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.

Omar Courtz, Por Si Mañana No Estoy (Mr. 305 Records/Rimas Entertainment)

Por Si Mañana No Estoy finds Omar Courtz electrified — in a heightened position and spitting sharp verses, following the breakthrough success of Primera Musa (2024). Yet what makes this second full-length release so compelling isn’t just the growing scale of Omar’s star power but his sharpened lyrical prowess and fearless delivery. The 18-track album feels like a deliberate evolution, where Courtz embraces vulnerability, power and risk, carving out a sound that’s unmistakably his. Fusing reggaetón, trap, R&B, Afrobeats and electronic textures into a seamless sonic journey, the star is helping shape Puerto Rico’s music landscape. With standout collaborations with artists like Eladio Carrión (“Moonlight”) and Myke Towers (“What U Need? (SexPlaylist 2)”), as well as solo gems like “Lakenoshi,” he proves he’s arrived and comfortably designing his own lane in today’s Latin music scene. — ISABELA RAYGOZA

Justin Quiles, Lenny Tavárez, Superarte (No Somos Un Duo/Warner Music Latina)

Justin Quiles and Lenny Tavárez have further solidified their bromance with their first joint album, Superarte. Home to 12 tracks, the set is a explosion of rhythms that navigates from merengue to cumbia to soca music, without losing touch of that reggaetón and perreo DNA that best characterizes who Justin and Lenny are as artists. “I think we overcame many fears with this album” Tavárez told Billboard. “It’s very complete and we named it this way because we are super dads, super friends, super artists, super composers.” On the album, the Puerto Rican artists — not to be confused as a duo, because they each lead their own fruitful solo careers — record with collaborators like J Balvin, Eladio Carrión and Sech. “We’ve been working on this album for an entire year, and I think we’re inseparable right now,” Quiles added. — JESSICA ROIZ

Laura Pausini, “Mariposa Tecknicolor” (Warner Music Italy)

Laura Pausini reinterprets Fito Páez’s 1994 classic in a vibrant version that retains its rock-pop spirit. Arranged and produced by the artist herself along with her husband and guitarist, Paolo Carta, the song showcases a more provocative and refreshing side of the Italian superstar, better known in the Spanish-speaking world for her pop anthems and romantic ballads. Accompanied by a dazzling music video filmed in Rome and directed by Gaetano Morbioli, “Mariposa Tecknicolor” is the latest single from Pausini’s upcoming covers album, Yo Canto 2, due out on March 13. – SIGAL RATNER-ARIAS

Tainy, Rauw Alejandro & Jhayco, “Rosita” (NEON16)

“Rosita” brings together three undeniable forces in Latin music — Tainy, Rauw Alejandro, and Jhayco — for a track that feels slinky and experimental. Anchored by Tainy’s masterful production, the song’s undulating reggaetón foundation intertwines with futuristic electronic textures, giving it a glimmering pulse. Packed with flirtatious lyrics and double entendres, the single harkens back to the genre’s late ‘10s era, brimming with playful energy, seduction and allure. Released alongside a video directed by Stillz, “Rosita” offers a tantalizing glimpse into Tainy’s forthcoming sophomore album, BESTIA. — I.R.

Banda Los Recoditos, “En Coma Inducido” (FONO)

From the very first notes of its opening trumpets and clarinets, the song sets the tone for heartache, with the tambora and charchetas adding the signature touch of Banda Sinaloense. This time, the performance is carried by vocalists Jeypi (Jesús Pérez) and Rafael González, who pour their emotions into the song, making the lyrics hit even harder and instantly connect with the audience. “God, tell me what to do so she’ll come back to me/ But if she doesn’t want to, leave me in an induced coma”, they sing in Spanish. With this track, Banda Los Recoditos kicks off a new chapter, one where romantic songs, heartbreak and deeper emotional themes will play a bigger role in the outfit’s repertoire. “En Coma Inducido” is the first single from its upcoming album, a fresh offering from one of the most iconic groups in regional Mexican music, with over 30 years of hits and success to its name. — TERE AGUILAR

Bajofondo & Cristian Castro, “Se fue el Sol” (Sony Music Latin)

The renowned Río de la Plata collective Bajofondo presents the first single from their new album, OHM, featuring Cristian Castro as a special guest on a song that masterfully showcases the Mexican singer’s vocal versatility — especially in rock, a genre he is passionate about. The track evokes the ’80s electro-pop style of Pet Shop Boys and nods to ’80s hard rock bands like Twisted Sister and Poison, fused with the tango-infused beats of the collective co-founded by Latin rock guru Gustavo Santaolalla and Juan Campodónico. The single is a preview of what listeners can expect from the group’s new LP, whose title comes from the Greek capital letter Omega (Ω), meaning “resistance,” and which Santaolalla has described as “a tribute to electronic music.” The single is accompanied by a fun, dramatic, and exuberant video — filmed in Miami — that shows Castro and the members of Bajofondo in glam rock like never before. — NATALIA CANO

Venesti & Nicky Jam, “Babylon” (AP Global Music)

In a first collaborative effort, Nicky Jam teamed up with Colombian newcomer Venesti on “Babylon.” Co-produced by Jorge Milliano, Tomy B and J-Trons, and written by Gael, Kenneth Vargas, and Derek, the song steers away from Nicky’s signature reggaetón sound, and welcomes the Puerto Rican artist into Venesti’s musical realm — one that’s powered by Latin Afrobeats and pop fusions. The sensual rhythm carries emotional lyrics about ending a relationship and not being able to let go. “‘Babylon’ reflects a very real part of relationships, but at the same time has a rhythm that lifts you up and helps you move forward,” said Venesti in a press statement. Nicky Jam, on the other hand, noted that Venesti “brings a fresh sound, and I think this track shows what happens when you combine different experiences and styles.” — J.R.

Alex Fernández, “Vives en mi” (DBM)

Representing the new generation of mariachi, Alex Fernández brings a fresh sound with touches of pop to Mexican music. “Vives En Mí” carries the distinctive sound of trumpets, guitar and guitarrón, blended with the powerful voice of the heir to one of the most respected dynasties in ranchera music. This ballad, which speaks about how love endures despite physical separation, is an intense and honest effort by Fernández to carve his own path. “You may have plenty who understand you and try to replace me with another. I’m sorry, but it will all be in vain — you live in me, and I live in you,” he sings in Spanish. “Vives En Mí” is the first glimpse of the Mexican singer’s upcoming album, titled Voz de Mi Sangre. — T.A.

Boris Larramendi, Oye (Plus Media)

Cuban rockstar Boris Larramendi unleashes his new studio album, Oye, containing nine songs that are rooted in traditional Cuban rhythms (timba and conga, among others) fused with Latin rock music. With a trajectory that began more than 15 years ago as part of the famed group Habana Abierta, Larramendi demonstrates his lyrical prowess, which takes listeners through his personal and professional evolution. “The lyrics explore the search for happiness through personal freedom and love, with moments of nostalgia, irony, and a critical perspective on the reality of his native country, without relinquishing hope,” he further elaborates in an official statement. Created between 2021 and 2025, Oye was co-produced by Larramendi and Nam San Fong, and recorded with a live band that includes Ivette Falcón on cello, Pável Urkiza on backing vocals, and members of Habana Abierta on the opening track, “Ayer Me Alegré de Verte.” — J.R.

Check out more Latin recommendations this week below:

Bad Bunny is topping the charts in Canada for the first time.

The Puerto Rico native is No. 1 on Billboard Canadian Hot 100 with “DTMF,” which rises all the way from No. 16, while its namesake album, Debi Tirar Más Fotos, rises from No. 5 to No. 1 on the Billboard Canadian Albums chart — both dated Feb. 21.

The chart-topping feat follows the success of Bad Bunny’s Super Bowl Halftime Show, which drew in the fourth biggest audience ever for a halftime set. Dubbed the “Benito Bowl” the performance was a call for unity in America, featuring artists including Lady Gaga and Ricky Martin and featured a Canada namedrop.

It’s the first time a Spanish language works top both charts at the same time.

In the top 10 of the Canadian Hot 100, Bad Bunny lands three other songs, all of which he performed at the Super Bowl: “Nuevayol,” which bounds 33-3 for a new high, and “Baile Inolvidable,” up 38-7, also a new best. Plus, “Tití Me Preguntó,” from 2022’s Un Verano Sin Ti, soars 91-8.

“EOO” momentously rises 70-15 and “Voy A Llevarte Pa PR” climbs 80-20. “Monaco” re-enters at No. 42, “MIA” featuring Drake hits No. 44, “Velda” featuring Omar Courtz & Dei V emerges at No. 52, securing a new peak along with the Jhay Cortex-featuring “Dakiti” Bad Bunny at No. 48. “I Like It,” his collaboration with Cardi B and J. Balvin, moves in at No. 54, “Weltita” featuring Chuwi scores a new high at No. 70 and “Perfumito Nuevo” featuring RaiNao re-enters at No. 88.

Bad Bunny’s hop to No. 1 on the Canadian Hot 100 dethrones Olivia Dean’s “Man I Need,” — which ascended to the top last week after spending 24 weeks on the ranking — and Don Toliver’s Octane, which drops to No. 3 on Canadian Albums.

On Canadian Albums, he scores three additional entries as Un Verano Sin Ti climbs 7-4, 2023’s Nadie Sabe Lo Que Va A Pasar Manana re-enters at No. 53 and 2020’s YHLQMDLG emerges at No. 63.

Bad Bunny’s chart-topping week is a key indicator that Canadians are tuned into Latin music. In 2024, a national report found that the genre was on a red-hot rise, but highlighted its need for support in the music industry. To reflect this, the forthcoming Juno Awards includes a Latin music recording of the year category.

Read more on the chart feat here. — Heather Taylor-Singh

NBA Star Shai Gilgeous-Alexander Becomes Part-Owner of Hamilton’s TD Coliseum

Canadian basketball star Shai Gilgeous-Alexander has now heavily invested in his hometown of Hamilton, purchasing an ownership stake in that city’s downtown arena, the recently rejuvenated TD Coliseum. 

The facility’s developer, U.S. company Oak View Group (OVG), announced the investment did not reveal any financial terms. The 18,000-seat TD Coliseum, originally Copps Coliseum and FirstOntario Centre, was renamed last year after a $300-million renovation and reopened as a music-first venue. Next month it will host the 2026 Juno Awards.

The NBA’s reigning most valuable player and Billboard cover star, the 27-year-old Gilgeous-Alexander plays for the NBA champion Oklahoma City Thunder. His investment is made through his charitable organization, the SGA Foundation, and the partnership includes naming the Ares Atrium inside the venue, as a tribute to his son.

“His investment reflects a desire to help position Hamilton on the world stage and bring world-class entertainment and sports to the city,” touts OVG. Gilgeous-Alexander adds that “growing up in Hamilton shaped who I am, so having the opportunity to help build something special in my hometown means everything.”

As a kid, Gilgeous-Alexander used to travel to Toronto with his younger brother and mother to attend concerts; now, he has helped to bring mainstream music back to Hamilton itself as an investor in the venue, with artists like Nine Inch Nails, Charlie Puth and GIVĒON performing there this year. Last August, Hamilton offered its prodigal son the key to the city and named a street in his honour.

The partnership will include events and programming at the arena through the SGA foundation and a new music production program for kids through the Hamilton Music Collective [HMC]. In partnership with the Kiwanis Boys and Girls Club, HMC has launched the SGA/HMC Musical Futures Production Program, funded through the 2K Foundations SGA Music Program, which will give over 250 young people the opportunity to explore music creation with mentorship by producers, film composers, recording artists and DJs.

Read more here. — Kerry Doole

Executive of the Week: Margaret McGuffin, CEO of Music Publishers Canada on Intellectual Property in the Age of AI

Music publishing is one of the least visible but most powerful forces in the music industry. In Canada, it’s also often one of the most misunderstood.

Canadian artists like Tate McRae, Justin Bieber and The Weeknd are rightfully celebrated for topping the charts, but an equally important export story is unfolding behind the scenes — one driven by songwriters, composers and the publishers who help their work travel the world. As in many other creative fields, Canadian producers and songwriters are well-represented in the writing credits of the world’s biggest hits by artists like Beyoncé, Dua Lipa, Benson Boone, Lady Gaga and Kpop Demon Hunters — even if you don’t know their names.

Margaret McGuffin, CEO of Music Publishers Canada, represents companies responsible for the vast majority of songs heard across streaming platforms, social media, film, television and games. The company creates opportunities for publishers and their clients, educates the industry and public about their role, runs trade missions, advocates and educates through programming and, most crucially at this moment, makes sure their work is properly paid.

As AI threatens to upend copyright for Canadian artists and rightsholders, McGuffin has been a fierce advocate for proper licensing. It’s a stance that others, like SOCAN and many musicians across the country, have also adopted as AI music accelerates.

McGuffin is not against AI, she stresses. In fact, she sees it as a good business opportunity for those in the field. But she wants to ensure that copyright is respected and royalties are paid to the right people.

“The idea that it isn’t possible to license, this is a myth being driven by tech companies who do not want to invest in the creators who are supplying what they’re using,” she says.

As she argued recently in the House of Commons, that doesn’t require a massive overhaul of the legislation. In fact, as her argument goes, the law already covers it. Those suggesting it’s more complicated than that are doing so to avoid paying.

“There is no grey area. People who say there is, don’t want to license,” she says.

Read the full Executive of the Week conversation here. — Richard Trapunski