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May 01, 2024

The 23 Best Latin Songs of 2023 So Far: Staff Picks

An unprecedented avalanche of Latin songs was released in the first six months of 2023, underscoring the music’s booming popularity at a global scale, the speed of which is outpacing every other

An unprecedented avalanche of Latin songs was released in the first six months of 2023, underscoring the music’s booming popularity at a global scale, the speed of which is outpacing every other genre. While the year kicked off with Bad Bunny still entrenched as Latin music’s top hitmaker, things quickly evolved to bring other genres into the fray — most notably Mexican music, which is currently the dominating Latin presence on the Hot 100 and which even fused with Bad Bunny in the Grupo Frontera/Bad Bunny hit “un X100to.”

The result is an eclectic mix of 23 songs that span a wide array of genres. Música urbana continues to beat, but so does tropical, Mexican and, refreshingly, an increasing dose of pop and singer/songwriter driven fare. The versatility underscores and increasingly vast and eclectic Latin music fan base that is ready and willing to consume all styles of music. Predictably, several of the songs on the list fall under the regional Mexican, or música mexicana label, whose vast umbrella covers from corridos to romantic cumbias on this list.

By the same token, there are songs from icons like Juanes and Marc Anthony, who embrace their roots in rock and salsa, respectively. But there are also a slew of newcomers like Young Miko and María Becerra, who have demonstrated time and again that they are willing to push boundaries in their search for distinctive sounds. Although chart position was a consideration, our choices were guided by many factors, most importantly, memorable lyrics and standout melodies.

Enjoy!

From Bad Bunny’s “Where She Goes” to Yahritza y Su Esencia and Grupo Frontera’s first collaborative effort in “Frágil,” see the list in alphabetical order by artist name, below.

Last year, Bad Bunny told Billboard he was going to take it easy in 2023. “I’m taking a break. 2023 is for me, for my physical health, my emotional health to breathe, enjoy my achievements,” he said. But that didn’t stop him from dropping the certified club banger “Where She Goes,” produced by MAG. Inspired by the Jersey Club beat (a hybrid of house and hip-hop), the track is a sensual song about chasing that person you like. On the Billboard charts, it peaked at No. 2 on Hot Latin Songs, No. 8 on the Hot 100, and reached No. 1 on the Billboard Global 200 chart, making Bunny the first soloist with as many as three No. 1s since the survey began in 2020. — JESSICA ROIZ

A much-needed musical therapy session, Shakira teamed up with Argentine hitmaker Bizarrap for the scorching club banger “Bzrp Music Sessions, Vol. 53.” “I’m not getting back with you, don’t cry for me, nor beg me/ I understood that it’s not my fault that they criticize you/ I only make music, sorry that it bothers you,” she chants in the nearly four-minute dance-pop track, where she disses her former partner Gerard Piqué and his new girlfriend Clara Chia Marti. The unapologetic banger crashed the top 10 of the Hot 100, and also hit No. 1 on Billboard’s Hot Latin Songs chart, Shakira’s 12th No. 1 on the listing and first since 2016. — J.R.

Caloncho kicks off with the words “I want to be a good memory for you/ A beautiful place in your brain,” in a track that looks back at lost love with warmth, rather than regret. In “Superdeli” (slang for something very tasty), the Sonora-born singer-songwriter deepens his signature indie-pop sounds within the tropical realm, blending retro piano melodies with modest hints of bachata. Penned by Caloncho, Kurt, and Pepe Portilla, the lyrics are just another beautiful reminder to live in the present and always welcome your feelings with an open heart. — INGRID FAJARDO

The Sonora-born Leon is a regional Mexican star through and through, but this song further proves his versatility and ability to thrive in other genres outside of música mexicana. The first single off Colmillo de Leche, this stripped-down R&B/soul track spotlights Leon’s deep, raspy vocals, with pathos-filled lyrics about falling out of love, when the familiar becomes foreign. “From loving each other too much, we became two strangers,” he sings poetically over the power ballad, an almost gospel-like song. — GRISELDA FLORES

In true Nodal fashion, “Cumbión Dolido” can be described as a cumbia that carries a melancholy or painful tone rather than a happy one. This song reflects the fact that heartbreak is an inevitable part of love, but even when you’re hurting, you can still dance. This mariacheño track (blend of mariachi and norteño) finds the 24-year-old singer-songwriter “toasting to the memories you’ve left/ Singing songs of spite at the top of my lungs.” The heartbreak anthem was written by Nodal in collaboration with Edgar Barrera and Lucas Otero, cementing his record for the most chart-toppers among soloists with 15 No. 1s on the Regional Mexican Airplay listing. — I.F.

Emilia, the Argentine pop singer and the self-proclaimed Queen of the Favelas, Ludmilla, are dynamite in “No_se_ve.mp3,” an instant banger at first stream. The Portuguese/Spanish-language cut sees two femme fatales slicing through a Latin pop and baile funk reverie with boss-b–ch attitude, favela-style. “[‘No_se_ve.mp3’] is a party,” Ludmilla told Billboard Español in April. “We mixed our two musical styles, Emilia with hers and I brought a little bit of funk from Brazil. It was a great combination.” If this doesn’t get you to hip thrust, then we don’t know what will. — ISABELA RAYGOZA

Bolstered by requinto-brass interplay and the artists’ passionate vocal delivery, Eslabón Armado and Peso Pluma’s “Ella Baila Sola” further propelled música mexicana into the mainstream. Ushering a new Latin music movement after one decade of reggaetón dominance, the traditionally styled anthem is a flirty sierreño party about developing a new crush on the dance floor. The song became the first No. 1 regional Mexican hit ever in the history of Hot Latin Songs, with 13 weeks on top and counting. “Ella Baila Sola” also soared to No. 1 on the Billboard Global 200, becoming the first leader on the list for each act, as well as an unprecedented first for the genre. — I.R.

In March, two of the hottest urbano acts of the moment, Feid and Young Miko, unleashed “Classy 101.” The hard-hitting, edgy perreo fusion laces Feid’s distinct vocals and Miko’s dulcet range for a song about a girl who’s so fine that it’s impossible to ghost her. “You have a face that you like it freaky and nasty/ Nothing romantic/ You look expensive, b–chy, classy, in four fantastic/ More than problematic/ You touching yourself, I’m crazy to enter/ You know what I like/ Keep flirting that I’m not going to ghost you/ I’m going to charge you the fine,” goes the chorus that went viral on TikTok (currently with over 350K video creations). “Classy 101” earned the Puerto Rican newcomer Miko her first-ever Hot 100 chart entry. — J.R.

2023 marked the year Bad Bunny dipped his toes further into the música mexicana realm (after hopping on the remix of Natanael Cano’s 2019 “Soy El Diablo”). This time, he steered away from corridos tumbados and experimented with cumbia and norteño on Grupo Frontera’s “un X100to.” The wistful heartbreak track, co-produced by Edgar Barrera (the pop and Mexican music hitmaker who writes most Grupo Frontera fare) and MAG, narrates the emotions of someone calling their ex to beg for forgiveness, despite having only one percent phone battery left. “Un X100to” proved to be a memorable fusion of genres, and peaked at No. 5 on the Hot 100 and No. 2 on Hot Latin Songs. — J.R.

A melancholic and introspective indie-rock song, “Gris” (which means Gray), from Juanes’ new album Vida Cotidiana, was born in a time of desperation during the pandemic, when Juanes’ relationship with wife Karen Cecilia Martínez was going through a rough patch. “The gray weather/ Knew how to get me further away from you,” the Colombian star sings, capturing the sadness of that moment. “Sometimes I listen to it and I’m like, ‘My God, I love this song, but I can’t believe what I went through to make it’,” he recently told Billboard Español. It’s a beautiful yet haunting track that lingers and makes you yearn for love. — SIGAL RATNER-ARIAS

The Puerto Rican singer/songwriter is one of those artists who can go pretty much anywhere musically and still sound genuine. Accompanied only by guitars, García steers out of her traditional pop to gives us a tropicalized mariachi in “Fuera de servicio (Out of Service),” lamenting the fact that she can’t get over her old love. The lyrics are, as always, brilliantly crafted (“I’m the remix no one wants to hear anymore/ I speak about the same thing, and the same thing to exhaustion”), the melodies are perfect and García’s vocals are full of pathos. — LEILA COBO

With her powerful vocals and emotional delivery, Karol G has effectively captured the rawness of heartbreak in “Amargura”. Salsa masterpiece “La Cura” by Franke Ruiz opens the production, to give all the feeling to a track that explores the emotions of heartbreak and betrayal. The lyrics describe a person’s pain and bitterness of seeing their ex-partner with someone new. Although they try to hide it, it’s a confession to feeling shattered emotionally. This relatable anthem speaks to anyone who has experienced the pain of a broken heart. — I.F.

“TQG” is what happens when two empowered women join forces. A masterclass in how to effectively get back at your ex, “TQG” — an acronym for “Te Quedó Grande,” which loosely translates to “Too Big for You” — may come across as a spiteful, revenge track. But in reality, it’s a declaration of self-worth: I leveled up. “Why are you looking for me on the side when you know I don’t make the same mistake twice?” Colombian stars Karol G and Shakira sing. The song became an instant hit, thanks to its catchy lyrics and thumping reggaetón beats — topping Hot Latin Songs and both the Billboard Global 200 and Billboard Global Excl. U.S. charts. — G.F.

Los Ángeles Azules helped globalize Mexican cumbia, de Iztapalapa para el mundo, as they say. While the trailblazing ensemble continues to modernize the traditional style, the musicians revamp their approach on “Tú y Tú” — an accordion- and güiro-driven dance song that features Guanajuato rapper Santa Fe Klan and Argentine trap star Cazzu. Together, the tattooed pair lend their vocals to convey the healing power of love. SFK continues to demonstrate his ability to hop between Mexican-rooted genres seamlessly; meanwhile, Cazzu, who emerged from the booming Argentinian trap scene, smoothly adapts to the cumbia sonidera rhythm. “For you I turn night into day, just for you,” she sweetly croons. It’s a mesmerizing take where all musicians showcase their capabilities to intertwine the música méxicana and música urbana genres. — I.R.

Puerto Rican salsa singer Marc Anthony merges his powerful voice with Maluma’s playful and urban touch, creating a danceable melody and a welcome tropical hit. Combining the best of the two Latin music icons in a romantic salsa pop song, the pair sing about the inability to forget a lost love, lamenting in the pre-chorus: “There is no formula to erase your kisses/ Not an equation that can achieve that.” Produced by both artists, in collaboration with Edgar Barrera, Rude Boyz and Sergio George, the song reached No. 2 on Billboard’s Tropical Airplay chart and No. 9 on Latin Airplay. — LUISA CALLE

María Becerra shows a steady willingness to experiment and go out of her comfort zone as she searches for her own sound. In the poignant “Desafiando el destino,” a bonus track to her previously released La nena de Argentina, she displays a softer (and frankly more powerful) side. A love letter written to her parents, it begins with a slow, bluesy piano intro that gives way to Becerra’s vocals, tinged with melancholy as she sings to a video of old home movies that’s hard not get teary-eyed about. Backup gospel-choir touches, tastefully placed over the sparse arrangement, lend even more pathos to this very beautiful track. Parents will be proud, and Becerra would do well to explore more material of this ilk. — L. Cobo

An infectious EDM-merengue fusion about drinking your sorrows over a broken heart away, “El Merengue” reached No. 1 on Tropical Airplay, sending Turizo’s own “La Bachata” to No. 2 after 14 weeks in charge, and spending almost as much time — 13 weeks — at the top of the ranking. Through lyrics like “I said drunk that I already forgot you, but I hadn’t forgotten you” and “ask me whatever you want except to forget you,” the Colombian singer regrets not having done enough for his ex when he had the chance, making you feel his pain while you hold on to your dancing partner a bit tighter. — S.R.A.

“Rumbacumbia” is an invigorating listen from start to finish which sees Elche, Spain-born singer Miguel Campello and Sevilla’s own Nya de la Rubia in an electrifying rumba song that feels as uplifting as the sun’s warmth. Flamenco guitar fretwork and silky-smooth percussion take the fore, as the former El Bicho frontman’s and Nya’s voices both invigorate with their poetic verses of love and embrace. — I.R.

Powered by a vibrant accordion beat, this uplifting song is a departure from the swaggy, marijuana-centric corridos that we’re accustomed to hearing nowadays. A fusion between norteña and sierreño, which doesn’t sound forced at all, “Fin de Semana” is a sweet declaration of love and about having an epic weekend with a significant other. The pair start off singing about how they got the girl in the first place: buying her the nicest flowers at the club. Then, they pick her up for an unforgettable weekend at the beach: “Don’t give me excuses, don’t tell me you have things to do/ We’re two people that just connect.” But, at the end, they say, if the feeling isn’t mutual, they won’t beg either. — G.F.

In the midst of his global success with songs like his Eslabon Armado team-up “Ella Baila Sola” and the reggaetón anthem “La Bebe Remix” with Yng Lvcas, Peso dropped the sobering “Bye,” a gut-wrenching heartbreak track powered by a melancholy trumpet melody. “Bye/ Better be on your way/ Being with you no longer suits me/ Bye/ And I could care less/ I get distracted by princesses/ And your kisses don’t interest me anymore,” he confesses bluntly, evidently hurt by the twist of events. The song is Peso’s first solo track since “Por Las Noches,” after a handful of collaborations with artists like El Alfa, Becky G and Blessd. — G.F.

“I need another kiss, the type only you give me,” sing Rosalía and Rauw over a hypnotizing reggaetón beat. “Beso,” one of the three tracks on the duo’s joint EP RR, is a sincere declaration of love in its purest form. The lyrics are simple yet relatable, making it an anthem we all can adopt. “Amo siempre que llegas y odio cuando te vas (I love always when you come, and hate when you leave),” they sing, trading vocals over sparse chords. Along the way, “Beso” became the third top 10 for both artists on the Billboard Global 200. — G.F.

Oh, Tego, how we missed you. The Puerto Rican rapper’s return, after nearly a decade-long hiatus, is sheer fun, with a blast of a music video set at both a golf course and a tennis court. It’s the lighter side of Tego, a saucy, bouncy reggaetón with touches of merengue ripiao that are easy on the ear and immediately catchy. It’s also a clever way for Calderón to ease back into pop culture. We’re eager to see the next steps. — L. Cobo

Backed by a weeping acoustic guitar, Yahritza Martinez’s soft-but-raspy vocals start this track in a lower vocal range, then gets a response from Grupo Frontera’s vocalist, Payo. Charged with soul, emotion, and many unanswered questions, “Fragil” then transitions into an infectious norteño and cumbia fusion — a sound that’s become a signature for Frontera, but new for the siblings group that’s known for their sad sierreño style. Most notable are the heartfelt lyrics, penned by Keityn, about having a fragile heart and not knowing how to handle a breakup: “Why don’t I have a heart like that?/ Like the one they gave you/ Because the one I have is fragile, that’s why you easily broke it.” — J.R.

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