Enrique Bunbury has once again embraced roots music and Latin American folklore in his latest album, De Un Siglo Anterior (From a Century Ago), with which the Spanish musician closes an exploratory phase before returning to rock, the genre that has elevated him as one of the greatest figures in the Spanish-speaking world.

“This is my most folk-inspired and traditional phase,” Bunbury tells Billboard Español in Mexico City, where he discussed the new LP, released on digital platforms last week.

Released under Warner Music Spain, the album continues the exploration of traditional Latin American rhythms like bolero and tango, which he introduced a year earlier Cuentas Pendientes. This time, however, the lyrics take on a more introspective tone, delving into the changes happening in the world in this new century, in the age of social media.

“These two albums are part of a joint era or phase,” he explains. “I think keeping these traditional genres alive, which are timeless in themselves, is something beautiful when you look at the already existing songbook.”

Recorded at Desierto Casa/Estudio in the Desierto de los Leones in Mexico City, De Un Siglo Anterior features ten songs where Bunbury brings folklore into different forms, such as zamba, ranchera, tango, son and Peruvian rhythms. Tracks include “Un Brindis al Sol,” “La Voz,” “La Cima,” “Peor Que Como Estamos – Es Difícil Ya Que Estemos” and the title track, “De Un Siglo Anterior.”

For the musician, one of the most symbolic songs on the LP is “La Voz,” a jazzy bolero where the former leader of the now-disbanded group Héroes del Silencio reflects on the vocal cord issues he faced in 2022, caused by an intolerance to glycol, the main component of artificial smoke used in concerts. “I thought I would no longer be able to sing,” he recalls. “This song, on one hand, references that moment, the loss of that power of communication, and it also speaks indirectly about lost friends.”

In the same introspective vein, the song “De Un Siglo Anterior” nostalgically examines how “sometimes we miss the past and what we consider to be a loss when it comes to the technological evolution of the times. Where this new century and millennium are taking us, and what things we might recover from the previous century.” Other tracks on the album include “En El Arcén,” “Zamba Para Olvidar” and “La Cima,” where Bunbury compares fame and success to Everest and other great mountains.

For this project, the artist reunited the same team from Cuentas Pendientes, including the band of musicians with Mexicans Luri Molina and percussionist Johnny Molina, the technical crew and even the cook. “We really enjoyed the human experience of being together, recording, getting to know one another, and talking,” the singer-songwriter and producer says. “So when I finished the last album, I thought, ‘I’d like to find another project to work on with this team.’ I started writing some songs for this album, and everything came together very quickly.”

With this new LP in hand, Bunbury will embark on a tour across Latin America, the U.S. and Spain. Titled Nuevas Mutaciones (New Mutations), it will kick off in Puebla de Zaragoza, Mexico, on Oct. 10, and conclude in his hometown of Zaragoza, Spain, on Dec. 12. In Mexico City, the tour will mark his return to the iconic Auditorio Nacional after nearly a decade, with shows scheduled for Oct. 12, 15, 17 and 19.

Although he has played on major stages in Mexico — including the Zócalo during an event supporting victims of the 2017 earthquake that struck central Mexico — Bunbury hasn’t given up hope of returning to that iconic and majestic venue for his own show. “I’d like to do one solo and for it to be free,” he expressed. “That would be amazing.”

Italian tenor Andrea Bocelli transformed Mexico City’s Zócalo into a monumental theater on Saturday (April 18), where his iconic song “Vivo Por Ella,” one of his greatest hits, took an unexpected turn by fusing with cumbia thanks to the unmistakable rhythm of Mexican group Los Ángeles Azules. The free show drew more than 130,000 people, according to figures from the city government.

In addition to Los Ángeles Azules, singer-songwriter Ximena Sariñana and the Orquesta Sinfónica de Minería joined Bocelli for a romantic and emotional evening that merged classical music with contemporary sounds. The event, held in the country’s main public square, was sponsored by the Mexico City Government and Banco Plata.

“Thank you all, this is a wonderful night,” Bocelli said, visibly emotional, in Spanish. The repertoire opened with works by Giuseppe Verdi, such as “Di quella pira” from Il Trovatore and “La donna è mobile” from Rigoletto, setting the tone for an emotional evening that seamlessly transitioned between opera and popular music, deeply connecting with the audience and moving many to tears.

His Zócalo performance was also part of the celebration for the 30th anniversary of his acclaimed album Romanza (1997), which led Billboard’s World Albums chart for an impressive 51 weeks and reached No. 5 on the Classical Albums ranking. On the all-genre Billboard 200 chart, the album peaked at No. 35. (Bocelli has had 29 entries on this chart, including nine top 10s and one No. 1 album, in 2018, with Si).

The Orquesta Sinfónica de Minería, conducted by Carlo Bernini, and a selection of guest artists contributed to the musical experience. Puerto Rican soprano Larisa Martínez performed “Les filles de Cadix” and participated in emotional duets from La Traviata and La Rondine, while baritone Juan Carlos Heredia brought “Toreador” from Carmen to life. Together, they also performed excerpts from Georges Bizet’s The Pearl Fishers, delivering performances that shone with dramatic strength.

The festive mood heightened when Los Ángeles Azules, accompanied by Sariñana, took the stage to perform a new version of their famous song “Mis Sentimientos,” turning the Plaza de la Constitución (the Zócalo’s official name) into a massive dance floor. Later, they joined Bocelli to perform Louis Armstrong’s iconic jazz anthem “What a Wonderful World” and the aforementioned “Vivo Por Ella,” originally recorded in Spanish by the Italian tenor alongside Spanish singer Marta Sánchez in 1996.

Large screens were set up on streets surrounding the Zócalo, allowing more people to enjoy the concert. Some foreign tourists passing through the area also stopped to experience the music.

The evening concluded with a standing ovation and a fireworks display that lit up the sky over the Historic Center of the city as the strains of “Nessun dorma” from Turandot echoed, closing a memorable night with a flourish.

Bocelli thus joined a growing list of international acts who have performed in the iconic plaza, which has previously hosted stars such as Paul McCartney, Roger Waters and Justin Bieber. On March 1, Colombian superstar Shakira set a new record as the artist who has drawn the largest audience to a free concert at the Zócalo, with 400,000 attendees. The previous mark was held by Argentine band Los Fabulosos Cadillacs, who drew 300,000 people on June 3, 2023, followed by Grupo Firme, who gathered 280,000 fans a year earlier.

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.

Los Tigres del Norte’s Minnesota Performance During ICE Turmoil

The regional Mexican music legends performed their largest Twin Cities concert at Grand Casino Arena in St. Paul on Friday (April 17) during their Los Tigres Del Mundo tour, amidst heightened tensions following ICE’s Operation Metro Surge. The band — known for championing immigrant rights — told reporters before the event that they hoped to provide a moment of joy and respite for attendees.

“The date was already set for a long time before we knew any of this was going to happen. Now, we want to help,” Los Tigres del Norte‘s Jorge Hernández said in the Minnesota Star Tribune. “It’s hard, because the city has been hurt a lot, the citizens there. Whenever you perform you want people to have fun and forget about everything going on. That’s really what we want to do there.”

Days before their show, an ICE officer was charged with assault related to the surge. The officer allegedly pointed a gun at civilians while off duty.

Ricardo Arjona’s Message to Gaby Moreno on Her Broadway Role

In a heartfelt Instagram story earlier this week, Guatemalan music legend Ricardo Arjona celebrated singer-songwriter Gaby Moreno on her role as Persephone in the award-winning Broadway musical Hadestown. “I think taking the photo was forbidden, but I couldn’t resist. My little compatriot shining on Broadway,” wrote Arjona on alongside a photo of the two warmly embracing. He continued, “Immensely proud, Gaby. Of how much you are and of how much you don’t know you are. My favorite in this masterpiece.”

Moreno, playing Persephone through the end of August, reflected on her casting in a previous Billboard Español interview: “I still don’t understand how or who it was that put my name on the list, but about a year ago, my manager got an email asking if I was available to play the role of Persephone on Broadway. I thought it was a joke at first.”

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Karol G’s Headlining Coachella Set Ignites Streaming Surge

Following her headlining show at Coachella on Sunday (April 12) during Weekend 1, Karol G saw a tremendous spike in streaming activity. Her overall Spotify plays Stateside increased by +35.5%, more than doubling the global lift of +14.3%. Notably, the Tiësto assisted remix of her 2022 Coachella-debuted hit “Provenza” saw a 139% increase — which she wrapped up her set with — marking the biggest spike among her catalog, according to Spotify data shared with Billboard. California cities like Rialto, San Bernardino, Santa Ana, and Riverside reported streaming increases of over 100%, with Los Angeles at 95%. Apart from California, regions like Tucson, Seattle, Milwaukee, and Brooklyn also saw noticeable surges.

“Moments like this show how deeply connected live performances and streaming are. Following her historic Coachella set, fans didn’t just watch, they went straight to Spotify to revisit her music, driving an immediate spike in listenership, especially in the US,” Maykol Sanchez, head of music, LATAM at Spotify, tells Billboard Español. “It’s a powerful reflection of how her performance resonated with audiences and the cultural impact of her milestone as the first Latina to headline the festival.” Stream the remix below.

Ruidosa Fest Returns to New York’s Lincoln Center

Ruidosa Fest is back in New York for its third edition at Lincoln Center, taking place on July 12. Featuring performances by Lila Downs, Pabllo Vittar’s CLUB VITTAR, Francisca Valenzuela, Elsa y Elmar, and more, this free, all-day festival blends concerts, panels, and community activities. Highlights include a masterclass by Latin Grammy winner Ella Bric and a book fair that celebrates the intersection of music, culture, and creative voices. Part of Lincoln Center’s Summer for the City programming, Ruidosa Fest continues to champion gender equity in Latin music. For more details, visit @ruidosafest or summerforthecity.org. See the full lineup below.

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Glitz and glam dressed Guayaquil’s Sanchez Aguilar Theatre on Wednesday night as the music industry celebrated the fifth annual Premios REM de Sayce (REM Awards).

Jombriel (real name: Jonathan Cedeño), was the night’s top winner, nabbing four awards including the coveted composer of the year and song of the year for “Vitamina” in collaboration with DFZM and Jotta. The latter was even featured on Barack Obama’s Favorite Music of 2025 list.

“I am grateful to God, my team, and my family,” he said in a short-and-sweet acceptance speech. “I dedicate this to my son because I became a father in December. Cheers to being single!”

The breakout star from Esmeraldas, named one of Billboard’s Latin Artists to Watch in 2026, also walked away with the awards for most-streamed male artist and most-played male artist on the radio.

The REM awards (Ranking Ecuatoriano de la Música) is presented by the Society of Authors and Composers of Ecuador (SAYCE), honoring the most popular and consumed artists, composers, and songs of the year. The nominees and winners are based on the local charts in Ecuador reported by the Spanish music operating system BMAT that monitors what is streamed, heard on the radio, played on television, to name a few.

“These are Ecuador’s most prestigious awards—the awards honoring the most-listened-to artists in the country,” Juan Fernando Velasco, president of Sayce and Latin Grammy-nominated artist, tells Billboard. “We have been growing steadily over the past five years, successfully positioning these awards as the most significant element within Ecuador’s music industry, as well as an inspirational brand. This plays a fundamental role in the industry; these awards provide not only recognition but also validation and exposure.”

The evening included unexpected wins, heartfelt tributes, and show-stopping performances from artists such as Dayanara, Andreina Bravo, Jossimar, and Don Medardo y Sus Players—all perfect examples of Ecuador’s booming music scene.

Below, see the full Premios REM winners list:

Audience Favorite: Andreína Bravo

Female Trajectory Artist (Popular Genre): María de los Ángeles

Male Trajectory Artist (Popular Genre): Gerardo Morán

Group/Duo Trajectory Artist (Popular Genre): Don Medardo y Sus Players

Most-Streamed Female Artist (Digital Platforms): Dayanara

Most-Streamed Male Artist (Digital Platforms): Jombriel

Most-Streamed Group/Dup (Digital Platforms): Unísono

Most-Streamed Female Artist (Alternative): Luz Pinos

Most-Streamed Male Artist (Alternative): Gonzalo Ávila

Most-Streamed Group/Dup (Alternative): Estamos Perdidos

Most-Played Female Artist on Radio: Dayanara

Most-Played Male Artist on Radio: Jombriel

Most-Played Group/Duo on Radio: Verde 70

Composer Trajectory Award: Segundo Rosero

Best New Artist: Machaca

Composer of the Year: Jonathan Cedeño (Jombriel)

Song of the Year: “Vitamina,” Jombriel, DFZM, Jotta

Opera and classical music have in Andrea Bocelli not only one of their most acclaimed and recognized voices worldwide, but also one of their most faithful believers. The iconic Italian tenor is convinced that this musical genre must overcome its status as a “niche phenomenon” to become a massive act.

“Opera is the paradise of music; I’ve always believed that,” Bocelli tells Billboard Español in Mexico City, where he will offer a free concert on Saturday (April 18) at the iconic Zócalo, accompanied by the Minería Symphony Orchestra, the Mexican group Los Ángeles Azules and singer-songwriter Ximena Sariñana.

“Opera was born a long time ago as a popular musical phenomenon,” he continues. “The opera audience today is a cultured audience, but I realize that people in general appreciate, understand and enjoy it, which makes me suspect that the problem with this type of music is the difficulty of communicating it to the masses.”

Opera has been a recognized art form for over 400 years and has been delighting audiences since 1607, according to the English National Opera’s official website. Its first performance was recorded with Monteverdi’s L’Orfeo, which was presented as a carnival spectacle at the Ducal Palace of Mantua.

“Great composers like Beethoven, Bach, Schubert, Chopin — all of them do good for the soul and spirit,” Bocelli points out. “Classical music is a type of music that works as therapy, and this has been scientifically proven. I think people are more than ready to embrace this type of music, as long as there are the right channels or means to disseminate it.”

This is why he believes schools should embrace the role of promoting classical music and opera to introduce them to young people. “It’s never too late,” he says.

Regarding the criticism that actor Timothée Chalamet received after declaring in a February interview with Variety that “no one cares about this anymore,” referring to ballet and opera, Bocelli states, “Beauty has no expiration date.”

“When a work of art, whether musical or otherwise, is of great depth or substance, it doesn’t go out of style, just as Michelangelo’s Pietà or DaVinci’s Mona Lisa will never go out of style. These are all immortal pieces that will always evoke emotions in those who admire them,” he adds.

An example of making opera more accessible and reaching other audiences is, precisely, the free show Bocelli will offer on Saturday at Mexico City’s Zócalo.

“Speaking of the duet I’ll do with this Mexican group [Los Ángeles Azules], I’m very curious,” the tenor says. “I’m very happy to be able to do this collaboration because they always enrich [the experience].”

After his performance in Mexico, Bocelli will continue his Romanza 30th Anniversary World Tour 2026 celebrating his acclaimed 1997 album Romanza, which became the best-selling Italian album and the best-selling predominantly non-English album of all time, according to Universal Music.

On the Billboard charts, Romanza topped World Albums for a whooping 51 weeks and reached No. 5 on Classical Albums, while ranking No. 35 on the all-genre Billboard 200 (where Bocelli has accumulated 29 entries, including nine top 10s and one No. 1, in 2018, with Si.)

“I remember the success of Romanza caught me by surprise,” Bocelli recalls. “I had to learn to manage my strength and energy because, from then on, the world felt small to me as I started traveling across it, far and wide, several times.”

He shares that for this commemorative tour — which will visit the U.S. in two legs, in September and December — he had to relearn the songs from the album because some tracks had already left his repertoire. However, he says, “Feeling the love and appreciation the audience has for these songs made me feel it was the reward for this experience.”

The director of Christian Nodal’s music video “Un Vals” has responded to controversy that’s sparked on social media regarding the casting of the video’s lead model, whom many have pointed out has a striking resemblance to both Cazzu and Ángela Aguilar — the singer’s ex-partner and current wife, respectively.

“It was our mistake not to realize this could happen,” director Juan Antonio Barbazán said on Saturday (April 11) during a virtual press conference from Madrid with select media outlets, including Billboard Español.

“JG Music approved the video, not Christian Nodal,” he added, referring to the singer’s record label.

In the music video released Thursday (April 9), which features a split-screen format, Nodal appears singing on the left while a couple stars in a love story on the right side. Nodal filmed his portion in Guadalajara, Mexico, while the two models were filmed in Spain.

The model in question, a Mexican content creator based in Madrid named Dagna Mata, has been the target of criticism on social media for her role in the clip. On Friday (April 10), she posted a video on her Instagram account expressing her thoughts. “I hope the focus remains on what it is — a job — because I wouldn’t want to hurt anyone,” she wrote in the caption.

“It hurts me to see an artist involved who doesn’t deserve any of this and shouldn’t be compared to anyone else either,” Mata said. “I had to emigrate from a country to achieve my dream of modeling and growing in the fashion industry.”

Also on Friday, in response to the controversy surrounding the music video, Nodal shared a message via his Instagram Stories that drew attention: “I don’t own my name, my image, or my music, and what has happened with the video is proof of that… But my voice, which is the only thing I have left, will always belong to you.”

A representative for Nodal and JG Music — the label owned by the singer’s father, Jaime González — told Billboard Español on Saturday that neither would be making statements.

Read everything the director of Christian Nodal’s “Un Vals” music video had to say below.

Are Christian Nodal’s music videos your responsibility?

For this project, which encompasses the entirety of Christian’s album, we worked on two complex videos — one for “Incompatibles,” which came out a month ago, another that hasn’t been released yet, and the rest are five simpler ones where we decided to use a split-screen format, like in “Un Vals,” where he appears on the left singing and the rest of the screen features figurative actors.

Who is in charge of casting?

The casting was done by us, the production company. We were looking for Mexican actresses in Spain, which wasn’t easy to find, and Dagna’s profile was sent to us. We liked her, so we chose her.

Did Christian approve the actress for the video?

No, we always choose the figurative actors. Christian didn’t see her. The comments about her resemblance to Cazzu and Ángela Aguilar slipped past us. At no point was there a strategy or anything of the sort. We didn’t consider it relevant to show her to Christian. Ultimately, other people appear in the video. It’s a large process, and not everything is consulted with the artist. It was our decision.

Was all of this planned as a marketing strategy?

As a production company, this damages us — the idea that it was a planned marketing campaign. It affects our work because at no point was this the intention. The production staff didn’t know who Cazzu was; honestly, we didn’t notice that detail.

Who makes decisions about Christian’s videos? It seems there’s a lack of communication between the singer and his father, who owns JG Music.

In this case, the client is JG Music. We deliver the videos to them and assume they’re approved if we don’t hear otherwise. I have no idea about the communication between them or the relationship they may have. What I do know is that Christian is a person with many commitments, and the music videos are just a small part of his project — he doesn’t handle that.

Does Christian have any specific requests for the themes of his videos?

From the moment we started working with him, he made it very clear that he doesn’t want his personal life to be involved in the videos. These should be artistic, related solely to the theme of the song.

Did Christian say anything to you after the controversy?

Yes, he sent me a message saying something like, “It seems like you hate me; you’ve gotten me into a big mess.” That’s when we started investigating what was happening on social media.

Are you aware of the impact the video caused?

Completely, and I accept responsibility. But ultimately, we all end up hurt: us as the production company, the model, and of course, Nodal.

Andrea Bocelli will join the list of international artists who have performed at the iconic Zócalo in Mexico City on April 18, when he takes to the country’s main public square for a free concert. And he won’t do it alone.

That night, the acclaimed Italian tenor will be accompanied by the Mexican cumbia band Los Ángeles Azules and singer/songwriter Ximena Sariñana, announced Banco Plata, the event’s organizer alongside the city government.

“Can you imagine that fusion? Neither can we, but we can’t wait to hear how it sounds,” said the bank in a message posted on social media on Tuesday night (April 7).

Bocelli will bring his celebrated 1997 album Romanza — one of his most successful and commercially acclaimed — to the Plaza de la Constitución (the official name of the Zócalo) in celebration of its 30th anniversary.

Clara Brugada, Mexico City’s head of government, previously expressed excitement about Bocelli’s performance at the iconic venue. “It will be a magical evening that reaffirms Mexico City as the cultural capital of the world,” she said.

The Zócalo is considered a landmark of great importance, as it is a plaza filled with symbolism where politics, social movements, culture and religion intersect. It is the second-largest public square in the world, only behind Tiananmen Square in Beijing.

One of the earliest concerts held at the Zócalo on record was by Los Tigres del Norte in 1999, which lasted nearly three hours. Since then, artists like Paul McCartney, Roger Waters, Justin Bieber, Shakira, Los Fabulosos Cadillacs and Grupo Firme have performed there before thousands of attendees.

On March 1, Colombian superstar Shakira set a record as the artist who has drawn the largest number of attendees to a free show in the Zócalo, with 400,000 people gathered, according to official figures. The previous record-holder was the Argentine band Los Fabulosos Cadillacs, which brought together 300,000 people on June 3, 2023, followed by Grupo Firme, which attracted 280,000 attendees a year earlier.