21 New Songs to Listen to This Week From MXKA to La Gata

California-based, Afro-Mexicana artist MXKA steps fully into reclamation mode with “La Vuelta.” Leaning further into her regional palette, she delivers another magnetic and self-assured música mexicana track layered with the soulful R&B vocal textures of her musical roots. Arriving just ahead of Valentine’s Day, this one is for the fumbled lovers who aren’t looking to beg anyone for closure, but handing it to themselves. True to its name, “La Vuelta” recognizes that what leaves sometimes circles back, but when it does, you’re no longer looking at someone with the same eyes or standing in the same place. There’s a steady calm in her delivery, a confident softness that doesn’t waver and still cuts clean through the message: if there’s a return, it won’t be on the same terms. With her latest, MXKA is proving she can do more than blend genres, as she threads R&B vulnerability into the spine of música mexicana without forcing it, and lets softness and self-worth co-exist at the center of a genre that’s often defined by pride. — Jeanette Diaz

La Gata flips the script with her first single of the year. “KAMA$UTRA” captures the full intensity of female desire, a charged moment that begins with a single glance and quickly ignites into deep intimacy between two people. It’s a bold reminder that women have wants and needs too. While reggaeton has traditionally positioned women as the voices behind the chorus, La Gata intentionally enlists a male vocalist for that role, amplifying the song’s theme of role reversal and shifting power dynamics. La Gata shares that the song is about “women being centered as the source of power, not the accessory. Desire doesn’t have to be submissive. It can be strategic. It can be loud. It can be playful. It can be dangerous.” – Natasha Melina Argudo

Puerto Rican rapper Rafa Pabón’s career stretches back nearly a decade, and in that time he’s collaborated with nearly every big name you can think of. This year, he’s dropping his most ambitious project yet and this week he kicks off the countdown with “como tú, quién?” His new album will be an homage to Afro-Caribbean culture and heritage, and the accompanying music video leans into that aesthetic with aplomb. Directed by Javier Colón-Caraballo, with creative direction by Mela Pabón, the visuals embrace and celebrate Black pride in tandem with Rafa’s flirty and effortlessly creative lyrics. With this, he sets up what could end up being one of the most exciting releases of the year. — Juan J. Arroyo

Just in time for Valentine’s Day, this brilliant Dominicano forward-thinking producer has found a a new target for his satirical music. Riding the nightcore train to a fast-paced and hyperactive rhythm, “Nov-IA” talks about falling in love with an AI entity. While the hooks and lyrics are funny and a tiny bit depressing—considering this is a real thing for a few people out there—the music is relentless, intrinsically-layered, and full of excitement firing up in every direction. The result is a song that resembles a genre of retrofuturistic music that sounds like nothing out there and a hilarious contemplation of the absurd times we’re currently living in.— Marcos Hassan

“PRÉNDELA, SUNA PREDELA!” No other opening lines from this year have activated the movement in my knees, the baddie in my spirit, or confidence to move like the latest single from Lomiel. “Trae Chicas” is the latest from the dembow powerhouse, and sees the collaboration between Lomiel and Nino Freestyle for an incredibly raw and energetic performance. Lomiel’s cadence, lyrical ferocity, and spatial presence culminate as a stamp of fierce fluidity. He’s never in one place for too long, always representing where he comes from, while still moving confidently in el movimiento. There’s strength in minimalism, strength that fully carries Lomiel’s confidence and swagger. It can’t be understated that the instrumental here, crafted by Boy Wonder CF and Three Seven Music, demonstrates how layered and effective dembow customs can be. With only one drum beat and an infectious bass groove, the production is kept minimal, but it works exceptionally well in Lomiel’s favor. With only one album under his wing, Lomiel’s quickly ascending the chain and building a name for himself within dembow. – Alan Bae

The ethereal voice of Colombian artist Ysa C opens the track with a beautiful run that almost feels like a siren’s lament, as an explosion of afrobeats and reggaeton sounds come in. She elegantly sings about being afraid of taking the risk of loving again because of her past wounds and the fear of hurting a new person. But in the end, she puts love at the forefront and letting the heart decide. Amplifying the message and her sensible delivery, the production features many layers of her own voice that give the track an almost haunting beauty, perfectly turning this track into one to be used to cry and remember, to perrear on the dancefloor, or both at the same time. – La Morra Lisa

“I Love It,” the collaboration between Kybba, Jamaican artist Rytikal, and J Balvin, is the first released single of the DJ’s upcoming musical project, offering a new perspective into what Latine music can be. The unique combination of styles and origins of its three artists makes for an addictive sound that invites everyone onto the dancefloor, pied-piper-style, making the best use of the beats of dancehall and Latine sounds, plus the whispery vocals of J Balvin. It’s a track that deserves a spot in everybody’s dance playlist. – Júlia Henn

On April 10, the French-Colombian collective Pixvae is releasing their debut album, De Lado a Lado, a treasure trove of songs hybridizing jazz and funk with percussive currulaos native to South America’s Pacific Coast. The lead single, “Caminando,” unspools the anguish of immigration, recounting percussionist Juan Carlos Arrechea’s journey from Colombia to France, departing with little more than “con mi tambor y mis manos.” Accompanied by brassy sax riffs and squeaky electronics, the ensuing wall of sound begs the question of what The Mars Volta might sound like backed by zooming marimbas. — Richard Villegas

Hailing from Mexico City, La Virgencita caught our ear with CAPRICORNIO, her 2025 genre-hopping debut album. And less than a year later, she’s back with new music, now exploring futuristic sounds in collaboration with fellow Mexican producer Saga. “pegameeeeento” is La Virgencita’s yearn for connection, especially physical, with loved ones. Be it by traveling miles away for hugs and kisses or sharing caring words on social media, she needs to be and feel close. The song starts off with an U.K. dance-inspired first part where emotions are heightened by emotional piano chords, and then it flips the script midway to a slow-burning trap beat, sending us to a more sensuous realm along with her R&B-inspired vocals. – Cheky

After a decade since its release, SYML revisits one of his most evocative hits, “Where’s My Love,” and celebrates it by filtering its enduring ache through new translation. Enter sultry Mexican singer-songwriter Carla Morrison, to help turn the anniversary into something far more emotionally intimate than a simple reissue. Their bilingual rendition plays like a slow exhale, expanding the song’s signature minimalism through Morrison’s haunting, velvet-toned delivery. The call and response between English and Spanish never feels ornamental, but deepens the reach of the longing at the heart of the track. What once sounded like solitary yearning now feels shared, suspended between two voices reaching across memory. There’s a tender, balanced gravity to their harmonization that makes the question linger even longer this time around. The accompanying visual, filmed in Mexico City by Mexican director Renata Brockman, mirrors the song’s stillness, letting the nocturnal warmth of the city glow like a memory that refuses to fade. Ten years on, the song’s evolution proves that some heartbreak only grows more resonant with time, especially when it finds a new language to echo through. — Jeanette Diaz

“AMANTES” is a dreamy track driven by 008RACCA’s soft, alluring vocals and an experimental melody that fuses alternative and urban influences. The song explores the complexities of forbidden love, the longing to be more than friends, the vulnerability of confession, and the desire to be the only one she holds close. It’s a serenade asking her to stay, to choose him, and to believe that even as the world outside grows darker, nothing feels too heavy when they’re together. With this release, 008RACCA continues to blur the lines between intimacy and innovation, crafting soundscapes that feel both deeply personal and sonically forward-thinking. Representing the new wave of artists emerging from Mexico, he has been spotlighted by Spotify as “el rostro de la escena juvenil mexa,” solidifying his place as one of the most compelling voices redefining the country’s alternative-urban movement. – Natasha Melina Argudo

Alevalen’s newest single, right in time for Valentine’s Day, has her falling for Mexican internet sensation Chaparro Chuacheneger in what’s both a catchy track and hilarious music video. Produced by HoneyBoos, the song is a merenguetón where Alevalen highlights how her feo’s personality and actions wooed her far more than his looks. The beat is hyper-danceable, and the lyrics playful enough to be shared amongst friends and lovers both sincerely and in jest; all the ingredients for what could end up being an evergreen song for this and future Valentine’s. — Juan J. Arroyo

After revealing a new face of Andean avant-garde music last year with their stellar Los Thuthanaka project, Chuquimamani Condori is now bringing a new side of a Bolivian music institution. For Luzmila Edits, the electronic producer selected four songs by the iconic singer Luzmila Carpio, adding a new layer to her folk music catalog. A perfect example is “Al Cautiverio,” in which Carpio’s voice soars gracefully like a bird, while Chuquimamani applies free-form electronics to underline the vocalist’s graceful tones, delivering a newfound profundity to the track. With characteristic artistry, Chuquimamani Condori finds yet another way to connect South American ancestry with future-leaning music. — Marcos Hassan

Riding on sensational pop-rock grooves and loving sentiments, the Colombian power duo returns with a brand new track, embellished with playful drums and airy vocals. Coming off the heels of their recent Latin Grammy nominations and global tour, “MUCHO CON DEMASIAO” is the follow-up to their 2025 single of the year, “Aguaráchate,” and acts as another teaser for their upcoming project. The track follows suit as the previous single in detaching the group from preconceived notions on their style, allowing more freedom in production and playfulness in their choice of sampling. While “Mucho” diverges into more Afrobeats-flavored territory, the arrangement and styling come from the friendly collaboration between producer Fux Beat and Cali-based artist Jossman. “MUCHO CON DEMASIAO” speaks to the versatility of the group, capturing the sentiment of fevered love through an infectious melody.– Alan Baez

A clean voice and inviting bassline open “HWAI,” without warning that it could turn the venue into a beachside party. The powerful chorus, where the distinct voices within the Chilean group melt together into a chanting crowd, allows the explosive music to take the spotlight. It immediately sets the vibe and lays the stage for each member to have their chance to shine, and, oh, do they take it. Through outstandingly delivered rap sections, beautifully harmonized verses in both Spanish and English, and a production that makes it feel like you are inside a parade or march, Q_ARE honors Latine sounds, places, being “morenito,” and closes this strong proposal stating: “I am the world’s and the world is mine.” – La Morra Lisa

Sometimes, the intensity and willingness to dive headfirst into one’s own emotions are the final ingredients missing from a compelling song. That spontaneity can be easily found in Michi Sanz’s music, who is now releasing a new single, “A ella también.” In this track, the Venezuelan pop artist leans more into rock vibes to mirror the anger of going through a toxic relationship and the effects it might have on oneself. Reminiscent in sound to alt rock bands from the ‘90s, such as Radiohead and their infamous “Creep,” Sanz’s latest release is a relatable track that allows its listener to get lost in the noise and still reflect upon the message of its lyrics. – Júlia Henn

If you’re new to Belize’s small but growing indie scene, a great point of entry is Duck, the effervescent solo project of singer and guitarist Efrain Nephai Medina. On his debut album, refrain, the artist weaves dreampop, shoegaze, and yearning vocals that land somewhere between Bratty and Julian Casablancas. A standout from the LP is “Starting Over,” a thumper about dissociating mid-argument just as Medina’s partner takes his hand, bringing him back to Earth. It’s a perfect thesis for a record dedicated to the “hopeless romantics,” oscillating between screw-ups and unwavering support to cut through the breezy rush of guitar noise. — Richard Villegas

Born in Taboão da Serra, São Paulo, Brazilian MC and dancer Yuri Redicopa is one of the top names in the funk paulista scene. And among the string of new singles and collaborations he has already dropped this 2026, he had time to record two new songs for the fifth installment of STUDIO, the new in-studio sessions launched by the Supernova Entertainment label. One of the songs is “FAZ-ME RIR,” which features a Honaiser-produced beat that hits hard in its minimalism and also allows us to focus on Redicopa’s performance. Backed by eerie synth strings, the MC spits lines about being a player, letting women know they can soon have their time with him. – Cheky

The Latine boy band Santos Bravos is back with another high-energy banger, “KAWASAKI.” Co-produced by certified club hitmakers like Diplo and “Hitman” Bang, the new track inevitably oozes elements of EDM, trap, Latine pop, and hip-hop, fitting under their ongoing and innovative K-pop model’s sound. Upon first listen, the track sounds like a synth child of Yellow Claw’s “CRUSH” and BLACKPINK’s “JUMP,” intertwining HYBE Latin America’s K-pop and mainstream EDM aesthetics into one. However, with the boys’ Spanish lyrics and sprinkled-in Portuguese and English—and unmatched swagger—the five-piece ensemble brings in their own flavor (and adlibs!) to an undiscovered sweet spot between the K-pop and Latine EDM world. –Jeanette Hernandez

Carrying a sensational rhythm from start to finish, along with an even more provocative, yet subtle message, the latest from San Francisco-based artist La Doña hits a lot closer to home. Despite starting with such an upbeat spunk, with Bachata influence dripping from the opening bongo drum, “La Mentira y La Verdad” rides this energy to show its teeth where it matters most, in its enriched lyricism. La Doña’s song comes during a time of mass political turmoil caused by the imperial boomerang, stating that it is better to make noise and disrupt the political discourse than just existing. The single goes beyond just existing and celebrates joy as an act of resistance, riding along with the heavy bachata groove. – Alan Baez