Duelo, one of the most influential Tejano norteño music groups, kicks off its Gravedad Tour this Friday (May 1) across 25 cities in the United States, a journey that will keep them on the road until November 28.

Promoted by Live Nation, the trek begins at the Freeman Coliseum in San Antonio and includes stops in cities across California, Florida, Nevada, Tennessee, North Carolina, Arizona, Illinois and Texas, where they’ve surprised fans with a third date added at the Toyota Center in Houston due to high ticket demand.

“With Live Nation, we are working together for the first time. It’s a source of pride that such an important company is focusing on us to accomplish big things like this tour,” Oscar Iván Treviño, vocalist and leader of the group, tells Billboard Español.

Along the way, Duelo will also perform at key venues in Mexico, such as the Palenque de Aguascalientes (May 4), the Palenque de León (May 9), and the Arena Ciudad de México (October 20).

In January of this year, the group signed a partnership with Warner Music México after being independent for more than a decade. That same month, they released their first single under this agreement, “Te Cura El Tiempo,” which last week climbed to the summit of the Billboard Regional Mexican Airplay chart (dated April 24), marking their fifth No. 1 on the ranking.

“A milestone like this after two and a half decades of career is very important to me. We’ve had strong chart positions over the years, but after many years without a No. 1, it finally came,” adds Treviño, who founded the group in Roma, Texas, in 1996.

Known for hits like “Puño de Diamantes,” “Malabares” and “A Mí Me Gustas Tú,” Duelo is preparing to release its first album under their new label at the end of May, continuing the streak of good news in this stage of their career.

Preceded by bands like Intocable, and with Grupo Frontera as the leading representative of the new generation, Treviño reflects on the future of norteño music: “It will continue to be a central part of regional Mexican music, but I do think there should be a lot more young artists making this music, not just Grupo Frontera.”

He adds: “There’s an opportunity to grow within the genre. It’s a matter of working hard and giving it your all, just like institutions such as Ramón Ayala, who is one of my greatest idols, have done.”

For the full dates and tickets for Duelo’s Gravedad Tour, visit the group’s official website.

Maluma is gearing up for the release of his seventh studio album, Loco x Volver, dropping May 15.

Loosely translated to “dying to return,” the album will be home to 14 songs, including four previously released tracks: “1+1” with Kany García, “Botero” with Arcángel and NTG, “Con el Corazón” with the late Regional Colombian singer Yeison Jimenez, and the Ryan Castro-assisted “Pa’ La Seca.” The former of the four hit No. 1 on the Billboard Tropical Airplay and Latin Airplay charts this week.

In a stripped-down video posted via Instagram on Monday afternoon (April 27), the Colombian superstar shared the exciting news to his nearly 65 million followers.

“I’ve been working on this for two years, and I simply can’t wait to let you all know that a new album is on the way,” he said. “You have no idea — the sheer happiness, the excitement I feel right now — to finally be able to share this news with you regarding a project I’ve been working on for years. At long last, you will get to see it; you will witness this new shell of mine—who I am now, and the mindset I currently hold.” 

The set’s title is an ode to his very beginnings, with Maluma adding: “It’s titled ‘Loco x Volver’ because I missed Juan Luis (his real name); I missed my true essence, that dreamer of a boy, and now, I’m back. I’m doing well now; I feel strong, happy, and excited. This is an album that helped me heal, and without a doubt, it is the most personal project I have ever created. This is a very special moment for me—one that I hope resonates with you all—an album that truly represents my roots and my culture.” 

According to a press statement, the project goes beyond the evolution of his more than decadelong career, forming “a deeply personal musical journey that blends genres, emotions and high-caliber collaborations.” 

Loco x Volver — whose album cover shows the artist when he was a young boy — is Maluma’s first album in three years, following Don Juan (2023), Papi Juancho (2020), 11:11 (2019), F.A.M.E. (2018), Pretty Boy, Dirty Boy (2015) and Magia (2012).  

El Último de la Fila returned to the stage for the first time in 30 years on Saturday night (April 25). The iconic rock band kicked off their reunion tour at Marenostrum Fuengirola, an open-air venue on the southern coast of Spain by the Mediterranean, at the foot of Sohail Castle.

At 10:00 p.m. sharp, the screens lit up with visuals inspired by 1980s video games, featuring an animated cootie-catcher as an introduction. Then, a brief blackout led to the band’s entrance.

The show opened with “Huesos” by Los Burros, the band in which Manolo García and Quimi Portet first collaborated before forming El Último de la Fila in 1985. Backed by a large band and two drummers, García appeared with a scarf in hand, while Portet stood beside him with his guitar, as if no time had passed.

The last time they performed together was on March 22, 1996, at the Palau d’Esports de Granollers in Barcelona. Two years later, on January 13, 1998, they announced their separation in a press release citing “musical fatigue.”

This reunion is not a one-off gesture. Over the years, the two have continued to work together in the studio, maintaining a relationship that never fully broke. In an interview with Billboard Español in the days leading up to the tour’s launch, Portet explained how the comeback came to life: “The definitive conversation was, oddly enough, a casual chat after a meal. After that conversation, everything came together very easily and naturally,” he said.

Tickets for Fuengirola sold out in just four hours when they went on sale in 2025. During the show, songs like “Insurrección,” “Aviones Plateados” and “Como un Burro Amarrado en la Puerta del Baile” were sung by a multigenerational audience that couldn’t hide their emotions — with many moved to tears. The show lasted about two-and-a-half hours, featuring a setlist that spanned various stages of the band’s career.

Formed in Barcelona in 1985 by García and Portet after their time with Los Rápidos and Los Burros, El Último de la Fila crafted a sound that defied categorization. Their music blended rock, pop and flamenco roots, but above all, it delivered songs that stayed with listeners. Over time, their repertoire became part of the collective memory of Spain and Latin America.

The current tour includes stops in nine Spanish cities between April and July, with performances in Barcelona, Madrid, Bilbao and Valencia, among others. Additional dates were added after an overwhelming response from fans, bringing the total to 12 so far.

Before wrapping up Saturday’s concert, García addressed the crowd: “Thank you all for being here… it’s a pleasure to reconnect. Thank you from the bottom of my heart.” And in closing, he left the audience with a memorable phrase: “Forgive the immodesty, but these songs are eternal.” After bidding farewell, the band returned for a surprising final song: the mariachi classic “El Rey” by Mexican composer José Alfredo Jiménez, performed in a rock style infused with their unique touch.

So far, the band has no other plans beyond this reunion tour. “The challenge of performing these dozen concerts is serious enough to focus all our energy on them,” García told Billboard Español.

The night began with the image of Ryan Castro on screen singing “SENDÉ” [the intro to the album of the same name, inspired by the classic “You Don’t Love Me (No, No, No)” by Dawn Penn] from inside a National Police helicopter, before “REBECCA” started playing and a double appeared, simulating[the artist walking on the roof of the Atanasio Girardot Stadium. Seconds later, fans understood the entire sequence: the real “Ghetto Singer” was already on the main stage, kicking off his show with the remix of “Parte & Choke,” the hit song by his Ecuadorian colleagues Jombriel and Alex Krack.

Dressed in a yellow suit and sunglasses, and holding a microphone colored like the Curaçao sunset, the artist appeared on stage in front of a crowd of 47,000 people. He followed with “SQ” (also known as “W Sound 04”), one of the most successful tracks from his sessions produced by Ovy On The Drums, and “Fiesta,” a hit by Castro and Fariana that many may not know — but it has been a massive success in Colombian clubs across Antioquia and the Coffee Region.

Staying true to his Caribbean flow, Castro delivered hit after hit with dancehall and island-inspired sounds. First came “SANKA” (which also incorporates elements of kizomba) and “BOOMBASTIK<3” — with their respective guest artists, Curaçao’s Dongo on the former and Italian artist Kybba on the latter. Then came “BA BA BAD REMIX,” which featured none other than Sean Paul, the Jamaican artist who once proclaimed himself the “Global Ambassador of Dancehall.” Paul, with a career spanning 25 years and dozens of hits, also performed classics “Like Glue” and “Temperature” at the Atanasio.

Rayo and Toby brought the mode-up vibe of San Andrés Island with “Movimiento De Caderas” and “Calor.” More dancehall hits and guests followed: Kapo joined to perform “DÓNDE” and “LA VILLA.”

Then came Maluma to perform “Pa’ la Seca,” the song he recently released with Castro, as well as other hits from his own discography, including “Hawái” and “Borro Cassette.” Maisak also joined to perform “FDSR.” 

Mounted on a jet ski, Castro glided over the crowd to a second stage, where a new phase of the concert began, and reminisced about songs from his earliest years, such as “Cositas al Oído.” The first guest on this stage was Mora, who performed “La Inocente,” his track with Feid from years ago, and “MIL VIDAS.” Hamilton also joined the stage, proudly waving the Cartagena flag and singing “A Poca Luz” and “4 LIFE,” his two collaborations with the night’s star.

Other artists followed on the second stage, including Aria Vega, Altafulla (an influencer and winner of the reality show La Casa De Los Famosos, who has released songs with artists like Juan Duque in recent months), Jorge Celedón and Zion — one of the first Puerto Rican artists to collaborate with Castro. Together, they performed “ENVIGADO” from Castro’s self-titled album.

Back on the main stage, Castro invited another artist from his early career, Andy Rivera, to reminisce about the golden days of “Monumento – Remix.” Sech also joined him to perform their hit collaboration “Novio No.”

As the show neared its end, SOG, Ryan Castro’s go-to producer, appeared to accompany him on his merengue hit “Mujeriego,” a staple of Colombian December celebrations. Castro’s alter ego “Richy” — used for songs more aligned with Colombian party music — took the stage to perform tracks like “La Garrafa” and “Mi Fortuna,” the latter a hit from late last year that reached the top 10 on the Billboard Colombia Hot 100.

“El Ritmo Que Nos Une,” the soccer anthem that supported Colombia during the last Copa América and is expected to become an unofficial anthem for the upcoming World Cup, also made its way into the setlist.

Feid was another guest who couldn’t be left out. Together, he and Castro performed their massive hit “Monastery,” a crucial track in both of their careers. But the night couldn’t end without the arrival of J Balvin, who shares what seems to be a genuine friendship with Castro.

Balvin had a special stage — a bus — from which both artists descended to the beat of Kris Kross’ hip-hop classic “Jump,” the melody that inspired their track “Tonto.” Together, they performed that song as well as “Niveles de Perreo” and “Pal Agua,” the three collaborations they’ve released so far, just days ahead of their joint album OMERTÁ. The “Boy from Medellin” (Balvin) also delivered hits from his own repertoire, such as “Ay Vamos” and “Azul.”

Finally, the night reached its climax with Baby Rasta and Gringo, who performed their classic hit “Ella Se Contradice.” It was no coincidence that Castro gave them the most prominent moment of the evening; the duo is making a comeback after more than a decade and promoting an acoustic album of their greatest hits. The final song of the night was “Malory,” accompanied by fireworks befitting the occasion.

“This show was one of my dreams,” Castro said about what has been, without a doubt, the most important concert of his career so far.

April 25, 2026, will go down as a historic date for Ryan Castro: the day he proved that a young man raised between Medellín and a Caribbean island, who once sang dancehall on urban buses with fellow paisa Crickmanjam, who not only created reggaetón hits but also showed Colombian youth that there are other ways to make urban music, is now ready to start filling stadiums around the world.

This article was originally published in Spanish by Billboard Colombia.

With his third studio album, El Baifo, Quevedo delivers a project that feels closer, more personal. Following Donde Quiero Estar (2023) and Buenas Noches (2024), the Spanish artist places the focus on the Canary Islands — not as a passing reference, but as a constant presence throughout the 14 tracks on the independently released record.

“I believe the Canary Islands are a key point, and that anyone who understands where I come from also understands my career’s processes and stages much better,” Quevedo tells Billboard Español.

“Baifo” is the term used in the Canary Islands to describe a baby goat, a word that is very present in the daily life of the islands. The album also plays with the idea of “GOAT” — as in “greatest of all time.” “I would love for people to feel what I feel when they listen to the album and to understand where I come from,” the artist adds.

That intention resonates throughout the set, which moves through various moods: from celebration to reflection, and to deeply personal moments. El Baifo navigates this emotional range from the very beginning, with an energy tied to festivity and an identity that doesn’t need to be explained. Songs like “Al Golpito,” featuring Canarian group Nueva Línea, take us into a recognizable space: celebration, family, local festivals.

“Mi Balcón” slows things down and provides one of the most introspective moments. With the timple as its foundation, the song is inspired by a very specific image — Canarian balconies. “They’re something very typical here, with a unique architecture. The song talks about a little bit of everything but from a place of nostalgia,” Quevedo explains.

In “La Graciosa,” a merengue track, Quevedo collaborates with Elvis Crespo. In the Canary Islands, Crespo’s music is a staple during carnival celebrations, giving the collab a special weight. “Elvis is a legend. He’s someone who knows our history; he’s been visiting the islands for years,” Quevedo says.

“For me, it’s a dream to have recorded with him,” he adds. “We’re from completely different generations, but at the same time, he connects with everyone. Mothers adore him. His music has been passed down from generation to generation.”

“Ni Borracho” — which debuted at No. 1 on Billboard‘s Spain Songs chart — falls into that same celebratory space while maintaining its ties to Quevedo’s roots. For the artist, both that track and “La Graciosa” serve as “a celebration of being from here and an embrace of the islands.”

The closing song is “Hijo del Volcán,” featuring Los Gofiones, a traditional Canarian music group founded in 1968. Here, the album shifts to a more intimate place. “I feel like it’s a union of generations of Canarians… the end of a very beautiful circle,” he says.

In the track, the artist delves into what he’s experienced in recent years and the things he’s still trying to make sense of. “I think it’s cool to make such an honest track… I also talk about how I’ve adjusted to this life,” Quevedo concludes. “I still have my anxieties in my head.”

Listen to El Baifo in full below:

Enrique Bunbury has once again embraced roots music and Latin American folklore in his latest album, De Un Siglo Anterior (From a Century Ago), with which the Spanish musician closes an exploratory phase before returning to rock, the genre that has elevated him as one of the greatest figures in the Spanish-speaking world.

“This is my most folk-inspired and traditional phase,” Bunbury tells Billboard Español in Mexico City, where he discussed the new LP, released on digital platforms last week.

Released under Warner Music Spain, the album continues the exploration of traditional Latin American rhythms like bolero and tango, which he introduced a year earlier Cuentas Pendientes. This time, however, the lyrics take on a more introspective tone, delving into the changes happening in the world in this new century, in the age of social media.

“These two albums are part of a joint era or phase,” he explains. “I think keeping these traditional genres alive, which are timeless in themselves, is something beautiful when you look at the already existing songbook.”

Recorded at Desierto Casa/Estudio in the Desierto de los Leones in Mexico City, De Un Siglo Anterior features ten songs where Bunbury brings folklore into different forms, such as zamba, ranchera, tango, son and Peruvian rhythms. Tracks include “Un Brindis al Sol,” “La Voz,” “La Cima,” “Peor Que Como Estamos – Es Difícil Ya Que Estemos” and the title track, “De Un Siglo Anterior.”

For the musician, one of the most symbolic songs on the LP is “La Voz,” a jazzy bolero where the former leader of the now-disbanded group Héroes del Silencio reflects on the vocal cord issues he faced in 2022, caused by an intolerance to glycol, the main component of artificial smoke used in concerts. “I thought I would no longer be able to sing,” he recalls. “This song, on one hand, references that moment, the loss of that power of communication, and it also speaks indirectly about lost friends.”

In the same introspective vein, the song “De Un Siglo Anterior” nostalgically examines how “sometimes we miss the past and what we consider to be a loss when it comes to the technological evolution of the times. Where this new century and millennium are taking us, and what things we might recover from the previous century.” Other tracks on the album include “En El Arcén,” “Zamba Para Olvidar” and “La Cima,” where Bunbury compares fame and success to Everest and other great mountains.

For this project, the artist reunited the same team from Cuentas Pendientes, including the band of musicians with Mexicans Luri Molina and percussionist Johnny Molina, the technical crew and even the cook. “We really enjoyed the human experience of being together, recording, getting to know one another, and talking,” the singer-songwriter and producer says. “So when I finished the last album, I thought, ‘I’d like to find another project to work on with this team.’ I started writing some songs for this album, and everything came together very quickly.”

With this new LP in hand, Bunbury will embark on a tour across Latin America, the U.S. and Spain. Titled Nuevas Mutaciones (New Mutations), it will kick off in Puebla de Zaragoza, Mexico, on Oct. 10, and conclude in his hometown of Zaragoza, Spain, on Dec. 12. In Mexico City, the tour will mark his return to the iconic Auditorio Nacional after nearly a decade, with shows scheduled for Oct. 12, 15, 17 and 19.

Although he has played on major stages in Mexico — including the Zócalo during an event supporting victims of the 2017 earthquake that struck central Mexico — Bunbury hasn’t given up hope of returning to that iconic and majestic venue for his own show. “I’d like to do one solo and for it to be free,” he expressed. “That would be amazing.”

Italian tenor Andrea Bocelli transformed Mexico City’s Zócalo into a monumental theater on Saturday (April 18), where his iconic song “Vivo Por Ella,” one of his greatest hits, took an unexpected turn by fusing with cumbia thanks to the unmistakable rhythm of Mexican group Los Ángeles Azules. The free show drew more than 130,000 people, according to figures from the city government.

In addition to Los Ángeles Azules, singer-songwriter Ximena Sariñana and the Orquesta Sinfónica de Minería joined Bocelli for a romantic and emotional evening that merged classical music with contemporary sounds. The event, held in the country’s main public square, was sponsored by the Mexico City Government and Banco Plata.

“Thank you all, this is a wonderful night,” Bocelli said, visibly emotional, in Spanish. The repertoire opened with works by Giuseppe Verdi, such as “Di quella pira” from Il Trovatore and “La donna è mobile” from Rigoletto, setting the tone for an emotional evening that seamlessly transitioned between opera and popular music, deeply connecting with the audience and moving many to tears.

His Zócalo performance was also part of the celebration for the 30th anniversary of his acclaimed album Romanza (1997), which led Billboard’s World Albums chart for an impressive 51 weeks and reached No. 5 on the Classical Albums ranking. On the all-genre Billboard 200 chart, the album peaked at No. 35. (Bocelli has had 29 entries on this chart, including nine top 10s and one No. 1 album, in 2018, with Si).

The Orquesta Sinfónica de Minería, conducted by Carlo Bernini, and a selection of guest artists contributed to the musical experience. Puerto Rican soprano Larisa Martínez performed “Les filles de Cadix” and participated in emotional duets from La Traviata and La Rondine, while baritone Juan Carlos Heredia brought “Toreador” from Carmen to life. Together, they also performed excerpts from Georges Bizet’s The Pearl Fishers, delivering performances that shone with dramatic strength.

The festive mood heightened when Los Ángeles Azules, accompanied by Sariñana, took the stage to perform a new version of their famous song “Mis Sentimientos,” turning the Plaza de la Constitución (the Zócalo’s official name) into a massive dance floor. Later, they joined Bocelli to perform Louis Armstrong’s iconic jazz anthem “What a Wonderful World” and the aforementioned “Vivo Por Ella,” originally recorded in Spanish by the Italian tenor alongside Spanish singer Marta Sánchez in 1996.

Large screens were set up on streets surrounding the Zócalo, allowing more people to enjoy the concert. Some foreign tourists passing through the area also stopped to experience the music.

The evening concluded with a standing ovation and a fireworks display that lit up the sky over the Historic Center of the city as the strains of “Nessun dorma” from Turandot echoed, closing a memorable night with a flourish.

Bocelli thus joined a growing list of international acts who have performed in the iconic plaza, which has previously hosted stars such as Paul McCartney, Roger Waters and Justin Bieber. On March 1, Colombian superstar Shakira set a new record as the artist who has drawn the largest audience to a free concert at the Zócalo, with 400,000 attendees. The previous mark was held by Argentine band Los Fabulosos Cadillacs, who drew 300,000 people on June 3, 2023, followed by Grupo Firme, who gathered 280,000 fans a year earlier.

From career milestones to new music 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.

Los Tigres del Norte’s Minnesota Performance During ICE Turmoil

The regional Mexican music legends performed their largest Twin Cities concert at Grand Casino Arena in St. Paul on Friday (April 17) during their Los Tigres Del Mundo tour, amidst heightened tensions following ICE’s Operation Metro Surge. The band — known for championing immigrant rights — told reporters before the event that they hoped to provide a moment of joy and respite for attendees.

“The date was already set for a long time before we knew any of this was going to happen. Now, we want to help,” Los Tigres del Norte‘s Jorge Hernández said in the Minnesota Star Tribune. “It’s hard, because the city has been hurt a lot, the citizens there. Whenever you perform you want people to have fun and forget about everything going on. That’s really what we want to do there.”

Days before their show, an ICE officer was charged with assault related to the surge. The officer allegedly pointed a gun at civilians while off duty.

Ricardo Arjona’s Message to Gaby Moreno on Her Broadway Role

In a heartfelt Instagram story earlier this week, Guatemalan music legend Ricardo Arjona celebrated singer-songwriter Gaby Moreno on her role as Persephone in the award-winning Broadway musical Hadestown. “I think taking the photo was forbidden, but I couldn’t resist. My little compatriot shining on Broadway,” wrote Arjona on alongside a photo of the two warmly embracing. He continued, “Immensely proud, Gaby. Of how much you are and of how much you don’t know you are. My favorite in this masterpiece.”

Moreno, playing Persephone through the end of August, reflected on her casting in a previous Billboard Español interview: “I still don’t understand how or who it was that put my name on the list, but about a year ago, my manager got an email asking if I was available to play the role of Persephone on Broadway. I thought it was a joke at first.”

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Karol G’s Headlining Coachella Set Ignites Streaming Surge

Following her headlining show at Coachella on Sunday (April 12) during Weekend 1, Karol G saw a tremendous spike in streaming activity. Her overall Spotify plays Stateside increased by +35.5%, more than doubling the global lift of +14.3%. Notably, the Tiësto assisted remix of her 2022 Coachella-debuted hit “Provenza” saw a 139% increase — which she wrapped up her set with — marking the biggest spike among her catalog, according to Spotify data shared with Billboard. California cities like Rialto, San Bernardino, Santa Ana, and Riverside reported streaming increases of over 100%, with Los Angeles at 95%. Apart from California, regions like Tucson, Seattle, Milwaukee, and Brooklyn also saw noticeable surges.

“Moments like this show how deeply connected live performances and streaming are. Following her historic Coachella set, fans didn’t just watch, they went straight to Spotify to revisit her music, driving an immediate spike in listenership, especially in the US,” Maykol Sanchez, head of music, LATAM at Spotify, tells Billboard Español. “It’s a powerful reflection of how her performance resonated with audiences and the cultural impact of her milestone as the first Latina to headline the festival.” Stream the remix below.

Ruidosa Fest Returns to New York’s Lincoln Center

Ruidosa Fest is back in New York for its third edition at Lincoln Center, taking place on July 12. Featuring performances by Lila Downs, Pabllo Vittar’s CLUB VITTAR, Francisca Valenzuela, Elsa y Elmar, and more, this free, all-day festival blends concerts, panels, and community activities. Highlights include a masterclass by Latin Grammy winner Ella Bric and a book fair that celebrates the intersection of music, culture, and creative voices. Part of Lincoln Center’s Summer for the City programming, Ruidosa Fest continues to champion gender equity in Latin music. For more details, visit @ruidosafest or summerforthecity.org. See the full lineup below.

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Opera and classical music have in Andrea Bocelli not only one of their most acclaimed and recognized voices worldwide, but also one of their most faithful believers. The iconic Italian tenor is convinced that this musical genre must overcome its status as a “niche phenomenon” to become a massive act.

“Opera is the paradise of music; I’ve always believed that,” Bocelli tells Billboard Español in Mexico City, where he will offer a free concert on Saturday (April 18) at the iconic Zócalo, accompanied by the Minería Symphony Orchestra, the Mexican group Los Ángeles Azules and singer-songwriter Ximena Sariñana.

“Opera was born a long time ago as a popular musical phenomenon,” he continues. “The opera audience today is a cultured audience, but I realize that people in general appreciate, understand and enjoy it, which makes me suspect that the problem with this type of music is the difficulty of communicating it to the masses.”

Opera has been a recognized art form for over 400 years and has been delighting audiences since 1607, according to the English National Opera’s official website. Its first performance was recorded with Monteverdi’s L’Orfeo, which was presented as a carnival spectacle at the Ducal Palace of Mantua.

“Great composers like Beethoven, Bach, Schubert, Chopin — all of them do good for the soul and spirit,” Bocelli points out. “Classical music is a type of music that works as therapy, and this has been scientifically proven. I think people are more than ready to embrace this type of music, as long as there are the right channels or means to disseminate it.”

This is why he believes schools should embrace the role of promoting classical music and opera to introduce them to young people. “It’s never too late,” he says.

Regarding the criticism that actor Timothée Chalamet received after declaring in a February interview with Variety that “no one cares about this anymore,” referring to ballet and opera, Bocelli states, “Beauty has no expiration date.”

“When a work of art, whether musical or otherwise, is of great depth or substance, it doesn’t go out of style, just as Michelangelo’s Pietà or DaVinci’s Mona Lisa will never go out of style. These are all immortal pieces that will always evoke emotions in those who admire them,” he adds.

An example of making opera more accessible and reaching other audiences is, precisely, the free show Bocelli will offer on Saturday at Mexico City’s Zócalo.

“Speaking of the duet I’ll do with this Mexican group [Los Ángeles Azules], I’m very curious,” the tenor says. “I’m very happy to be able to do this collaboration because they always enrich [the experience].”

After his performance in Mexico, Bocelli will continue his Romanza 30th Anniversary World Tour 2026 celebrating his acclaimed 1997 album Romanza, which became the best-selling Italian album and the best-selling predominantly non-English album of all time, according to Universal Music.

On the Billboard charts, Romanza topped World Albums for a whooping 51 weeks and reached No. 5 on Classical Albums, while ranking No. 35 on the all-genre Billboard 200 (where Bocelli has accumulated 29 entries, including nine top 10s and one No. 1, in 2018, with Si.)

“I remember the success of Romanza caught me by surprise,” Bocelli recalls. “I had to learn to manage my strength and energy because, from then on, the world felt small to me as I started traveling across it, far and wide, several times.”

He shares that for this commemorative tour — which will visit the U.S. in two legs, in September and December — he had to relearn the songs from the album because some tracks had already left his repertoire. However, he says, “Feeling the love and appreciation the audience has for these songs made me feel it was the reward for this experience.”

Glitz and glam dressed Guayaquil’s Sanchez Aguilar Theatre on Wednesday night as the music industry celebrated the fifth annual Premios REM de Sayce (REM Awards).

Jombriel (real name: Jonathan Cedeño), was the night’s top winner, nabbing four awards including the coveted composer of the year and song of the year for “Vitamina” in collaboration with DFZM and Jotta. The latter was even featured on Barack Obama’s Favorite Music of 2025 list.

“I am grateful to God, my team, and my family,” he said in a short-and-sweet acceptance speech. “I dedicate this to my son because I became a father in December. Cheers to being single!”

The breakout star from Esmeraldas, named one of Billboard’s Latin Artists to Watch in 2026, also walked away with the awards for most-streamed male artist and most-played male artist on the radio.

The REM awards (Ranking Ecuatoriano de la Música) is presented by the Society of Authors and Composers of Ecuador (SAYCE), honoring the most popular and consumed artists, composers, and songs of the year. The nominees and winners are based on the local charts in Ecuador reported by the Spanish music operating system BMAT that monitors what is streamed, heard on the radio, played on television, to name a few.

“These are Ecuador’s most prestigious awards—the awards honoring the most-listened-to artists in the country,” Juan Fernando Velasco, president of Sayce and Latin Grammy-nominated artist, tells Billboard. “We have been growing steadily over the past five years, successfully positioning these awards as the most significant element within Ecuador’s music industry, as well as an inspirational brand. This plays a fundamental role in the industry; these awards provide not only recognition but also validation and exposure.”

The evening included unexpected wins, heartfelt tributes, and show-stopping performances from artists such as Dayanara, Andreina Bravo, Jossimar, and Don Medardo y Sus Players—all perfect examples of Ecuador’s booming music scene.

Below, see the full Premios REM winners list:

Audience Favorite: Andreína Bravo

Female Trajectory Artist (Popular Genre): María de los Ángeles

Male Trajectory Artist (Popular Genre): Gerardo Morán

Group/Duo Trajectory Artist (Popular Genre): Don Medardo y Sus Players

Most-Streamed Female Artist (Digital Platforms): Dayanara

Most-Streamed Male Artist (Digital Platforms): Jombriel

Most-Streamed Group/Dup (Digital Platforms): Unísono

Most-Streamed Female Artist (Alternative): Luz Pinos

Most-Streamed Male Artist (Alternative): Gonzalo Ávila

Most-Streamed Group/Dup (Alternative): Estamos Perdidos

Most-Played Female Artist on Radio: Dayanara

Most-Played Male Artist on Radio: Jombriel

Most-Played Group/Duo on Radio: Verde 70

Composer Trajectory Award: Segundo Rosero

Best New Artist: Machaca

Composer of the Year: Jonathan Cedeño (Jombriel)

Song of the Year: “Vitamina,” Jombriel, DFZM, Jotta