The Sounds of Latin Culture

As Hispanic Heritage Month kicks off, it’s as good an opportunity as ever to take a closer look at the state of Latin music. In 2025, what defines that space is its refusal to choose between roots and reinvention. Born of a centuries-deep conversation between African rhythms, indigenous traditions and European melodies, it’s constantly reshaping itself with every generation. 

To understand the state of Latin music culture today is to view it as less of a category and more like a global frequency. In this ever-expanding universe, Latin music is as comfortable honoring the past as it is bending it into the future. Its richness lies in its multiplicity; it’s not one country or sub-genre that’s shaping Latin music today, it’s everything everywhere all at once.

Mexico is the perfect place to kick off any conversation about Latin music’s influence. Take corridos, which date back to the 1800s, when they chronicled tales of revolutionaries, heroes and border life. Since then, corridos have evolved into the soundtrack of a generation with a penchant for trap beats, raw, unpolished guitars and auto-tuned vocals. In the current chapter of the corridos narrative, the heroes are Natanael Cano and Tito Double P, among others, who give voice to young Latinos living between their parents’ hustle and Tony Montana-sized ambitions. On the other side of the border, Mexican American acts like Grupo Frontera and Estevie, following in the footsteps of the late Tejano queen Selena Quintanilla, have gone on to lead a cumbia renaissance, opening the door for younger audiences who may not have grown up with the sway of the accordion but connect with it as something both nostalgic and new. 

But Mexico isn’t just corridos and cumbia. Artists like Silvana Estrada are carrying the torch for a more intimate, acoustic tradition, blending Veracruz folk influences with contemporary songwriting. Her track “Como un Pájaro” is a soaring, poetic meditation on freedom and longing — proof that not all revolutions are loud.

In the urban space, artists today can headline an international festival while proudly waving their country’s flag and staying true to their slang. While Puerto Rico continues to breed some of the brightest stars in the world, reggaeton is now also being exported from Mexico (Bellakath, Yng Lvcas), Colombia (KAROL G, Feid), Chile (Cris MJ, FloyyMenor) and Spain (Quevedo, Bad Gyal), among other Spanish-speaking territories. Whereas in the ‘00s, the formula for success dictated that reggaeton artists make anthems selling the idea of a monolithic pan-Latin identity; today hyper-localization is king. There is no better masterclass in this approach than Bad Bunny’s current residency in Puerto Rico, which has not only put the island and its complex socio-political status at the center of the pop culture conversation but is also contributing millions to the local economy. 

Dembow, once heard blasting only from the speakers of street parties in Santo Domingo and the Bronx, now pulses through nightclubs from Europe to Asia with an irresistible energy, thanks to Gen-Z Afro-Dominican artists like Yailin La Mas Viral and Lomiiel. Further south, in Colombia, the afrobeats coming out via voices like Kapo carry the histories of marginalized Black communities from the country’s Pacific coast while sharing a heartbeat with the motherland. And fellow Colombian Ryan Castro is making the kind of dancehall not heard in Spanish since the ‘90s, creating a fresh generational link with Jamaica. 

The classic tropical genres — salsa, bachata and merengue — are thriving in modern hybrids like J Balvin and Gilberto Santa Rosa’s “Misterio,” Xavi and Manuel Turizo’s “En Privado” or Alleh and Yorghaki’s “capaz (merengueton),” reconnecting younger audiences with their parents’ dance floor staples. KAROL G’s latest album, ‘Tropicoqueta,’ conjures imagery of vintage cabarets and channels the spirit of Latin showgirls like forties-era star Carmen Miranda. It’s a love letter to the tropical sounds that shaped her and a nod to the multigenerational tapestry of Latin music. At the recent NFL game in São Paulo, Brazil between the Kansas City Chiefs and Los Angeles Chargers, KAROL G delivered a showstopping, tropical-themed halftime show, singing in Spanish, English and Portuguese. In doing so, she made history while effortlessly bridging cultures. 

Dive into our Sounds of Latin Culture playlist celebrating not just the current sonic innovation of Mexican, urban and tropical rhythms, but also the themes of identity, pride and joy brought to life by some of the most exciting voices on the scene today.

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LISTEN TO THE SOUNDS OF LATIN CULTURE PLAYLIST ON SOUNDCLOUD

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Nueva H, Natanael Cano, “Carnalito”
Not content with just being the founding father of the corridos tumbados sound, Natanael Cano is also a mogul with his own label, Los CT Records, through which he personally mentors emerging acts. On this collaboration with duo Nueva H, who hail from Cano’s hometown of Hermosillo, Mexico, the guitars don’t just provide harmony; they narrate alongside the lyrics, accentuating moments of bravado and reflection.

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Tito Double P, “POR SUS BESOS”
Besides being a renowned songwriter who has penned hits for superstars like his cousin Peso Pluma, Tito Double P also serves as head of A&R for Pluma’s label, Double P Records — so he knows a thing or two about crafting a hit. With this corrido, he delivers a raw, unfiltered portrait of heartbreak in the digital age: calls lost to voicemail, messages left on read and sleepless nights echoing with silence.

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Grupo Frontera, “Lalala”
With this exquisite cumbia, the beloved band from Texas taps into the bittersweet ache of a love that never quite healed. From the first line, you’re dragged into a world of memory-soaked bars, half-forgotten kisses and the futile hope that a lost love might somehow return. It’s the type of breakup ballad that’s somehow still fun to dance to, tequila in hand.

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Estevie, “Un Error”
The first-generation Mexican American singer-songwriter from Beaumont, California, has quickly become one of the leading voices of the modern cumbia movement. Here she layers a driving cumbia base with the wistful draw of a norteño accordion, anchored by her signature velvety vocals. Get to know more about Estevie and other women taking center stage in the Mexican music scene here.

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Silvana Estrada, “Como un Pájaro”
‍A standout voice of Mexico’s indie folk revival, Silvana Estrada crafts music that feels both timeless and modern. In “Como un Pájaro,” her voice floats over sparse instrumentation, turning personal introspection into a universal ache. It’s a quiet triumph — one that reminds us of Latin music’s capacity for tenderness. Hear Silvana Estrada break down the making of key tracks from her highly anticipated new album, ‘Vendran Suaves Lluvias,’ exclusively on SoundCloud’s Voice Notes.

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Bellakath, “Suéltate”
One of the leading ladies of the Mexican reggaeton scene, Bellakath continues to reclaim space in a genre that too often sidelines women. True to her style, this track, which translates to “Get Loose,” is a bold, unapologetic celebration of sexuality, empowerment and a distinctly Mexican urban pride.

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Yng Lvcas, “Chula”
If Mexico’s reggaeton scene (also known as reggaeton Mexa) has a face right now, Yng Lvcas is one of the boldest contenders. The Guadalajara native isn’t just participating in the genre’s global wave, he’s reshaping it, one sweat-drenched dance floor at a time. Eschewing sleek production for grit, humor and unfiltered hedonism, he makes this track feel both hyper-local and universally irresistible.

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KAROL G, Feid, “Verano Rosa”
One of the few reggaeton tracks off her mostly tropical-themed ‘Tropicoqueta’ album, KAROL G called upon her ride-or-die Feid for this lush, sun-soaked duet — a clear contender for the song of summer in 2025. With her melodic precision and his smooth delivery, the song plants itself in the hearts of listeners as a snapshot in modern reggaeton romance.

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Cris MJ, “7 Trompetas”
From one of Chile’s fastest rising reggaeton stars, this track by Cris MJ draws parallels between the end of a relationship and the biblical seven trumpets signaling the apocalypse. Part of his third studio album released in summer 2025, the track showcases his ability to blend storytelling with dancefloor-ready staples.

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FloyyMenor, Lewis Somes, “CHICA ATRACTIVA”
Both Cris MJ and FloyyMenor were responsible for putting Chilean reggaeton on the global map with their 2024 hit, “Gata Only.” Since then, they’ve continued to carve a place for themselves in a crowded space by blending the classic rhythms of reggaeton with Chile’s unique slang, a playful irreverence, and a raw, DIY approach. It’s music you can dance to, but also feels like a story told by someone from your own neighborhood.

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Quevedo, “TUCHAT”
This year, Spain’s biggest urban star continued his tradition of dropping a song that defines the summer season. This track showcases the Madrid artist’s signature style: smooth reggaeton rhythms paired with introspective lyrics that delve into the complexities of lingering feelings post-breakup.

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Bad Gyal, Ozuna, “Última Noche”
This isn’t the first collaboration for Spain’s reigning queen of reggaeton, Bad Gyal, and Puerto Rican star Ozuna. Their 2024 duet, “Guay,” proved their undeniable chemistry and effortless ability to create a trans-atlantic hit. This latest collaboration is rooted in Haitian kompa and tells the story of two individuals savoring one last night together, knowing that tomorrow might mean letting go.

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Bad Bunny, “VOY A LLeVARTE PA PR”
Perhaps no other song off Bad Bunny’s latest album captures the magic of his beloved Puerto Rico better than this one, a classic reggaeton anthem peppered with idioms like, “Acho, PR es otra cosa,” which roughly translates to, “Yo, PR is something else.” The phrase seems to be ingrained in every person who visits the island for his current residency and leaves with a firsthand understanding of the culture.

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Yailin La Mas Viral, Puyalo Pantera, “Bing Bong”
As her name would suggest, 23-year-old Dominican phenom Yailin La Mas Viral has an unrivaled ability to drive the conversation. Loved and criticized with the same intensity, she understands better than anybody the power of a moment, and she bends it in her favor. She’s not just at the center of the dembow scene, she’s shaping it.

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Lomiiel, El Alfa, “MAS LINDA Y MAS BELLA”
Two generations of dembow stars, newcomer Lomiiel and the godfather of the movement, El Alfa, come together for this high-energy anthem. El Alfa brings his signature high-octane flow while Lomiiel adds melodic finesse, creating a track that’s both hard-hitting and irresistibly catchy. It’s a snapshot of Dominican urban music thriving on innovation, collaboration and unapologetic confidence.

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Ryan Castro, Dongo, “SANKA”
For his latest album, ‘SENDÉ,’ Colombia’s Ryan Castro traveled back to the island of Curaçao, where he grew up before moving to Medellin and becoming synonymous with the local reggaeton scene. This body of work, which fuses dancehall, kizomba, afrobeats and reggae, is a love letter to the Caribbean culture that he says shaped him into the artist he is today.

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Kapo, Myke Towers, “ILY”
This single off Myke Towers’ latest album, ‘ISLAND BOYZ,’ is a departure from his usual reggaeton and trap sound. The song exudes a warm, emotive quality that intertwines perfectly with the Puerto Rican star’s rhythmic flow, thanks to Colombia’s Kapo, one of the leaders of the current afrobeats in Spanish movement. Enjoy this exclusive album commentary from Myke Towers, where he offers a track-by-track breakdown of his creative process.

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J Balvin, Gilberto Santa Rosa, “Misterio”
Reggaeton stars like Bad Bunny, Rauw Alejandro and J Balvin have made it abundantly clear that they’re not only fans of that golden salsa sound of decades past, but they’re also intent on bringing it back. Here, the Colombian superstar teams up with Gilberto Santa Rosa, the Puerto Rican salsa veteran aptly nicknamed “The Gentleman of Salsa.” The result is a reggaeton-meets-salsa hybrid that’s at once romantic, elegant and timeless.

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Alleh, Yorghaki, “capaz (merengueton)”
Merengue is synonymous with the Dominican Republic, but what most casual fans don’t know is that Venezuela also has a longstanding relationship with the genre. Enter the Venezuelan duo Alleh and Yorghaki, known for masterfully blending the rhythmic energy of merengue with the urban pulse of reggaeton, creating a genre-defying sound that continues to conquer new fans as they tour in 2025.

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Xavi, Manuel Turizo, “En Privado”
Long ago, bachata left its cradle of the Dominican Republic and became a global phenomenon. For a while, it almost seemed like a prerequisite for every Latin artist to try their hand at bachata, regardless of their nationality or relationship with the genre. But those that genuinely get the sound always stand out. Here, Mexican American crooner Xavi and Colombia’s Manuel Turizo team up for a captivating blend of the tropical genre and corridos tumbados that resonates with fans of both genres.

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KAROL G, “Bandida Entrenada”
On ‘Tropicoqueta,’KAROL G honors the Latin rhythms that shaped her, including bachata, merengue, dembow, cumbia and vallenato. But few expected her to venture into baile funk, as she did on this track. By singing in Portuguese and integrating Brazilian musical elements, she bridges cultural divides and embraces a country often excluded from the Latin music narrative.

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LISTEN TO THE SOUNDS OF LATIN CULTURE PLAYLIST ON SOUNDCLOUD

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