New Music Latin is a compilation of the best new Latin songs and albums recommended by Billboard and Billboard Español editors. Check out this week’s picks below.

Alejandro Sanz & Rels B, “No Me Tires Flores” (Sony Music España)

Spanish artists Alejandro Sanz and Rels B merge tradition and modernity in their first collaboration, “No Me Tires Flores.” Evocative both musically and lyrically, the pop song with hints of flamenco and rap speaks to the search for true love. “No, don’t throw flowers at me, that’s for the dead/ No, no one is needed, I understand that now/ It doesn’t cost a billion to buy us/ If you love me like I love you, everything is perfect,” they sing together in the chorus, uniting the singer-songwriter’s husky voice with the softer tones of the rapper in a harmonious way. The song was premiered on Sept. 12 during Sanz’s first of six shows at the National Auditorium in Mexico City as part of his ¿Y Ahora Qué? tour. The moment was captured live, becoming the song’s official music video. — SIGAL RATNER-ARIAS

Junior H, “Culpable” (Rancho Humilde/Warner Music Latina)

In the midst of his $ad Boyz Live & Broken tour, Junior H delivers his new single “Culpable.” Written by Junior H and David Álvarez, and produced by Andrés Farías, Cristian Osorio, and Gustavo Farías, the song oozes glam and sensuality while staying true to the Música Mexicana star’s emotional trademark. The artist born Antonio Herrera Pérez is joined by the Macedonian Symphony: Fame’s Orchestra for a soft and jazzy pop ballad à la Luis Miguel in the ’90s. “And if I find out about someone else, if I see you, I’ll be jealous/ I know he’s not the real one, he’s a prisoner/ I’ve been through that, and I’ve even lost my ground,” he chants in the track about love, lust, and guilt. Inspired by “The Great Gatsby” era, the cinematic music video directed by Carlos Reyes Vega (Closrv), John Dela Casa and Seb Espin, shows Junior H having a luxurious lifestyle through his “sad boy” lens. — JESSICA ROIZ

Banda MS & Fuerza Regida, “Seguro Le Dolió” (Lizos Music)

Heartbreak at its finest is the protagonist of this song, an anthem for those hurt by a relationship that didn’t end on good terms. With his rugged vocals, Jesús Ortiz Paz, leader of Fuerza Régida, introduces the story directly: “It sure hurt her, falling from above, from where I put her,” he chants, followed by the softer vocals of Banda MS’ Alan Ramírez: “The so-called princess, one day she lost her manners and she lost me/ Having been the perfect guy was of no use.” Immediately after, the Sinaloa band sounds, and the excellent fusion of two generations of regional Mexican music (with two of the greatest groups) begins. Written by Horacio Palencia, Nathan Galante and Diego Bolela, “Seguro Le Dolió,” which translates to “it probably hurt her,” marks the third collaborative effort between Banda MS and Fuerza Régida. — TERE AGUILERA

iLe, “Si Te Contara” (La Buena Fortuna Music)

With her new single, Puerto Rican singer-songwriter iLe reaffirms her deep understanding of the mystique contained within the bolero genre, a style rooted in the former Calle 13 member’s sonic DNA. “Si Te Contara” marks her own version of the song popularized by Ismael Rivera in 1959 and originally written by Felix Reina. The Latin GRAMMY winner’s interpretation of this second cut from Como las canto yo, her new LP dedicated to bolero, is passionate and dramatic, yet virtuosic, delighting the listener with vibrant rhythms from the Latin American songbook. In a statement, iLe says she has always enjoyed this song for its beautiful melody “that flows well with calm and a contained sadness.” — NATALIA CANO

Israel & New Breed, Coritos Vol. 2 (Integrity Music US)

With Coritos Vol. 2, Israel Houghton & New Breed revitalize 16 Christian music classics, both their own work and iconic hymns of the genre in English and Spanish. Recognized for his impact on contemporary English-language gospel, Houghton returns to Spanish with ease to create this tribute to Latin culture, continuing the project begun with Coritos Vol. 1, released in May. The sequel features Alex Campos on “Te Necesito,” Miel San Marcos on the energetic “Coritos con Miel,” Marcos Witt on the moving “Dios Ha sido Bueno,” and his wife Adrienne Bailon-Houghton, formerly of The Cheetah Girls, on a heartfelt version of “Dios Está Aquí.” Also notable is the participation of Janina Rosado, musical director of Juan Luis Guerra and 4.40, on “Gloria Aleluya.” With impeccable live instrumentation, the musicality shines through from start to finish on this album, where gospel collides with a vibrant fusion of Latin music arrangements. — LUISA CALLE

aLex vs aLex & S.3.R, “centro (aLt)” (omw records)

A hypnotic collision of sensual reggaetón and experimental alt-pop sway, “centro (aLt)” finds New York-based Guatemalan trailblazer aLex vs aLex (Sofía Insua) and Chicago-based Colombian artist S.3.R (Camilo Medina of Divino Niño) reimagining rhythm through intimacy and release. Infused with guaracha-inspired beats, the track invites listeners to lose themselves in its entrancing rhythms and the seamless interplay of bilingual lyrics. Co-written and produced by Medina, “centro (aLt)” builds on aLex vs aLex’s debut EP nyc minute, offering a “looser, sweatier” twist, as Medina describes in the press release. The collaboration marks an exciting fusion of two artists currently pushing the boundaries of Latin alternative music. — ISABELA RAYGOZA

Check out more Latin recommendations this week below:

Tracks from KPop Demon Hunters continue to dominate the U.K’s Singles Charts as three songs land in the top five on the Sept. 19 list.

“Golden,” credited to HUNTR/X, and sung by EJAE, Audrey Nuna and Rei Ami, lands at No. 1 for a sixth consecutive week and its seventh overall. Two other songs from the Netflix movie, Saja Boys’ “Soda Pop” and “Your Idol,” land at No. 3 and No. 5, respectively. This marks the first time that three K-pop songs have concurrently occupied spots in the top five.

On the Hot 100, “Golden” leads for a fifth week, and is now the longest leading hit by an animated act in the chart’s 67-year history. Two cartoon groups reigned for four weeks each: The Archies with “Sugar, Sugar” in 1969, and the Chipmunks with David Seville with “The Chipmunk Song” in 1958.

In the run-up to the release of her sophomore album, The Art of Loving (released Sept. 26), Olivia Dean continues to see success on the Official Singles Chart with three songs landing in the top 10: “Man I Need” spends a fourth consecutive week at No. 2, “Nice to Each Other” lifts two spots to No. 6 and her Sam Fender collaboration “Rein Me In” closes at No. 10.

Sabrina Carpenter has three songs in the top 10 with “Tears” (No. 4), “Manchild” (No. 8) and “When Did You Get Hot?” (No. 9) all performing well. Disco Lines and Tinashe’s “No Broke Boys” round out the top 10 at No. 7.

Ed Sheeran scores the week’s highest new entry with “Camera” making the top 20 (No. 16), and more songs from new LP Play also featuring: “Sapphire” at No. 28 and “A Little More” at No. 26. Play lands at No. 1 on the Official Albums Chart this week, giving the Suffolk-based singer his ninth overall.

Blue Ivy Carter has proved that she’s a gifted performer just by joining mom Beyoncé on stage every night on the Cowboy Carter Tour. But does she ever want to release music of her own?

In an interview with People published Friday (Sept. 19), Tina Knowles shared her thoughts on whether her granddaughter may do just that. “She can do so many things,” she told the publication of Blue.

“She can paint, she writes poetry,” Knowles continued. “Anything she puts her mind to do, she’s good at. So I don’t know what she’s going to do.”

Though the designer thinks her firstborn grandchild would “kill it” if she set her mind to music, Knowles isn’t sure it’s Blue’s path. “I think she would be great at music,” the businesswoman added. “But I don’t think that that’s her passion.”

That said, Blue already has several musical accolades under her belt if she ever does decide to pursue music. In 2021, she became the second-youngest person to ever win a Grammy at just nine years old, taking home best music video alongside Bey for the “Brown Skin Girl” music video. The now-13-year-old was also featured on her mom’s 2014 track “Blue.”

As Knowles pointed out, however, Blue is multitalented. The eldest daughter of Bey and Jay-Z voiced the character of Kiara in Mufasa, and she’s established her dancing chops by joining her superstar mother on stage during the Cowboy Carter trek. Each night, Blue dazzled the crowd by flawlessly nailing Bey’s iconic “Deja Vu” choreography.

Blue also danced on Bey’s Renaissance Tour in 2023 — but not without convincing her mom that she was absolutely ready for the responsibility. “She told me she was ready to perform, and I told her no,” Bey told The New York Times that year.

“She’s having the time of her life, and I couldn’t be more proud of her because she really worked hard,” Knowles told People of her oldest granddaughter amid the Renaissance Tour. “She is 11 years old, and she had one week to prepare, and she’s just getting better and better. So I’m the proud grandma, always.”

When the pandemic shut down live music, many touring bus operators parked vehicles indefinitely, deferred maintenance or sold units into the RV market. But Dreamliner took a different tack. Even in 2020, while tours were grounded, the company took a chance by committing to new builds. 

“We basically started receiving and building new [bus] shells from the early days” of the pandemic, recalls Dreamliner CEO Richard Thomson, who started the company in 2019. He notes that the touring bus “industry already had a supply-demand imbalance” and that the pandemic made it “exponentially worse,” as buses came off the road and bus operators began selling off their fleets to help pay the bills. 
“Fortunately, we were building while no one else was,” he says 

The bet paid off. When touring roared back in 2022 and 2023, Dreamliner emerged with a modern, expanding fleet. In late 2023, the company acquired Hemphill Brothers, the Nashville stalwart long synonymous with A-list coaches, adding roughly 130 vehicles to its 60-unit operation. Overnight, Dreamliner became the market leader. Through aggressive acquisitions and steady fleet investments, it is now the largest touring bus operator in the United States, going from a small California player to a market giant with a fleet of 215 tour buses in less than a decade. 

In the live music economy, tour buses have become indispensable forms of transportation for thousands of touring artists who travel hundreds of miles between venues each night. These buses — rolling hotels and headliner suites — are the lifeblood of touring, carrying artists, bands, and crews from one city to the next long after the encore has ended.  

Now Dreamliner is looking to expand into the consumer market, hoping to launch a weekend business for its buses aimed at college sports fans, bachelor parties and high-end family trips.  Thomson sees an untapped consumer market for short-term rentals — think weekend football games, corporate retreats, national park trips, even bachelorette parties. 

“With 200 buses, there are always going to be gaps” when vehicles are just sitting in the lot, Thomson explains. Tapping into the consumer market can help them maximize each vehicle’s potential. “If someone wants to go to an SEC game with their buddies, tailgate on the way there, and be back in their own bed the next day, that’s possible. You get access to a multimillion-dollar vehicle with a professional driver. It’s like being in the Four Seasons on wheels.” 

The model isn’t cheap, costing $5,000 to $10,000 for a weekend, depending on mileage and driver hours. But split among 10 friends, it’s comparable to a luxury getaway. Booking currently happens via Dreamliner’s website, with staff coordinating drivers, logistics and parking. As awareness grows, Thomson believes consumer rentals could help offset seasonality during slower touring months like November through February. 

Dreamliner’s trajectory underscores how much the bus industry has changed in just a few years. Once dominated by founder-owned regional companies — Hemphill Brothers, Diamond Coach, Night Train — the sector now has a clear consolidator in Thomson, a former financier who entered the market in 2019 and quickly bet big. 

That professionalization has ripple effects. With a fleet of more than 200 coaches, Dreamliner operates at a scale that requires 24-hour on-call support, hundreds of employees and constant reinvestment. “We’re not just some bus company anymore,” Thomson says. “We’re building real infrastructure to support live entertainment at every level”. 

In a business that thrives on movement, Dreamliner is betting on more than just keeping up  —it’s betting on setting the pace, whether for country stars, sports broadcasters or fans looking to turn a road trip into an experience.  

The bus business has long been defined by imbalance. Demand for entertainer coaches consistently outpaces supply, and fleets take years to build. One company, Quebec-based manufacturer Prevost, is the main creator of high-end tour buses which it then sells to Dreamliner [and other companies?] as empty shells that take several hundred thousand dollars to complete. The company offers two bus types: headliner buses which include a bedroom suite and private bathroom for A-list artists like Kenny Chesney, Miranda Lambert and Chris Stapleton, all who lease buses from Dreamliner; and band and crew buses, which include 6 to 12 bunks and usually include a rear lounge in place of a master suite. 

In 2024, Dreamliner moved into trucking, acquiring ShowMotion, which specializes in flatbed trailers for stadium stages, and ShowPro, which handles 53-foot big rigs for audio, video and lighting gear. That diversification gave the company a one-stop footprint in tour logistics. “On the trucking side you’re dealing with production managers, on the bus side you’re dealing with tour managers,” says Thomson. “By connecting those dots, we can be the easy button for transportation – one tour might need 22 trucks, three flatbeds and 12 buses. We can put it together for them and save them a substantial amount of money.” 

Inside the Business of Coaches 

At its core, the bus industry is about reliability and customization. Artists and crews climb aboard after midnight loadouts, sleep while drivers log hundreds of miles and wake up in a new city ready to perform. For that to work, buses must be both durable and comfortable. 

Once Prevost delivers a bus to Dreamliner, it then spends eight to twelve weeks in the company’s Nashville facility getting road ready.  

“We’re considered a second-stage manufacturer,” explains Mark Larson, Dreamliner’s vp. “The first step is built in Canada, and then it comes to us. We wire it, insulate it, build in the bunks, lounges, kitchens and suites. When we’re done, it’s titled and licensed here.” 

The economics are steep. A new “star bus” — the high-end unit reserved for headliners — runs well over $1.5 million to build, with monthly leases around $30,000, before factoring in fuel and driver costs, which can push the lease price up to $40,000 a month. While Dreamliner does have an after-market business selling its older coaches, most tour buses are leased on a monthly or yearly basis, depending on an artist’s touring plans. 

Demand is strongest in summer and fall, when overlapping tours leave fleets completely sold out. “The second half of September, we’re booked solid,” Larson says. “And that’s after adding new buses. The demand is always there.” 

While demand remains strong, the economics of building and operating coaches has grown more complex. “Costs are up across the board — labor, materials, insurance,” says Thomson. “We’ve seen nearly a 30% increase since 2021.” 

Insurance is a particularly heavy burden, doubling or even tripling in recent years. “If insurance goes from $15,000 to $40,000 per coach per year, that’s a massive additional cost,” Thomson notes. Labor inflation has also reshaped shop floors, with companies forced to raise pay for veteran technicians and new hires. 

These rising expenses mirror broader industry challenges. As tours have become more elaborate with larger productions, longer routing and year-round scheduling, the need for dependable rolling tour buses has only grown. Touring economics may fluctuate — 2023 was a record year, while 2025 has seen softer ticket sales and an international-heavy routing — but the underlying demand for buses rarely dips for long. 

Artist preferences vary by genre and lifestyle. For many, the rear master suite — with a queen or king bed and private bath — is non-negotiable. Country stars who essentially live on the road often prefer non-slide buses, maximizing interior width for easier movement while rolling. Pop acts or those using buses as backstage lounges gravitate toward multiple slide-outs, which expand living areas when parked. 

Technology has become the top differentiator. “Starlink is the big request right now,” says Larson. Dreamliner now equips buses with both satellite-based Starlink and multi-carrier cellular systems to ensure streaming connectivity across the U.S. and Canada. Multi-screen entertainment systems, gaming consoles and Bluetooth sound are increasingly standard. 

The company’s ability to customize goes beyond artists. ESPN recently commissioned a Dreamliner coach for its series College GameDay, converting a near-complete studio bus into a rolling broadcast prep room outfitted with seven TVs, recliners and workstations. “It’s plug-and-play,” Thomson says. “Instead of building a temporary media center at every stadium, the bus just rolls up ready to go.”