20 New Songs to Listen to This Week From 54 Ultra to Bellakath

Coming off the bat of a successful round of touring, signing with a major label, and debuting at Coachella, Jersey-born singer-producer 54 Ultra returns with his luscious brand of progressive soul. Featuring the instantly recognizable textured guitar riff and yearning vocals, “Tell Me” is the latest in the catalog for the freshly recruited Interscope signee. “Tell Me” features the same notable features of a classic Ultra track: glittery guitar melodies, soulful vocals with a crooning echo effect, and passionate songwriting to match. Heaven knows that 54 Ultra has maintained his cult following with consistent musical stylings and dedication to the nostalgic soul aesthetic, and “Tell Me” is very reminiscent of his early work while still playing with the formula. – Alan Baez

Lights, camera, and gunshots kick-off Bellakath’s newest track “Criticón,” where the artist presents a blunt and upfront reminder of the benefits that come with staying on her good side and the dire consequences of the opposite. Along with an extremely memorable and empowering hook, thumping bass, and aggressive percussions condensed into the purest reggaeton sound, Bellakath tirelessly swings bars and punches with her rhinestoned boxing gloves to anyone who dares facing her. The unbridled irreverence and sensuality remain at the forefront of her work while a cheeky sense of humor rooted in deep confidence provides the perfect matching ring for the old proverb to ring true: Every tongue that rises against Bellakath shall fall. Along with some teeth. – La Morra Lisa

Girl Ultra linked up with Buscabulla’s Raquel Berrios to deliver one of this week’s most anticipated collaborations, co-produced by Chromeo. With a groovy pop ambiance, Brian Eno-influenced piano layers, and the duo’s alluring vocals, “Mentirasmentiras” offers an entrancing single that excites one for Girl Ultra’s upcoming album RRRomeo, out on Oct. 9. “To me, ‘Mentirasmentiras’ is a meditation on the quiet despair that comes with living inside a lie,” Girl Ultra said about the track. “It’s about the strange addiction of looking away, peeling back the truth for a second, only to sink back into the illusion again and again keeping it erotic.” As far as the video goes, the vocalists ooze sexy, black cat-vixen energy complete with chain-smoking, all-black outfits, and an undeniable magnetic force that captivates you both sonically and visually. And honestly? We don’t expect anything less from the creative minds of Girl Ultra and Berrios. – Jeanette Hernandez

“ZIZI” finds Ozuna leaning into what he does best, making records that feel tailor-made for open-air speakers, late-night drives, and packed dance floors. Teaming up with Omar Courtz adds a fresh spark, as the Puerto Rican rapper’s sharper delivery balances Ozuna’s melodic instincts without disrupting the track’s easy momentum. There’s an undeniable chemistry between the two, giving the song enough personality to stand out in a crowded summer playlist. Directed by Ricardo Rivera (Fue Ricky) and filmed across Puerto Rico and Spain, the video matches the record’s carefree energy while expanding its sense of place. One of the standout moments comes when Ozuna slips in the iconic “si tu marido no te quiere” lyric, a playful nod longtime fans will catch immediately. It’s a smart callback that adds a layer of nostalgia without distracting from a collaboration that feels current, confident, and built for repeat listens. – Natasha Melina Argudo

Shortly after announcing their joint EP, which was previewed by “Espiral,” fellow Colombian electronic music heavyweights Ela Minus and Nick León just dropped “qué le pasó a mis amigos?” The title track is the emotional center of the whole project, dealing with the hardships of being an active touring and recording artist. For the first half, Gabriela Jimeno is deep in thought, floating among airy synths and high-pitched static as the beat builds around her. She feels alienated from normal life and her friends, and toys with the idea of quitting music altogether and leaving things to chance. Finally, a rave-lite party unravels, but she brings her reflections to the dancefloor, unable to shake off the feeling. – Cheky

When it comes to Mexican R&B, you better put some respect on Immasoul. Crafting sultry earworms dating back a decade, the versatile, uncontainable talent also swerved into Afrobeats and corridos tumbados on her excellent 2025 LP, Pistola. Now, kicking off a new chapter, Immasoul returns to her R&B roots with “Bendecida,” a post-breakup affirmation ramped up with trap and plugg production flairs by Rox Mills. “A las malas aprendí que darlo todo no es pa’ mí / perdí el corazón dos veces, no pienso perderme a mí,” she muses on the hook, gracefully taking her L in the game of love while holding on to her emotional center of gravity. In the press release, Immasoul confides that she “wanted to write a song about acceptance and gratitude, rather than resentment,” and she succeeds by redirecting the narrative into her personal growth and doubling down on ass-throwing instrumentals. — Richard Villegas

Stepping away from Combo Chimbita for a bit, Carolina Oliveros has embarked on a musical exploration of her own, and as “Oye Camina” proves, she can go even deeper in her emotionally resounding songs. Leaning on her powerhouse vocals, insistent percussion, and electronic arrangements, Oliveros gives us a seize-the-moment attitude indebted to hardships and hard-won lessons rather than greeting-card sentimentalism. The song’s accompanying video drives the point even further, with Oliveros expressing a personal and heartfelt view of queer love, making it an important statement in this age of increasing intolerance. Exploiting her unique abilities as an artist, Oliveros delivers an anthem that will shake listeners to their foundations. — Marcos Hassan

Pink Pablo’s first two projects, road 2 neverland and ALL I DREAM, were downright groundbreaking in their genres, fusing rap, rock, reggaetón, electronic music, and more into something that also held up as intensely personal. But those two were produced years before their release, and this week sees the premiere of Pablo’s most contemporary work yet. PINK LEMONADE is a seven-track EP that demonstrates he’s a legit talent with a distinct voice that puts him above many of his peers. The focus track “creiziiii” features his biggest collab yet, alongside De La Ghetto. In it, the reggaetón legend enters Pablo’s world and works within the sound he’s curated, and both slide immaculately for a track that’s so eccentric-yet-groovy it crosses into genius. — Juan J. Arroyo

Heartbreak has always made for good songwriting, but Quelle Rox has something even better in mind: falling back in love with yourself. On “Mujer de Nadie,” the rising diva-rtist trades romantic yearning for quiet self-devotion, drifting through dreamy indie-pop that feels like a late-night conversation in the mirror. One moment she’s admitting it’s “just one of those days,” the next she’s telling her reflection, “bitch, I love you,” reminding us that healing rarely happens in a straight line. Sometimes it looks like crying, smoking, pouring another drink, and choosing yourself anyway. If love songs usually ask someone else to stay, “Mujer de Nadie” asks what happens when you’re the one who does. After all, there’s something quietly radical about looking in the mirror and deciding you’re worth romanticizing, too. – Jeanette Diaz

Brazilian singers Day Limns and Elana Dara trade introspection for pure fun on the effortlessly casual track “calmaê,” turning the emotional push-and-pull of modern relationships into a playful pop anthem brimming with wit and chemistry. Riding an effervescent beat directly inspired by sounds rooted in Brazilian funk, the duo embraces contradictions with tongue-in-cheek lyricism, refusing to take romance, or themselves, too seriously. The song reaches its most infectious moment in a chorus that cheekily nods to Kelly Key’s iconic “Baba Baby,” adding a nostalgic wink that makes the track instantly irresistible to those who grew up with the blonde’s tracks in their ears. It’s the sound of two friends letting loose, proving that sometimes the best songs are born from spontaneity, laughter, and the freedom to simply enjoy the moment. – Júlia Henn

Flexing the colleagues in his Rolodex on this new track, Boy Wonder CF assembles a powerhouse of other like-minded dembow players, including Nesi, Nino Freestyle, Bigoblin, and Chaki Bley, symbolizing the global reach the genre has finally accomplished. “Dembow Pretty Little Baby” recontextualizes a beloved ‘60s teen pop melody into an eager, sensational dembow banger for a modern audience. For a song that’s been in the popular music zeitgeist for so long, it’s incredible to see a new flip this simple yet innovative. It turns an innocent, calm track into a head-nodding beat with an insanely aggressive flow. Nesi kicks off the track, but immediately weaves her vocals with the sample throughout the track, and every feature manages to stand out vocally while supporting one another. Despite everyone contributing to the overall joyful and carefree whimsy of the track, it’s actually Bigoblin who stands out the most with his earworm vocals. – Alan Baez

A melancholic guitar joined by a robotic choir of angels is the very first glimpse we get into the sonic world of Ryan Castro’s new album, and what better way to launch this visionary era than joining forces with longtime collaborator and close friend Feid. In “Mentira,” their third joint collab, both artists make their fraternal flow apparent by effortlessly showcasing their well-honed skills in a relatable tale of heartbreak that you can still shake your ass to. Castro elegantly shifts speeds and styles, delivering touching vocal runs all while preserving a bad boy flair mirrored by Feid. He’s the perfect partner to tell this story of how genuine interest and connection can be blurred by unchecked egos while highlighting the importance of having safeguards to heal and express vulnerability creatively or as some call it: jamming with your bros. – La Morra Lisa

We always need more women in música mexicana. Cue in Mexicali-born emerging artist RIA’s newest single “Si Un Día Me Extrañas,” an emotional and traditional Regional Mexican piece featuring a rhythmic trombone and guitar arrangement. “Si Un Día Me Extrañas” is for the sad girls who know they’ve got to move on from a loser ex-lover but are still leaving the door cracked open in case they finally have something more to offer. The bare minimum is never enough, ladies! Through her sentimental and soft vocals, she narrates a story about infidelity and the need to change this endless loop of disappointment. Though sometimes it’s easier said than done, RIA captures that looming sense of realization—once you finally recognize enough is enough—and you’re the one responsible for finally locking the cracked door. – Jeanette Hernandez

“Island” doesn’t chase the song of the summer title, it earns its place by keeping things effortless. DaniLeigh, Lennox, and La Insuperable each arrive with a distinct lane, but the chemistry comes from how naturally those worlds collide. The production lets each of their influences breathe without feeling overcrowded. What gives the track extra weight is its connection to the Dominican Republic beyond the visuals. Recorded and filmed along the country’s North Coast, “Island” feels shaped by its surroundings instead of borrowing them as a backdrop. Puerto Plata and Cabarete aren’t just postcard scenery, they’re woven into the rhythm, energy, and attitude of the record. The trio builds something special together, delivering a vibrant collaboration that feels rooted, sun-soaked, and ready to soundtrack long days that stretch into longer nights. – Natasha Melina Argudo

For their latest single, Costa Rican quintet Adiós Cometa continue to push their sound forward, landing them in emo territory. “Uno” is part of a split release with Cissné, a like-minded Japanese band they connected with online. While cloaking their sound in their usual shoegaze aesthetics, they take a leap of faith and give us an affecting performance that’s closer to emo and post-hardcore, while giving it a post-rock dynamic of sorts. The vocals switch from a croon to a scream effortlessly, conveying intense emotions of being transformed by a love that feels never-ending. They swung big and managed to keep a sound that’s uniquely theirs. – Cheky

There must be some magical mineral in the waters of El Río de la Plata that makes cities like Buenos Aires and Montevideo fertile hotbeds of electropop. “Majestuoso,” the new single from Uruguay-born, Argentina-based singer and producer Max Tejera, is a prime example of the strobing bangers rushing gay dancefloors across the Southern Cone. The story is simple: a handsome, regal suitor sweeps our protagonist off his feet, smooth-talking while displaying emotional intelligence, all set to a throbbing beat. The combination of kitschy autotune and melodramatic storytelling elevates the track to a full-on romantic fantasy, complete with a music video set in an elegant garden party where Bridgerton-esque costumes and cheeky side glances abound. — Richard Villegas

“Campo, Puerta” demonstrates why Edgar Bajo El Agua is fast becoming an artist worth keeping an eye on. Through delicate finger-picked guitar chords and gentle synths—courtesy of café amargo—this heartfelt track keeps things intimate. “Campo, Puerta” results in an exercise in abstraction as a tool to express deeply rooted feelings, from the lyrics and mantra-like melodies that conjure a state of trance without sacrificing hooks to the closing moments of the song when chaos erupts in a gentle manner, like the tide rising as the sun sets. “Campo Puerta” is proof that Edgar Bajo El Agua has dimensions he’s just beginning to explore. — Marcos Hassan

Two of DR’ s most promising indie pop acts team up this week in “Paralelamente a Ti,” the newest single off Ivana Loyola’s debut album, Cuerdas en el Ocaso (“Strings at Dusk”). Teaming up with fast-rising singer SNENiE, the two accomplished crooners come together for a folk ballad that explores the melancholy of accepting that someone who was once an integral part of your daily life isn’t there anymore, but you find peace in knowing they’re still somewhere, thriving and living “parallel to you.” Ivana’s album is awash in the sort of heartfelt lyricism and ingenuity that makes a project rich, and with a variety of tropical sounds coloring every track, instantly making it a must-listen for fans looking for something fresh and genuine. — Juan J. Arroyo

Survival has a funny way of making us forget what we were trying to save in the first place. These Severed Hands capture that quiet tragedy on “Baby Deer,” a pastel post-hardcore gut punch that transforms vulnerability into something both beautiful and unbearable. The most heartbreaking part of the emo banger isn’t its anger, but the quieter realization that survival has started to erase the person it was trying to protect. Across crushing guitars and throat-shredding screams, the song becomes a mourning ritual for slowly losing your original self one new face at a time. By the time the refrain finally settles in, “Baby Deer” is no longer asking how much pain a person can endure. It’s asking something far crueler: what parts of yourself do you have to kill to become easier to love? By the end of the track, consider the assignment completely understood by the Southern California newcomers. The best emo songs were never about glorifying suffering. They just survive it loudly enough for the rest of us to scream back. – Jeanette Diaz

Brazilian musical group Tangolo Mangos drifts through the blurred space where attraction, longing, and chance quietly intertwine on their latest track “Dominó,” pairing seductive lyricism with an inviting groove. Built on the band’s signature blend of traditionally Brazilian and Northeastern rhythms with subtle touches of soul and rock, the song unfolds like a slow dance between strangers, drawing listeners into a romantic haze where every glance carries weight. Its mischievous qualities hidden behind the doors of musical joy transform flirtation into a rhythmic ritual, proving that sometimes the strongest connections are made not through grand declarations, but through melodies and words that gently, but suddenly, pull people closer together. – Júlia Henn