20 New Songs to Listen to This Week From Rubby to Gloria Groove

Rubby takes a raw look at queer romance on his latest single, “SILO.” The heavy, slow-burning electronic track explores toxic love, capturing the moment when intense passion slips into complete isolation. Blending electronic production with touches of alt-pop, reggaeton, and acoustic guitar, the song creates a sound that is immersive and emotionally charged. Leading the production is BAPARI, who previously co-produced FKA twigs’ Eusexua, bringing added depth to the track’s sound design. The release is accompanied by a music video shot by acclaimed Colombian visual artist David Mesa. Defined by beautiful, moody visuals and high-art cinematography, the video complements the song’s emotional weight and striking aesthetic. “SILO” also serves as a preview of Rubby’s debut studio album, EXHIBIT A, arriving this summer. – Natasha Melina Argudo

Every new release by Brazilian drag queen Gloria Groove is a reason for celebration, and her latest song “O Chá” is no exception. The upbeat track brings pop, Brazilian funk, and reggae together in a fun and whimsical performance that is highly complemented by the accompanying music video, which features three of Groove’s characters: Mary Jane, Lil Haze, and Goldie. And yes, the magical and colorful world presented in the highly entertaining video contains some references to weed, just as the lyrics, for example: “There are 40 minutes left to 5,” which results in 4:20. The sexual innuendos are also present, since the track’s very title is rooted in a modern Brazilian idiom that translates, to put it simply, into sex. “O Chá” is a party on its own and, more than anything, this celebration of her 10 years in show business as a drag queen showcases Gloria Groove’s evergreen ability to have people dancing and singing along to her lyrics in less than 10 seconds. – Júlia Henn

Mon Laferte continues to unveil her latest album, Femme Fatale Vol. 2, with her newest collaboration “Eterno Resplandor de Una Memoria Sin Recuerdo” featuring emerging and innovative Chilean singer Javiera Electra. On top of an acoustic guitar and gentle string instrumental soundscape, Javiera’s airy and soulful croons add an ethereal and compelling element to Mon’s signature vocal style, as they reminisce about a meaningful past. During lyrics like “Estoy sola en medio de la noche / Y sueño con la muerte en espiral / A veces miro tu fotografía / Aquí todo permanece en el mismo lugar,” the two Chilean songbirds harmonize in a way that channels their heartbreak and melancholy, making their collaboration one of the album’s standouts. Femme Fatale Vol. 2 is out now. – Jeanette Hernandez

On “1besito,” Monterrey-based group AQUIHAYAQUIHAY creates a relatable atmosphere that feels like chilling with your friends or roommates as they play with their synths and microphones in a living room. The track is flirty, filled with humorous and slick bars that’s further enhanced by the presence of CDMX’s own Cachirula, who injects an air of softness and takes on the role of the girl next door everyone’s in love with. Over a R&B beat that feels warm, modern, and like a sunny Sunday walking the streets of Mexico City, each participant manages to present their own style and flare through their writing and delivery, making their identities clear. – La Morra Lisa

Mexico City cumbia punk bosses Son Rompe Pera are getting closer to the release of their upcoming  Adrian Quesada-produced album, and they just shared an emotive number that lets us know them more on a human level. “El Reencuentro” is a touching cumbia number where they reference a song used as background music on an Alcoholics Anonymous PSA the Gama brothers used to hear on AM radio on the bus. Having been to AA themselves later in life, they now reinterpret that song’s melody to reflect on how far they’ve come. Their signature marimbas are joined by Andean embellishments courtesy of Camilo Portillo on zampoñas and quena, and it instantly puts us in a nostalgic mood. – Cheky

Mexico and Puerto Rico team up for “Quiero,” as producer Soultade and brotherly duo ZTVZ combine talents for a track that’s giving Synth Summer ‘26. ZTVZ’s electropop style already hinged on a similar wavelength, and fusing it with Soultade’s sensibilities makes for a powerful union. The song exists in a space where it can work equally well for a catwalk, a lounge setting, or a road trip with the windows down. In the world of ZTVZ and Soultade, all these vibes are one and the same: an aura of having the best time in the moment where burdens are weightless, and giving yourself into the beat. — Juan J. Arroyo

Getting over someone isn’t always a clean break, and on “TATTUU,” Jamaican producer Rvssian recruits Sech and Lojay for a bilingual lesson on it. The collaboration floats between missing someone and accepting their absence, sitting comfortably in that sticky emotional limbo that comes with finally closing a chapter while still feeling fingerprints everywhere. Backed by warm, tropical, Afrobeats-infused production from Rvssian, both Sech and Lojay bring their Panamanian and Nigerian flair into the mix as the trio makes peace with the fact that closure doesn’t always come with amnesia. As the song unfolds, its feel-good melody never fully erases the ache that remains underneath, but it does make you want to dance a bit until it all feels a little easier to carry. — Jeanette Diaz

Capturing tropical rhythms and pursuing unrequited love through glistening melodies, the latest track from Corozal-based artist Lunay is a dub-inspired, sensational groove. Following the euphonious “Ojalá,” “Palomino” is the latest in Lunay’s reggaeton arsenal, and comes right at the dawn of the summer season, with an energy matching breezy beach waves and burning sun rays. “Palomino” captures the excitement of finding potential new love in the most unexpected places, reveling in the thrill of the unknown, and bringing its own sense of wanderlust. This sentiment is captured to a T by its heavy reggae and dub-infused production. What makes the production stand out is its departure from Lunay’s typical brand of sensual reggaeton, while still being the perfect medium for his melodic performance. There’s a sense of experimentation to the formula that detaches from what’s usually worked in Lunay’s favor, and miraculously works just as well. – Alan Baez

La Música is not only the name of one of the Dominican Republic’s most intriguing young talents, it’s also a mission statement for their voracious fusions of dembow, baile funk, and eurodance music. Since launching the rapturous project in 2023, the artist has intersected gender nonconformity with practices in visual arts and fashion, and on their new single “Nos Liberamos,” all of these themes come to a head as a roaring anthem of queer rebellion. “En plena libertad me declaro / del ‘qué dirán’ y los rumores,” they boom on the hook, joyfully and defiantly pushing back on anyone who rejects “las joyas raras” of society. Rapping over squeaky horn samples and a clanging beat produced by Tolo Desaparécelo (Tokischa, Rony Alca), the song forecasts blazing streets in an exquisite balance of protest and rainbow celebration. — Richard Villegas

Now that it’s getting warm and sunny outside, the time is ripe for colorful and spirited music meant to be shouted along to, and Guadalajara, Mexico’s Babas Tutsipop has the perfect prescription for this. Their recent track “Células Adolescentes” boasts a healthy dose of bright synth lines, a lively breakbeat, and hooks that pile on top of each other. This musical bed complements the lyrics, which describe memories of misbehaving at school and getting taken over by teenage feelings of lust and adventure. It’s a nice trip down memory lane that anyone can latch onto, with enough humor and general details that can ring true to any listener, and a great evolution from one of Mexico’s brattiest outfits in the scene.  — Marcos Hassan

With “SOY UN PROBLEMA,” DIA bridges the past and present of el movimiento, reimagining one of the most recognizable phrases from Pusho’s catalog and introducing it to a new generation. Produced by Taiko, the track pairs the rebellious spirit of trap with atmospheric production, blending sharp percussion, robotic sonic textures, and immersive melodies into a sleek, forward-thinking soundscape. The song serves as a statement of identity. DIA delivers confidence and charisma over a beat that balances nostalgia with innovation, while the production elevates the record with futuristic details and a dynamic energy. His delivery feels measured and intentional, allowing the track’s underlying tension to build. Rather than relying on references alone, DIA reshapes familiar themes through a perspective that feels current and distinctly his own. “SOY UN PROBLEMA” is a bold release that connects generations and leaves a lasting impression on the genre. – Natasha Melina Argudo

“Amoureux” finds Venezuelan singer Alleh at his most heartfelt, turning a simple declaration of love into a tender anthem about devotion that arrives when least expected. The song finds inspiration in the realization that love is here to stay and the woman who has become the subject of his lyrics is The One. The track embraces the beauty of ordinary moments and, mirroring this sentiment, the accompanying music video follows Alleh working at a hot dog cart while his thoughts drift toward the woman who has completely captured his heart, creating a charming contrast between daily life and the overwhelming emotions that inspire him. Sweet and sincere, “Amoureux” still finds the time to be musically interesting, mixing the best of pop music with traditional Venezuelan rhythms. It celebrates the kind of love that appears without warning and transforms even the most ordinary days into a dance-filled party. – Júlia Henn

With a poetic, bolero-inspired, attention-grabbing intro, YEИDRY ushers us into a heartbroken fantasy on her newest track, “Mala Mia.” After realizing that she unknowingly manifested the wrong type of love, the Dominican-Italian singer-songwriter delivers a powerful, raw, and intimate confessional ballad about saying goodbye. “It is hard to love when you still haven’t found yourself,” YEИDRY said in a press statement. “Sometimes the only way to do it is to leave it all behind, including my old self, the one who always tried to keep up with other’s expectations. This song ‘Mala Mia’ is the farewell that opened the way to a new life.” The track captures the back-and-forth anguish of coming to terms with guilt and, ultimately, mourning a life that didn’t turn out as once thought. “Mala Mia” will be part of YEИDRY’s highly anticipated debut album due this fall—and if this is the route she’s taking, we are 100 percent locked in. – Jeanette Hernandez

Right out the gate, this is the type of track to play when the party is already on fire, and if it’s not, will bring it there. Axelle De Vil, a Chihuahua-born drag performer with makeup skills that give her a face card accepted across the universe with no spending limits, presents “CHINGONA,” where traditional Mexican sounds are turned up to the max along with a circuit vibe. The track is just as irreverent as her, in which she states, “For the bad times drink mezcal, and for the good times… drink mezcal too.” Proud of being kitschy, curvy, and the soul of the dancefloor, she loudly states her case for being capable of partying intensely hard while also being a good person through verses that give no space to rest which, just like the carnival rides in the colorful music video, will give you whiplash if you’re not ready. So glue that wig on well and pass the bottles around, both of Mezcal and setting spray, because dancing to this beat will make you sweat. – La Morra Lisa

From Málaga, Spain, producer and singer Christian Mira pushes the limits of flamenco in an electronic music context with outstanding results. He’s already dropped four singles from his forthcoming EP El Descampao del 67, and for its fifth preview, he builds a sensuous dance track with a sample of Las Grecas’ “Amma Immi.” “Love Is The Answer” lures us in with its driving breakbeats and sultry bass line, and with his irresistible Andalusian flair, Mira climbs to his upper register to send us a direct message: love is what’s ultimately going to keep us alive, which rings especially true for queer people. – Cheky

Not long after making her debut in 2023, water began gaining quick attention in the Puerto Rican indie rap scene. Her grunge-y, provocative lyrics made an impression on listeners, and she gained a fast following. A productive span over the past three years yielded nearly a dozen EPs and albums, and “WATER BOY” is her most recent single. water has never shied away from pushing buttons and testing extremes, rapping about everything from their darkest life experiences to railing (justifiably) against the government and corrupt powers-that-be. She’s also been open about her transition experience, both in her songs and online, cementing herself as one of the most unapologetic artists, and that’s what makes her distinct. — Juan J. Arroyo

Katy da Voz e As Abusadas turn techno, funk, and queer rave culture into a gloriously over-the-top fever dream on “DR0G4S, S3X0, TECHNO, REPETE!” What begins as a relentless techno anthem quickly spirals into something far more absurd, embracing the kind of chaotic nightlife logic that somehow makes perfect sense at 4 a.m. Between funk breakdowns, cartoonish humor, campy spoken-word moments, and queer rave maximalism, the song feels like three nights out stitched together into one. The cycling lyrics fueled by tongue-in-cheek humor transform its title into a whole lifestyle mantra. And it is fully committed to the bit. Cartoonish visuals match the song’s playful absurdity as the lyrics get stuck on loop, mirroring the endless cycle of doing it all over again. And again. And again. More than just a party anthem, it’s a celebration of excess and escapism in all of its deliciously disordered mayhem. — Jeanette Diaz

Reveling in his own sparkling pop sensibilities, pop rioplatense icon Goro Gorcher’s new single offers a slower, more intimate approach to fleeting love. For more than a decade, the Uruguayan singer, writer, and composer has refused to stay attached to one particular lane—bouncing between electronic and punk rock elements, but always keeping true to intimate lyricism through his wailing vocals. He refuses to be boxed into one specific genre and has managed to define his craft through multiple influences. “Mejor Sin El” is another strong demonstration to Gorcher being an anomaly in his musical lane, and a prominent figure in pop rioplatense. While his previous single encroached more on pop punk aesthetics, “Mejor Sin El” leans more heavily into electro pop, maintaining the same lyrical harmonies, but with more energy in the production. – Alan Baez

Venezuelan reggaeton star La Cruz is making his play for the mainstream with his arsenal of slick rhymes, high production videos, and irresistible sexiness that gives Rauw Alejandro a run for his money on any day. Plus, the bangers are all there, and on his new EP El Nene, Vol 2, he bounces from slow-grinding romantiqueo to sweaty perreo with expert ease. The record’s final cut is “Sírveme,” an explosive crossover with Brazilian drag-pop sensation Gloria Groove, which unfolds as a sexy trip down to Rio de Janeiro set to the boom of guaracha and techno. “La Cruz, pode me besar / pode me morder / pode me pegar,” moans an ecstatic Groove, inviting X-rated shenanigans to which the heartthrob is happy to acquiesce. — Richard Villegas

Experimental cumbia maestros Orquestra Pacífico Tropical have shared an ode to gratefulness, unity, and empowerment by evoking the feeling of getting caught in a drizzle. “Chipi Chipi” details how the little things are the ones that make life worth it, and it comes across perfectly through its life-affirming groove. Musically, this is the ensemble’s most easy-going track to date, yet effects-heavy vocals and slightly distorted drums insert textures that make it more sonically interesting than most. Orquestra Pacífico Tropical marry positive vibes with psych tendencies to give us a new flavor of cumbia worth getting lost in. — Marcos Hassan