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Christian Alicea's ‘Swingkete Vol. 1 – Maratón' & More Best New Music Latin
New Music Latin is a compilation of the best new Latin songs and albums recommended by Billboard and Billboard Español editors. Check out this week's picks below. Christian Alicea, (Rimas Entertainment) More from Billboard Ask Billboard: Here Are the Nos. 1 & 2 Reasons That the Hot 100 Has Been Historic This Month Inside Bouyon: How a Fusion of Local Folk Music & Digitized Instruments Gave Way to Dominica's Fast-Spreading Homegrown Genre Lorde Performs New Album 'Virgin' in Full at Surprise Glastonbury 2025 Show Alicea's first album under Rimas Entertainment, his label since February, is exactly what the title suggests: a marathon of tropical gems. In a moment where regional sounds continue to dominate the scene in Latin music — from Bad Bunny's Debí Tirar Más Fotos to Karol G's Tropicoqueta — Alicea's Swingkete is a standout, honoring his beloved Puerto Rico fusing traditional styles like bomba, plena and salsa with cumbia and Afrobeat. The salsa singer, formerly a fireman, recruits Jowell & Randy, J Álvarez, Frabian Eli and Eliot 'El Mago D Oz,' to help him usher a new era for salsa music. From beginning to end, the LP is a joy to listen to. From the unexpected but really fun Colombian cumbia 'Me Lo Gozo' powered by an earworm chorus to his 'Homenaje a J Álvarez,' an ode to the OG reggatonero from Puerto Rico who joins him to sample the anthemic 'La Pregunta.' And then there's 'Carrusel,' a signature fast-paced salsa powered by a potent percussion and commanding brass instruments. He closes with 'Gracias,' a violin-led power ballad that shows another side of Alicea. With Swingkete, it's safe to say that Alicea cements his role as a leading force among the new generation of salsa hitmakers. — GRISELDA FLORES Gerardo Ortiz, 'Échame el Grito' (Badsin Entertainment) Gerardo Ortiz, one of the most respected figures in regional Mexican music, releases new music for the first time in over a year: the norteño ballad 'Échame el Grito,' a preview of his upcoming album. This new track is a great way to remember the artist's romantic side outside of the corridos that brought him fame a decade ago. It's accompanied by accordion, guitars, percussion, and even hints of country, all adding to the singer's heartfelt interpretation of a fervent declaration of love: 'Give me a shout/ When you feel like having a beautiful love/ Here you have the No. 1 fan of your eyes,' reads part of the lyrics. It's a feeling of hope and longing that is conveyed in the music video, recorded in Miami in a somber atmosphere in which Ortiz imagines the woman with whom he wants to share a romance. — TERE AGUILERA Camilo, 'Maldito ChatGPT' (El Taller Creativo/Sony Music Latin) On 'Maldito ChatGPT,' Camilo reflects on a love that's not worth it — because ChatGPT told him. Produced by Trooko, the Colombian singer-songwriter dives into a captivating house track with deep bass. Penned by the artist himself, alongside Jeffrey Peñalva, 'Maldito ChatGPT' is a clever twist on today's technology with artificial intelligence. 'You're not for me/ ChatGPT told me/ Who knows me better than I know myself/ And I asked him again/ But he said no and I wanted him to say yes,' he chants, before ChatGPT reminds him at the end of the song why he's better off alone. The music video, which shows a frustrated Camilo looking for answers in an office space, was directed by Evaluna Montaner and Sebastian Andrade at his own El Taller Creativo in Miami. — JESSICA ROIZ Anuel AA, 'Little Demon' (Real Hasta La Muerte) To give context to his new single 'Little Demon,' Anuel opens with a verse from Los Alegres Del Barranco's 'El del Palenque': 'I am the owner of the arena/ Four letters go in the front.' The Mexican group recently faced charges from the Jalisco State Prosecutor's Office for allegedly advocating crime. In true Anuel fashion, 'Little Demon' is a deep, hard-hitting trap where the Puerto Rican artists delves into the harsh realities of the streets, including drug trafficking and cartels. This track is the first single from his upcoming album, RHLM2, which pays tribute to his musical roots with a raw and authentic essence. 'I'm not making music for the industry; I'm only working to stay true to myself,' he said to Billboard during his exclusive album listening session in Miami this week. — INGRID FAJARDO Maye, (Pink Poetry) Venezuelan artist Maye presents her debut album, Música Para Abrir El Cielo, an organic fusion of dream pop with nuances of bossa nova, bolero, and Latin influences, articulated with a contemporary Gen Z sensibility. Maye, who gained attention a few years ago when her song 'Tú' was included in Barack Obama's 2020 playlist of favorite songs, delivers eleven tracks that highlight her angelic performance and poetic lyrical sensitivity, perceptible from the opening of the set with 'Open the Sky,' which establishes the aesthetic for the rest of the album. From the enveloping 'Peter Pan,' with its bossa nova feel and nostalgia-filled guitars, to the sensual contemporary bolero 'Luna de Miel,' to the dynamic 'Una Medalla' and 'Lento' with Rawayana — which, although with a more pronounced groove, do not break the overall atmosphere — the album displays an extravaganza of styles and sonic influences, skillfully produced. Throughout the journey, Maye builds a nostalgic, sensual, and ethereal sound universe that invites you to fully immerse yourself. — LUISA CALLE Wampi & Leoni Torres, 'La Última' (Awaken Music/Virgin Music Latin) Wampi has steered away from his R&B-infused Reparto sound for a smooth heartfelt ballad in collaboration with Leoni Torres. In 'La Última,' Cuba's breakout star and the country's prolific singer-songwriter join forces to sing about two lovebirds meeting at the wrong time. 'Many relationships don't work out because a couple meets before the time is right. [This song] explores that phenomenon and there's nobody better to tell that story with than Leoni […] I grew up listening to Leoni and he's influenced my music greatly; especially my songwriting and delivery on slow songs,' Wampi, who penned and produced the jazzy tune, said in a press statement. 'La Última' forms part of Wampi's forthcoming El Rey de la Habana album — his debut studio set under Virgin Music Latin. — J.R. Check out more Latin recommendations this week below:Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
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12-06-2025
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Carín León Is Ready to Prove He's The ‘Missing Link' Between Regional Mexican and Country Music
It's 2 a.m. on a May morning in Aguascalientes, Mexico, long past most people's bedtimes. But inside the Palenque of Feria de San Marcos — a venue in this central Mexican city — Carín León is entering the third hour of a performance where he has sung nonstop while pacing the small 360-degree stage like a caged lion. Palenques, found in most Mexican cities and towns, were originally designed and used for cockfighting, and most have been transformed into concert venues that put artists in shockingly close proximity to their fans, with no ring of security around the tiny stage. The palenque circuit is de rigueur for Mexican artists, even a superstar like León — a burly man who tonight looks even bigger thanks to his ever-present high-crown cowboy hat. More from Billboard Carín León: Photos From the Billboard Español Cover Shoot Woman Arrested for Attempted Break-In at BTS Jung Kook's Residence on the Day of His Military Discharge The Grammys Add New Country Category for 2026 Nearly 6,000 fans surround him in arena-style seating, the steep, vertical layout allowing everyone a close view of the man below, flanked by his backing ensemble: a norteño band with electric guitars, a sinaloense brass section, backup singers and keyboards — nearly 30 musicians in all, who wander about, grab drinks, chat and return to the stage throughout the show. León leads the organized chaos, traversing repertoire that, during the course of the evening, goes from corridos and norteño ballads to country and rock'n'roll. 'I think it's the most Mexican thing possible in music, a palenque. I always say you have to see your artist play in a palenque to understand it,' León tells me a few hours before the show. He has been playing them for years throughout the country, like most regional Mexican artists do. They're places of revelry and drink, a rite of passage, and the place to test new sounds. 'As artists, we appreciate that experience,' he adds. 'We love it because you have people so close to you. You can be with them, have drinks with them — it's a very interesting artist-fan communion.' We're chatting between sips of tequila at a country house on the outskirts of Aguascalientes, and despite the stifling afternoon heat, León keeps his hat on, looking stately in his boots and black jacket with metal buckles. Soft-spoken but emphatic, the 35-year-old música mexicana star alternates between Spanish and English, which he speaks with the American-sounding but accented cadence of someone who learned it by ear from transcribing songs by hand, but never in a classroom. 'I always had trouble with my accent when I sang,' he says. 'But I didn't want to lose the accent because it makes you unique. [An accent] is more valid now. I always want to ensure the music is good, refine it, make it better. But we're coming from the 2000s, when music [production] was perfect. Now value is given to what's natural, and that includes having an accent.' While at his core León is a regional Mexican artist who performs contemporary banda and norteño, he loves collaborating with artists spanning many genres and incorporating regional sounds from around the world into his music: Spanish flamenco, Colombian vallenato and salsa, Puerto Rican reggaetón. And as he blends these sounds in unexpected ways, León has found an avid and growing audience. In 2024, he crisscrossed the world on his Boca Chueca tour, playing 81 palenque, arena and stadium dates in the United States and Latin America. Of 1.3 million total tickets sold, according to his management, 374,000 were reported to Billboard Boxscore for a gross of $51.2 million, making it one of the year's most successful Latin tours. This year, he's scheduled to play 40 more shows, including Chilean and Colombian stadiums, Spanish arenas and German theaters — a leap few regional Mexican acts, whose touring is usually restricted to the United States and Mexico, have accomplished at such a scale. But León has transcended mere geographic borders. Last year, after releasing singles with country star Kane Brown and soul musician Leon Bridges, León became the first artist to perform mainly in Spanish at the Stagecoach country music festival, just a couple of months after making his Grand Ole Opry debut. On June 6, he became the first regional Mexican artist to play CMA Fest, as a guest of Cody Johnson, who invited him to perform the bilingual 'She Hurts Like Tequila' with him as part of his set at Nashville's Nissan Stadium. 'What struck me most was how effortless it felt,' Bridges says of working with León on the bilingual duet 'It Was Always You (Siempre Fuiste Tú).' 'We come from different musical backgrounds, but the emotion, the storytelling — that was shared. Collaborating with him wasn't about chasing a fusion — it was about two artists trusting each other to make something honest. Going down to Mexico and being immersed in his world was a powerful reminder of how universal that connection through music really is.' From a purely commercial standpoint, León has no need to take musical risks like this beyond the Latin realm. In the past five years alone, he has notched three entries on Billboard's Top Latin Albums chart, including Colmillo de Leche (2023) and Boca Chueca, Vol. 1 (2024), which both reached the top 10. He has placed three No. 1s on the Latin Airplay chart, seven No. 1s on Regional Mexican Airplay and 19 entries on Hot Latin Songs, including three top 10s. He's a widely sought-after collaborator for pop stars (Camilo, Maluma, Kany García, Carlos Vives), Spanish stars (Manuel Carrasco, El Cigala), Mexican legends (Pepe Aguilar, Alejandro Fernández) and fellow current chart-toppers (Grupo Firme, Gabito Ballesteros) alike. But regardless of what sounds he's working with, or whether his collaborator is an established name or an untested act (a particular favorite of his), León knows what he likes. That confidence is at the core of his and manager Jorge Juarez's strategic plan to make him a truly global artist — and for the past year, they've set their sights on country music, hoping to bridge the divide between two genres that, despite their different languages, are in fact remarkably similar. 'It's something that fills me with pride and something that's been very difficult to achieve as a Mexican and as a Latin: to reach the center of the marrow of this country movement,' León says. 'To get to know this [country music] industry and start moving the threads to act as this missing link between regional Mexican and country music.' León first tested the country waters back in 2019 with a Mexican/country version of Extreme's 'More Than Words,' recorded in English and Spanish. Though it now has 14 million streams on Spotify, 'it's kind of lost because there was so much other stuff happening at the time,' he says. It was a risky move, especially coming when León was not yet the established star he is today. But to him, it was one worth taking. 'It was the perfect excuse to show something different,' he says. 'And it was amazing. It was so liberating. Because I was trapped in this box that was regional mexicano at that time, and [this song] was very fun for me.' Country and regional Mexican are, truly, natural siblings. Both genres are anchored in storytelling, with acoustic instrumentation and guitars central to their sound. Boots, hats and fringe jackets are staple outfits for artists and fans alike. And though they stem from different cultures, both are, as León puts it, 'roots genres' with their foundations in regional sounds. Unsurprisingly, other Latin artists have forayed into country before — but none have brought León's existing level of Latin music stardom, nor have they generated the buzz and impact that he has since releasing his first country team-up, 'The One (Pero No Como Yo),' with Brown in March 2024. Since then, he has spent weeks in Nashville, working with local producers and songwriters for a country-leaning album featuring other major names that's slated for a 2026 release. For country music, that's good news. According to the Country Music Association's 2024 Diverse Audience study, 58% of Latino music listeners consume country music at least monthly, compared with 50% when the last study was conducted in 2021. Finding the right opportunity to tap that market had long been in the Grand Ole Opry's sights. 'And then,' says Jordan Pettit, Opry Entertainment Group vp of artist and industry relations, 'the opportunity with Carín came up.' At León's Opry debut in 2024, 'we had a lot of audience there, more than normal,' Pettit recalls. 'The show itself absolutely blew my expectations.' The plan had been for León to play three songs, but the crowd clamored for more, and the musician obliged with a fourth. 'I can think of only one or two occasions in my seven years here where I've seen an artist get an encore,' Pettit says. 'It was really, really awesome to see the worlds collide.' León's worlds have been colliding since he was born Óscar Armando Díaz de León in Hermosillo, Mexico, a business hub and the capital of the northwestern state of Sonora, located 200 miles from the U.S. border at Nogales, Ariz. That proximity, coupled with his family's voracious appetite for music, exposed him to a constant and eclectic soundtrack that ranged from Cuban troubadour Silvio Rodríguez and corrido singer Chalino Sánchez to country stars Johnny Cash and George Strait to rock mainstays like Journey, Paul McCartney and Queen. 'What's happening now in my career is the result of the music I ingested since I was a kid,' he says. 'Music gave me the incentive to learn about many things — the origin of other countries, political movements linked to music, cultural movements. I'm very freaky about music. Everything I have comes from the music I listened to.' When León finally started dabbling in guitar, he gravitated to the music closest to his roots, regional Mexican, and eventually adopted his stage name. By 2010, he was the singer for Grupo Arranke, which through its blend of traditional sinaloense banda brass and sierreño guitars eventually landed a deal with the Mexican indie Balboa. After a slow but steady rise, Grupo Arranke garnered its sole Billboard chart entry, peaking at No. 34 on Hot Latin Songs in 2019 with 'A Través del Vaso,' penned by veteran songwriter Horacio Palencia. Then the coronavirus pandemic hit, and León switched gears: He went solo, signed to indie Tamarindo Recordz and began releasing music at a prolific pace, launching what he now calls his 'exotic' cross-genre fusions. He scored his first top 10 on a Billboard chart with 'Me la Aventé,' which peaked at No. 6 on Regional Mexican Airplay in 2019. But his true breakouts were two live albums recorded and filmed in small studios during lockdown, Encerrados Pero Enfiestados, Vol. 1 and Vol. 2 (Locked Up, but Partying). The bare-bones sets, featuring León singing and playing guitar with a stripped-down accompaniment of tuba and guitar, struck a powerful chord. At a time when teenage performers with gold chains and exotic cars were propelling corridos tumbados and música mexicana with hip-hop attitude up the charts, this 30-year-old relative unknown with a poignant tenor that oozed emotion was performing regional Mexican music with a Rhodes organ, a country twang and, with his cover of '90s pop hit 'Tú,' a female point of view. No one else sounded like him. Those acoustic sessions 'were the first things I realized could make the audience uncomfortable [and] question what they were hearing,' León recalls. 'Wanting everyone to like you works, but it doesn't let you transcend. I think things happen when you change something — for good or bad — and you get that divided opinion. All my idols — Elvis, Bob Dylan, Johnny Cash — were people who swam against the current. And not in a forced way, but in a sincere way, exposing vulnerabilities. We knew it was good stuff. And things began to happen.' During the pandemic lockdown, León had the time and creative space to experiment and explore a new openness within regional Mexican music, a genre where artists used to seldom collaborate with one another. In 2021, he notched his first No. 1 with 'El Tóxico,' a collaboration with Grupo Firme that ruled Regional Mexican Airplay for two weeks. Then, Spanish urban/flamenco star C. Tangana DM'd him on Instagram and invited him to collaborate on 'Cambia!,' a song from Tangana's acclaimed album El Madrileño that also featured young sierreño star Adriel Favela and can best be described as a corrido flamenco. The track 'blew my mind,' León says — and exposed him to a completely different audience. 'It taught me divisions are literally only a label. When I heard that album, I understood music has no limits. C. Tangana is to blame for what's happening with my music now.' Collaboration requests from artists seeking León's unique sound (and sonic curiosity) started to flow in at the precise time that he was itching to explore and globalize his music. In 2022, after recording the pop/regional Mexican ballad 'Como lo Hice Yo' with Mexican pop group Matisse, he met the band's manager, Jorge Juárez, co-owner of well-known Mexican management and concert promotion company Westwood Entertainment. The two clicked, and when León's label and management contract with Tamarindo expired in early 2023, he approached Juárez. 'There comes a time when managers and the artist have to be a power couple,' León observes. 'I found the right fit with Mr. Jorge Juárez. He's a music fiend; he has a very out-of-the-box vision. That's where we clicked. And he had huge ambition, which is very important to us. He's the man of the impossible. We want to change the rules of the game.' In León, Juárez says he saw 'a very versatile artist who could ride out trends, who could become an icon. He wasn't looking to be No. 1, but to be the biggest across time. He had so many attributes, I felt I had the right ammunition to demonstrate my experience of so many years and take him to a global level.' Juárez, who shuttles between his Miami home base and Mexico, is a respected industry veteran who has long managed a marquee roster of mostly Mexican pop acts including Camila, Reik, Sin Bandera and Carlos Rivera. He's also a concert promoter with expertise in the United States and Latin America. He sees León as having the potential to become 'the next Vicente Fernández,' he adds, referring to the late global ranchero star. Because León had parted ways with Tamarindo, which kept his recording catalog, he urgently had to build a new one. He and Juárez partnered in founding a label, Socios Music, and began releasing material prolifically, financing the productions out of their own pockets. Since partnering with Juárez, León has released three studio albums: Colmillo de Leche and Boca Chueca, Vol. 1, which both peaked at No. 8 on Top Latin Albums, and Palabra de To's, which reached No. 20. Beyond the catalog, they had three other key goals: finding a tour promoter with global reach, building the Carín León brand and expanding into country. AEG, which León and Juárez partnered with in 2023, could help with all of it. Last year, the promoter booked León's back-to-back performances at Coachella and Stagecoach — making him one of very few artists to play both of the Southern California Goldenvoice festivals in the same year — as well as his slot opening for The Rolling Stones in May in Glendale, Ariz. AEG president of global touring Rich Schaefer says they sold over 500,000 tickets for León headline shows in the United States since they started working together, including a 2024 sellout at Los Angeles' BMO Stadium. 'There are few artists who put out as much music as Carín does on a regular basis,' Schaefer adds. 'He's able to sing and speak fluently in two languages, which has already opened a lot of doors both in the States and abroad. Our team works very closely with Jorge and his team, and he has a deep understanding of how to approach international territories. With a little luck, Carín is poised to take over the world.' That international viewpoint also informed León's approach to recording. When Juárez set out to unlock country music for his client, he first contacted Universal Music Publishing Group head Jody Gerson — 'our godmother,' as Juárez likes to say. 'She opened so many doors to us.' Gerson first met León in 2023, after Yadira Moreno, UMPG's managing director in Mexico, signed him. 'It was clear from my first meeting with him that he possessed an expansive vision for his songwriting and artistry that would take him beyond Mexican music,' Gerson says. 'Before signing with us, he wanted to make sure that we were aligned with his ambitions and that he would get meaningful global support from our company, specifically in Nashville. Carín actually grew up listening to country music, so his desire to collaborate with country songwriters is an organic one.' Beyond opening the door to working with Nashville producers and songwriters, Gerson also connected Juárez and León with Universal Music Group chief Lucian Grainge, who in June 2024 helped formulate a unique partnership between Virgin Music Group, Island Records and Socios Music. Through it, Virgin and Island distribute and market León's music under Socios, with Virgin distributing and marketing to the U.S. Latin and global markets and Island working the U.S. mainstream market. The agreement encompasses parts of León's back catalog as well as new material, including 2024's Boca Chueca, Vol. 1, which featured his bilingual collaborations with Brown ('The One [Pero No Como Yo],' which peaked at No. 46 on Hot Country Songs) and Bridges. He plans to deliver Boca Chueca, Vol. 2 before the end of the year and just released a deluxe version of Palabra de To's that includes new pairings with Maluma (their 'Según Quién' topped the Latin Airplay chart for four weeks in 2023 and 2024) and first-time duets with ranchera star Alejandro Fernández and flamenco icon El Cigala. While flamenco is another passion point for León, the country album — his 'first magnum opus,' he says — is his most ambitious goal. Already, he has worked in Nashville with major producers and songwriters including Amy Allen, Dan Wilson and Natalie Hemby. On the eclectic project, he says, 'Some stuff sounds like James Brown, some stuff sounds like Queen, some stuff sounds like regional Mexican with these corrido tumbado melodies, but in a country way. It's very Carín. It's what's happening in my head and in my heart.' He won't divulge all of its guests just yet, but he says it includes friends like 'my man Jelly Roll' and other big stars he admires. It's new territory for a Latin act, and León is acutely aware of the fact. But he's approaching it from a very different point of view. 'I'm not a country artist,' he says flatly. 'I'm a sonorense. I have regional Mexican in my bones. But I love country music, and I'm trying to do my approach with my Mexican music and find a middle point. It's not easy. You have a lot of barriers because of the accent, because of the language, the racial stuff.' For some successful regional Mexican artists who tour constantly and make top dollar, the trade-off is not worth it; financially speaking, they don't need to open new territories or genres and the audiences that come with them. But for León, 'the money trip passed a lot of years ago,' he says with a shrug, taking a last sip of tequila and adjusting the brim of that ever-present accessory he shares with his country friends. 'I need to change the game,' he adds. 'I'm hungry to make history, to be the one and only. I'm so ambitious with what I want to do with the music. It's always the music. She's the boss.' Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
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07-06-2025
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How ‘Real Women Have Curves' Went From 2002 Film to 2025 Tony Nominee: ‘It's Like It Should Have Always Been a Musical'
The first time Broadway director and choreographer Sergio Trujillo heard about Real Women Have Curves, he didn't pay much attention. His husband, producer Jack Noseworthy — with whom he runs Truworthy Productions, focused on finding Latino stories to empower the community through musical theater — had watched the America Ferrera-starring 2002 movie and asked him to see it, thinking it would make 'a really interesting musical.' 'Mostly because he's been growing up with my family — my mother, my sisters, all of them — and he said he saw something in it,' Trujillo, who was born in Colombia, tells Billboard Español. 'I was so absorbed with so many other projects, that I sort of saw it but I didn't pay attention.' More from Billboard 8 of the Best Latin-Themed Musicals Ever on Broadway: From 'West Side Story' to 'Buena Vista Social Club' Chiquis Writes Her First Children's Book & More Uplifting Moments in Latin Music Tommy Richman Claps Back at Streamer Asking Him to Sing: 'What Am I? A Dancing Monkey?' One night, he decided to give it another shot, learning that it was originally a play by Josefina López – which he read immediately. 'I was like, 'Oh, my God, this is a musical! Mostly because the characters were bigger than life. The language was so buoyant, it was like music. The story was beautiful,' he recalls joyfully. 'And there is a phrase that [the protagonist] Ana says in the play — 'Women are most powerful when they work together' — that resonated with me deeply, more than anything else.' Set in the Boyle Heights section of Los Angeles in 1987, Real Women Have Curves follows Ana García, a cutely chubby, uber-smart 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. The show deals with gender politics and the Latina immigrant experience, with immigration agents messing with their husbands, judgment from other characters, and dreams that for many undocumented seem simply impossible to achieve. Trujillo, both as an immigrant and as one of the few men in his family, felt a profound connection. 'I thought, 'What a great way to,' first of all, in the mission to empower our community, 'to empower women, but also celebrate all of my mother and my sister and my aunts, all of the women that have made so many sacrifices so that I could have the life that I have.'' And that is what he did. After formally opening on April 27 at the James Earl Jones Theatre, Real Women Have Curves: The Musical is now nominated for two Tony Awards at Sunday's show: 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 for Justina Machado — who in a full-circle moment plays Carmen García, the mother of Ana, more than 30 years after playing Ana herself at the Victory Gardens Theater in Chicago. The fact that both Huerta and Machado received nominations this year is remarkable. The former is a Grammy-winning singer who had never done theater before. The latter — whom Trujillo worked with more than two decades ago and was completely convinced she was his Carmen — was initially reluctant to accept the role because she couldn't see herself in it. 'When I did the play when I was 20 years old, it was just a different kind of role. And when I saw the movie, you know, with the wonderful, iconic Lupe Ontiveros [as Carmen], I just didn't think that was something that I would want to do or that I would fit with,' Machado explains to Billboard. 'I had to be talked into coming and doing a 29-hour reading — one of the first things you do when you're developing a new musical or a new play.' So the actress, known for TV series like Six Feet Under and One Day at a Time — and whose only previous Broadway credit was as a replacement for In The Heights' Daniela for a couple of months in 2009 — flew from Los Angeles to New York. Once there, she not only found a less serious, less judgmental Carmen, but also a set of inspiring songs — from the soaring coming-of-age tune 'Flying Away' to the humorous 'Adiós Andes,' sort of a funny ode to menopause which she performs brilliantly during the show. (You can listen to the full album of Real Women Have Curves: The Musical here.) 'Really, what made me fall in love with the role was the music,' Machado admits. 'I was like, 'Oh my God, I love this music.' But I had to be convinced that I was the person to play this role.' And as much as she loved the music, the music creators loved her. Huerta, who was recruited early on as a songwriter and was there during that first reading of the show, recalls how the actress made her feel. 'Justina was the first person I remember saying, 'This is a non-negotiable for me,'' she tells Billboard. 'I had never felt – I mean, I had felt it with music, but seeing a person perform that really made me forget about the world? I was like, 'Please, please make sure to get her. … What do you have to do to make this happen?'' 'Sergio really was the one, he really kept on,' Machado says of what convinced her. 'They were very persistent, and I'm so very happy that they were. … I never thought that I would be revisiting this play again in another form, and it really works as a musical. It's almost like it should have always been a musical. It's just so beautiful.' Although it did not receive a Tony nomination for best musical or best actress, despite widespread acclaim for the show and for Tatianna Córdoba, who plays Ana in her Broadway debut, the cast of Real Women Have Curves will be performing at the awards ceremony on Sunday night. Trujillo hopes the effort he's put into representing Latinos on Broadway doesn't go unnoticed by his target audience. 'I'm on this mission to empower our community, to try to create content and stories in which they can see themselves,' he says. 'But I need them to come to the theater. I need Latinos to do their part and support us.' Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
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07-06-2025
- Entertainment
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Belinda's ‘Indómita' Album & More Best New Music Latin
New Music Latin is a compilation of the best new Latin songs and albums recommended by Billboard Latin and Billboard Español editors. Check out this week's picks below. Belinda, (Warner Music México) More from Billboard Jon Bellion Was Tired of Songwriters Getting 'Paid F-king Dirt' - So He Flipped the Script With 'Father Figure' Elvis Crespo, Elena Rose, Kapo & More: Vote for the Best New Latin Music This Week The Weeknd Wanders Through Purgatory in 'Baptized in Fear' Music Video When Belinda received the Evolution Award at the 2025 Billboard Latin Women in Music gala, she made it clear that 'Belinda isn't a musical genre.' During a career that spans 25 years, she's navigated through pop, rock, electronic, cumbia, and most recently, música mexicana. 'My career is versatile…it's the perfect word to define my style,' she previously told Billboard. Best representing her fruitful and experimental growth in the industry, the Spain-born, Mexican-raised star dropped Indómita, her sixth studio album and debut set under Warner Music. The 17-track album starts off with nine 'corridos coquettes,' where her alter ego 'Beli Bélica' shines in collaborations with genre hitmakers Natanael Cano ('300 Noches'), Tito Double P ('La Cuadrada'), and Xavi ('Mírame Feliz'). Across the next eight songs, she dabbles in trap music ('Death Note' and 'Silvana'); teams up with Netón Vega and Tokischa for two hard-hitting perreos ('+ Perra, + Bitch' and 'Wet Dreams'); and goes full dance in the Kenia OS-assisted 'Jackpot.' Other collaborators on the set include Alemán, Mala Rodriguez and Thirty Second to Mars. 'The [album's] title is very specific to a movement for women,' she explained of Indómita, which means 'untamed.' 'She's a warrior, independent, a woman who's out of the box, completely irreverent but at the same time strong, sexy, fun… all the things I like and that I am, and I'd like to convey that to people.' — JESSICA ROIZ Óscar Maydon, (Rancho Humilde) Excess, irreverence and romance collide in Óscar Maydon's Rico o Muerto, Vol. 1, a whirlwind of sierreño swagger that feels like a tequila-soaked fever dream. Across 12 tracks, the Mexicali artist channels the debauchery and drama of late-night escapades, weaving tales of fleeting romances ('Mr. Vallarta'), dismissal ('Para Ti') and indulgence ('ZAZA,' the only trap song). The party kicks off on 'Baja Beach,' a sun-drenched anthem named after the infamous Mexican festival, with Junior H and Fuerza Regida joining the revelry. 'Desvelada' turns up the nocturnal chaos alongside Peso Pluma and Netón Vega, while the focus track 'Asquerosamente Rico' with Peso takes playful opulence to new heights. On '2030,' Maydon rides solo, mixing carnivalesque accordion riffs with a pulsing electric bassline to deliver a debauched, dystopian glimpse into the future. The album is the right amount of star-studded that Luis R Conríquez and Gabito Ballesteros also join him on 'Fina Con Los Valentinos.' With pre-released hits 'Tu boda' and 'Amigos? No.' rounding out the collection, Rico o Muerto, Vol. 1 reaffirms Maydon's devil-may-care and romantic style. But more than a party album, it's a work where the unbridled fun and excitement feel as real as the early mornings it invokes. — ISABELA RAYGOZA Elvis Crespo, (Puntería Records) Merengue star Elvis Crespo delivers Poeta Herío, a term from Puerto Rican slang that translates to 'hurt poet.' The 13-track set showcases the vibrant essence of merengue, featuring lively rhythms and heartfelt lyrics encapsulating the joys and struggles of life through his music. The LP is a vibrant tapestry of tropical sounds, featuring an impressive roster of both legendary icons and rising stars. With Elvis Crespo at the helm, the project immerses listeners in his signature genres of spirited merengue, lively mambo and infectious bachata. This new chapter in Crespo's musical journey is fueled by collaborations with a diverse array of artists such as Ivy Queen, Jerry Rivera, Toño Rosario, Tony Tun Tun and Víctor Manuelle. Standout tracks include 'Cora Roto,' an emotionally charged song where Crespo unveils a gripping narrative of betrayal, where hidden truths come to light, revealing a harsh and unforgiving reality. This is followed by several heartfelt goodbye letters and concludes the album with a revamped version of his classic 'Nuestra Canción,' featuring Jerry Rivera. — INGRID FAJARDO Ozuna, 'Sirenita' (Nibiru International) Ozuna hasn't released an album in two years, so he could be setting the tone for a potential LP with the two singles he's released so far this year. His latest, 'Sirenita,' is a vibrant fusion of Afrobeats and the Puerto Rican hitmaker's signature rhythmic-leaning urban production, which serves as the perfect canvas for his sweet and delicate vocals. The lyrics to 'Sirenita' — which tell the story of a girl who's stolen Ozuna's heart — are a testament to Ozuna's knack for writing sensitive, romantic songs. 'Sirenita' serves as the lead-up to Ozuna's summer tour in Europe that will kick off on June 20 in Milan and span over ten cities across the continent. — GRISELDA FLORES Elena Rose, Sistek & Mazzarri, 'SINTIGO' (Warner Music Latina) Accompanied by producers Sistek and Mazzarri, Elena Rose releases 'SINTIGO,' an evocative track with an electronic vibe that explores the emotional contradiction of wanting someone to stay but also wanting them to leave. 'How do I tell you? My life without you makes no sense,' the artist sings over a subtle fusion of house with Afrobeats, resulting in a delicate yet euphoric soundtrack for summer. 'SINTIGO' – a Spanish play of the words 'Sin ti' (without you) and 'Contigo' (with you) – is the first preview of the Venezuelan singer-songwriter's highly anticipated debut LP, following her 2024 EP En Las Nubes – Con Mis Panas. 'This is the first of everything,' Elena wrote on Instagram. 'A summer without drama is coming … full of beautiful things.' – SIGAL RATNER-ARIAS Adriel Favela, Eddy, 'KbrN InfeLiZ' (Fono) Adriel Favela's 'KbrN InfeLiZ,' the first single from his upcoming album Elysium, is a sad sierreño song powered by raw lyrics about a man who realizes that his lifestyle and emotional failings make him incapable of loving someone back the way he is loved. The sierreño-style guitars add an even more dramatic and profound touch to the track, in which the regional Mexican star is accompanied by Eddy, an emerging música mexicana artist who has previously collaborated with Gabito Ballesteros, Calle 24 and Ed Maverick. 'KbrN InfeLiZ' has the makings of an anthem for today's generation. – TERE AGUILERA Kapo, 'Korazong' (Sony Music Latin/La Industria) Kapo's 'Korazong' is a romantic declaration of love powered by a hypnotic Afrobeats sound. Written by the Colombian singer and produced by Gangsta, the song is distinguished by its poetic and sincere lyrics in which Kapo, with his unmistakable raspy voice, sings to that woman who came to heal his heart and transform it with love. Although it is still early to know if it will be his next hit, what is clear is that Kapo reaffirms his knack for authentic songs that touch the heartstrings and appeal to all types of listeners. — LUISA CALLE Check out more Latin recommendations this week below: Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
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07-06-2025
- Entertainment
- Yahoo
Morat, Alejandro Sanz, Karol G, & More: Vote for the Best New Latin Music This Week
This week, Billboard's New Music Latin roundup and playlist — curated by Billboard Latin and Billboard Español editors — features fresh new music, including a handful of new albums by Alejandro Sanz (¿Y Ahora Qué?), Jesse & Joy (Lo Que Nos Faltó Decir), and Los Tigres del Norte (La Lotería), to name a few. Morat delivered its 14-track Ya Es Mañana (YEM) album, where they not only continue to solidify themselves as Bogotá's prolific pop-rock band, but also their loyal brotherhood and evolution. Inspired by riveting rock music from the '90s and celebrating those dreams that have come true, YEM includes collaborations with Jay Wheeler on 'Sin Ti' and Camilo on 'Me Toca a Mí.' More from Billboard Shaun Cassidy Gets Ready for the Longest Tour of His 45-Year Career: 'I Felt the Need to Connect with People' 'Luther' Ties 'Not Like Us' for Most Weeks at No. 1 on Hot R&B/Hip-Hop Songs Chart Bono Cheekily Weighs in On Springsteen Vs. Trump Squabble: 'There's Only One Boss in America' Latin hitmaker Sergio George also unleashed his album Ataca Sergio! Presents: Urban Salsa Sessions featuring some of today's Latin pop and urban stars singing brand new salsa songs. On the 11-track set, he reeled in artists such as Wisin, Ryan Castro, Jay Wheeler, Elena Rose, Oscar D' Leon, and even actor Anthony Ramos to sing a salsa tune in English. Notably is the focus track, 'La Gata y el Ratón,' where Fariana and Juanes are joined by a sample of Cheo Feliciano's original voice for a bold interpolation of Cheo's 1974 classic 'El Ratón.' Other new releases this week include music from Greeicy, Christian Nodal, Myke Towers, Trueno, and many more. Last week, Sebastian Yatra's Milagro album won the poll with over 78% of the vote. Which release this week do you think is best? Give these new releases a spin and vote for your favorite new Latin music release below: Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
