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.
Thalia, Todo Suena Mejor en Cumbia (Sony Music Latin)
From the opening chords of “Ojitos Mexicanos,” which opens the album, Thalia — recognized this year with the Icon Award at Billboard’s Women in Music — takes us on a journey that blends past and present, with covers of classics such as ABBA’s “Dancing Queen,” Son By Four’s “A Puro Corazón” (reimagined here as “Cariño Mío”) and Daniela Romo’s “Todo, Todo, Todo” (featuring Yuri), alongside exciting new tracks and collaborations. Highlights include “Nueva Herida” with Valen — one of the rising voices of cumbia in Argentina — and “Me Fui Queriéndote” with Matisse, both tracks were co-written by the Mexican superstar.
The album also features “Aquí Es Mi Lugar” with Grupo Máximo and, of course, “Yo Me Lo Busqué” with Los Ángeles Azules, which reached No. 1 on the Regional Mexican Airplay chart upon its release in May 2025. Having flirted with cumbia music throughout her career via major hits like “Piel Morena” and “Amor a la Mexicana,” Thalía now cements her love for the genre with a full-length album, gifting her fans a nine-track collection that is sure to have them dancing with joy. — SIGAL RATNER-ARIAS
Tokischa, AMOR & DROGA (Sol Entertainment Group/Warner Music Latina)
It’s hard to grasp that Tokischa’s first full-length album is Amor & Droga, given that the Dominican artist has been so steadily pushing out singles over the past five years. Amor & Droga, however, breaks rank. Produced in part with a cadre of top-line DJs, Amor & Droga is as much about partying as it is about reflecting, but its production is elevated and textured, clearly part of an all-encompassing effort to show Tokischa as a sophisticated artist with a gravitas that supersedes her wild antics (like the breast-bring dress she wore at Premios Lo Nuestro).
Instead, here we have layered tracks like “Mi Novio,” a pulsating dance number with Diplo that spells out a toxic, abusive relationship, contrasting with “Surfboard,” a Bonafide love song that describes Tokischa’s current relationship. In the middle, tracks like “Perreo Llorando” — on the juxtaposition of success and pain — highlight how the dance floor and the raunch can coexist with elegance and soul. — LEILA COBO
Edén Muñoz & Christian Castro, “Osadía” (EMC Music/Sony Music)
The regional Mexican star and the pop icon achieve a superb fusion of styles and voices in “Osadía,” a track about a breakup in which one party emerges more wounded than the other. Muñoz — who serves as both songwriter and producer — opens with his signature accordion, paving the way for elegant orchestration in which trumpets take center stage, supported by guitars and piano. Castro, returning to the recording studio after a long absence, demonstrates that his vocal power remains entirely undiminished. “I’ve been left without myself, without you, without us both/ And if anyone asks me, I don’t know what happened/ I’ve earned myself a wound/ While her smile returned — and she didn’t even say thank you,” they both sing with passion. — TERE AGUILERA
Nanpa Básico, Que Tin y Que Tan (5020 Records)
A Colombian rap star breaks expectations with an authentic 22-track journey, using the playful Medellín slang of “Tin” and “Tan.” Que Tin y Que Tan sweeps listeners through a wave of sounds, fusing rap, ballads, afrobeat, and more, all united by Nanpa Básico’s signature introspection and emotional honesty. The album builds on his evolving sounds, balancing raw, stripped-back moments with dense, layered arrangements. Sometimes his voice stands alone in the spotlight; other times, as in “Si Usted Quiere,” live guitar, trumpe, and keyboards create a rich, immersive backdrop.
Each track is thoughtfully crafted with his all-Colombian collaborators: Kapo brings guitar-driven soul to “AMIMA”; Camilo lends sweetness to the heartfelt ballad “EVAMARÍA”; DFZM turns “En Tu Boca El Humo Me Sabe Mejor” into a poetic ode to love’s transformative power; Miky La Sensa paints dreams of perfection in “No Salgas El Viernes”; Maisak explores self-reflection and the search for peace in “Diálogos de Paz”; and Kris R blends apology and trap in “Cariñitos y Flores.” — INGRID FAJARDO
Gusi, Vallenato Social Club (Gusi)
For the past two years, Gusi focused on gathering the most popular names in the vallenato music realm to bring to life his new album Vallenato Social Club. Crafted with the intention to honor the Colombian genre’s roots, but also introduce it to a new generation with its modern fusions, the 12-track set goes beyond a cultural statement. With brand new songs, such as “Son Para Ti,” “A Tu Medida” and “Acabaste Conmigo” — all composed and produced by Gusi himself — the set fuses traditional vallenato music with genres such as merengue, son and paseo.
“It’s a meeting point. It’s a way to honor our roots, unite generations, and show that vallenato is alive, evolving, and ready to conquer new hearts,” Gusi says in a press statement. “This project is born from a deep respect for the genre, as a space where vallenato is lived, shared, and connects us all.” Vallenato giants Elder Dayán Díaz, Alfredo Gutiérrez, Jean Carlos Centeno, Luifer Cuello, Iván Villazón, Jorge Celedón, Karen Lizarazo, Rafa Pérez, Diego Daza, José Martín Bernier, Felipe Peláez and Peter Manjarrés all join Gusi on Vallenato Social Club. —— JESSICA ROIZ
Manuel Carrasco, “Oh Si Pudiera” (Universal Music Spain)
In “Oh Si Pudiera,” Manuel Carrasco previews the sound of Pueblo Salvaje I, his upcoming studio album — a blend of rumba, flamenco and gospel set against a folk foundation that invites listeners to experience it live in concert. The track opens with a rumba rhythm setting the pulse, driven by rhythmic handclaps that gradually give room to a gospel-infused soundscape. “To see life the way children play it,” the Spanish musician sings, in a verse that flows effortlessly and serves to fully establish the song’s tone. Carrasco himself summed it up on social media as a refusal to look the other way — a sentiment also palpable in lines such as “let them shoot, for I will rise from the ground” — without ever losing its sense of lightness. The song navigates the space between the intimate and the collective, radiating an energy that already feels stadium-ready. — FRANCHESCA GUIM
Los Ángeles Azules & Belinda, “Por Ella” (SALXCO Records/OCESA Seitrack)
The iconic cumbia group and the pop superstar join forces for a second time—to energize the World Cup with a festive, distinctly Mexican track, set to the unmistakable style that characterizes both artists. Belinda’s melodious voice blends with the accordion, electric bass, timbales and saxophone, resulting in a masterful piece of cumbia — the musical genre that unites Latin America — which will ring out to cheer on the 2026 FIFA World Cup. “What I would give for her/ For her/ So that she might shine here in my heart just like the stars/ So beautiful/ And to give her a kiss when I hold her in my arms/ To shout that I love her/ So that it can be heard all the way to heaven,” goes the chorus. The song’s accompanying music video serves as a colorful tribute to Mexican culture — and, in particular, to Mexico City, one of the official host cities for the planet’s most important soccer tournament. — NATALIA CANO
Camila Fernández, “Suéltame” (FONO)
The heiress of the Fernández dynasty presents a ranchera ballad with pop undertones, creating a modern sound while still honoring the foundations of the genre, accompanied by vihuela and trumpets. “Suéltame” speaks of a relationship sustained merely by habit — one that has ended and cannot be salvaged, even if moving past it will take time. There are no villains, only the courage to move forward. Through her vocals and distinctive style, Fernández infuses the track with just the right amount of drama to stir deep emotions in lyrics such as: “A half-hearted kiss and a feigned smile/ Promises that turned into empty words/ That is all that remains of the two of us.” — T.A.
Check out more Latin recommendations this week below:
‘ The preceding article may include information circulated by third parties ’
‘ Some details of this article were extracted from the following source www.billboard.com ’
