Surprise! Karol G has a new album ready to go, and it’s dropping next week.

The Latin superstar used the platform of her record-setting concert tonight July 29 at Rogers Stadium in Toronto to announce No Me Arrepiento de Sentir Tanto (“I don’t regret feeling so much”), the followup to 2025’s Tropicoqueta.

The wait should be bearable; No Me Arrepiento de Sentir Tanto will arrive next Friday, Aug, 7 at 12am ET, reps confirm to Billboard.

With her performance at Rogers Stadium, the Colombian singer became the first female solo artist to headline the venue. During the show, she surprised fans by revealing the album’s title and release date, and shared the official cover artwork for the first time on the stadium’s screens. See the cover art below.

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“I have an announcement to share, Toronto, and after this, I have a gift for you, too. I’ve been working on a project for a couple of months,” she told onlookers. “I’ve been locked in for months making new music. For months, I’ve been preparing a segment that will form part of this tour. I want to announce that on August 7, my new album will come out. It’s an album that I can’t wait to sing with all of you. It’s called No Me Arrepiento de Sentir Tanto.” 

The new collection was hiding in plain sight. Karol G released a new single, “Matadora,” on the opening night of her tour, July 24 at Soldier Field in Chicago. Although the tracklist hasn’t been announced, expect “Matadora” to appear on the new collection.

Produced by Live Nation, Karol is joined by Becky G, Greeicy, and Elena Rose on select dates of Viajando Por El Mundo Tropitour, which comes in support of Tropicoqueta, which debuted at No. 1 on Top Latin Albums Chart and No. 3 on the all-genre Billboard 200. Also, all 20 songs from the set debuted on the Hot Latin Songs chart, becoming a first for the artist. 

Next stop: Northwest Stadium this Sunday night (Aug. 2) in Washington, D.C.

Corridos tumbados superstar Natanael Cano is set to return to the stage at the very place where he cemented his status as one of the greats of the regional Mexican genre: the GNP Seguros Stadium. The iconic venue will host the highly anticipated comeback of the singer-songwriter, featuring a new album focused on the musical style he cocreated. The concert at this emblematic location in Mexico City is scheduled for Sept. 18 and will kick off a stadium tour across the country, Billboard can exclusively announce on Monday (July 27).

Titled after his upcoming album, Natanael Cano Vol. 1, the Ocesa-promoted tour will take the artist considered the father of corridos tumbados to some of the most renowned venues in Mexico. In addition to the iconic Estadio GNP Seguros (formerly Foro Sol), he will perform at the new Coliseo GNP Seguros in Guadalajara on Sept. 25 and at Estadio Walmart Park in Monterrey on Oct. 2, with more dates to be announced.

Presale tickets for the shows in Mexico City and Guadalajara will begin this Thursday (July 30) at 2 p.m. local time through Banamex, according to a press release. General ticket sales will start Friday (July 31).

In 2024, Cano sold out Estadio GNP Seguros, drawing over 65,000 fans as part of his Tumbado Tour. That performance made the artist from Sonora the first corridos tumbados singer to livestream his entire concert via Disney+ to all of Latin America.

Cano’s new tour will also mark his return to the genre that made him famous with a new album, Natanael Cano Vol. 1, to be released on Aug. 27, as the artist himself revealed on Saturday (July 25) during a game he organized for his fans, where he gave away one million pesos (approximately $57,000) to a lucky winner. In addition to the cash prize, the winner will be invited to the Mexico City show and an exclusive listening party.

Earlier this month, Cano set social media ablaze with “Aprevenido,” a track that marked his highly anticipated return to corridos tumbados. Last Friday (July 24), he released “Pa’ La Maña” alongside genre stars Gabito Ballesteros and Adriel Favela, the second single from his new project, which incorporates the traditional tuba sound.

Featured on Billboard’s list of the Best Regional Mexican Acts of All Time, Cano is widely regarded as the leader and creator of corridos tumbados, a musical subgenre of traditional Mexican corridos that blends rap and hip-hop elements, ushering in a new era for Mexican music in 2019. One of his greatest contributions to the new corridos lies in his edgier, street-inspired approach, which resonates with Gen Z audiences on both sides of the border. His debut album, Corridos Tumbados, spent 31 weeks at No. 1 on the Top Regional Mexican Albums chart.

Below, check out the first confirmed dates of Cano’s tour, starting this fall.

From career milestones to new 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.

Natanael Cano is Launching a Real-Life Treasure Hunt in Mexico City Tied to His Next Album Rollout

Natanael Cano is putting fan loyalty to the test — and the reward is huge. On Thursday (July 23), the música mexicana star announced a treasure-hunt-style activation in Mexico City tied to the rollout of his next album, with 1 million Mexican pesos (about $57,195) going to the first fan who completes the challenge. Beginning July 25 at 11 a.m. (local time), fans in CDMX will have to follow clues that lead them from one QR code to the next, registering along the way and advancing step by step until someone reaches the end first. The grand-prize winner will receive the cash reward, hear the album release date before anyone else, and score entry to both Cano’s next Mexico City concert and his listening party, while the next 10 finishers will also get access to the listening event.

In his message to fans, Cano made it clear the challenge is meant for those who have stayed with him from the start. “This is for the ones who’ve been solid since day one,” he wrote on Instagram, later adding, “Because this has never been just mine. It’s always been yours.”

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Shakira Brings NYC’s World Cup Workers Onstage at Barclays as Part of the ‘Loba Pack’

Before opening her Barclays Center show on Tuesday (July 21) with “La Fuerte,” Shakira made sure New York City’s World Cup workers got their moment in the spotlight. The Colombian superstar invited hotel staff, concession workers, stadium crews, and other union workers to join her onstage, honoring the people whose labor helped make the FIFA World Cup possible. Many of those recognized were immigrant women, spotlighted through her Camina Con La Loba initiative in collaboration with the NYC Mayor’s Office.

“So much of what made this World Cup special is the work that most fans never see: the thousands of hotel rooms kept clean, all of the stadiums that worked so smoothly,” Shakira said in a statement shared exclusively with Billboard ahead of the show. “I wanted to show my gratitude for the people of New York City who made this incredible experience possible. Thank you for all of your hard work; you are the true she-wolves and it will be an honor to have you with me!”

@brooklyn_magazine

Shakira made sure NYC’s World Cup workers got their moment. 🤝 Before her show at Barclays Center, the singer invited hotel staff, concession workers, stadium crews, and other union workers to join her onstage, honoring the people who helped make the FIFA World Cup possible. Many of those recognized were immigrant women through her Camina Con La Loba initiative. The surprise tribute was organized in collaboration with the NYC Mayor’s Office to celebrate New Yorkers whose work and service helped power the month-long tournament. 🎥: Courtesy of the NYC Mayor’s Office #shakira #fifaworldcup #barclayscenter

♬ original sound – Monique 🖤

A Sold-Out Dodger Stadium Crowd Welcomed Fuerza Regida Home

One of the biggest live moments in Latin music this summer went down in L.A., where Fuerza Regida brought its This Is Our Dream Stadium Tour to a sold-out Dodger Stadium on Saturday (July 18). The show marked the sixth sold-out stadium of the group’s nine-city U.S. run and doubled as a homecoming celebration for the Mexican-American band in its home region.

Running more than two hours and nearly 50 songs, the set was designed as a retrospective of the group’s musical evolution, moving from early corridos to its current genre-blending hits. The night also featured a stacked roster of surprise guests, including YG, OhGeesy, Chino Pacas, Clave Especial, Gemelos de Sinaloa, Chuyin, and Calle 24. “Los Angeles, this one’s for you,” frontman Jesús Ortiz Paz said in a statement. “Six sold-out stadiums in, and it still feels unreal. Thank you for making this dream real with us.”

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Karol G’s Con Cora Foundation Expands Its Reach Across the U.S.

Karol G’s Con Cora Foundation is taking its impact on the road. On Wednesday (July 22), the organization announced the Con Cora Tour 2026, a new initiative tied to the singer’s Viajando Por El Mundo TropiTour that will expand the foundation’s work with Latin women across the United States and Canada. Launched on Friday in Chicago and running through Oct. 17, the tour will visit more than 20 cities, including Washington, D.C., Toronto, Los Angeles, Houston, New York, and Miami, supporting programs focused on education, wellness, legal aid, and women’s empowerment through local partnerships.

As part of the effort, the foundation will also expand #MujerSegura, its gender-based violence prevention and awareness campaign, through mobile support hubs called Puntos Con Cora in select cities. The tour will also include visits to hospitals and shelters, while inviting beneficiaries from partner organizations to be part of the experience.

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Grupo Frontera Celebrates Sold-Out Houston Show With Tejano Pride, Christian Nodal & More Guests

Houston got a hometown-style celebration from Grupo Frontera this week, as the band packed out its Triste Pero Bien C*brón Tour stop with a sold-out crowd and a pair of standout guest moments. Christian Nodal joined the group onstage for “Adiós Amor” and “Ya Pedo Quién Sabe,” while legendary Tejano act La Mafia added a cross-generational touch with “Me Estoy Enamorando” and “Un Millón de Rosas.” The show also followed another major milestone from the tour kickoff in McAllen, where Grupo Frontera received Spotify Billions Club plaques for “un x100to,” “Que Vuelvas,” and “El Amor de Su Vida.”

Some groups left an indelible mark on hip-hop history, and Cypress Hill is without a doubt one of them. Since the early ’90s, B-Real, Sen Dog, DJ Muggs and later Eric Bobo became key figures in a scene that captured the harsh social reality of California and Los Angeles, blending innovative sounds with a Latino identity that has always been central to what they do.

That connection to their roots was cemented in 1999 with Los Grandes Éxitos en Español, a project that brought together some of the group’s most iconic songs adapted into Spanish and ultimately became a cult classic among Latino audiences. Tracks like “Yo Quiero Fumar” and “Loco en el Coco” made it clear that the Mexican and Cuban roots of several of its members were never a side note, but a fundamental part of the band’s identity.

Now, nearly three decades later, Cypress Hill is deepening that connection with the release of Dios Bendiga, the first album of entirely original Spanish-language material in its career. It’s a project arriving at a time when Latin rap is seeing unprecedented global growth, and one that aims to reclaim the cultural heritage that has been with the group since day one.

“Dios Bendiga is more than just a collection of songs; it’s a prayer for the culture. This album serves as a powerful reminder that our heritage isn’t a trend, but a divine legacy and a global future. We’re living through a historic era for Latin rap, and with this project we wanted to bring a sound that honors our history and resilience,” B-Real tells Billboard Argentina.

And when it comes to Latin rap, Trueno was an inevitable choice. After linking up on “F*ck El Police Remix” in 2023, the group reunited with the Argentine artist on “Saca la Bolsita,” a collaboration that adds a local flavor to the new project. “Trueno is a student of hip-hop — he’s someone who’s great to work with,” Sen Dog says.

Released Friday (July 24), the album will be presented live in Buenos Aires on Nov. 8 at Estadio Malvinas Argentinas, a show with which Cypress aims to further strengthen its relationship with the South American country, which the group has been visiting since 1996.

The group’s influence, however, goes far beyond its connection to Latin culture. Over the course of its career, Cypress Hill placed seven songs on the Billboard Hot 100 and reached one of its biggest milestones with “Insane in the Brain,” which hit No. 19 in 1993 and went on to become one of the most recognizable rap anthems of the ’90s. That same year, Black Sunday debuted at No. 1 on the Billboard 200, cementing the quartet as one of the era’s most innovative and successful acts.

With more than three decades of career behind them, millions of records sold, and a legacy that has transcended generations, Cypress Hill also helped open the door for Latino artists to carve out a place within the U.S. hip-hop scene. Their blend of West Coast sounds, psychedelic influences, and a cultural identity embraced with pride ultimately became a reference point for artists now leading the global expansion of Spanish-language rap.

In that context, Dios Bendiga doesn’t come across as a mere curiosity within the group’s discography, but as a new statement of purpose. It’s an album that connects the past with the present and finds Cypress Hill embracing, more than ever, the language and culture that have always been part of its story.

How did the process of making an album entirely in Spanish come about?

Eric Bobo: I think it all came from the way things started coming together in the studio — how everything flowed and ultimately clicked into place. At first, we didn’t really know exactly how we were going to approach the process. But as we moved forward, it felt like everything was happening in a very natural way.

It was as if the music wasn’t just flowing through us, but coming from something bigger. We felt a presence, something positive. For us, it was like saying, “God is with us.” From that feeling, we started developing that whole theme. On top of that, we knew it was something very close to the hearts of a lot of people in Latin America, so the concept ended up making even more sense.

How long did it take you to put everything together?

Bobo: Honestly, it didn’t take as long as you might think. The process started last November. We finished our parts in about a month. That was surprising, because we were doing something completely different for Cypress Hill: a fully Spanish-language album, creating new music and bringing together all the pieces it needed. You’d think a project like that would take a lot longer, but everything flowed very naturally and it ended up coming together that way.

Why did you choose “Wacha Trucha” and “Campeones” as the preview singles from this album?

B-Real: We felt that “Wacha Trucha” was a very important song for the moment we’re living in — especially because of everything that was happening with ICE and the different situations unfolding in the United States. It was kind of an alert song, a message to stay aware. But it also had a very signature Cypress Hill vibe. It reminded us of the energy of “We Ain’t Goin’ Out Like That.” We thought it was the perfect introduction to the album because that’s exactly the kind of sound a lot of people expect from us. We’ve always been a band that takes risks. We like stepping outside the box and trying different things.

Sen Dog: With “Campeones,” we wanted to show our versatility. We wanted to prove that we could also bring a festive vibe, something closer to the Latin spirit. That’s why we chose those songs: first to show the strength, and then to show that we also know how to make music to celebrate and have a good time — not just aggressive or confrontational songs.

Do you feel like this was a return to your Latin roots?

Sen Dog: Totally. It was a way of reconnecting with who we are, with our Latin identity and with the way we grew up in Los Angeles. We were always surrounded by the Spanish language, the slang, and that whole culture. I remember when we made Los Grandes Éxitos, which was basically Spanish versions of Cypress Hill songs. That album had a special energy.

Honestly, I like the feeling this new album gives off even more, because everything here is original. These are new songs, new concepts. We’re not relying on anything we did in the past for this project to be embraced by the fans. Musically, it reflects much better what young Latinos around the world are doing today. I think we really captured that well. And like Eric was saying, once we got started, it was just: “Alright, let’s make an album.” Every day was the same — go to the studio, spend the day together, record songs, and come back the next day to do it all again. There were no pauses or breaks between sessions. Everyone did their part, and everything came together really well.

I remember one day walking into the studio and seeing a whiteboard with the song titles on it. At the very top it said Dios Bendiga. In that moment I thought, “I like the way that sounds.” I don’t know exactly who came up with it, but as soon as I saw it, it felt perfect. And I know my mother would have been very happy to know we made this album.

As the lead voice, what did it mean to you, B-Real?

B-Real: It was something we had been planning for a very long time. Sometimes your own career gets in the way of your plans. Constant touring and other albums kept taking up our time, and we never fully committed to the idea. But this time we had a serious conversation, and when the opportunity came up, we said, “If we’re going to make this album, we have to really do it.” We cleared our schedules and made sure we had no shows for about four or five months, which is pretty unusual for us because we’re normally performing all the time.

When you make an album, you have to set aside time for the creative process to happen. Honestly, I thought it was going to take us much longer. We hadn’t made a Spanish-language album in 30 years, and this time everything was original material. We wanted, like Sen said, for these not to be translations. There are a few little nods to earlier things, but pretty much everything is newly written.

Did you enjoy the process?

B-Real: We had a great time making this album, and the process was much less complicated than I imagined. It was something we owed our followers for a long time — especially our Spanish-speaking fans — and the time finally came to do it. And from the response we’ve gotten to the two songs that are already out, even people who don’t speak Spanish are telling us they simply like the way it sounds. That’s very important to me because it means music is universal. It’s similar to what happened with our first albums, like Cypress Hill or Black Sunday. When those songs reached countries where English wasn’t spoken, people connected with them even before understanding the lyrics.

You were selective with the collaborations, choosing artist friends you had already worked with.

B-Real: I had already worked with several of them before. I’d collaborated with Alemán a couple of times, and Bobo and I had also worked with Trueno. With La Santa Grifa, it was the first time we shared a song, but I’d been listening to their music for a long time and we already knew each other. Today the landscape is completely different. There are so many artists out there, but we chose the ones we had already built a connection with and who could bring something special to the songs. With “Wacha Trucha,” for example, we immediately knew Alemán had to be on it. He has an incredible style and fits perfectly with what we do. And with “Saca la bolsita,” DJ Lord said Trueno would be ideal for it — he didn’t think twice.

Sen Dog: Plus, Trueno is clearly a student of hip-hop. All of them are. They’ve shown just how far the genre has grown in Latin America. They’re artists who can write and rap at an impressive level. They’re truly extraordinary at what they do.

Was it a challenge to rap in Spanish again alongside them?

B-Real: Absolutely. It’s a constant challenge. I can’t speak for Sen because Spanish was his first language, but in my case I grew up like a lot of Latinos in the U.S., especially in Southern California. Chicanos learn Spanish at home, from our parents. They speak to us in Spanish and we absorb that knowledge. Some people develop the language more, while others mostly understand it without speaking it as much. In school, we weren’t really taught Spanish beyond maybe a basic class. So it’s always going to be a challenge to compete with rappers who are native speakers and have a very advanced command of the language. That pushes us to work much harder.

Sen Dog: I think B-Real explained it perfectly. We grew up speaking Spanish, but at the same time we were also influenced by English through school and our friends. We know the language, of course, but when you’re working with artists from Mexico or South America, you’re dealing with people who have total command of Spanish. When I have to perform in Spanish, I really have to focus. There are words I know perfectly well, but sometimes they slip away from me. That’s why it was incredible to hear these guys doing what they do.

How does that constant reinvention work within the group? You keep incorporating new sounds over the years, and it’s clear you’re trying to stay fresh.

B-Real: It helps you explore places you might not have reached on your own. As an artist, you have to be willing to keep learning no matter how long you’ve been doing this. When you collaborate with younger artists, they’re going to learn something from you, but you can also learn from them. We’ve always been competitive people. We want to do things the right way, and we’re never going to stop showing our strength. So we adapt, take what we can learn from these artists, and keep moving forward trying to make the best songs possible.

Do you feel like the development of hip-hop in Latin America helped drive that reinvention within the group?

Sen Dog: Without a doubt. The hip-hop scene in South America and Mexico has grown tremendously since the days when we released Los Grandes Éxitos and started traveling to those countries. Even back then, we could see that people were really connecting with hip-hop, but watching how everything has evolved since then has been impressive. These artists take their craft very seriously, and they show it all the time. Year after year, they’ve kept developing the style, the writing, and the culture of hip-hop, while also giving it its own identity. Like B-Real said, he had already worked with Trueno, Santa Fe Klan, and Alemán.

Those relationships were already there. All that was left was to find the right time to come together and make music. And when that moment came, everyone showed up with their best. They didn’t just participate — they brought an incredible level. I remember hearing their verses and being genuinely impressed. All of that made me understand even more how rich Spanish is. There’s so much to discover within the language, the slang, and the different cultures. I think people should pay more attention to the music being made outside their own country and try to understand what the new generations are doing.

Over the course of your career, you’ve seen hip-hop go from a marginal genre to one that dominates the charts. What did it mean to be part of that expansion?

B-Real: That’s exactly the power of hip-hop. We had the chance to witness its growth from a very early stage. When we started traveling through Mexico, South America, and Europe, we saw how people celebrated the arrival of American artists and absorbed that culture with so much passion that they eventually decided to build their own scenes. I remember that around 1992 and 1993, we started touring Europe and seeing that phenomenon. Over the years, it wasn’t just that people started making rap in their own countries — those regions also began producing their own stars.

You also lived through the destigmatization of cannabis and the normalization of the conversation in recent years, after defending its use in songs like “Light Another,” “Something for the Blunted” and “Stoned Is the Way of the Walk.” What does that shift represent for you?

B-Real: I’m glad to see that everything has become more normalized. People no longer have the same prejudices or labels they used to. Now they understand it much better for what it is. Even people who used to criticize it or speak out against it are now allies and speak in its favor. The amount of information out there has allowed a lot of people to really understand what it is. Normalization is a positive thing because it means you’re not going to have as many problems over it.

In some places, it’s even possible to make a living from this industry. But beyond normalization, it still needs to be legalized. There are countries where it already has been legalized, and that’s extraordinary, but there’s still a lot of work to do, both in the United States and in other parts of the world. When I think about where we were 30 years ago and compare that reality to where things are now, it’s honestly pretty incredible.

A longer version of this interview was originally published by Billboard Argentina.

Those attending Shakira‘s residency in Madrid will find an experience that begins long before the Colombian superstar takes the stage. In addition to the 12 dates she will perform as part of the Las Mujeres Ya No Lloran World Tour this fall, attendees will also be able to explore Macondo Park, a space featuring eight pavilions dedicated to music, gastronomy, literature, art, fashion and other expressions of Latin culture.

The details of the concert series were announced Friday (July 24) during a press conference in Madrid, where Pino Sagliocco, president of Live Nation Spain, and Joao Alburquerque, architect from the BIG studio and one of the designers, shared the vision behind the venue. The temporary complex, spanning 185,000 square meters (4.2 acres), will be set up next to “Shakira Stadium,” which will have a capacity for 50,000 attendees per concert.

“It’s built like a tree where each branch leads to a different cultural experience, and all converge at Macondo Park,” Alburquerque explained while describing the design of the space inspired by Shakira’s creative universe. The idea, he noted, is for attendees to explore various experiences before reaching the stage.

For Sagliocco, the goal was never to create just a concert. “We want people to arrive early, explore the pavilions, eat and fully immerse themselves in the experience before and after the show,” he explained.

Shakira’s residency is scheduled for Sept. 18, 19, 20, 22, 23, 25, 26, 27 and 28 and Oct. 1, 2 and 3. Macondo Park will be open from noon to midnight local time, while Shakira’s shows are set to take place from 8:30 to 11 p.m. This way, attendees will have several hours to explore the space before and can remain there even after the show ends.

Macondo Plaza will be the starting point for exploring the eight pavilions that make up the experience. Organizers revealed that each pavilion will feature its own programming, the details of which will be announced later and updated throughout the residency. All activities will be included for attendees, regardless of the type of ticket purchased.

The residency will also offer two VIP options, Garden and Terrace, which will go on sale Monday (July 27) with prices ranging between 500 and 720 euros ($568 and $818). Both options will grant early access to the venue and the Front Stage, as well as an exclusive area to relax, eat and drink before the concert. Terrace will also include a panoramic area overlooking both the stage and the rest of the complex.

Sagliocco also revealed that organizers are considering opening Macondo Park Monday through Thursday to welcome school visits and host educational activities related to Latin American culture.

After a historic stadium tour, the Las Mujeres Ya No Lloran World Tour is currently in its second phase in the United States, this time visiting arenas. The tour, in support of the 2024 album of the same name, began in February 2025 in Rio de Janeiro and set a Guinness World Record as the highest-grossing tour of all time by a Hispanic artist.

Editor’s Note: This story has been updated on Thursday (July 23) to reflect the new artists added to the lineup.

Artists are joining in solidarity for “Unidos Por Venezuela,” a forthcoming benefit concert in Miami set to raise funds for the families and communities affected by the recent earthquakes in Venezuela. 

Joining the humanitarian initiative are Marc Anthony, Ricardo Montaner, Feid, Jay Wheeler, Elena Rose, Silvestre Dangond, Gente de Zona, Mau y Ricky, Olga Tañón, Lasso, San Luis, Piso 21, Alleh, Zhamira Zambrano, and Enrique Santos, who were initially announced on July 15.

A new wave of artists was then announced on July 23 that includes Chayanne, Gilberto Santa Rosa, Chyno y Nacho, Corina Smith, Isadora, Jerry Di, Jonathan Moly, Jorge Luis Chacín, Manu Manzo, Micro TDH, Nella, Joaquina, and Noreh.

The benefit concert as well as international telethon — led by CMN, Maestro Cares Foundation, TelevisaUnivision, and PIMIENTO Entertainment, with the support of  iHeartRadio, Spotify, Creative Link, EB Public Relations and Arco Entertainment — will take place at 6 p.m. ET on Aug. 16 at the Kaseya Center in Miami. The event, created to support the South American country’s recovery and reconstruction, will also broadcast live across the United States, Latin America, and digital platforms. 

“Unidos por Venezuela” is in response to the devastating twin earthquakes — magnitude 7.2 and 7.5 — that struck the country on June 24, causing the collapse of multiple buildings in La Guaira and Caracas, and leaving more than 5,000 dead, over 17,000 injured and about 18,000 homeless, according to Reuters. 

Donations can be made during the broadcast through QR codes, text messages, digital platforms, corporate contributions, and matching donation campaigns. “Funds raised through the event will be administered by recognized international humanitarian organizations to address the needs that arise throughout the different phases of recovery,” per an official statement. 

The concert will also show special reports on rescue efforts, humanitarian work on the ground, and survivor testimonies, to further demonstrate the strength and resilience of the Venezuelan people. 

Tickets for “Unidos Por Venezuela” are available on Ticketmaster.

Shakira returned to Barclays Center on Tuesday (July 21) for the second of her back-to-back Brooklyn dates, and while the Colombian superstar hardly needed help whipping the crowd into a frenzy, she still delivered the night’s biggest jolt by bringing out Wyclef Jean for a show-stopping performance of their Billboard Hot 100 No. 1 hit, “Hips Don’t Lie.”

Two days after making history at the first-ever World Cup halftime show, Shakira kept the momentum going in New York with a set that balanced global-pop spectacle and the rawer spirit of her earlier catalog. The Wyclef cameo was the clear breakout moment: Shakira, barefoot and dressed in a tan, branch-like bohemian look that echoed the earthy costumes worn by her female dancers, turned the stage into a hypnotic fever dream as Jean emerged in all black, with shades, a fedora-style hat and a colorful bandanna peeking out underneath.

Together, they launched into one of Shakira’s most recognizable songs — the hit that has become inseparable from her legacy. When Jean delivered his verse, including the immortal “let me see your hips like you come from Colombia,” the audience erupted. Shakira and her dancers answered with serpentine, mesmerizing choreography, and by the end, the two stars were dancing side by side as the arena roared back every word.

Still, the guest appearance was only part of what made the show memorable. A major thread running through the concert was Shakira’s embrace of her early rocker era, spotlighting the sound and spirit that defined her before the English-language crossover years. She leaned into that identity visually too, wearing a sparkly, body-hugging purple one-piece with the flair of an ’80s hair-metal fantasy reimagined through her own lens.

At different points, she strapped on a glittering pink electric Fender and reminded fans just how central guitar has always been to her artistry. She also picked up an acoustic guitar for “Inevitable,” one of the night’s most emotional moments, and later dipped into fan-favorite classics that turned the arena into a giant sing-along. Dónde Están los Ladrones?, her landmark 1998 album, was especially well represented, with songs like “Ojos Así” casting a trance over the room and “Ciega, Sordomuda” landing like a full-body release of nostalgia and joy. “Dónde Estás Corazón” also hit hard, as thousands of fans sang along to every word.

She kept the old-school energy flowing with “Antología,” another one of the night’s loudest sing-alongs, before moving into later hits and English-language favorites including “Underneath Your Clothes.” She also made room for newer material like “Soltera,” proving that even in a set packed with history, she knows exactly how to keep her present-day catalog in the mix.

If the first Barclays show underlined Shakira’s command as a hitmaker with surprise guests like Tyla, Ed Sheeran and Burna Boy, the second doubled down on something deeper: her range. She can still deliver the arena-pop spectacle people expect, but Night 2 showed just how powerfully her rock roots and Latin alternative beginnings continue to connect.

The Colombian superstar is set to perform again in New York on Thursday (July 23) at UBS Arena.

Fresh from her historic performance at the first FIFA World Cup halftime show on Sunday (July 19), Shakira kept the party going Monday (July 20) at the Barclays Center, where she brought the stadium energy to the Brooklyn arena for a stellar night that included Tyla, Ed Sheeran and Burna Boy as surprise guests.

Part of the second leg of her record-breaking Las Mujeres Ya No Lloran World Tour in the U.S., the words “World Cup Edition” were added to the title on the big screen at the back of the stage before the Colombian superstar appeared with her dancers to kick off the first of two nights at the venue.

“What a day yesterday at the finals!” she said, referring to the match in which Spain defeated Argentina 1–0 and was crowned champion. “Well, today I’m pumped, so I’m gonna give you all I got. Because there’s nothing like when a she-wolf is back with her pack. Awooo!” The crowd answered with a deafening roar.

After delighting the audience with staples such as “Estoy Aquí,” “La Bicicleta” and “La Tortura,” Shakira presented her first guest of the night: South African singer and songwriter Tyla, with whom she performed her 2006 Billboard Hot 100 No. 1 hit “Hips Don’t Lie.” And boy, did the “Queen of Popiano” keep up. Singing and dancing through a catwalk that extended from the stage toward the center of the arena, Tyla — wearing a turquoise dress with fringes that complemented Shakira’s gold outfit — didn’t miss a step of the choreography, moving along with the hostess by her side and about 20 more dancers behind.

Later on, Sheeran appeared for a duet of Shakira’s song “Underneath Your Clothes,” which peaked at No. 9 on the Hot 100 in May 2002. Playing the guitar and taking turns to sing the different verses, the British superstar — casual in black pants, a white T-shirt and sneakers — added sweetness to the ballad, with their voices blending beautifully in harmony.

And, shortly before the night ended, Burna Boy showed up to perform his collaboration with Shakira, “Dai Dai” — the official song of the 2026 FIFA World Cup — and the biggest song on the planet today, topping both the Billboard Global 200 and the Billboard Global Excl. U.S. charts. It was the most cheerful and colorful moment of the night, with the Nigerian singer and the Colombian star — along with her backup dancers — making everyone smile and dance to their irresistible blend of Latin pop, reggaetón, dance-pop and afrobeats.

It was a high that could only be followed by another timeless World Cup anthem: Shakira’s own “Waka Waka (This Time for Africa)” from 2010.