Dolly Parton said she’s doing her best following the death earlier this month of her beloved husband of nearly six decades, Carl Thomas Dean. After a surprise appearance at the 40th season celebration at her Dollywood resort in Pigeon Forge, TN, last week, the singer spoke to Knox News about how she managing life without Dean, who died on March 3 at age 82.

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“I’m doing better than I thought I would,” Parton said. “I’ve been with him 60 year. So, I’m going to have to relearn some of the things that we’ve done. But I’ll keep him always close.” Parton added that Dean — who was publicity-shy and more than happy to let his famous wife take all the spotlight over their long marriage — suffered “a great deal” near the end. “I’m at peace that he’s at peace,” she said of the love of her life, who she met when she was 18 and he was 23. “But that don’t keep me from missing and loving him.”

Parton, of course, poured her grief out in the only way she knows how days after Dean’s death, releasing the moving ballad, “If You Hadn’t Been There,” an homage to the stoic support her husband offered her throughout their life together. “If you hadn’t been there/ Where would I be?/ Without your trust/ Love and belief/ The ups and downs/ We’ve always shared/ And I wouldn’t be here/ If you hadn’t been there,” Parton sings on the track.

“If you hadn’t been there/ Well, who would I be?/ You always see the best in me/ You’re loving arms have cradled me/ You held me close, and I believe,” she adds on the song before leaning into the loving chorus: “I wouldn’t be here/ If you hadn’t been there/ Holding my hand/ Showing you care/ You made me dream/ More than I dared/ And I wouldn’t be here/ If you hadn’t been there.”

In her trademark chin-up style, Parton told Knox that there is a “hole in my heart… but we’ll fill that up with good stuff and he’ll still always be with me.”

Though Dean was happy to stay off the radar, Parton also talked about how he loved visiting Dollywood, often standing in line to purchase his own ticket because “he didn’t want somebody giving him a ticket ’cause he was Dolly’s husband. Everybody thinks that’s the funniest thing.” In fact, he’d go alone, snack on funnel cakes and give his wife notes on improvements, saying things like, “‘You need more bathrooms’… or he would say, ‘You need to tell them this or that. It’s crowded over in that area. You might want to tell them they ought to do this or that.”

In his honor, Parton said she plans to hit up Dollywood and “do like Carl” and “walk around, look at everything.” The interview came after Parton made her first public appearance since Dean’s death on March 14, where she thanked Dollywood guests for their love and support.

Hours into their Billboard Women in Music photo shoot, the members of aespa are goofing off. High-pitched giggles reverberate through the studio as Winter, Karina, Ningning and Giselle tickle one another’s sides, talk in silly voices and play with the straps on their leathery stage outfits.

It’s mesmerizing to watch the four early-20-somethings be so, well, real, not just because they’re one of K-pop’s most polished acts — which they demonstrate by immediately snapping back into place once the photographer is ready again — but also because ­aespa has a particular penchant for the surreal. The SM Entertainment group debuted in 2020 with K-pop’s first lineup to feature both human and virtual members, pairing each girl with an artificial intelligence (AI) avatar as part of a cyberpunk musical metaverse marked by dark, 808-laced hyperpop and edgy-chic outfits.

Join us at Billboard Women in Music 2025 — get your tickets here.

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Ever since, the act has leveraged its niche into unprecedented crossover success — in November, mini-album Whiplash made it the first K-pop girl group to have six projects reach the Billboard 200 top 50, and it just wrapped its second global arena tour — and a reputation for being one of the genre’s “most adventurous and contemporary” groups, as its “Over You” collaborator Jacob Collier put it to Billboard in January.

But going forward, 2025’s Billboard Women in Music Group of the Year also wants to focus on something potentially even more subversive: showing that beneath the personas, its members are just those real-life girls blowing off steam between camera flashes. “We’re not actual AI; we do have days where we don’t feel the best,” Giselle says once the foursome has squeezed together on a couch. “Our storyline can be fun to keep up with, but I want fans to look up to aespa for our human traits, too.”

Karina of aespa photographed February 10, 2025 in New York.
Karina

Why do you think aespa has made a name as trendsetters?

Giselle: There’s always going to be trends, but we don’t follow them because we can’t. We have our own story to tell that was set from the start.

Winter: We usually talk about ourselves more than love [in our lyrics]. We’re the main characters of our stories.

Karina: We’re honest. Of course, you have to be professional and present your best self, but we also try to show the not-perfect side. We’re not trying to filter everything or over-mask ourselves.

Giselle of aespa photographed February 10, 2025 in New York.
Giselle

What’s next in aespa’s evolution?

Ningning: We did start out with our avatar concept, but now we’re also trying really hard to explore different concepts and themes. In the future, there may be moments where the fans don’t see the avatars.

Karina: We want aespa to be a really stylish group, not only in fashion and music, but also in terms of versatility and excelling in every genre. I also want all our members to shine individually when we’re together and even when we’re not together.

aespa photographed February 10, 2025 in New York.
From left: Ningning, Karina, Giselle, and Winter of aespa photographed on February 10, 2025 in New York.

Who are your favorite artists/dream collaborators at the moment?

Ningning: Doechii. I’d just really like to meet her.

Winter: Billie Eilish. She’s so good at expressing her honest feelings through her music.

Karina: Olivia Dean. Whenever I need to find composure, I listen to her.

Giselle: SZA. Her music is so hard to get sick of — and very relatable.

aespa photographed February 10, 2025 in New York.
Winter

As a girl group, how do you support one another?

Ningning: We’re all from different countries and environments, but we’ve been doing this for five years. They’re always there for me. Working with this mindset that we’re in this together makes it easier to handle challenging situations and emotions.

Winter: I don’t think we could’ve made it through this alone. We’ve had to overcome certain obstacles, but with each other’s support, we were able to move forward. (Karina giggles as Giselle starts poking her ­affectionately.) These girls are all very precious to me.

Ningning of aespa photographed February 10, 2025 in New York.
Ningning

This story appears in the March 22, 2025, issue of Billboard.

Hours into their Billboard Women in Music photo shoot, the members of aespa are goofing off. High-pitched giggles reverberate through the studio as Winter, Karina, Ningning and Giselle tickle one another’s sides, talk in silly voices and play with the straps on their leathery stage outfits. It’s mesmerizing to watch the four early-20-somethings be so, well, real, not just because they’re one of K-pop’s most polished acts — which they demonstrate by immediately snapping back into place once the photographer is ready again — but also because ­aespa has a particular penchant for the surreal. The SM Entertainment group debuted in 2020 with K-pop’s first lineup to feature both human and virtual members, pairing each girl with an artificial intelligence (AI) avatar as part of a cyberpunk musical metaverse marked by dark, 808-laced hyperpop and edgy-chic outfits.

Ever since, the act has leveraged its niche into unprecedented crossover success — in November, mini-album Whiplash made it the first K-pop girl group to have six projects reach the Billboard 200 top 50, and it just wrapped its second global arena tour — and a reputation for being one of the genre’s “most adventurous and contemporary” groups, as its “Over You” collaborator Jacob Collier put it to Billboard in January.

But going forward, 2025’s Billboard Women in Music Group of the Year also wants to focus on something potentially even more subversive: showing that beneath the personas, its members are just those real-life girls blowing off steam between camera flashes. “We’re not actual AI; we do have days where we don’t feel the best,” Giselle says once the foursome has squeezed together on a couch. “Our storyline can be fun to keep up with, but I want fans to look up to aespa for our human traits, too.”

Read the full Billboard aespa story here. Join us at Billboard Women in Music 2025 — get tickets here.

Beyoncé is doubling down on Sin City. The singer announced on Wednesday (March 19) that she is going to play a second show at Allegiant Stadium on July 26, with tickets slated to go on sale on March 25 at 12 p.m. local time. A BeyHive pre-sale will kick off on Thursday (March 20) at 12 p.m. local, followed by the artist pre-sale on March 24 at 12 p.m. local and additional pre-sales for Citi cardmembers, Verizon Up and Mastercard ahead of the general on-sale.

The new date comes after Bey added a July 25 stop in Las Vegas following the initial announcement of the Cowboy Carter & the Rodeo Chitlin’ Circuit tour last month. Before a single note is sung, the outing is already off to a blazing start. Earlier this week, Billboard reported that barely a month after pre-sales kicked off and six weeks from opening night the global outing is already at 94% capacity across all dates according to figures from promoter Live Nation.

The tour was first announced on Feb. 3 with a roster of 22 shows in eight cities in the U.S. and Europe, with high demand forcing additional dates to be added in six of the eight markets on the tour celebrating Queen Bey’s Cowboy Carter album, which won album of the year at this year’s Grammy Awards.

When the tour was initially announced, Billboard projected that final earnings of $294 million on sales of 1.1-1.2 million tickets, with the additional dates — not counting the second Vegas show — potentially boosting that figure to more than $325 million.

Check out the announcement and updated full list of Cowboy Carter dates below.

April 28 – Inglewood, CA @ SoFi Stadium

May 1 – Inglewood, CA @ SoFi Stadium

May 4 – Inglewood, CA @ SoFi Stadium

May 7 – Inglewood, CA @ SoFi Stadium

May 9 – Inglewood, CA – SoFi Stadium

May 15 – Chicago, IL @ Soldier Field

May 17 – Chicago, IL @ Soldier Field

May 18 – Chicago, IL @ Soldier Field

May 22 – East Rutherford, NJ @ MetLife Stadium

May 24 – East Rutherford, NJ @ MetLife Stadium

May 25 – East Rutherford, NJ @ MetLife Stadium

May 28 – East Rutherford, NJ @ MetLife Stadium

May 29 – East Rutherford, NJ – MetLife Stadium

June 5 – London, UK @ Tottenham Hotspur Stadium

June 7 – London, UK @ Tottenham Hotspur Stadium

June 10 – London, UK @ Tottenham Hotspur Stadium

June 12 – London, UK @ Tottenham Hotspur Stadium

June 14 – London, UK @ Tottenham Hotspur Stadium

June 16 – London, UK @ Tottenham Hotspur Stadium

June 19 – Paris, France @ Stade de France

June 21 – Paris, France @ Stade de France

June 22 – Paris, France @ Stade de France

June 28 – Houston, TX @ NRG Stadium

June 29 – Houston, TX @ NRG Stadium

July 4 – Washington, D.C. @ Northwest Stadium

July 7 – Washington, D.C. @ Northwest Stadium

July 10 – Atlanta, GA @ Mercedes-Benz Stadium

July 11 – Atlanta, GA @ Mercedes-Benz Stadium

July 13 – Atlanta, GA @ Mercedes-Benz Stadium

July 14 – Atlanta, GA @ Mercedes-Benz Stadium

July 25 – Las Vegas, NV @ Allegiant Stadium

July 26 – Las Vegas, NV @ Allegiant Stadium

Smashing Pumpkins leader Billy Corgan and wife Chloé Mendel welcomed their third child on Tuesday (March 18). The couple shared the news with People magazine, revealing that Juno Corgan was born during the “wee hours” at the couple’s Highland, Park, IL home and weighed 9.9 lbs. and was 22 inches long.

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“My wife, Chloé is doing well and recovering, and baby Juno is happy, healthy, and nursing with gusto,” Corgan told the magazine. “We are so touched by all the kind wishes of support and love, and thank those who helped Chloé and baby have such a safe, and peaceful, home birth.” The rocker added that the couple’s other children, son Augustus Juppiter, 9, and daughter Philomena Clementine, 6, are “absolutely thrilled by their new sister [and]… can’t wait till she’s old enough to play.”

The couple revealed last August that they were expecting their third and shared a picture with the newborn with People, in which Juno is snuggled between them as Corgan cradles an acoustic guitar. In addition to diaper duty, Corgan has a lot of other irons in the fire, including owning the National Wrestling Alliance and recently launching the Magnificent Others podcast, where he’s had long-form chats with everyone from KISS bassist/singer Gene Simmons, to Tom Morello, Sharon Osbourne, Wolfgang Van Halen, songwriter Diane Warren and Howie Mandel.

He also announced earlier this month that he is planning to celebrate the 30th anniversary of the Pumpkins’ landmark double-album, Mellon Collie and the Infinite Sadness with an event he’s calling A Night of Mellon Collie and the Infinite Sadness at the Lyric Opera of Chicago for seven evenings beginning Nov. 21; tickets for the event will go on sale on April 11.

In the meantime, the Pumpkins continue their Aghori Tour, with a run of dates in Europe slated for July and August.

In a first for a music streaming company, Paris-based Qobuz has publicly released the per-stream royalty rate it pays to rights holders. Qobuz tells Billboard it paid out an average per-stream royalty rate of $0.018732, or 1.8782 cents, in the 12 months ended March 31, 2024. That all-in rate, which covers both recorded music and publishing, works out to $18.73 for every 1,000 streams. 

“Today, we are taking this step for greater transparency,” Qobuz deputy CEO Georges Fornay said in a statement. “Our payout rates are now public. This unprecedented move in our industry is a necessary first step toward promoting a fairer and more sustainable streaming model. Choosing Qobuz means taking concrete action for fairer compensation for all artists and supporting musical diversity, values that our customers cherish.” 

One reason streaming companies haven’t released their per-stream royalty rates is because royalties aren’t paid on a simple, per-stream basis. Rather, royalties are the result of complex calculations based on such factors as market share and guaranteed minimums. Qobuz admits as much in the press release announcing its first-of-its-kind calculation, which was conducted by a major accounting firm. “It should be noted that the methods of payment to labels and publishers are not systematically based on remuneration per stream,” it reads. “Calculation methods may vary from one contract to another.”  

Nevertheless, the per-stream royalty rate has persisted as a popular metric for gauging streaming services’ value to artists and rights holders. And although Qobuz is often mentioned as the platform with the highest per-stream rate, there are no official numbers to show its place in the royalty hierarchy. Companies have disclosed the amounts of royalties paid annually and cumulatively, but never, until now, on a per-stream basis.

At approximately $0.0187 cents per stream, Qobuz ranks well ahead of its peers, based on the limited, imperfect information available. The best comparisons come from music catalog investor Duetti, which released its own calculations in January for per-stream rates paid to independent artists. That report said the average royalty for master recordings—excluding the publishing component that Qobuz included—was $0.00341 per stream in 2024, though Qobuz wasn’t included in those rankings. Publishing typically accounts for approximately 20% of music streaming content costs, which would put Qobuz’s recorded music per-stream royalty at approximately $0.015—4.4 times the average on Duetti’s list. 

Amazon ranked first on Duetti’s list at $0.0088 per stream and was followed by TIDAL at $0.0068, Apple Music at $0.0062 and YouTube at $0.0048. Spotify’s $0.003 per-stream payout was lower than its peers because of high usage, geographical mix, reliance on free and discounted plans and Discovery Mode, through which artists accept a lower royalty in exchange for in-app promotion.  

One reason Qobuz pays relatively well is because it charges a relatively high price. Average revenue per user (ARPU) at Qobuz is $121.13 annually or $22.38 per month, while Spotify’s latest ARPU (for the quarter ended December 31, 2024) was 4.85 euros ($5.29). In the U.S., Qobuz charges $12.99 per month—$1 more than Spotify’s music-and-audiobook tier—or $129.99 per month when purchased annually. In its home country of France, Qobuz charges 14.99 euros ($16.35) per month or 149.99 euros ($163.55) annually. That’s 34% higher than the 11.12 euros ($12.13) per month Spotify charges. 

The company cited other aspects of its business that result in the relatively high royalty rate. Qobuz does not have an ad-supported tier that would pay less than subscriptions. Additionally, the platform provides greater valued through uncompressed files and high-resolution audio, which, along with “exclusive editorial content,” merit a higher price, the company says. And Qobuz highlights artists and genres—jazz and classical, for example—that are underrepresented at other streaming platforms. As a result, the company argues, more revenue is generated for a wider range of artists.  

Geography also plays an important role in the size of Qobuz’s royalties. In the 26 markets where where Qobuz is available—including the U.S., Japan, U.K., Germany, France, Sweden and Canada—consumers tend to spend money on music subscriptions. The service is not available in many emerging countries such as India where subscription prices are low and listeners overwhelmingly opt for free, ad-supported options. And while Qobuz available in places like Mexico and Brazil where subscription costs are lower, it costs more than its competitors in those markets. In Mexico, for example, Qobuz’s monthly price is 150 pesos ($7.49) to Spotify’s 129 pesos ($6.44). In Brazil, Qobuz costs R$25.90 ($4.59) to Spotify’s R$21.90 ($3.88). 

The difference between Qobuz and its peers may narrow over time as royalty rates improve—slightly—in the coming years. Spotify, according to reports, plans to launch a higher-priced plan that includes high-quality audio. Various companies are taking measures to marginally improve payouts. Deezer, for example, has changed its royalty scheme by demoting AI-created tracks, removing “non-artist noise content” and provide better payouts to what it terms “professional artists.” Spotify changed its royalty payout scheme in 2023. As more platforms follow suit, average royalty rates should inch upward.

King Stingray has announced the departure of lead vocalist Yirrŋa Yunupiŋu just as the band prepares to embark on their massive For The Dreams national tour.

The announcement was shared via the band’s social media on March 19, confirming that Yunupiŋu, who co-founded the band in 2020, will no longer be part of the lineup. Stepping into the role is Ngalakan Wanambi, who has already performed with King Stingray on their recent U.S. tour.

“Hey everyone, we’ve got some news to share – King Stingray and Yirrŋa have parted ways,” the band wrote. “To keep the fire burning, we’re stoked to introduce the deadly Ngalakan Wanambi stepping up on vocals. He absolutely smashed it with us on our recent U.S. tour, and as always, our main man, Dima Burarrwanga, will be bringing the energy as he always does.”

Formed in Yirrkala, a remote community in Arnhem Land, King Stingray quickly made a name for themselves with their blend of Yolŋu rock, seamlessly fusing Indigenous sounds with surf-rock and alternative influences. Yunupiŋu, the nephew of the late Dr. M. Yunupiŋu of Yothu Yindi, co-founded the group with guitarist Roy Kellaway, the son of Yothu Yindi bassist Stuart Kellaway.

With Yunupiŋu as lead singer, King Stingray released their self-titled debut album in 2022, followed by For The Dreams in November 2024. The band has since been at the forefront of Australia’s contemporary music scene, winning critical acclaim and multiple awards, including an ARIA for Best Independent Release.

Their For The Dreams national tour kicks off March 21 at Sydney’s Hordern Pavilion, followed by stops in Brisbane, Adelaide, Melbourne, and Fremantle. Special guests Beddy Rays and The Belair Lip Bombs will join them on select dates.

Despite the lineup change, the band assured fans that the tour will retain the signature King Stingray energy. “This For The Dreams tour is gonna be something really special – same King Stingray spirit, same unstoppable Yolŋu rock and a whole lotta love,” they wrote.

Australia has fallen out of the top 10 global music markets for the first time in nearly three decades, according to the International Federation of the Phonographic Industry’s (IFPI) latest Global Music Report.

The annual report, released this week, ranks the world’s largest music markets based on recorded music revenues, with the United States, Japan, and the United Kingdom retaining their long-standing dominance in the top three positions. However, for the first time since at least 1996, Australia is absent from the top 10, with Mexico overtaking it to claim the final spot.

Despite this shift, recorded music revenues in Australia continue to rise. The IFPI report states that revenues in Australasia reached $629 million in 2024, reflecting a 6.4% increase, with Australia specifically seeing a 6.1% boost. Similarly, New Zealand experienced a 7.8% revenue increase. Yet, these figures were not enough to maintain Australia’s position in the ranking, as markets like Mexico saw even more rapid growth, with a 15.6% increase, while Brazil, now ranked ninth, grew by a staggering 21.7%.

Historically, Australia has been a formidable player in the global music industry, reaching as high as No. 6 on the IFPI’s ranking in 2004 and holding that position again from 2007 to 2015. In recent years, however, the country has hovered on the edge of the top 10 before finally dropping out in 2024.

This decline raises questions about the factors influencing Australia’s global standing. While growth remains steady, the rapid expansion of emerging markets suggests a shift in industry investment and audience engagement. Countries like Mexico and Brazil have seen increased investment in A&R, marketing, and local talent development, contributing to their rising influence on the international stage.

The IFPI’s Global Market Overview offers an optimistic outlook overall, noting that worldwide music revenues increased for the tenth consecutive year, growing 4.8% to a total of $29.6 billion. “The growth tells a story of an industry that continues to evolve and adapt around the world – with every region experiencing growth,” the report states.

However, the challenge for Australia lies in securing a stronger foothold in the global landscape amid this evolving market. Recent figures from ARIA indicate six consecutive years of revenue growth in Australia’s recorded music sector, but the nation’s industry leaders may need to explore new strategies to regain their competitive edge. Increased investment in local artists, a greater push for international market penetration, and innovations in streaming and digital distribution could all be key to Australia reclaiming its spot in the global top 10.

The full IFPI Global Music Report is available for review, providing further insights into the shifts shaping the industry in 2025.

Marty Callner, the acclaimed director responsible for numerous music videos, concert specials, and stand-up performances, has passed away at the age of 78.

Per The Hollywood Reporter, Callner’s representative Gail Parenteau confirmed that the director passed away at his home In Malibu from natural causes on Monday (March 17).

Born in Chicago in 1946, Callner’s directorial career began while working for Cincinnati’s WCPO-TV in their news department, moving on to commercials and then sports until the mid-’70s. During this time, Callner began working for HBO, ultimately helping to set the standard for live comedy specials while serving as director of their On Location series.

Helming specials featuring Robert Klein, Redd Foxx, Robin Williams, and Myron Cohen, Callner also directed 1981’s The Pee-Wee Herman Show, having discovered comedian Paul Reubens at The Groundlings in Los Angeles. Callner shifted his focus towards music with names such as Diana Ross, Paul Simon, and Liza Minnelli, before rising to prominence as an unsung hero of the entertainment world through his prolific career directing music videos.

Alongside videos for beloved names such as Stevie Nicks, Pat Benatar, Heart, and The Bangles, Callner was responsible for some of the most memorable music videos in history. His impressive resumé includes Cher’s “If I Could Turn Back Time,” Twisted Sister’s “We’re Not Gonna Take It” and “I Wanna Rock,” Whitesnake’s “Here I Go Again” and “Is This Love,” Poison’s “Every Rose Has Its Thorn,” and numerous clips for Aerosmith, including “Livin’ on the Edge,” “Dude (Looks Like a Lady),” and “Love in an Elevator.”

Callner’s career would also boast numerous live concert specials, including a number of famed pop stars of the ‘90s and ‘00s. Madonna’s The Girlie Show: Live Down Under, Britney Spears’ Live From Las Vegas, Justin Timberlake’s FutureSex/LoveShow, and NSYNC: Live from Madison Square Garden.

Despite ten Prime Emmy Awards nominations, Callner didn’t win any during his lifetime, with his work on Jerry Seinfeld: I’m Telling You for the Last Time, Robin Williams: Live on Broadway, and the Rolling Stones: Forty Licks World Tour Live at Madison Square Garden all receiving nods at the turn of the century.

Callner is also remembered as the creator of HBO reality sports documentary series Hard Knocks, which has run since 2021 and takes viewers through the trials and tribulations of an NFL’s team’s pre-season preparation for the upcoming season.

Gloria Estefan is ready to return to her roots with her first Spanish-language album in 18 years. First thing Thursday (March 20) — the start of the spring equinox — the Cuban-American superstar released the first single from the set, written by her producer-husband Emilio Estefan and aptly titled “Raíces” (Roots).

“Always enjoy the moments because you never know what surprises life will bring,” Estefan sings, expressing how love and life are very much like planting seeds. “If you want a good harvest, you need to know how to sow/ With faith and dedication, that tree will grow roots.”

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“The song ‘Raíces’ touched my soul the first moment I heard it,” Gloria Estefan tells Billboard Español. “Being a Virgo, my connection with nature is strong, and I see life as a garden, with love as the seed. I believe that what you cultivate with kindness, patience, and faith will one day bloom into joy.”

She adds: “It is important not to miss the opportunity to express love because every sincere word and gesture plants the roots of a beautiful tomorrow — and that is what this song is all about.”

Recorded at their Crescent Moon Studios in Miami, “Raíces” is a tribute to the rhythms that have defined Estefan’s sound: salsa, tropical beats, classic Latin music. The song will also give its title to her new album — the 30th in a 50-year career — which will be released at the end of May under Sony Music. It will be her first fully Spanish-language album in 18 years, since 90 Millas, which debuted and spent three weeks at No. 1 on the Billboard Top Latin Albums chart in October 2007.

“For me, recording in Spanish again was a contribution to our music,” Emilio Estefan tells Billboard Español, noting that they worked with “great musicians, engineers, and industry professionals” and that he personally wrote almost the entire album because “I wanted it to reflect our essence: Gloria’s sound and mine.”

“[When we started], I remember people telling us that our sound would never work and that we should change our last name. But we understood the value of our culture and our roots,” he explains, referring to their beginnings in the mid-1970s with the Miami Sound Machine. “When Gloria reached the top of the charts worldwide [singing in English], we took a big risk and decided to record Mi Tierra, an album that represented one of our greatest victories.”

The iconic first LP by Gloria Estefan in Spanish from 1993, which included hits like “Mi Tierra” and “Con Los Años Que Me Quedan,” spent a whooping 58 weeks at No. 1 on Top Latin Albums. More than three decades later, the renowned Cuban producer and musician along with the singer-songwriter present “a letter of gratitude to the fans, to the press, to those who believed in us, and to the city of Miami, which watched us grow and then allowed us to bring our music to the whole world.”

“It is a moment full of emotions for Gloria and me, a celebration of our culture and our audience,” Emilio Estefan says. “The most beautiful thing about a career is being able to leave a legacy of gratitude.”

Check out the music video for “Raíces” below.