a physical reaction in its audiences. There's something 'inherently emotional about praise and worship music,' he tells Yahoo, that 'invites people to close their eyes, lift their hands and transcend the moment.' Secular praise music takes that feeling and emotion, harnesses those elements and markets it to both religious and nonreligious audiences. It's a trend now, but it's been around forever. 'Artists have long wrestled with themes of God, heaven, mystery and meaning. Some call it 'Christian' or 'worship,' but to me, it's simply a poetic exploration of the universe and what might lie beyond,' Currin says, citing U2 as an example. 'The continued connection people feel to this kind of music reveals something deeply human — a curiosity, a longing, a hope — that maybe there's more to all of this than what we can see.' So, how do you know if a song is secular praise music? For starters, it sounds like something that might be performed by a band in a church, when the congregation is asked to stand and sing along as they worship God. It's a common occurrence for many Americans — 62% of U.S. adults describe themselves as Christians, according to the 2023-24 Religious Landscape Study from Pew Research Center. Those who go to church are listening to many of the same songs — ones that are trending among other members of their denominations and timeless classics — but the sound of worship music has pervaded even nonreligious airwaves. There are at least four other songs like 'Ordinary' on the Billboard Hot 100 right now, including 'Lose Control' by Teddy Swims (No. 9), 'Beautiful Things' by Benson Boone (No. 16), 'Good News' by Shaboozey (No. 24) and 'Backup Plan' by Bailey Zimmerman featuring Luke Combs (No. 44). Take me to church Secular praise songs like these include poetic verses that build to a striking, emotional chorus that singers belt at the top of their lungs. The lyrics appeal to members of a community or to someone powerful — a woman, a family member or the concept of a better time — and when they mention God, it's usually as part of a familiar phrase rather than an actual appeal to a spiritual being. Elements of stomping and clapping in the background — or even the addition of a backing choir — only add to the praise song vibe. Tero Potila, a music producer and composer, tells Yahoo that streaming has shaped this format, because now, 'songs must grab the listener's attention quickly and deliver a strong emotional payoff to keep them engaged.' 'From a producer's perspective, the use of reverb, gospel-like chord progressions and dynamic builds all help create a church-like experience — something that uplifts and draws listeners in,' he says. 'Artists like U2 and Coldplay have done this for years, but what's different now is how emotionally raw and direct this style has become.' Take 'Ordinary,' for instance. Mentions of angels and altars distract from the fact Warren is clearly singing about his wife, who's featured in the song's music video. 'You got me kissin' thе ground of your sanctuary. Shatter me with your touch, oh, Lord, return mе to dust,' he sings. His passion borders on sexually suggestive without going explicit. That means it's fine for the radio. One of the biggest radio hits of all time, Teddy Swims's 'Lose Control' has been on the Billboard charts for a whopping 100 weeks — the first song to crack that milestone. It came out in 2023, when Taylor Swift's 'Cruel Summer' and Morgan Wallen's 'Last Night' were ruling the airwaves, and it's still unavoidable. He sings about his desire for the presence of a woman he loves, saying 'I lose control when you're not next to me,' after crooning that 'the devil's knockin' at my door' when he's left alone. He admonishes himself for acting like an 'addict' and giving into 'bad habits' — admitting his flaws and begging for forgiveness — two common elements in worship songs, sung in that context to God rather than a nameless woman. The religious elements of these two songs make them sound vaguely like they could be played in church. They aren't overtly explicit, so you could play them on a loudspeaker in mixed company. They're slow with repetitive choruses that are easy to memorize, led by smooth, easily digestible voices. All those elements make it easy for them to become radio hits. And once a song is in a radio station's rotation, it's hard for it to get out — just look at 'Lose Control' and Benson Boone's 'Beautiful Things,' which has been on the Billboard Hot 100 for 77 weeks and is still No. 16. That makes it a mainstay on the chart and feeds into its streaming success. These are artists that the music industry sees as culture-making budding superstars — it's no coincidence that Teddy Swims, Benson Boone and Shaboozey were all Best New Artist nominees at the 2025 Grammys. 'Big, cathartic hooks' Though secular praise music is clearly a huge trend at the moment, it's not a new phenomenon. In addition to Coldplay and U2's use of praise music sound in rock, alternative artists like Florence + The Machine, Hozier and Mumford & Sons ushered us into a secular praise music era 10 years ago, music consultant and founder of the artistic development program Music Industry Mentor Atlanta Cobb tells Yahoo. 'This trend in big anthemic production and layered choir-like vocals that sounds like it was made from the church is simply coming back around again 10 years later,' she says. 'What's different now is how listeners use music.' Cobb believes that secular praise songs are still the soundtracks of people's big life moments, and we see that a lot with influencers and content creators. They'll record and upload videos of breakups, breakthroughs and gym sessions and edit them down to mini-cinematic masterpieces, backed by songs like 'Ordinary' and 'Beautiful Things.' The millions of viewers who watch those videos feel particularly emotional with those powerful songs in the background. 'And worship-style production works perfectly for these apps that need music with strong builds, releases and certain lyrical hooks, which work for social media usage,' she says. 'It also performs well on streaming. Slower intros give you space to lean in. Big, cathartic hooks get replayed. It's a clever style of writing.' There are a number of bona fide religious songs on the Hot 100 right now, including 'Your Way's Better' by Christian artist Forrest Frank and 'Hard Fought Hallelujah' by Jelly Roll and pastor/singer Brandon Lake, though they haven't found the same success as secular artists emulating religious songs. However, they are appealing to an untapped market for religious bro music and crafting a new genre which musicologist Kelsey McGinnis calls 'barstool conversion rock.' Those songs include heavy doses of masculinity, faith and party culture, though they're undeniably religious. They're borrowing elements from mainstream songs to elevate Christian messages, whereas secular praise music is borrowing elements from Christian music. Crossing over benefits both sides of the aisle. 'Labels are so desperate for community' There's a reason mainstream artists might want to emulate what church bands and Christian artists are doing. Chad Gerber, a Christian musician who first started playing in church bands when he was 6, has a hunch that members of the mainstream music industry may have noticed how religious artists have maintained audiences. 'Churches do not have to chase listeners because their audiences are already part of the community,' he says. 'Labels no longer get that kind of reliable connection from clubs or festivals because everything else is oversaturated and constantly competing with new forms of media.' He explains that praise music has always been functional — it's written to aid worship rather than to simply be listened to. 'Labels are desperate for community because selling community is the only way they make money now,' Gerber says. 'They see the community, the emotional connection and the numbers, so they copy the sound, the feeling and sometimes even the overall aesthetic.' Praise music is meant to be simple so that 'weekend musicians,' or people who play music as a hobby, can easily pick up the songs and perform them for large congregations without extensive rehearsal. 'The formula now is to simplify the song, repeat the chorus to help people engage in worship and repeat that pattern,' he says. 'The congregations respond most to this, so worship pastors give them more of it.' 'Deeply personal, massively shared' With secular praise music, we're going through that same phase. 'Lose Control' and 'Beautiful Things' haven't fallen off the charts as most songs naturally do, which helps to elevate newer, similar-sounding songs like 'Ordinary.' Though these songs walk the line between pop and rock, it's happening in country music as well, as Shaboozey's 'Good News' and Bailey Zimmerman's 'Backup Plan' also hold firm. Unlike their pop-rock counterparts, they're less about women and more about overcoming bad behavior and bad circumstances to achieve something more in life. Keith Urban tells my colleague Taryn Ryder that it's understandable that country songs have become part of the secular praise trend. 'So much of country music is the existence between a hellacious Saturday night and a redemptive Sunday morning pew,' says the country star, who's currently on his High and Alive tour, says. 'That's so much of where country resides is in those dualities of the human experience.' Secular praise music genres transcend country too, according to Amani Roberts, a music professor at Cal State Fullerton who also works as a DJ. She tells Yahoo that in the 1970s, the Isley Brothers and Earth, Wind & Fire weren't technically gospel artists, but they were spiritual. R&B groups in the 1990s like Boyz II Men ('A Song for Mama'), Jodeci ('Forever My Lady') and En Vogue ('Don't Let Go (Love)') used 'gospel-rooted vocals and lyrical arcs of devotion and redemption.' 'These were secular love songs that hit like sermons,' she says. 'What's different now is how genre-blending and streaming culture have made these songs feel both deeply personal and massively shared. We're in a moment where vulnerability isn't just accepted, it's expected.' So, releasing songs with vague religious elements, as well as memorable, anthemic choruses and family-friendly lyrics can unite listeners across the country despite how we're fractured in other ways by algorithms and political tension. 'Musical tastes are cyclical, and this format is resonating right now because people are craving emotional release,' Roberts says. 'We're living in a time where everything feels loud — digitally, socially, politically. These songs slow things down, pull you in gently and then give you that euphoric burst in the chorus. It's a structure that mimics the arc of a personal breakthrough.' Amen. Solve the daily Crossword
New York Post
5 hours ago
- New York Post
Kristine W feared for life on turbulent Delta Air Lines flight
EDM star Kristine W feared for her life when violent turbulence rocked her Amsterdam-bound Delta Air Lines flight Wednesday, sending 25 passengers to hospital. Now, the 'The Boss' songstress believes she has a concussion after she was sent flying into the overhead compartment aboard the rattling Airbus A330-900, a model of aircraft her lawyers allege has a history of malfunctions and shouldn't have been cleared to fly. 'It was absolutely horrifying … I've been performing for 40 years and I've been on airplanes all over the world, and I've never experienced anything like that. I thought, 'We were not going to make it on this one,'' the singer, whose real name is Kristine Elizabeth Weitz, told The Post in an exclusive interview. 5 Singer Kristine W suffered injuries aboard the turbulent Delta Air Lines flight that made an emergency landing this week. Getty Images for iHeartRadio 'I'm a leukemia survivor, and the last time I felt that kind of terror and hopelessness was when I was diagnosed with leukemia 25 years ago.' Weitz was aboard the fated plane out of Salt Lake City to perform at a festival in Amsterdam — posting a joyful picture of herself and her daughter at the gate shortly before takeoff. They were just about an hour into the flight when the attendants were serving drinks and the plane, which can seat more than 250 people, began rattling violently. Passengers were thrown around with food carts and other belongings flying through the cabin. The turbulence came out of nowhere, so the seatbelt light was still off, Weitz recalled. 5 Weitz and her daughter seen smiling at the gate before the flight. Kristine W /Instagram The 17-time Billboard chart topper was wearing the restraint loosely anyway, but it wasn't enough to hold her down or keep her from smashing into the plastic overhang of her window seat. 'I had broken the plastic up in the roof above my head,' said Weitz, adding that the force was so great that she also has bruises on her hips from her seatbelt. Her daughter, Elizabeth, who was sitting elsewhere in the plane, remained in her seat, but suffered whiplash and back pain. One of the flight attendant carts tipped over her during the turbulence and covered her in food and liquids, she said. 5 Weitz suffered bruising from her seatbelt, seen her over an existing surgery scar. Courtesy of Evan Oshan The pair watched other passengers suffer more violent injuries, including one man who was fully lifted out of his seat. The aircraft made an emergency landing Minneapolis-St. Paul International Airport, where 25 people were carted away to hospitals. Weitz claims she was not seen by emergency services because the responders only paid attention to those who were 'bleeding.' 'They didn't seem ready to handle an incident like that at all. That was the most terrifying part, was watching the disarray,' the singer said. 'We're told they're trained to know what to do with emergencies like this and, wow … that was not the case.' 5 The ceiling sustained damage after some passengers were thrown into the air. Courtesy of Evan Oshan The dance music superstar fears that the incident will have lasting effects both physically and mentally — she's awaiting doctors to confirm her fears that she suffered a concussion, but is more concerned that her anxiety will prevent her from boarding planes in the future. Weitz is currently in Amsterdam for a festival, but says she only made it overseas because of contract obligations: 'I'm not sure, cognitively, if I can remember my lyrics.' Now, her legal team is calling for Delta to ground all Airbus A330-900 aircraft so a federal probe can investigate a string of malfunctions associated with the fleet. 'We believe this was a predictable and preventable occurrence,' said Evan Oshan of Oshan and Associates, who is working with Daily Jones Law Group as co-counsel. 5 Carts carrying food and drink spilled across the cabin, including some items that drenched Weitz's daughter. Facebook / Ricardo Hoogesteger Lawyers filed a formal complaint with the Federal Aviation Administration Friday, alleging that the fleet has a history of critical flight system malfunctions, a pattern of emergency landings and go-arounds, and more. 'They have to find out what was wrong with that plane and what happened, because no one should experience anything like this,' said Weitz. The National Transportation Safety Board said its investigation was too preliminary to determine whether the aircraft had pre-existing defects. Delta Air Lines would not provide new information, and the FAA did not respond to request for comment.
