Every month, Billboard Latin and Billboard Español editors spotlight a group of rising artists whose music we love. Think “diamantes en bruto,” or “diamonds in the rough.” These are newcomers who have yet to impact the mainstream — but whose music excites us, and who we believe our readers should make a point to discover.

Our latest edition of On the Radar Latin includes a wave of emerging artists, who we discovered by scrolling on social media, networking, or coming across their music at a showcase, for example. See our March 2026 recommendation—in honor of Women’s History Month—below.

Adria Ibau

Country: Guatemala

Why They Should Be on Your Radar: I had the pleasure of discovering this gem at the CAMM (Centroamérica Mercado Musical) — an initiative dedicated to unite the Central American music scene —last year, where she stood out during a songwriting camp alongside Panamanian rising star Mar Maria (previously featured in On the Radar Latin in 2025) and producer Manuel Murillo. Adria’s velvety vocals, her charming charisma, and the pursuit of her musical dreams is where her sweetness and artistry shine. Recently, she was invited on stage at Mexico’s Vive Latino Festival, and back home in Guatemala, she opened for Il Volo at the iconic Miguel Ángel Asturias Cultural Center, captivating the audience with the debut of her latest single “Sin Poder Nadar.” Her voice floats effortlessly atop dreamy pop arrangements and jazz-funk grooves, especially in tracks like “No Me Queda.” — INGRID FAJARDO

Song For Your Playlist: “QUERÍA”

Name: Carmen Ferre

Country:

Why They Should Be on Your Radar: With a vocal and lyrical maturity that belies her years, young Sevillian singer-songwriter Carmen Ferre has been steadily building an audience in her native Spain and beyond — even winning the heart of Olga Tañón, who after seeing a viral video of her sweetly performing a song for her grandfather invited her to sing with her at a show in Tenerife, and ultimately went on to record a collab with her. Ferre began playing the guitar at an early age and rose to national prominence on TV talent shows such as Menuda Noche, La Voz, Tierra de Talento (where she reached the finals), and Got Talent España before signing with the label Sound Blaster Records in 2024. After releasing singles like “Un Besito” and “Volver,” she is currently enjoying a truly special moment with “Lo Bonito” — her new song with Tañón — released this Women’s History Month. — SIGAL RATNER-ARIAS

Song For Your Playlist: “Lo Bonito” with Olga Tañón

Name: La Coreañera

Country: United States

Why They Should Be On Your Radar: La Coreañera is a truly extraordinary character. Born in San Antonio, Texas, into a Korean family — yet raised in an immigrant neighborhood that was predominantly Mexican — she immersed herself in the local customs and Spanish language to the point of mastering it perfectly. She bears the distinctive flavor of the working-class outskirts of Mexico City — home to los ñeros, the archetypal figures of those districts, from whom she adopted her stage name. From a very young age, she began playing various classical instruments, a path that eventually led her to Carnegie Hall. However, what she truly enjoyed was singing and playing cumbias — so she honed her accordion technique, and is now making steady, confident strides in her career. She’s performed at such festivals as Vive Latino and Resuena — and most notably, delivered a breakout performance at SXSW, where she captivated audiences with a style that’s both romantic and rhythmic, as if Latin blood ran through her veins. — TERE AGUILERA

Song For Your Playlist: “Mariposas”

Name: Las Posada

Country: Colombia

Why They Should Be On Your Radar: After leading their own solo careers, Colombian sisters Diana and Laura Posada decided to become a duo, bringing to life Las Posada in 2020. Since, the talented pair has captivated listeners—primarily in Mexico, Chile, Peru, and their native country—with an innovative fusion of mariachi, pop, and música popular Colombiana (or Regional Colombian music). Their distinct color can be heard in covers such as Karol G and Shakira’s “TQG” as well as original music like their most recent, “Mamá.” Over the past six years, the sisters, with their coquette and fierce personalities, have reeled in a loyal community that connects with their music rooted in love and heartbreak, but also celebrates female strength in all its glory. “Today, our music has a clear purpose: to inspire women to pursue their dreams—regardless of their age, stage of life, economic status, or whether they already have children,” the sisters shared in a press statement. “Because it is never too late to sing your own story.” Las Posada are currently making the rounds with their four-song EP, Con El Alma (With the Soul). — JESSICA ROIZ

Song For Your Playlist: “Tragoterapia”

Name: Odalys Velasco

Country: Mexico

Why They Should Be On Your Radar: Originally known for her massive presence as an influencer, boasting nearly four million TikTok followers, Odalys Velasco made the jump into music last August, debuting with her single “Levitando,” also starring Alan Vilches. Hailing from Puerto Vallarta and born in Spain, Velasco has positioned herself as a Latin artist on our radar due to her fresh tropical-tinged sound infused with Afrobeats, as heard in her latest, vacation-ready single, “Cartagena,” via Golden Ink Entertainment, with distribution by Virgin Music US Latin. With its sun-soaked vibe and flirtatious energy, the song, featuring ONIKX, highlights her breathy voice and her ability to craft music that feels like an escape to paradise. She first popped on our radar with our weekly curation of Billboard’s New Music Latin playlist. Having released six singles to date, she’s carving her niche as a refreshing voice in the emerging Latin music scene. — ISABELA RAYGOZA

Song For Your Playlist: “Cartagena”

HYBE announced on Monday (March 30) that ENHYPEN will be the inaugural hosts of its new Spotify video podcast show, STAN:A.

The inaugural series featuring ENHYPEN is titled The Blood Diary. HYBE dropped new the first trailer for the show alongside its announcement. In the teaser, members of ENHYPEN take turns telling mystery stories from across the world. As the tales are shared, members of the band try to identify a hidden “liar” among the group, and invite fans to try to figure it out with them.

STAN:A is the first project to come out HYBE’s recently announced global partnership with Spotify, aimed at expanding access to K-pop. With the podcast, HYBE hopes to connect fans and artists through original storytelling. STAN:A will feature a diverse lineup of hosts and guests across music and culture.

Since debuting in 2020, ENHYPEN has cemented itself as a K-pop powerhouse. In the six years the group has been on the scene, the band has released six Billboard 200 top 10 albums. In 2025, the band made its Coachella debut, becoming the K-pop boy group with the shortest amount of time between its debut and performance at the festival. Its 2026 WALK THE LINE world tour sold out both its U.S. and European legs entirely.

The debut episode of The Blood Diary will premiere on Friday, April 3, at 8 p.m. KST on Spotify, with new episodes coming out biweekly at the same time. Each episode will be hosted by rotating members of ENHYPEN.

Watch the trailer for The Blood Diary below.

The Blood Diary, told by ENHYPEN themselves 🩸🧛 Watch the new video podcast on April 3rd on Spotify

🔔 Follow the video podcast via the link in bio to get notified when Episode 1 drops. pic.twitter.com/Tt8DRQWIxL

— Spotify (@Spotify) March 30, 2026

Les rumeurs étaient vraies. After much speculation, Celine Dion has officially announced that she’s planning her epic live comeback with a concert residency at La Défense Arena in Paris, sharing the news on Monday (March 30) — her 58th birthday — in a video that was broadcast beneath the city’s iconic Eiffel Tower.

“I’ve recorded a lot of birthday messages, but this is the first time I’ve ever recorded one for my own birthday,” the vocalist begins in the clip, which was also posted to her social media channels. “I want to let you know that I’m doing great, managing my health, feeling good. I’m singing again, even doing a little dancing.”

The icon goes on to thank fans for supporting her amid her yearslong battle with Stiff Person Syndrome, which — up until now — has limited her ability to perform live. “Even in my most difficult times, you were there for me,” she says. “You’ve helped me in ways I can’t even describe. I’ve felt your prayers and support, your kindness and love.”

“This year, I’m getting the best birthday gift of my life,” Dion adds. “I’m getting the chance to see you, to perform for you once again in Paris, beginning in September! I’m feeling good. I’m strong. I’m feeling excited — obviously a little nervous — but most of all, I’m grateful to all of you.”

Rumors that Dion was returning to the stage with a slew of Paris shows first emerged a week prior to the official announcement, as posters quoting some of her most iconic songs mysteriously popped up all over the French capital. Around that time, it was reported that she would play a series of shows at La Défense, which turned out to be true; the hitmaker’s stay at the venue will kick off Sept. 12 and run through Oct. 14.

The last time Dion performed for the public was in 2024, singing a stirring rendition Edith Piaf’s “Hymne A L’Amour” from within the Eiffel Tower during that year’s Olympics opening ceremony. Before that, it had been years since she’d sung live. She first revealed she’d been diagnosed with Stiff Person Syndrome — a rare neurological disorder that causes severe muscle spasms — in 2022, with the condition causing her to cancel her most recent tour.

See Dion’s video and with the full list of dates for her upcoming Paris residency below.

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“I have associates in my firm that never fathomed that when they went to and graduated law school, they would sit for hours and study lyrics,” says Drew Findling, speaking with Billboard over coffee in West Hollywood.

Findling, who has carved out a niche at the crossroads of criminal law and music, is currently the go-to defense attorney for star rappers coming under the thumb of prosecution. His client list reads like a who’s who of contemporary hip-hop: Cardi B, Offset, Gucci Mane, Lil Nas X, Lil Durk, Da Baby, GloRilla, Rod Wave and Lil Baby, among others.

Though he now rubs shoulders with some of music’s biggest names, Findling had far humbler beginnings at the Fulton County Public Defender’s Office. And to this day, it’s clear that he’s first and foremost a passionate criminal defense attorney.

That comes through in how he talks about the music business and his own role in artists’ careers. For a musician caught up in the criminal justice system, there’s often noise from labels, managers, agents and publicists about the potential impacts of different legal maneuvers. Will a proposed trial date interfere with an album rollout? Is embarrassing information going to come out in a legal brief? Will bail conditions ruin the world tour?

Yes, these career impacts are real considerations for his clients, says Findling, adding that his firm maintains “10 out of 10” relationships with managers and labels. But winning in court takes priority over all else.

“We’re always going to do what’s in the best interest of the client for their case,” explains Findling. “And so, if coincidentally, if vicariously, it has an impact on their career, we’ll take that into consideration. But we always put first and foremost the end result of their case.”

Findling says that in the hip-hop industry, there’s a “total respect” for the criminal process. Take, for example, the fact that Findling represents artists from all different labels, even when they don’t get along with each other. He says not a single client has ever pressured him not to take on a rival’s case, which he calls an “unwritten rule” in hip-hop: When your liberty is at stake, you deserve to get the very best legal representation, full stop. As Findling puts it, “Ops have nothing to do with us.”

Music business concerns are still crucial, though. Any good criminal defense lawyer needs to be aware of their client’s career status, as it can be relevant to whether prosecutors are able to show a motive for crimes that have a financial component.

“It’s no different than if we were representing a doctor in a healthcare fraud case. We’ve got to be aware if the doctor’s practice was really suffering, and at that time she made shady decisions because she had impending bills,” explains Findling. “Same with a performer: If somebody’s on the upswing, if they’re rolling in their industry, we need to know. And if they’re suffering, we need to know. That could be the reason for a flawed decision, and in like fashion, if someone’s surging, it could be why the allegations are just ridiculous.”

That’s why Findling has his associates study rap lyrics, the same way that other young lawyers pore over caselaw and legal briefs. For artist clients who have pending criminal cases, Findling’s team often looks over their unreleased music to determine whether any lyrics could present a legal issue.

This is because prosecutors have a habit of citing violent rap lyrics as evidence in criminal cases. It’s a controversial practice that’s been restricted in several states but is still allowed in federal court, despite a legislative solution that’s been repeatedly introduced in Congress but has yet to move forward.

Findling is intimately familiar with lyrics popping up in court. A judge recently ruled that certain Lil Durk lyrics will be admissible in the Chicago rapper’s upcoming murder-for-hire trial, in which Findling will be the lead defense lawyer. He’s a vehement critic of the practice.

“What prosecutors and law enforcement don’t understand: This is just a business,” says Findling. “When a musician writes a song, they’re writing that song, and these big labels are approving it, because they know people are gonna sit on their mom and dad’s La-Z-Boy at 18 years old and hit the download. That’s the music that people want to hear.”

“I think it is unfair and absolutely racist, calling it what it is, to somehow draw the inference that that is part of a bent towards violence,” adds Findling. “No, it’s capitalism, is what it is.”

Findling is not shy about calling out racial bias when he sees it in the criminal justice system, especially where Black artists are concerned. One of his biggest complaints is the way law enforcement agencies scour the social media accounts of rappers for photos that depict a luxury lifestyle.

These images often get cited in court as evidence that an artist made a windfall through drug dealing or other illegal activity. But Findling says rappers earn millions of dollars selling records, and flashing cash and jewels is part of the job.

“You would never ask that if a CEO for a major company was in a resort in Maui flashing cash,” he says. “You wouldn’t say, ‘Wow, so what’s that CEO doing on the side?’ But if you’re in the space of rap and hip-hop they’re gonna ask that question, and that’s just pure unadulterated racism.”

Findling also sharply criticizes the use of the death penalty, which is on the table in the ongoing murder case against his client YNW Melly. He says prosecutors only do this to get a so-called death-qualified jury, which means any potential trial juror who says they’d be unwilling to issue the death penalty gets eliminated from the pool. “You kick off that group of people that might be more empathetic to a defendant,” he says. “We’ve seen that forever, and Melly’s case is just another sad example.”

The use of RICO cases is another problem for Findling. The Racketeer Influenced and Corrupt Organizations (RICO) Act, a federal statute that also has a local counterpart in Georgia, is often deployed to prosecute large groups for alleged gang activities. This was the case in the YSL prosecution of Young Thug and his associates, in which Findling represented YFN Lucci.

In no uncertain terms, Findling says RICO cases are brought by prosecutors who are “insecure about the ability to win a case, so they just come up with the easiest way.” The easiest way, he says, is to charge dozens of people together with “borderline” criminal activities and wear them down as a group.

“You get these monster indictments, and look at who’s really getting hurt,” says Findling. “You look at Lucci, and you look at Thug, but look 22 spaces down at the 19-year-old African American kid that can’t afford the counsel… What happens is it’s really hurting these young kids of color. They’re just getting swept up in the system, on these cases that are just so thin.”

Findling is similarly critical about the RICO trial of Sean “Diddy” Combs, who was convicted last year of prostitution offenses but acquitted of more serious sex-trafficking and RICO counts over sex parties known as “freak-offs.” The Combs indictment “was a joke, Findling says, and “just another example of using RICO when you had no confidence in the underlying case itself.”

Findling’s job is grueling, and he’s constantly on the road; during his Billboard interview, he was in Los Angeles for back-to-back hearings in Lil Durk’s murder-for-hire case and Lil Nas X’s assault case before getting on a plane that night. Asked what keeps him coming back, his answer is simple: “I just love all these young people.”

“People underestimate the brilliance that’s involved, the dedication that’s involved,” he says. “I always say that grinders are attracted to one another. I love the people that are working like crazy, and I just have admiration for them. Man, the ones that have come from challenging backgrounds — how can I not want to be there for them?”