20 New Songs to Listen to This Week From Feid to Villano Antillano

What seems like a beachy, warm experience at first is quickly contrasted with nostalgic, vulnerable lyrics in which Colombian superstar Feid tells the story of a broken heart not ready to let go. With a melancholic electric guitar, energetic reggaeton beats that span several tempos, and masterful production, “A Xon De Que” is the first taste of his upcoming EP, El Club de las 19 Flores. And with this welcoming single, he showcases not only his passionate, relatable writing but also his vocal range through impressive runs and impeccable delivery. Tired of pretending, tired of being without her and blocked everywhere, he describes his now-gone lover as a shooting star who left before he could even react, leaving him unsure of the reasons but confident that he is not ready to see her loving someone else. We are sorry to report that Feid being heartbroken slaps! – La Morra Lisa

Puerto Rican artist Villano Antillano brings the house down with her latest release, “OTA.” This badass anthem showcases the singer’s best vocal and personal qualities, as the high-energy track exudes confidence, pride, and mischief. Perfect for a night out at the club, the song hits every right beat in a pop-and-electronic blend that is impossible to stay still to. “OTA” is as fierce as its author and definitely deserves a place in anyone’s playlist who is willing to listen to someone who is both a hypnotic music artist and an inspiring queer icon. – Júlia Henn

Two months after the release of his previous single, the well-received “Juanga,” Puerto Rican rising star Matt Louis drops his newest track, and, with it, treads new ground and sound. “Bandido” is, in his words, a “bachata electrónica” and his first foray into that particular genre. Continuing the theme set by his last song, Matt croons about misreading his partner’s intentions and heart, once again feeling abandoned and deceived by someone he’d grown to love. They’re the titular bandido, and Matt’s angst is only tempered by the song’s infectious beat and the tease that part of him feels he can be a bandido too. — Juan J. Arroyo

Heartgaze, the production mastermind behind smashes from South American internet behemoths like Akriila and Young Cister, is steadily creeping out of the studio. Their excellent 2025 LP Tutorial de como creer explored internal spirituality to the tune of digicore, trap, and even bachata, and on the new single, “bby confia,” the gaze turns outward with a melancholy earworm about earning and cherishing a partner’s trust. This time enlisting Chilean reggaeton heartthrob FaceBrooklyn, the pair craft a mutant pop ditty where baile funk clanging gives way to jersey club kicks, and with shoegaze guitars sprinkled in alongside uproarious DJ tags. The track encapsulates what this SoundCloud whiz once described as “freaky, Latino, non-binary internet music,” and the perfect soundtrack for showering bae in Tweety Bird WhatsApp stickers. — Richard Villegas

With “Paraíso,” La Cassandra opens the door to Códigos, an ambitious collaborative project that reimagines tropical pop through stories of love, longing, and personal transformation. Featuring fellow Dominican artist Martox, the single begins with the timeless intimacy of a bolero before unfolding into an Afrobeats-infused anthem that mirrors the rush of finding the person—or place that feels like home. The seamless blend of Caribbean roots and contemporary production reflects La Cassandra’s mission to bridge tradition with modernity while expanding the boundaries of Latine pop. As her first official collaboration released under her own project, “Paraíso” signals a defining creative milestone, pairing her genre-fluid vision with Martox’s tropical-forward sound. Accompanied by a cinematic video shot in the Dominican Republic, the single introduces a vibrant new era built on collaboration, cultural identity, and fearless artistic evolution. – Natasha Melina Argudo

Fellow Colombian electronic music artists and previous collaborators Ela Minus and Nick León linked up for a new joint EP titled qué les pasó a mis amigos?,  featuring three original tracks and three remixes by Loidis, Guedra Guedra, and Brenda. By the sound of their first single “espiral,” it seems like they found in their collaboration a third space beyond their solo output. The song is an electronic pop jam with production that cuts straight to the chase, featuring a magnetic rhythm and a lingering woozy synth that adds to Ela Minus’ claustrophobic lyrics. She’s paralyzed in the middle of a suffocating relationship after giving all she had to break free, giving an affected vocal performance that opens up her range. – Cheky

Who said Marca MP only makes sad Regional Mexican songs? You can cry at the club now. Strolling away from their signature música mexicana flair, Marca MP is now dabbling in electronic dance music on their latest release, “Si Tú Supieras.” With house elements and an uncharacteristic use of auto-tune, Marca MP’s vocalist, Pedro “Chato” Vargas, narrates a story about missing a long-lost lover, backed by a groovy house number produced by Gaby Music. “Si Tú Supieras” explores the emotional emptiness of being in a crowd at a club yet unable to take your mind off who you truly miss. Though it’s a heartbreaking sentiment, the rhythmic bass and hypnotic piano keys give a lingering fake sense of happiness—but Chato quickly reminds his listeners of the reality of it all with gloomy lyrics like “Río por fuera / Y por dentro lloro / Soy un payaso cuando me enamoro.” Cheers to him! – Jeanette Hernandez

Girl Ultra is no stranger to experimentation. In her six-year tenure, this decade has seen Girl Ultra tackle house-infused R&B, punk aesthetics, and acid club, all while still maintaining this “guapa,” confident charm. Her latest track moves at a slower tempo, but still embraces a groovable energy. “Denisse” follows up last year’s first teaser “Tomas” and carries the same sensational rhythm provided by production duo Chromeo. Its dub reggae-inspired bounce element keeps the head nodding in conjunction with G.U’s charming vocals. After years of subtle hints and months of teasing, “Denisse” comes with the full announcement of Girl Ultra’s full-length collaborative project with Chromeo, RRRomeo. This collaborative project between the two has quietly been in the works for years now and sees the chilanga artist return to form with funk-centric pop music. – Alan Baez

Singer-songwriter Madi Diaz is known for her confessional and emotionally charged songs that feel very close to her. However, she can deliver a similar feeling when writing for someone else. “This Is How A Woman Leaves” was originally written for Maren Morris, but now we get to listen to Diaz sing it in her own voice. The track features a lot of instruments—guitars, bass, sparse drumming, piano—yet the sound is gentle and enveloping, allowing Diaz’s voice to emote about breaking up and feeling vulnerable about losing love and moving on. With “This Is How A Woman Leaves,” Diaz proves that pop music can still have deep emotional resonance while remaining catchy. — Marcos Hassan

There’s always that one heartbreak that has you comparing yourself to the other person. And sometimes, the biggest plot twist is realizing the other woman was never your competition. On “Perrísima,” LELI turns a deeply personal experience into a bright, tropi-pop anthem that sounds far more interested in moving forward than looking back. Breezy Caribbean rhythms and playful melodies carry the track, doused in enough saucy attitude to turn heartbreak into something worth dancing through. Because at the end of the day, sometimes the biggest act of self-love is giving someone else’s bad decisions back to them and moving on for good. — Jeanette Diaz

With “1-800,” Dominican-American singer María Isabel briefly steps back into the sultry R&B sound that first introduced listeners to her work, delivering the only English-language track on her latest project Miss Me Much? as a nostalgic standout. Wrapped in smooth melodies and intimate vocals, the song embraces the genre’s understated sensuality while reflecting the confidence that defines the new album. Though the remaining tracks on Miss Me Much? largely explore reggaeton and dembow influences shaped by her heritage, “1-800” offers a softer approach, proving that María can effortlessly flow between genres without losing sight of the personal growth and artistic evolution at the heart of this new era. – Júlia Henn

This week, Mariana Beauchamp drops the music video for her latest single, “fantasma de ti.” Mariana’s past releases have always skimmed the space between folk, ballad, and pop, and here she wades into what can be described as a modern torch song, as she sings about the all-too-tangible vacuum left behind after a love departs. The marriage between her profound lyrics and stirring voice always make for an impressive track, and this time is no different. The music video’s black and white aesthetic underlines the timelessness of her sound, and the song confirms her as a promising artist to keep an eye on, especially as she serves up another variant in the budding Puerto Rican pop wave. — Juan J. Arroyo

Showcasing a fresh voice accompanied by classic sierreño instrumentation and layered into a modern-sounding production, Clemente y su Elexion Privada present “ARRE PUE$,” their latest contribution to the “Regional Malandro” scene, where their story of growth from the streets to traveling in armored sports cars and wearing designer labels proudly proclaims loyalty and hard work as the core values for their exponential success. This trio, originating in Denver with roots in Ciudad Juárez, is fearlessly pushing through, knowing that the good life they have quickly grown accustomed to came to be by never having stolen anything and by staying true to their origins. With a passionate, talented voice that ranges from a more romantic, classical-adjacent delivery to fast-spitting, stylish bars, Clemente and his crew are powerfully claiming their spot as ones to watch and enjoying every prize, diamond, and dollar that has crossed their hard-earned path. – La Morra Lisa

About 20 years ago, synthpop was a Mexico City staple at the hands of acts like María Daniela y Su Sonido Lasser and Moenia, or even dating back to the techno-pop boom of the mid ‘90s. But these days, the sound is spearheaded by the duo Budaya, whose forthcoming album brings electropop joy back to chilango dance floors along with a cavalcade of guests including Ely Guerra, Cero39, and Wet Baes. On their new single “*STAR,” they take folky singer-songwriter Rosas along for the ride, unleashing a strobing slice of house music with a hopeful message about being present in love, life, and revelry. “Me parece tan trágico que seamos tan dramáticos / volcánicos, mecánicos, vámonos a switchear,” they harmonize on the hook, disarming vibe killers while embracing inner melodrama. The accompanying music video leans just as eagerly into whimsy, with all three artists dressed in plushy star headpieces and dancing around Tenochtitlan’s city center to the beat of their own twinkling drums. — Richard Villegas

“NO C DA” finds DIA revisiting the trap foundation that first defined his artistry, but with a sharper sense of purpose. Produced by VAIH, the single explores the emotional limbo of two people whose undeniable chemistry never translates into commitment, turning a familiar situationship into an intimate, late-night confession. The production favors moody textures and understated melodies, allowing DIA’s vulnerable performance to carry the weight of everything left unsaid. More than a return to an earlier sound, the track reflects an artist reconnecting with his creative identity after experimenting across reggaetón, R&B, and collaborative releases. With credits as producer and songwriter, DIA shapes every layer of the record, reinforcing its deeply personal perspective. Following the energetic “SOY UN PROBLEMA” and recent collaborations, “NO C DA” marks a compelling new chapter—one that embraces the introspective edge and emotional honesty at the core of his trap roots. – Natasha Melina Argudo

Guatemalan boy band Los Skeepers welcome a new era with the ecstatic “NADA MÁS+,” a perfect marriage between organic and digital sounds. With an earworm of a chorus and alt-pop aesthetics, “NADA MÁS+” dazzles with its quirky production and the band’s heartfelt vocals. Toying with cumbia patterns, synthetic sounds, and negative space, they craft a technicolor world that feels new. They balance out this joy and freedom with touching lyrics about trying to get over a lost relationship. Toward the end of the song, they take a left turn and give us emo guitars and a blown-out Jersey club-meets-rave moment that feels out of nowhere but totally welcomed. – Cheky

Brooklyn-based Brazilian-born artist Late Again—born Rafael Melo—released his newest song, “Crazy or Stupid.” The new hazy bass-driven track captures the raw thoughts of this country’s state of mind—in a gentle yet real way. With lyrics like “I’ve been catching my breath / I forgot to pay ConEd / Can they deport me for this?” and “Clones replacing the dead / On some gen AI post she shared / The mass was always a mess,” Late Again taps into real ongoing anxieties packaged into a mellow dream-pop joint. Though the lyrics may feel alarming, Late Again says, “[‘Crazy or Stupid’ is] ultimately a funny ballad that doesn’t take itself too seriously.” Well, at this point, that may be the best option. “Crazy or Stupid” is part of Late Again’s upcoming I Dreamt I Was Awake EP, out on Sept. 4. – Jeanette Hernandez

Off the heels of a productive summer run, the latest from Argentine artist BB ASUL is seductive on all fronts. Cool and collected, BB ASUL’s sophomore track of the year blankets itself in a stylish sheath, reveling in classical undertones and teleporting her performance into a jazz lounge. Asul’s vocal performance on “colmillos” is laid back, much more low-key, yet still confident; a completely different style in contrast to her previous, more lively track. There’s a nostalgic charm to the production, built on alternative R&B soundscapes and suave noir aesthetics. It’s rich and suave from the opening violeta. Asul is also joined by the eccentric Taichu, whose vocals perfectly match the easy, intimate setting of the song. Her feature, light in its cameo, makes a strong impression as she is completely out of her typical realm of hyper, glitchy perreo and excelling in another lane. Sacrificing her more upbeat and energetic bag to contribute to something more subtly surreal. – Alan Baez

If your idea of fun is spending a night at a haunted house, then Deathgrave’s new track might be exactly what you’re looking for. “Born From Death” delivers all the fun of a wild ride through a sound that’s as gnarly and heavy as a rusted chainsaw. The band mixes death metal, grindcore, punk, goth, and more in a single track, something like an audio horror movie. Everyone is firing on all cylinders, but it’s vocalist Andre Cornejo who comes across as the track’s MVP; you can hear him shrieking, growling, and screaming his way through it all and upping the excitement in the process. If you love punk, metal, or wild rides, this one is for you. — Marcos Hassan

While some people spend entire songs trying to say “I love you,” Bruno Berle makes it sound like the easiest sentence in the world on “Você Já Sabe Que Eu Te Amo.” Serving as the opening track to Bruno Berle’s newly released album Sem Fronteiras, the Brazilian singer-songwriter is joined by fellow Alagoan artist Nyron Higor for a duet that never rushes the moment. Delicate nylon-string guitars, featherlight harmonies, and softly unfolding instrumentation say everything the lyrics don’t have to. Rather than chasing a dramatic climax, the arrangement simply continues to bloom, revealing new textures with every passing moment. By the end, it feels like you’ve been quietly let in on something deeply personal. No grand gestures needed, just the quiet certainty of finally saying something that’s been true all along. — Jeanette Diaz