Bad Bunny is no stranger to turning a look, but at the 2026 Met Gala on Monday (May 4), the Latin superstar had everyone doing double takes–even if it gave them a crick in the neck afterward.

Artificially aging himself with white hair and wrinkle makeup, Benito strolled down the Met Gala carpet, cane in hand, in an all-black suit with a large, flowy bow. Beyond hair and makeup, his body language sold the senior citizen look, too–no surprise, given that he’s set to star in a film about Puerto Rico directed by Residente following acting turns in Bullet Train and Happy Gilmore 2.

Vogue red carpet co-host La La Anthony asked the Billboard Hot 100-topping, Grammy-winning Super Bowl Halftime Show headliner how he continues to one-up himself at the Met Gala. “I don’t know,” he replied. “It’s getting a part of my life, trying to do something different. This day of the Met is a perfect day to explore and be creative and express yourself in a different way.”

As for how long the look took to put together, Bad Bunny joked to Anthony, “53 years exactly. It took a little bit but it’s worth it. I hope I look good,” he said. (Presumably, the Puerto Rican artist was hoping to score the senior discount on Met Museum tickets.)

Elsewhere at the 2026 Met Gala, Maluma, Madonna, Beyoncé (one of this year’s co-chairs), Charli xcx, Sam Smith, Doja Cat, Sabrina Carpenter and all four members of BLACKPINK—JISOO, JENNIE, LISA and ROSÉ—all walked the red carpet. Check out a gallery of the many musicians at the 2026 Met Gala here. The 2026 Met Gala theme is “Fashion Is Art,” centered around the “Costume Art” exhibit.

The streets of Copacabana, Rio de Janeiro, were gradually overtaken on Saturday (May 2) by Shakira’s fans, affectionately known as the “wolfpack.”

By late afternoon, the world-famous Brazilian beach had effectively transformed into the largest concert venue on the planet. Outside the Copacabana Palace, where the Colombian singer is staying, thousands of fans kept a tireless vigil, hoping for even a glimpse of the diva. Just hours before the show, the air was thick with anticipation for the third installment of the “Todo Mundo no Rio” (Everyone in Rio) project — a series that in previous years has hosted icons like Madonna and Lady Gaga.

Copacabana Becomes ‘Lobacabana’

Sporting an outfit inspired by Shakira’s 2020 Super Bowl performance and a she-wolf headpiece, 41-year-old Brazilian fan Yagan Rebeca arrived to pay tribute to her favorite artist.

“I’ve loved Shakira since I was 16,” she said. “She is a true inspiration to me. I’ve been dealing with health issues lately, and I always like to come in cool clothes; her costumes are a dream to me. I managed to hand-sew this Super Bowl look together at the last minute.”

Shakira’s entourage in Copacabana isn’t just limited to Brazilians. Performer Mati Bish traveled from Chile specifically for the event. As a professional Shakira impersonator, Bish donned an outfit inspired by the “Hips Don’t Lie” music video.

“Shakira has been an inspiration since I was very young,” Bish stated. “I’m a huge fan; her looks and her music move me deeply. She’s massive in Chile, and to me, she is everything.”

International Fans Join the Brazilian Pack

The Colombian star’s success even crossed the species barrier. Dressed in a coin-beaded gypsy scarf, a Golden Retriever named Nala was playfully “mistaken” for the singer by fans, who showered her with affection. Her owner, Jessica Lima, explained the fun: “I already had this Carnival costume, so we put it on her with the concert in mind. She’s a total hit here in front of the hotel. People are already calling her ‘Shakira’ and everything.”

Finally, the “Todo Mundo no Rio” project proved to be a boon for street vendors, who sold Shakira-themed merchandise all along the boardwalk. Mother and son duo Paula Cristina and Igor Rodrigues celebrated the continuation of the project, which has already been confirmed for 2027 and 2028.

“This year feels different,” Paula remarked. “I think if it had been Justin Bieber, it might have been even better. Maybe next year or in 2028. I’m here and I’ve invested a good amount of money in stock. As far as we’re concerned, these beach concerts should happen every year. It’s great for Rio, for the low-income population who can’t afford traditional venues, and for tourism.”

Laura Pausini fulfilled a “big dream” in Mexico alongside Spanish star Ana Torroja when the two performed the iconic Mecano song “Hijo de la Luna” together on Saturday (May 2) at the Arena Ciudad de México.

The concert took place in front of 15,000 people who packed the venue, according to promoter Zignia Live.

“For many years, you’ve been a huge inspiration,” an emotional Pausini told Torroja onstage. “In that small body, you inspire so much, and today you’ve made a big dream of mine come true, my little doll.”

“I had a lump in my throat the whole time,” responded the former Mecano vocalist. “It’s an emotion that’s hard to control. Laura, you are a being of light.”

Unlike other concerts on her Yo Canto World Tour, where Pausini’s wardrobe is designed to visually translate the gypsy legend narrated in “Hijo de la Luna,” she appeared onstage in Mexico City wearing a black and silver tunic that contrasted with Torroja’s white outfit. Together, they created one of the most celebrated moments of the evening.

But the surprises didn’t stop there. The Italian artist also invited her fellow countryman Achille Lauro to the stage to perform “16 de Marzo” (the Spanish version of Lauro’s 2020 hit “16 Marzo”) live for the first time. The song in Italian is part of Pausini’s new album of covers, Io Canto 2. The Spanish version, which is not included on her album Yo Canto 2, was just released on digital platforms on Friday (May 1).

Lauro’s performance was warmly received by the Mexican audience. The rapper, dressed in an elegant black suit that exposed his torso, was greeted with thunderous applause.

During the 14th stop of her Yo Canto World Tour, Pausini’s setlist revolved around Yo Canto 2 and also included hits from her own discography. Over the course of the show — that lasted a little more than three hours — the singer-songwriter delighted the audience with classics such as “Amores extraños”, “La soledad” and “Inolvidable”, as well as her renditions of Mexican musical gems like Natalia Lafourcade’s “Hasta la Raíz” and Joan Sebastian’s “Eso y Más,” both featured on the album.

As she has done in other cities, Pausini ended the night performing a few surprise songs alongside her pianist after the lights had been turned on and the audience began to leave the venue. In Mexico City, this magical moment included the songs “Quiero Decirte Que Te Amo” and “El Mundo Que Soñé.”

The Yo Canto World Tour will continue in Mexico on Tuesday (May 5) with a performance at the Arena Guadalajara, followed by a show two days later at Arena Monterrey. On May 16, the tour will move to the U.S. and Canada, starting in Miami and concluding on June 6 in New York.

In October, Pausini will resume the tour in Italy and other European countries with a different repertoire focused on the Italian edition of her covers project, Io Canto 2.

From career milestones to new music releases to major announcements and those little important moments, Billboard editors highlight uplifting moments in Latin music. Here’s what happened in the Latin music world this week.

Marc Anthony Unites Stars for Maestro Cares’ Golf Fundraiser

A lineup of stars, sports legends and philanthropists gathered on Friday (May 1) for the Maestro Cares Foundation’s 5th Annual Golf Tournament, hosted by co-founders Marc Anthony and concert promoter Henry Cárdenas. Taking place in Aventura, Flor. at the JW Marriott Miami Turnberry Resort, this year’s tournament and fundraiser supports the foundation’s efforts to aid disadvantaged children and communities in Latin America and the U.S.

Those in attendance included Luis Fonsi, Lenny Tavárez, producer Jean Rodriguez, comedian and actor Gabriel “Fluffy” Iglesias, NBA Hall of Famer Alonzo Mourning, Miami Dolphins icon Nat Moore and former NFL player Robert Bailey. Also, there were pro golfers Camilo Villegas and Marcelo Rozo, former boxing champion Jorge Linares and Fontainebleau Development CEO Jeffrey Soffer.

“Seeing how this tournament has grown over these five years is incredible,” said Anthony in a press release. “Together with Henry and each of you, we have achieved something that goes beyond a trophy; we are creating a legacy of hope. Thank you all for joining us once again to be the engine of change that so many children need.”

Los Tigres del Norte Partner With St. Jude for Día del Niño Support

Los Tigres del Norte visited St. Jude Children’s Research Hospital for the first time on Thursday (April 30) — Mexico’s El Día Del Niño (Children’s Day) — and connected with patients and families through music and traditions, like the game of la lotería (the Mexican bingo). Through this initiative, the band is urging fans to join the Angeles de Esperanza (Partner in Hope) program, providing monthly support to help families focus on their children’s health without financial burdens.

“Our visit to St. Jude Children’s Research Hospital deeply touched our hearts,” said Los Tigres del Norte in a press release. “To see children and families from around the world supported with compassion and dignity is a powerful reminder that no child should face cancer or other serious illnesses alone. We left inspired and for Día del Niño, we invite our community to join us as Angeles de Esperanza, giving hope, month after month, to children who deserve every chance at their best life.”

SummerStage Marks 40 Years, LAMC Highlights Trueno, Milo J & More

Capital One City Parks Foundation SummerStage revealed its 2026 lineup on Tuesday (April 28), marking the festival’s 40th anniversary with performances across New York City parks. Within the live summer series, the Latin Alternative Music Conference (LAMC) returns with shows featuring Julieta Venegas, Lasso, Trueno, Milo J, and J Noa, among others. Free and ticketed events will run from June through September at its flagship venue in Central Park and additional neighborhood parks across the five boroughs.

“Forty years ago, I had a simple idea: that world-class music and performing arts belonged to everyone, not just those who could afford a ticket. Four decades later, I’m genuinely moved by what SummerStage has meant to our city and what we helped build together with our fans,” said SummerStage founder Joe Killian in a press release. “SummerStage has been the cultural backbone of NYC since 1986, bringing artists from across the globe to share their sounds and stories with our neighbors in their local parks […] As we step into this 40th season, I’m not just proud of where we’ve been, but I’m also excited for the moments still to come.”

BRESH Brings “La Fiesta Más Linda” to U.S. and Soccer Fans This Summer

Internationally renowned Argentine party BRESH continues to expand its U.S. presence with new cities and an event series of events scheduled to coincide with the World Cup this summer. Known for blending reggaeton, pop and Latin hits, BRESH continues to celebrate culture, music and community as a global movement. Get tickets here.

“We’ve always believed that BRESH is more than just a party. It’s a space where people connect emotionally, share joy and celebrate culture together,” said BRESH CEO Tomas Allande in a press release. “The U.S. has become a key part of our vision, and this summer’s international soccer tournament offers the perfect opportunity to bring our community closer together through shared experiences. We want to amplify the excitement around the tournament while also staying true to BRESH’s ethos of unity and celebration.” See the dates below:

Julieta Venegas Reflects on Identity and Baja Roots at Norteña Event

Del Maguey & Parcha hosted Julieta Venegas on Thursday (April 30) in New York’s National Sawdust for an intimate evening of music and conversation about her upcoming album and memoir, both titled Norteña, due out later this month. Venegas talked about being raised on the border (Tijuana-California), her family, identity and her musical development up until her arrival in Mexico City.

“It started to become an obsession to read books about Baja California, about Tijuana,” said Venegas during the event. “To begin inhabiting this universe with the landscape of Baja California that inspired me so much for the album — my home, my family, the relationship they instilled in me with music. The book is about that too. It’s a memory that I invented; that is the norteña music I remember. I included all the elements and undertones that I felt are norteños to me. It was a way of celebrating it, putting it into words and songs.”

She also performed her latest single “La Línea” and beloved hits like “Lento” and “Limón y Sal,” alternating between her piano, accordion and acoustic guitar.

It took time, but Leslie Grace has found her own sound and is back with her first original album in more than a decade, Amor, Quién Eres?, a 14-track bilingual project that showcases her artistic and personal evolution.

Released today (May 1) under Sony Music Latin, the set — which includes singles like “Ayayay” and “Inmerecido” — blends her Latin pop foundation with bachata textures and R&B influences for tracks like “El Plan,” “Miedo” and “Tú Supiste?,” the latter featuring the duo Martox.

The release coincides with Grace’s multiple acting projects. Alongside her music career, she has built a presence on screen since her 2021 debut as Nina Rosario on In the Heights — the film adaptation of Lin-Manuel Miranda’s award-winning Broadway musical, directed by Jon M. Chu.

“It’s been a beautiful journey since then to go back to the basics on my music. Music is the foundation and came first, obviously, but when acting became a thing with In the Heights, and I started to get into that craft a bit more, integrating that into my art, that part of my career became a new way for me to learn how I wanted my collaboration within music to feel,” Grace tells Billboard Español. “It was almost like an initiation for me in stepping up and maturing in the way that I was approaching my music because I started so young, so I never really had a chance to create — it was [mostly] versions of other songs.”

Grace started in music as a child with a Christian album. In 2012, she rose to fame with a bilingual version of The Shirelles’ classic “Will You Love Me Tomorrow,” titled “Will U Still Love Me Tomorrow” and set to a bachata rhythm. The song reached No. 1 on Billboard’s Tropical Airplay chart and No. 3 on Hot Latin Songs. The following year, she released her self-titled album, produced by Sergio George, which peaked at No. 3 on the Top Latin Albums chart and earned a Latin Grammy nomination for best tropical album. She was only 17 years old.

“I’m super proud of and I’m blessed that everyone enjoyed [that music] in their time. But in terms of the creative process of how I experienced creating as an artist, I never really took the time or had the chance to cultivate what that process felt like for me, what my preferred process was and learning that through being inspired by working with people like Lin and Jon and taking things from those film experiences to bring to my process,” she reflects now, at 31.

Since her successful 2013 LP, Grace has released an EP (Lloviendo Estrellas in 2015) and a series of singles (most recently “Como la Primera Vez” with Boza in 2022), but she hadn’t recorded a full album again until now. This time, supported by a diverse team of producers, she sought inspiration from her own experiences: “A lot of good moments, not so fun moments, but mainly, mainly love — love experiences, relationships,” she shares. “And sometimes I would go back in my old journals and find little verses and things that I could expand on, and then they would turn into songs.”

Every song on Amor, Quién Eres? includes a visual component, with individual music videos that, together, will form an “immersive short film,” according to a press release, combining her talents as both a singer and actress. This past March, the artist had prominent roles in two films featured at the SXSW festival: Stages, a Live Nation project directed by Ryan Booth that follows two mid-career musicians who must start over and tour independently; and Campeón Gabacho by Jonás Cuarón, about a young migrant crossing the Rio Grande in search of a better life in the United States.

When asked what she learned about herself during the process of creating her new album, Grace replies, “I discovered that — a lot of times I thought that I didn’t have clarity and really I just needed to exercise the muscle of expressing more of what I knew that I wanted to others and exercise the muscle of just feeling confident enough in my ideas to share and be able to collaborate with the people around me.”

Listen to Amor, Quién Eres? below.

Duelo, one of the most influential Tejano norteño music groups, kicks off its Gravedad Tour this Friday (May 1) across 25 cities in the United States, a journey that will keep them on the road until November 28.

Promoted by Live Nation, the trek begins at the Freeman Coliseum in San Antonio and includes stops in cities across California, Florida, Nevada, Tennessee, North Carolina, Arizona, Illinois and Texas, where they’ve surprised fans with a third date added at the Toyota Center in Houston due to high ticket demand.

“With Live Nation, we are working together for the first time. It’s a source of pride that such an important company is focusing on us to accomplish big things like this tour,” Oscar Iván Treviño, vocalist and leader of the group, tells Billboard Español.

Along the way, Duelo will also perform at key venues in Mexico, such as the Palenque de Aguascalientes (May 4), the Palenque de León (May 9), and the Arena Ciudad de México (October 20).

In January of this year, the group signed a partnership with Warner Music México after being independent for more than a decade. That same month, they released their first single under this agreement, “Te Cura El Tiempo,” which last week climbed to the summit of the Billboard Regional Mexican Airplay chart (dated April 24), marking their fifth No. 1 on the ranking.

“A milestone like this after two and a half decades of career is very important to me. We’ve had strong chart positions over the years, but after many years without a No. 1, it finally came,” adds Treviño, who founded the group in Roma, Texas, in 1996.

Known for hits like “Puño de Diamantes,” “Malabares” and “A Mí Me Gustas Tú,” Duelo is preparing to release its first album under their new label at the end of May, continuing the streak of good news in this stage of their career.

Preceded by bands like Intocable, and with Grupo Frontera as the leading representative of the new generation, Treviño reflects on the future of norteño music: “It will continue to be a central part of regional Mexican music, but I do think there should be a lot more young artists making this music, not just Grupo Frontera.”

He adds: “There’s an opportunity to grow within the genre. It’s a matter of working hard and giving it your all, just like institutions such as Ramón Ayala, who is one of my greatest idols, have done.”

For the full dates and tickets for Duelo’s Gravedad Tour, visit the group’s official website.

Maluma is gearing up for the release of his seventh studio album, Loco x Volver, dropping May 15.

Loosely translated to “dying to return,” the album will be home to 14 songs, including four previously released tracks: “1+1” with Kany García, “Botero” with Arcángel and NTG, “Con el Corazón” with the late Regional Colombian singer Yeison Jimenez, and the Ryan Castro-assisted “Pa’ La Seca.” The former of the four hit No. 1 on the Billboard Tropical Airplay and Latin Airplay charts this week.

In a stripped-down video posted via Instagram on Monday afternoon (April 27), the Colombian superstar shared the exciting news to his nearly 65 million followers.

“I’ve been working on this for two years, and I simply can’t wait to let you all know that a new album is on the way,” he said. “You have no idea — the sheer happiness, the excitement I feel right now — to finally be able to share this news with you regarding a project I’ve been working on for years. At long last, you will get to see it; you will witness this new shell of mine—who I am now, and the mindset I currently hold.” 

The set’s title is an ode to his very beginnings, with Maluma adding: “It’s titled ‘Loco x Volver’ because I missed Juan Luis (his real name); I missed my true essence, that dreamer of a boy, and now, I’m back. I’m doing well now; I feel strong, happy, and excited. This is an album that helped me heal, and without a doubt, it is the most personal project I have ever created. This is a very special moment for me—one that I hope resonates with you all—an album that truly represents my roots and my culture.” 

According to a press statement, the project goes beyond the evolution of his more than decadelong career, forming “a deeply personal musical journey that blends genres, emotions and high-caliber collaborations.” 

Loco x Volver — whose album cover shows the artist when he was a young boy — is Maluma’s first album in three years, following Don Juan (2023), Papi Juancho (2020), 11:11 (2019), F.A.M.E. (2018), Pretty Boy, Dirty Boy (2015) and Magia (2012).  

El Último de la Fila returned to the stage for the first time in 30 years on Saturday night (April 25). The iconic rock band kicked off their reunion tour at Marenostrum Fuengirola, an open-air venue on the southern coast of Spain by the Mediterranean, at the foot of Sohail Castle.

At 10:00 p.m. sharp, the screens lit up with visuals inspired by 1980s video games, featuring an animated cootie-catcher as an introduction. Then, a brief blackout led to the band’s entrance.

The show opened with “Huesos” by Los Burros, the band in which Manolo García and Quimi Portet first collaborated before forming El Último de la Fila in 1985. Backed by a large band and two drummers, García appeared with a scarf in hand, while Portet stood beside him with his guitar, as if no time had passed.

The last time they performed together was on March 22, 1996, at the Palau d’Esports de Granollers in Barcelona. Two years later, on January 13, 1998, they announced their separation in a press release citing “musical fatigue.”

This reunion is not a one-off gesture. Over the years, the two have continued to work together in the studio, maintaining a relationship that never fully broke. In an interview with Billboard Español in the days leading up to the tour’s launch, Portet explained how the comeback came to life: “The definitive conversation was, oddly enough, a casual chat after a meal. After that conversation, everything came together very easily and naturally,” he said.

Tickets for Fuengirola sold out in just four hours when they went on sale in 2025. During the show, songs like “Insurrección,” “Aviones Plateados” and “Como un Burro Amarrado en la Puerta del Baile” were sung by a multigenerational audience that couldn’t hide their emotions — with many moved to tears. The show lasted about two-and-a-half hours, featuring a setlist that spanned various stages of the band’s career.

Formed in Barcelona in 1985 by García and Portet after their time with Los Rápidos and Los Burros, El Último de la Fila crafted a sound that defied categorization. Their music blended rock, pop and flamenco roots, but above all, it delivered songs that stayed with listeners. Over time, their repertoire became part of the collective memory of Spain and Latin America.

The current tour includes stops in nine Spanish cities between April and July, with performances in Barcelona, Madrid, Bilbao and Valencia, among others. Additional dates were added after an overwhelming response from fans, bringing the total to 12 so far.

Before wrapping up Saturday’s concert, García addressed the crowd: “Thank you all for being here… it’s a pleasure to reconnect. Thank you from the bottom of my heart.” And in closing, he left the audience with a memorable phrase: “Forgive the immodesty, but these songs are eternal.” After bidding farewell, the band returned for a surprising final song: the mariachi classic “El Rey” by Mexican composer José Alfredo Jiménez, performed in a rock style infused with their unique touch.

So far, the band has no other plans beyond this reunion tour. “The challenge of performing these dozen concerts is serious enough to focus all our energy on them,” García told Billboard Español.

The night began with the image of Ryan Castro on screen singing “SENDÉ” [the intro to the album of the same name, inspired by the classic “You Don’t Love Me (No, No, No)” by Dawn Penn] from inside a National Police helicopter, before “REBECCA” started playing and a double appeared, simulating[the artist walking on the roof of the Atanasio Girardot Stadium. Seconds later, fans understood the entire sequence: the real “Ghetto Singer” was already on the main stage, kicking off his show with the remix of “Parte & Choke,” the hit song by his Ecuadorian colleagues Jombriel and Alex Krack.

Dressed in a yellow suit and sunglasses, and holding a microphone colored like the Curaçao sunset, the artist appeared on stage in front of a crowd of 47,000 people. He followed with “SQ” (also known as “W Sound 04”), one of the most successful tracks from his sessions produced by Ovy On The Drums, and “Fiesta,” a hit by Castro and Fariana that many may not know — but it has been a massive success in Colombian clubs across Antioquia and the Coffee Region.

Staying true to his Caribbean flow, Castro delivered hit after hit with dancehall and island-inspired sounds. First came “SANKA” (which also incorporates elements of kizomba) and “BOOMBASTIK<3” — with their respective guest artists, Curaçao’s Dongo on the former and Italian artist Kybba on the latter. Then came “BA BA BAD REMIX,” which featured none other than Sean Paul, the Jamaican artist who once proclaimed himself the “Global Ambassador of Dancehall.” Paul, with a career spanning 25 years and dozens of hits, also performed classics “Like Glue” and “Temperature” at the Atanasio.

Rayo and Toby brought the mode-up vibe of San Andrés Island with “Movimiento De Caderas” and “Calor.” More dancehall hits and guests followed: Kapo joined to perform “DÓNDE” and “LA VILLA.”

Then came Maluma to perform “Pa’ la Seca,” the song he recently released with Castro, as well as other hits from his own discography, including “Hawái” and “Borro Cassette.” Maisak also joined to perform “FDSR.” 

Mounted on a jet ski, Castro glided over the crowd to a second stage, where a new phase of the concert began, and reminisced about songs from his earliest years, such as “Cositas al Oído.” The first guest on this stage was Mora, who performed “La Inocente,” his track with Feid from years ago, and “MIL VIDAS.” Hamilton also joined the stage, proudly waving the Cartagena flag and singing “A Poca Luz” and “4 LIFE,” his two collaborations with the night’s star.

Other artists followed on the second stage, including Aria Vega, Altafulla (an influencer and winner of the reality show La Casa De Los Famosos, who has released songs with artists like Juan Duque in recent months), Jorge Celedón and Zion — one of the first Puerto Rican artists to collaborate with Castro. Together, they performed “ENVIGADO” from Castro’s self-titled album.

Back on the main stage, Castro invited another artist from his early career, Andy Rivera, to reminisce about the golden days of “Monumento – Remix.” Sech also joined him to perform their hit collaboration “Novio No.”

As the show neared its end, SOG, Ryan Castro’s go-to producer, appeared to accompany him on his merengue hit “Mujeriego,” a staple of Colombian December celebrations. Castro’s alter ego “Richy” — used for songs more aligned with Colombian party music — took the stage to perform tracks like “La Garrafa” and “Mi Fortuna,” the latter a hit from late last year that reached the top 10 on the Billboard Colombia Hot 100.

“El Ritmo Que Nos Une,” the soccer anthem that supported Colombia during the last Copa América and is expected to become an unofficial anthem for the upcoming World Cup, also made its way into the setlist.

Feid was another guest who couldn’t be left out. Together, he and Castro performed their massive hit “Monastery,” a crucial track in both of their careers. But the night couldn’t end without the arrival of J Balvin, who shares what seems to be a genuine friendship with Castro.

Balvin had a special stage — a bus — from which both artists descended to the beat of Kris Kross’ hip-hop classic “Jump,” the melody that inspired their track “Tonto.” Together, they performed that song as well as “Niveles de Perreo” and “Pal Agua,” the three collaborations they’ve released so far, just days ahead of their joint album OMERTÁ. The “Boy from Medellin” (Balvin) also delivered hits from his own repertoire, such as “Ay Vamos” and “Azul.”

Finally, the night reached its climax with Baby Rasta and Gringo, who performed their classic hit “Ella Se Contradice.” It was no coincidence that Castro gave them the most prominent moment of the evening; the duo is making a comeback after more than a decade and promoting an acoustic album of their greatest hits. The final song of the night was “Malory,” accompanied by fireworks befitting the occasion.

“This show was one of my dreams,” Castro said about what has been, without a doubt, the most important concert of his career so far.

April 25, 2026, will go down as a historic date for Ryan Castro: the day he proved that a young man raised between Medellín and a Caribbean island, who once sang dancehall on urban buses with fellow paisa Crickmanjam, who not only created reggaetón hits but also showed Colombian youth that there are other ways to make urban music, is now ready to start filling stadiums around the world.

This article was originally published in Spanish by Billboard Colombia.

With his third studio album, El Baifo, Quevedo delivers a project that feels closer, more personal. Following Donde Quiero Estar (2023) and Buenas Noches (2024), the Spanish artist places the focus on the Canary Islands — not as a passing reference, but as a constant presence throughout the 14 tracks on the independently released record.

“I believe the Canary Islands are a key point, and that anyone who understands where I come from also understands my career’s processes and stages much better,” Quevedo tells Billboard Español.

“Baifo” is the term used in the Canary Islands to describe a baby goat, a word that is very present in the daily life of the islands. The album also plays with the idea of “GOAT” — as in “greatest of all time.” “I would love for people to feel what I feel when they listen to the album and to understand where I come from,” the artist adds.

That intention resonates throughout the set, which moves through various moods: from celebration to reflection, and to deeply personal moments. El Baifo navigates this emotional range from the very beginning, with an energy tied to festivity and an identity that doesn’t need to be explained. Songs like “Al Golpito,” featuring Canarian group Nueva Línea, take us into a recognizable space: celebration, family, local festivals.

“Mi Balcón” slows things down and provides one of the most introspective moments. With the timple as its foundation, the song is inspired by a very specific image — Canarian balconies. “They’re something very typical here, with a unique architecture. The song talks about a little bit of everything but from a place of nostalgia,” Quevedo explains.

In “La Graciosa,” a merengue track, Quevedo collaborates with Elvis Crespo. In the Canary Islands, Crespo’s music is a staple during carnival celebrations, giving the collab a special weight. “Elvis is a legend. He’s someone who knows our history; he’s been visiting the islands for years,” Quevedo says.

“For me, it’s a dream to have recorded with him,” he adds. “We’re from completely different generations, but at the same time, he connects with everyone. Mothers adore him. His music has been passed down from generation to generation.”

“Ni Borracho” — which debuted at No. 1 on Billboard‘s Spain Songs chart — falls into that same celebratory space while maintaining its ties to Quevedo’s roots. For the artist, both that track and “La Graciosa” serve as “a celebration of being from here and an embrace of the islands.”

The closing song is “Hijo del Volcán,” featuring Los Gofiones, a traditional Canarian music group founded in 1968. Here, the album shifts to a more intimate place. “I feel like it’s a union of generations of Canarians… the end of a very beautiful circle,” he says.

In the track, the artist delves into what he’s experienced in recent years and the things he’s still trying to make sense of. “I think it’s cool to make such an honest track… I also talk about how I’ve adjusted to this life,” Quevedo concludes. “I still have my anxieties in my head.”

Listen to El Baifo in full below: