What would happen if a bear and a gorilla teamed up? In nature, their coexistence would be pretty unlikely and risky, given their biological, behavioral, and habitat differences. But when it comes to Ozuna, who’s been repping the bear vibe since his Odisea days, and Beéle, who’s embraced the gorilla image, it was the complete opposite.

What theoretically shouldn’t have worked — amid music, travels, and impromptu studio sessions—ended up creating a shared universe that gave birth to Stendhal.

The first time we saw them together, and started suspecting that something was brewing between the two, was just a couple of months ago during the Billboard Latin Music Awards ceremony in Miami, when they debuted the first track of the album, “Ale.”

Coincidentally, Wednesday (Dec. 5) — the day the album is released and a number loaded with symbolism that shaped the entire process — is also the day Ozuna and Beéle pose together for the first-ever cover of Billboard Colombia. While Bogotá is cold and rainy outside, inside the studio it feels warm — not just because of the lights and camera flashes, but because of the energy these two radiate: pure chemistry between two friends who, without pretense and without even planning it, ended up creating one of the most unexpected collaborations of 2025.

For Beéle — in a pivotal year, with several hits in the top 10 of the Hot 100 Colombia, “La Plena” as the most-streamed song in the country, and his first Latin Grammy nomination — being part of the first-ever Billboard Colombia cover ties directly to the essence of this album. “When you see something for the first time, you connect with it and understand its depth. This time, we came together to make history in a fun way,” he says.

However, what makes it even more special is this collaboration with the Puerto Rican star, who was one of his idols during his teenage years — someone he never imagined he’d get to meet. Their first connection came through his manager, back when the young artist from Barranquilla didn’t even have plans to rework “Frente al Mar,” his slinky tropical pop song, which Ozuna remixed two months after its release, in Dec. 2024.

“After ‘Frente al Mar,’ I became a huge fan,” says Ozuna. So much so that he started attending Beéle’s shows in Miami, and immediately recognized the chemistry and connection they shared. For Ozuna, who graced the cover of Billboard in 2019, collaborating with Beéle holds a special meaning. Despite their 10-year age gap (Ozuna is 33, Beéle is 23), he’s certain he’s working alongside a rare talent. “Guys like this one, I’d say, are born every 100 years. On top of being a good person, he’s an incredible musician,” he says.

The excitement remains intact for both of them, as if it was the first day. “You can’t lose the ability to be amazed,” says Beéle, as his life mantra. His words, far from the euphoria of success, speak of purpose, passion and waking up each day not knowing what it will bring, but with the certainty that it must be enjoyed. It was under this same premise that they created their entire album.

Stendhal, which “started one way and ended up another,” according to Ozuna, is proof that “things turn out much better when they’re not planned” — a phrase both artists repeated throughout the day, and a lesson that left a mark on Ozuna during the entire process. “I learned it from this gentleman here, who told me, ‘Don’t overthink it, let’s just do it,’” the Puerto Rican singer shares. “And that’s something I take away from him — that you don’t always need to plan so much.”

Even though they’re far from the sea, as they pose, they sing the songs from the album playing in the background as if they were still on those beaches in Ibiza. It was there, under an orange moon — the same one that later shaped the project’s aesthetic — that Stendhal was born. Amid the many conversations that night, they stumbled upon the concept of Stendhal syndrome, that overwhelming feeling triggered by art, which they felt represented them. That’s when they knew it would be the name of the album.

What’s curious is that none of this was planned. Not an album, not an EP, not even a formal collaboration. They first recorded “Liberal,” which was supposed to be their only collaboration, but then came “One and Only,” and later, during their trip to Ibiza, they ended up with eight more songs. “It was for fun, literally. We just kept making songs, songs, and more songs…” Ozuna recalls.

Then, almost like magic, the symbolism of the number 5 began to guide the way forward. “It was a number that connected us. We weren’t even looking for it, but we kept seeing it everywhere while making the album. I bought a car, and on the dashboard, it said 555. And in total, we ended up making 15 tracks.” Choosing to release the project on December 5th completed the symbolic circle of the number that had accompanied them throughout.

Sitting together with Billboard Colombia, Ozuna and Beéle opened up about Stendhal — a “disruptive” album created by two “little rebels.” The project came to life through inside jokes, unexpected samples, sleepless nights so loud they almost got kicked out of Ibiza and a friendship fueled by creative chemistry.

You met through “Frente al Mar,” there was a vibe — but where did the idea for the album come from?

Ozuna: It wasn’t an idea, it wasn’t a plan. For us, it wasn’t about making an album — it was more like hanging out, collaborating, getting to know each other, and figuring out what makes us feel good through music. We connected so much. We started with one song, “Liberal,” and from there, I didn’t want to push too hard by saying, “Let’s do another track.” At one point, I thought, “I’ll show him.” When I showed him the next song, which was “One and Only,” he said, “No, we have to make an EP.” So we started the process of creating an EP. Then, when we got together in Ibiza, we realized we had like eight or ten songs, and this guy says, “Let’s make an album.”

Beéle: Yes, on the first night, literally, we made about eight tracks. That night, “Te Culié” came out — we were up messing around until like 8:00 in the morning. “Playa Marina” also came out, along with a bunch of others, and I remember that’s when we said, “We’ve already gone past an EP, which is usually like six songs. Let’s make an album.”

I told him, “What name would you think of for an album?” That day, we had the moon right in front of us, and it was orange. That’s why the moon is orange [on the album cover], because we had this huge, intense orange light illuminating the entire sea in Ibiza. I mentioned Stendhal syndrome to him, and I think that made us go even crazier. The next day, and every day after that, we started diving deeper into the concept.

Ozuna: We started building everything for the album — the artwork, the concept, what we were going to name the tracks, how they should start and end, and what the tracklist would be. We did so much… We didn’t even realize when we had made 14 or 15 songs.

Beéle: I remember we finished everything here in Bogotá, just on a regular day, and said, “Well, that’s it, we’ve got 14 songs, we’re done.” And suddenly, Ozuna was like, “Alright, let’s go.” We ended up in Puerto Rico by the early morning, and the next day it was, “Let’s shoot a video.” Then it wasn’t just one video — it was 14. Every song had its own video. We literally did it just chilling. We enjoyed it on a whole other level, for real.

How was that trip to Ibiza? Why did the album end up coming to life on the island?

Ozuna: First, we were on a summer tour and connected in Ibiza. We had one or two tracks, which were “Liberal” and “One and Only.” We said, let’s meet up and keep building. When we went the first time, that week, Beéle told me, “I’m going to do some shows, but I’ll come back again.” And we went back to Ibiza… Ibiza brought us so much energy, I think it was because of the place we were in — it was like an aura.

Beéle: The first two tracks we started were done in Puerto Rico. And then “Ale” and the rest of the songs, we finished them here in Bogotá, we worked on them here. Of course, they were the cherry on top.

Ozuna: In Ibiza, we made “Pikito,” “Playa Marina,” the dembow, which was “Te Culié,” “Innombrable,” “Se Ve”…

Beéle: We made so many, almost most of them. Here [in Bogotá], we ended up making about two or three more tracks. Then we finished mixing, tweaking, and re-recording, saying, “Let’s make it the best — it’s what the people deserve.”

Why did you agree that that night in Ibiza had to define the entire concept of the album?

Beéle: It was over the course of those days that we started realizing everything. I think in Puerto Rico, we began talking about how we kept seeing the number 5 everywhere. We always said it was the number of rebirth, of shaking things up the way it’s meant to be, of reconnecting with each of the songs. And we kept connecting everything to it.

Ozuna: The color of the album came from that night. That night, the moon had that exact color, and we took a picture of it. I sent it to him, and he said, “Bro, that’s the color it has to be.”

Beéle: We found ourselves so much while making this album, as individuals, that we wanted to show that side of us… It’s just about enjoying it. Feel it the same way.

Tell us more about Stendhal syndrome, which ended up giving the album its name.

Beéle: It’s the syndrome of being addicted to art. There are people who don’t realize it, but when they see a work of art, a landscape, or hear a song that makes them feel like crying, their hands sweat, or they get a lump in their throat. I think we all experience those kinds of sensations at some point in life, relating to Stendhal syndrome, and connecting it to music felt like a perfect fit because our art is simply being ourselves.

Do you want the album Stendhal to give the audience that same feeling?

Ozuna: Of course, I think I’m already seeing people’s comments on social media connecting with the colors and the vibe. I think people were in a certain mood with a specific sound, and we’re bringing something completely different. Beéle with his Borondo album reminds me of those times when we used to ask ourselves, “What new thing can we do?” Mixing reggaetón, and then we came out with Odisea [Ozuna’s debut album from 2017, which marked his first entry on the all-genre Billboard 200 at No. 22].

What do you feel has been the biggest creative challenge of Stendhal?

Ozuna: I don’t think I found any challenges. Everything flowed so naturally that things just came together on their own. He would throw out a punchline, and I’d throw out another. With the rhythm, we had Flambo on the instrumentals and Cardi recording the vocals, who’s an absolute beast.

Beéle: There came a point where we’d just look at each other and be like… “Yeah, this is it.”

Ozuna: And he would tell me, “Do it again. It could be better, but take it up a notch.”

Beéle: Also, hearing his opinions and thinking, “Wow, I’m in the studio with him,” for me, it was something surprising and totally new. The whole time, it was about enjoying each other’s input. It was super organic.

What is the most valuable lesson you take away from Stendhal and this friendship?

Beéle: I think the craziest thing for me was just laughing our asses off, cracking up because we realized we made a f–king amazing album. It was out of this world, like sitting there and saying, “D–n, we didn’t even realize it — it all happened so fast.”

Something I admire about Ozuna is that, despite all the years since he started his career, no matter what happens along the way or in the process of chasing his dreams, the most important thing is to have fun. The crazy thing is, imagine when hunger meets the craving to eat. [Laughs.]

Ozuna: What I truly take away from Beéle is his consistency. The consistency in his work and in always keeping his music at a high level. No matter the time, whether we spend eight hours or an entire day on one single bar or a small part of the track, that’s what I take with me. Because I was really used to a routine where we’d go to the studio and everything would just come out automatically, but no, there’s always something more to discover, and with this album, I discovered a lot about myself.

Beéle: What really surprised me is how organized he is. If he knows something needs to get done, this guy can go 38 or 47 hours without sleeping. He’ll outlast anyone. I don’t even know where his off switch is. Polo [he shouts laughing to a member of Ozuna’s team], where do you turn him off?

Is there a song out of the 14 that represents both of you, or each of you individually?

Beéle: “Ale.” I feel like it represents both of us.

Ozuna: Yes, “Ale” represents our acquired taste, as Beéle says. It represents the night for us — we like going out, we’re not the type to… maybe go out during the day. It’s like, our day starts after 6:00 a.m. And our minds are filled with so many ideas, so much content to express, that like the lyrics say: “My mind is a museum, and no one will understand us.” People only understand us through music. But my favorite is “Volcán.”

Beéle: And mine is “Se Ve.” That song is meant to be shouted out, bro.

The album includes references that have surprised many, starting with the iconic line from the series Pablo Escobar: El Patrón del Mal that opens “Ale.” Whose idea was that?

Beéle: I had mentioned it, and at that moment, he said to me, “I saw a TikTok about that this morning.” And I was like, “Bro, we’re connected, let’s use it.” And that was it. Any random idea we came up with was like, “OK, let’s go with it.”

Ozuna: Yes, it was always 50/50, the whole album is a 50/50 collaboration.

And the sampling of “Aserejé” by Las Ketchup in “Te Culié”?

Beéle: That was Ozuna’s idea, you know.

Ozuna: No, it’s really Dominican blood… the dembow and all. We had a producer friend of ours who makes dembow, and we were looking to do something different from what we had already done in afro. It was 6:00 a.m. in Ibiza, and we had a huge speaker outside, and we wanted to do something really, really, really different. Then Beéle came out with the phrasing of… [mimics the rhythm of the song’s chorus], and I said, we have to make a dembow with that tempo.

Beéle: Well, you know that in [the Dominican Republic], dembow has that sampling vibe, where many songs are sampled. So the producer sent over several references, but for us, it was… “La quechu, la quechu, la quechu” (referring to Las Ketchup). It turned out so fire. We came to the conclusion, amidst all the philosophical things one could say about life and the facts, that… there’s no “miseducation.” (Laughs).

And what about Aventura’s classic “Enemigos” in your song of the same title?

Beéle: That one has its own vibe, and there are people who don’t want to admit it. Look, the lyrics of that song speak the truth: There are those who won’t accept that we’re sleeping with the wrong people. “Mami, we need to go back to sleeping together.” That idea also came to life with the team, because we were honestly surrounded by amazing people while making this album. In this case, of course, Ovy [On The Drums] and Keityn are like brothers, they’re family, and they brought this idea one day when they also came to Ibiza. And man… it was all just a vibe.

Ozuna: I don’t think we ever went to the studio without creating something.

Which song do you feel flowed the fastest? And which one took a little longer?

Ozuna: “Te Culié” was the quickest one. Right?

Beéle: Yes, “Te Culié.” But I feel like a song we really put a lot of thought and work into was “Innombrable,” because that one went through three different tracks, and even the vocals were changed. One day, I think you [Ozuna] hadn’t arrived yet, you were supposed to get there that day. I sent you a video saying we were going to change the track, and I told Flambo, “This is a jersey [a faster electronic style popular in New Jersey].” In five minutes, Dexter had that magic potion ready, and it was done. But yeah, it didn’t take us that long. It was like a month of chilling while we were apart, sending everything back and forth over the phone. I think we worked on that song all in one day.

What’s the best story or memory you have together from Stendhal?

Beéle: Oh, the most legendary one has to be when we almost got kicked out of Ibiza.

Ozuna: We don’t really know much about the island of Ibiza. We just go there to vacation, and we have a lot of respect for Spain… We were making music at a house, by the pool outdoors, with a huge speaker, just listening to music. Time flew by, and we didn’t even realize it. Morning came, and we had finished the dembow “Te Culié” and were so excited about it that we listened to it like 50 times. At 7:00 in the morning. Apparently, a neighbor called the police and sent them videos like, “Listen to how loud the music is and all the noise.” And in Ibiza, if they catch you doing that kind of thing, they kick you off the island, and you can’t come back. But, well, they didn’t kick us out.

Beéle: The important thing is that everything we did was within the parameters of danger, and nothing happened to us. [Laughs.]

How does Stendhal differ from the projects each of you have done individually?

Beéle: When you love music so much and enjoy what you do, what stands out for me are the moments… It was like living a new stage, a new life. And I think beyond the songs, it’s the memories — the soul never forgets, and the memories are there to enjoy life.

Ozuna: Those memories stay in your mind — sharing the moments that happened, all these songs, the entire process of how it was made — it’s something unforgettable. It’s going to stay with us forever.

What does Stendhal and the union of Ozuna and Beéle represent at this moment in your lives?

Ozuna: Oof… so many things. It represents a new beginning and a new musical challenge, both for me and, I know, for Beéle as well. A lot of learning, getting to know a good person, sharing so many ideas. I know this won’t be the last thing we do together. Before you know it, we’ll be working on something else again.

Beéle: Exactly. Look, for me, making this album was something magical, because it’s like life gave me a slap in the face to open up and trust. In the midst of all the craziness and so many bad people, you can still find good people. And beyond just making an album, we’re brothers, you know? We’re here to support each other. He knows he’s got a gorilla by his side.

What can we expect from Ozuna and Beéle after Stendhal? Do you think you might do a tour together?

Ozuna: A lot of things are coming. We don’t plan; if we plan it, it doesn’t flow the same, and we don’t feel that creative vibe we had when making this album.

Beéle: Yeah, I think it disrupts the vibe.

Ozuna: Yeah, yeah, yeah. It’s going to drop, and you’ll see it. You’re going to say, “This is fire.” Stay tuned. I think I’d also be keeping an eye out. Do what you need to do, but stay tuned — because we’re going to do the same. I’ll call you and call you. I wouldn’t take long.

This interview was originally published by Billboard Colombia.

The Contenders is a midweek column that looks at artists aiming for the top of the Billboard charts, and the strategies behind their efforts. This week, for the upcoming Billboard 200 dated Dec. 27, we look at 21 Savage’s chances to contend for his third straight No. 1 album with his sneak-released latest LP. 

21 Savage, What Happened to the Streets? (Slaughter Gang/Epic): Just when you thought we might be done with major new releases for 2025, here comes the rapper born Shéyaa Bin Abraham-Joseph, better known as 21 Savage, getting in under the wire with his latest. Savage only announced the release of his new album What Happened to the Streets? last Tuesday (Dec. 9) — after teasing a new project the week before with a collaborative art piece at the Art Basel fair in Miami — and then by Friday, the album was out in the world. 

The 14-track effort features the rapper in typically menacing, charming form, and also boasts guest appearances from big-name collaborators Lil Baby, Metro Boomin, GloRilla and his Her Loss partner Drake. The latter teamup, on the song “Mr Recoup” (not to be confused with the two rappers’ previous two-hander “Mr. Right Now”), has given the set its biggest breakout hit thus far, with the song still holding in the top five of the Apple Music real-time chart five days after its initial release — one of the few non-holiday titles in its top 10 — and in the top 40 on Spotify’s Daily Top Songs USA listing. 

Savage will have to do a lot of the damage for his new set on streaming, where he is typically one of the best-performing rappers — though competing with the holiday takeover there, which currently accounts for eight of the top 10 songs on the Billboard Hot 100, may dampen his totals a little. The album is also available for purchase on CD via his webstore, in five different variants (including one signed CD and four versions with alternative cover art), which should help boost sales of the set a little. 

Will it be enough to get Savage past the twin titans of Taylor Swift (who might also have some titles boosted by new vinyl variants by the end of the month whenever those officially ship) and KPop Demon Hunters on the Billboard 200 — not to mention staving off the slowly growing full-length holiday titles? It may depend on the set’s late-week streaming performance, since its early performance on DSPs was solid but not overwhelming. The rapper does have a streak to maintain: He’s topped the Billboard 200 with his last four releases to make the chart — 2019’s I Am > I Was, 2020’s Savage Mode II (with Metro Boomin), 2022’s Her Loss (with Drake) and 2024’s American Dream — having not missed the No. 1 spot yet this decade. 

Pink Floyd, Wish You Were Here (Harvest/Columbia): Pink Floyd’s Wish You Were Here album sometimes gets slightly overlooked within their catalog, coming in the period in between their twin blockbusters Dark Side of the Moon and The Wall. But for Floyd fans, Wish is the band at its absolute greatest, a five-track song suite that hits all the proggy, jazzy conceptual heights you’d want from the band, while also plumbing new emotional depths, and also finding plenty of time to sufficiently rock out in between. 

The 1975 set was recently reissued for its 50th anniversary, in a variety of iterations. The most notable of them is a deluxe box set that includes a new Dolby Atmos mix of the album, along with a hardcover book, new demos, alternate versions and an entire live set taken from the band’s ‘75 performance at the Los Angeles Sports Arena. (The bonus tracks are also available for streaming on DSPs.)

With Pink Floyd still a top-seller a half-century later — Dark Side remains on the Billboard 200, just seven weeks away from 1,000 total on the chart — it should sell enough to get Wish back in the chart’s top tiers, though a return to No. 1 (where it reigned for two weeks in ‘75) seems unlikely. 

Michael Bublé, Christmas (143/Reprise): As always, you can’t count out the Bub at this time of year. His Christmas, a Billboard 200-topper in its inaugural 2011 holiday run, once again leads the pack in the slow seasonal swarm of the chart, climbing 6-4 on the listing this week. There’s no major new promotion or re-release of the set to speak of, so it will need to rely on typical holiday momentum to propel it to the top spot. But that momentum seems to start earlier and grow stronger every year in the streaming era, and if it’s not a true contender for No. 1 next week, watch out the week after, when it’ll have an entire tracking week to lead up to a Thursday Christmas. 

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

UGG isn’t just making boots anymore.

While the footwear brand is best-known for their boots and slippers, UGG has introduced another must-have item to their collection: these ultra-soft UGG sheepskin earmuffs, which feature built-in Bluetooth wireless capabilities so you can listen to music while staying cozy.

The earmuffs and headphones-hybrid is available now at the UGG store, just in time for holiday gifting. These earmuffs combine warmth with high-quality sound, allowing you to enjoy all your favorite songs, from Sabrina Carpenter’s catchy hits to Charli XCX’s “Brat Girl” jams.

Unlike other earmuffs, which are solely designed for warmth, these UGG earmuffs wrap their luxurious sheepskin around a pair of wireless headphones. Though they’re hidden under the soft and gentle material, the headphones deliver surprising clear and crisp sound. And the stretchy headband makes it comfortable to wear these for hours on end. Whether you’re heading out for a walk, layering up for a chilly evening, or traveling on your holiday commute, these earmuffs are a great companion to keep you warm and stylish.

These one-of-a-kind earmuffs are a great gift idea for music lovers — think of it as a 2-in-1 holiday gift that combines comfort and practicality. The 100% shearling material provides exceptional softness and insulation, while the wireless Bluetooth technology lets you listen to music without needing to plug in. You can get these UGG sheepskin earmuffs in two different colors: chestnut and black.

For more product recommendations, check out Shop Billboard’s roundup of the best Ugg boots to add to your shopping list, these Ugg Slippers and these Ugg Classic Maxi Toggle Boots.

Illenium launches his six show residency at Sphere Las Vegas in March and announced the lineup of support acts for these shows on Wednesday (Dec. 17).

The residency will feature one fellow artist per night, with Brazilian titan Alok kicking off the proceedings on March 5. He’ll be followed by Dabin and Said the Sky playing as Dab the Sky on March 6. Bass hero Wooli will do the honors on March 7, bass trio Levity, melodic king Audien and dubstep don Ray Volpe will appear the following weekend, March 12-14. The last weekend will feature a trio of bass heroes, with Slander, Shaquille O’Neal playing as his DJ Diesel alias, and Tape B rounding out the bill.

With the run, Illenium will become the second electronic artist to ever have a residency at Sphere, following Anyma’s residency that began at the tail end of 2024. Illenium’s show is titled Odyssey, and is coming in tandem with an album of the same name, set for release Feb. 6 via Republic Records.

“Odyssey is a journey of self discovery and acceptance,” Illenium said in a statement upon announcing the album and residency in September. “It’s a moment where fans feel understood, a space where we’re all together and present for that same emotional escape. I’m looking forward to welcoming everyone to this experience, especially at Sphere.”

A press release about the album shared at the time of its announcement also noted that Sphere “will be the only place fans will be able to experience Illenium’s forthcoming sixth studio album live.”