When the Rock & Roll Hall of Fame 2026 nominees were unveiled on Feb. 25, Mariah Carey admits “it felt great” to see her name on the list, marking her third consecutive nomination. “It’s definitely an unchecked box.” 

Looking back on her career, Carey is no stranger to the rock genre, having released covers of Foreigner’s “I Want to Know What Love Is” (which became one of her biggest hits in South America), Journey’s “Open Arms” and Def Leppard’s “Bringing On the Heartbreak,” which became a fan favorite from her 2002 album Charmbracelet. But what does the songwriter feel is her most rocking release?

“Chick, that was a rock moment,” she asserts. 

She’s referring to Someone’s Ugly Daughter, the alternative rock  album she secretly recorded in 1995 under the pseudonym Chick (which was ultimately released with another artist singing lead vocals). When Mariah was honored as this year’s MusiCares Person of the Year during Grammys week in Los Angeles, attendees saw the project come to life — thanks to performances from Foo Fighters and Taylor Momsen, who covered “Hermit” and “Love Is a Scam,” respectively, from the sole Chick release. Mariah was beaming. 

“That was amazing,” Carey reflects. “Just to feel that whole thing, I don’t even know how to express it.” 

As for whether fans will ever get to hear Carey herself on those tracks, she says, “I want to give people a taste of Someone’s Ugly Daughter… I think it is pretty funny, because I created this thing and what do you do? It’s just there.” 

She says she’s always wanted to showcase more of her rocker side, yet says during her rise she was always told, “Stay in your lane.” 

Thankfully, for fans, she never has. At the 2026 Milan Cortina Winter Olympics Opening Ceremony, Carey performed a medley of “Volare” and “Nothing Is Impossible” – singing both in Italian. “It was exciting to add that to my repertoire — because, I mean, ‘Volare’ was just a moment. I couldn’t even believe that that was happening.” 

The performance came on the heels of Carey’s latest album, Here for It All, her 16th album that arrived last September. The album delivered another No. 1 to her tally, with “In Your Feelings” topping the Adult R&B Airplay chart.  

Her historic count of chart-topping hits is exactly why she believes why the Rock Hall induction should be in her future. in April. When asked why she deserves to be welcomed into the Hall of Fame, she answers with a laugh, “I would say they should check out the 19 [Billboard Hot 100] No. 1s… not everybody has those to their name.” 

This week, Billboard’s New Music Latin playlist — curated by Billboard Latin and Billboard Español editors — features fresh new music, including seven albums from artists such as Piso 21 (Trescender), Laura Pausini (Yo Canto 2) and Kris R. (El Trap de Kolombia), to name a few.

Among the new albums is Dual, a six-track EP from breakout group Santos Bravos. The set — home to debut single “0%,” the previously released “Kawasaki” and focus track “MHM” — perfectly showcases the group’s two-sided musical identity: Santo, rooted in Latin pop and Bravo, rooted in reggaetón and EDM. The group — composed of Drew (U.S.), Kauê (Brazil), Alejandro (Peru), Kenneth (Mexico) and Gabi (Puerto Rico) — previously hinted to Billboard about the debut EP during a livestream interview at the 2026 Premio Lo Nuestro.

Tego Calderón continues to solidify his pioneering reggaetón crown with “Gustito,” a new collaborative effort with J Álvarez. Produced by Haze and The Rudeboyz, the song is a modern-day reggaetón track fused with hard-hitting perreo melodies backed by Calderón and Álvarez’s melodious vocals. Lyrically, the song oozes confidence while flirting on the dance floor: “I have the feeling that she’s going home with me,” goes part of the lyrics.

Meanwhile, Ozuna, Dalex and Luis R Conriquez have all released new music as well. 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:

Editor’s Note: The results of the weekly New Music Latin poll will be posted if the poll generates more than 1,000 votes. This poll closes at 9 a.m. ET on Monday, March 16.

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.

Piso 21, TRESCENDER (Tres Sietes LLC/Sound of Light Entertainment)

Piso 21 present its eighth studio album — and first as a trio since the parting of former member Lorduy in January 2025 — called, Trescender. A merge of the Spanish words “transcendence” and “three,” the 12-track set spotlights the Colombian group’s timelessness, evolution and emotional maturity throughout its almost 20-year career. Trescender kicks off with the funk-rock song “Bruno Mars,” on which members Dim, Profe and Pablo highly manifest a future collaboration with the American superstar. It then continues into three consecutive notable collabs including the viral salsa hit “Volver” with Marc Anthony and Beéle.

Sonically, Piso 21 stays faithful to its signature pop sound while also experimenting with merengue on “Regalito” with Juan Duque, vallenato on “Felices de Mentira” with Fonseca and bolero on “Por Si Mañana No Estoy” with Andres Cepeda. Lyrically, the group delivers feel-good and uplifting verses, while also oozing sophistication and romanticism. Trescender also marks the trio’s debut studio album under their own record label, Tres Sietes, which they exclusively announced during an invite-only album release party in Miami on Thursday (March 12). Other collaborators in the album include Bacilos, Lasso, and Yami Safdie. — JESSICA ROIZ

Laura Pausini, YO CANTO 2 (Warner Music Italy)

Twenty years after her successful covers album Yo Canto (2006), Laura Pausini once again pays tribute to the countries that have welcomed her and the artists who have inspired her with Yo Canto 2. The 18-song set (21 on the deluxe edition) — part of a dual project that includes the previously released Italian LP Io Canto 2 — features such iconic tracks as Juan Luis Guerra’s “Bachata Rosa,” Ricky Martin’s “Livin’ La Vida Loca,” Gloria Estefan’s “Oye Mi Canto” and Shakira’s “Antología.”

Pausini sings from a more mature perspective, showcasing new colors and nuances: her rockier side in Fito Páez’s “Mariposa Tecknicolor;” her more sublime side in Violeta Parra’s anthem “Gracias a la Vida;” or Bad Bunny’s heart-wrenching ballad “Turista.” It also features a few multigenerational collaborations, from veteran Ricardo Montaner on his own “Cuando Nacen Amores” to a young Yami Safdie on Joan Sebastian’s “Eso y Más.” With an impeccable production and her ever-confident, precise voice, Pausini makes these songs her own, creating a tribute worthy of pride for their authors. — SIGAL RATNER-ARIAS

Luis R Conriquez, “Muchacho Alegre” (K Music)

Luis R Conriquez’s latest single, “Muchacho Alegre,” is a defiant celebration of his journey — from humble beginnings in Caborca, Sonora, to a life of success and indulgence. With steely guitars, sharp brass and unapologetic swagger, he recounts the grind that took him from nothing to overflowing riches, a life filled with music, luxury and the company he keeps. “Que el muchacho alegre lo bueno que ha coronado/ Vengo desde abajo, pero también la perreé,” he belts (“Let the cheerful boy celebrate the good things he’s achieved / I came from humble beginnings, but I’ve worked my way up”). The music video captures this arc, contrasting scenes of Conriquez on a sprawling Mexican ranch with moments in Paris, in front of the Eiffel Tower and high-end boutiques, reflecting a man who honors his roots while reveling in how far he’s come.  — ISABELA RAYGOZA

Bunbury, “La próxima vez no habrá próxima vez” (Warner Music Spain)

One of the most influential artists in Latin music, Enrique Bunbury, unveils “La próxima vez no habrá próxima vez,” the fourth single from his upcoming album, De un siglo anterior. The title, which translates to “Next time there will be no next time,” captures the finality and emotional intensity at the heart of the track: once a boundary is crossed, there is no possibility of return. Bunbury’s unmistakable voice weaves through a tapestry of blues, country, and rock, anchored by a nostalgic guitar that evokes both longing and resolve. The instrumentation is rich and textured, while Bunbury’s delivery imbues the song with wisdom and raw vulnerability. — INGRID FAJARDO

Banda Carnaval, No Tiene Precio (FONO/Andaluz Records)

Banda Carnaval brings together all the styles they master with their traditional Sinaloan sound in one album. The ever-present tuba, trumpets, clarinets, snare drums and, of course, the tambora drum adorn each of the 10 songs produced by Jesús Tirado. The focus track “Si Se Trata de Ti”— the most romantic of the set — contrasts “De Nuestro Amor No Queda Nada,” which announces the end of a deteriorating relationship, much like “El Que Se Lleva Se Aguanta,” another song of heartbreak. A corrido couldn’t be missing and it arrives in “El Lucero,” about a magnificent horse and its ranch life, while the simple life and love of a close-knit family can be heard in the title track. “Cumbia Carnaval” is perfect for dancing, and  “Por Aquí Pasó María” adds a fun, cheerful touch, giving the production a balanced feel. — TERE AGUILERA

Dale Pututi, Nesty, Romn Beatz, “Maridón” (Plus Media/Rami Records)

Dale Pututi and Nesty have been enjoying an unstoppable streak since the launch of their first collaborative effort “Luna” in 2025. The Miami-based Cuban artists — not to be confused for a duo because they each lead their own solo careers — have now teamed up for “Maridón.” Produced by RoMn Beatz, the nearly three-minute song is an innovative melting pot of rhythms that includes reparto and ranchera music. A Cuban slang that can loosely be translated to “dumb boyfriend,” the lyrics are about a man who’s secretly hooking up with a girl that’s in a relationship.

“Tell your partner to stop looking on social media/ He’s on top of my profile, and he needs to learn some manners/ It looks like he hasn’t realized what a total fool he’s making of himself/ I don’t even follow you, yet we’re still hooking up,” says the cheeky chorus. “Maridón” is a subtle sequel to Pututi and Nesty’s “Los Despechaos” in collaboration with Tito El Bambino, on which all three acts sing from the point of view of a man who’s spiteful after a breakup — and in a turn of events, he’s now the other man. — J.R.

Enjambre, Daños Luz (Enjambre/Believe LATAM)

The new album by the Mexican rock band Enjambre is — in the words of their lead singer, Luis Humberto Navejas — “a tunnel of eras” that connects the group members’ adolescence in their native Zacatecas, in northern Mexico, with their musical present. Consequently, the 11-track album unfolds as a journey through time, where emotions and memories surface, prompting reflection on what has been lost and gained over the years — always buoyed by a hopeful ray of light. The LP features nostalgic songs such as “Desfaces,” “El regalo,” “Vida en el espectro,” and “Mente adolescente”—the latter a punk-rock track inspired by Argentine bands like Dos Minutos.

In these tracks, they weave together stories and memories of youth, alongside experimentation with diverse sounds, mesmerizing electric guitars, and even a nod to the nights spent at dance halls. Pieces like “Angustias” explore the weight of thoughts and emotions, while others, such as “Errante,” address themes like identity. Enjambre’s new release reflects both emotional and musical maturity, reaffirming the sonic quality that earned them a spot on Billboard’s 50 Best Latin Rock Bands of All Time list. — NATALIA CANO

SANTOS BRAVOS, DUAL (HYBE Latin America)

During a Billboard livestream at 2026 Premio Lo Nuestro last month, SANTOS BRAVOS revealed an upcoming surprise with the number six — and now, the group has unleashed its debut EP DUAL, consisting of six tracks. Home to debut single “0%” and the previously-released “KAWASAKI,” the set finds group members Drew (US), Kauê (Brazil), Alejandro (Peru), Kenneth (Mexico), and Gabi (Puerto Rico) exploring edgy and progressive rhythms while singing in different languages. DUAL perfectly showcases the group’s two-sided identity: Santo rooted in the energetic, melodic, and emotional Latin pop sound, and Bravo, representing intensity and instinct backed by reggaetón and global club sounds. The release of the EP is accompanied by a new docuseries, detrás de DUAL (Behind DUAL), premiering March 15 on Spotify. — J.R.

Los Dos Carnales, “Me Derrito” (Afinarte Music)

It had been a while since Los Dos Carnales released a romantic song, and “Me Derrito” is even sensual — as it tells the story of winning a woman’s heart, what she evokes and what might happen if she lets herself be swept off her feet. Written by Blas Murrieta, one of the most sought-after songwriters of corridos tumbados, it showcases another facet of the composer and, at the same time, allows brothers Imanol and Poncho Quezada to display their interpretive skills outside of the gritty, self-improvement songs that generally make up their repertoire. Musically, Los Dos Carnales’ distinctive traditional norteño style, in which the accordion takes center stage, remains intact, with the old-school sound of the bajo sexto, drums, double bass and snare drums equally preserved. — T.A.

Check out more Latin recommendations this week below:

Afroman, the rapper best known for his 2000 hit “Because I Got High,” will go to trial next week in an unusual lawsuit filed by police officers who raided his Ohio home — a case that the American Civil Liberties Union (ACLU) has called “nothing short of absurd.”

The case against the rapper (Joseph Forman) was filed by seven members of an Ohio county sheriff’s department, who claim he caused them “emotional distress” by using footage of the guns-drawn 2022 raid — which ultimately yielded no charges — in critical social media posts and a music video.

The lawsuit has rankled free speech advocates like the ACLU, which has called the case an attack on the First Amendment and “a meritless effort to use a lawsuit to silence criticism.” The rapper himself has echoed that argument, saying he should “be allowed to speak out about my life.” An attorney for the officers did not return a request for comment.

Afroman rose to fame in the early 2000s with comedy rap tracks like “Because I Got High,” a tune popularized on The Howard Stern Show and the early internet that reached No. 13 on the Billboard Hot 100 and spent 10 weeks on the chart. The song was later nominated for the Grammy Award for Best Rap Solo Performance in 2002.

In August 2022, police from the Adams County Sheriff’s Department raided Afroman’s home with guns drawn, smashing down his door and seizing $5,031 in cash and other property. The raid came on a search warrant linked to suspicions of drug trafficking and kidnapping, but no wrongdoing was uncovered, no charges were ever filed and the money was later returned.

After the search, Afroman repeatedly posted video and images of the officers to social media, using them to express outrage at alleged damage done to his property and at what he viewed as excessive use of force. The footage was featured prominently in a music video for a 2022 song called “Lemon Pound Cake,” in which he humorously described the raid and mocked the officers: “He’s a Adams County Sheriff/ He’s hungry and he’s big as hell.”

It turns out the officers weren’t laughing. In 2023, seven of them filed a civil lawsuit against him, claiming Afroman’s use of the footage was an unauthorized commercial exploitation of their likeness, as well as an invasion of their privacy.

In their complaint, the officers (Shawn D. Cooley, Justin Cooley, Michael D. Estep, Shawn S. Grooms, Brian Newland, Lisa Phillips and Randolph L. Walters, Jr.) claimed they’d been “subjected to threats, including death threats” because of Afroman’s posts. They later added accusations that he defamed them by saying they stole money or threatened to kill him.

The artist and his lawyers quickly argued that such a case was an abuse of the court system, filed by government officials whom he had a constitutional right to criticize for alleged misconduct, especially when it was committed in his own home.

“The plaintiffs in this case seek to tamp down and stifle the defendants’ First Amendment rights and are using the judicial system to quell protected speech that they do not agree with,” his lawyers wrote at the time.

In October 2023, a judge dismissed some of the case, ruling that public servants “have to expect that they may from time to time be subject to commentary and criticism regarding their performance of their duties.” But he allowed the defamation claim and some invasion of privacy claims to move ahead to trial.

Afroman also countersued the officers, accusing them of destruction of property, trespassing, illegal search and seizure and other forms of wrongdoing. But the judge dismissed that case last month, paving the way for a trial next week focused solely on the rapper’s alleged misconduct.

The case against Afroman has drawn criticism not just from the rapper himself. In a 2023 court filing, attorneys for the ACLU sharply attacked the case, calling the officers’ accusations of invasion of privacy — made over their own invasion of another person’s home — “nothing short of absurd.”

“Plaintiffs are a group of law enforcement officers who executed what appears to have been a highly destructive and ultimately fruitless search of a popular musician’s home. Now they find themselves at the receiving end of his mockery and outrage,” the ACLU wrote at the time. “There is nothing the First Amendment protects more jealously than criticism of public officials on a matter of public concern.”

Afroman’s attorney and a rep for the ACLU did not return requests for comment.

The trial will get underway Monday morning (March 16) before Judge Jonathan Hein at the Adams County Court of Common Pleas. Witness lists show that Afroman and the deputies themselves will be on the witness stand, and that jurors will see bodycam footage, the search warrant and the disputed videos.

When the trial does start, expect the officers’ lawyers to echo earlier filings in which they say Afroman’s criticism has “made it more difficult and even more dangerous for plaintiffs to carry out their official duties.” And look for his lawyers to reprise their claim that the case is an assault on his constitutional rights: “This is a case about a performer and artist acting under their First Amendment freedom of expression,” they said.