Ozuna & Beéle’s Joint Album ‘Stendhal’ & More Best New Music Latin

New Music Latin is a compilation of the best new Latin songs and albums recommended by Billboard and Billboard Español editors. Check out this week’s picks below.

Ozuna, Beéle, Stendhal (Nibiru International/Sony Music Latin)

Two weeks ago, Ozuna and Beéle presented their first collaborative effort, “Enemigos”— but never did fans expect 13 other songs together would follow. The Afro-house track about a forbidden desire, which samples Aventura’s “Los Infieles,” marked the first taste of the Puerto Rican and Colombian artists’ joint album Stendhal. The 14-track production, produced by Colombian hitmaker Ovy on the Drums and others, is rooted in the Afrolatino fusion with other global genres such as reggaetón, kizomba, electronic, and dembow.

Tracks such as “Pikito,” “El Volcán,” “Cookie,” and “Explícito” evoke sensual and provocative emotions. In others, they pay homage to timeless Latin tunes: “Ale” is inspired by Fernando Villalona’s “Carnaval (Baile en la Calle)”;  “Te Culié” by Las Ketchup’s “Asereje”; and “Antes de Irme” by Xuxa’s “Ilaríe.” The album’s name, Stendhal, is inspired by Stendhal Syndrome, where the art of great beauty profoundly impacts the senses and perception. — JESSICA ROIZ

Juanes, Bomba Estéreo, “Muérdeme” (Universal Music Latino)

Juanes’ rock guitars and Bomba Estéreo’s electro-tropical sound merge to create a flavorful, sensual retro cumbia in “Muérdeme,” the third single from the Colombian superstar’s upcoming album. Co-produced by Juanes and Nico Cotton, and written by Juanes, Bomba Estéreo’s Li Saumet, Gale and Emmanuel Briceño, the song speaks of rekindling passion in a relationship. “Bite me/ Come with your kisses, hold me/ Don’t think about it, stay/ Here in my arms, entwined, you and I,” goes the chorus. Juanes and Saumet’s unmistakable voices create vibrant harmonies, with the Bomba Estéreo vocalist delivering a couple of spoken verses that add dynamism to the arrangement. — SIGAL RATNER-ARIAS

Adriel Favela, Gabito Ballesteros, “AFTERLIFE” (FONO)

Adriel Favela has gone from being a leading figure in corridos for the new generation to being part of the movement itself. His versatility has allowed him to successfully navigate even ranchera music. In “Afterlife,” he embraces the corridos tumbados style with all that it entails: the electric guitar in the intro giving way to trumpets, charchetas, and tololoche — essential instruments of the genre — in addition to acoustic guitar. His voice is joined by that of one of the biggest stars of the moment, Gabito Ballesteros — who, true to his interpretive style, lends a certain rawness to the explicit lyrics, which narrate an atmosphere of extreme partying, luxurious nightlife, and exclusive venues. This same hedonistic scene is showcased in the music video, filmed in natural settings in Sonora, the birthplace of both singers, and a dark location that adds to the drama. — TERE AGUILERA

Jenni Rivera, La Gran Señora (Banda) (Virgin Music Group

Jenni Rivera’s legendary 2009 album gets a thunderous update in La Gran Señora (Banda), where her iconic mariachi hits swap strings for brass and tamborazo-driven banda arrangements. Sixteen years after its original release, the tracks still pack a punch, now with enhanced production by Latin Grammy winner Luciano Luna (Banda El Recodo, Grupo Firme) and the gut-wrenching grit of Rivera’s enduring vocals. Intro song “Yo Soy Una Mujer” explodes with brass horns and a dynamic rhythm section — which also includes previously unreleased audio recorded in 2008 — while the title track unleashes fast-driving drumbeats beneath her fiery declarations: “Se necesita más que una cara bonita.” Even “Amarga Navidad” trades ranchera melancholy for a piercing trumpets, highlighting Rivera’s unmatched vocal prowess. Guided by the creative direction of her son Johnny López, this reimagining celebrates the eternal Diva de la Banda with force and heart. — ISABELA RAYGOZA

Caloncho, “Fairy Michelle” (Universal Music México)

The Mexican singer-songwriter infuses joy and good vibes into this new track, overflowing with emotion for his loved one, set to a cumbia and reggae rhythm. It’s the second single from his upcoming album, slated for release in 2026, and maintains the emotional tone that reflects Caloncho’s current happiness with his wife. “Fairy Michelle” also marks the artist’s introduction to a humorous and conceptual world, embodied not only in the song but also in the music video, which portrays him as a Neandercal (a play on words combining his name and the term Neanderthal), a primitive man who travels through time and arrives in the modern world bewildered by its rules, including those of love. — NATALIA CANO

Banda Los Sebastianes, Rancheras Pa’ La Parranda (En Vivo) (FONO)

With all the power of Sinaloan banda sound, including trumpets, snare drums, clarinets, and of course the tuba, this is an album that’s sure to be enjoyed from beginning to end as the holiday season approaches. Recorded in the genre’s mecca, Mazatlán, Mexico, this live production includes songs for every mood, from traditional tunes like “El Son de los Aguacates” and “El Gavilancillo,” to heartbreak in the focus track “El Amor No Se Vende,” and tributes to regional Mexican music greats like Lorenzo de Monteclaro and Invasores de Nuevo León. With a total of 12 tracks, all with their respective music videos, Rancheras Pa’ la Parranda (En Vivo) is an excellent way for Banda Los Sebastianes to close out the year, after dedicating 2025 to an extensive tour of the U.S.  — T.A.

Julieta Venegas, “Tiempos dorados” (Altafonte/Lolein Music)

The Mexican singer-songwriter embraces her northern roots in the first single from her new album slated for 2026, celebrating the nostalgia of the past and the beauty of the present with a rhythm of wind instruments and requintos in the sierreño style, achieving a contemporary sound that keeps alive the melodic essence that characterizes her. “Let the golden times return/ The sweet futures we dreamed of so much/ Let the mystery and the boredom return/ The not knowing anything, the not knowing anything,” Venegas sings in one of the song’s verses, whose lyrics she co-wrote with El David Aguilar and Lara Artesi.

With its northern sound and lyrics, the track is reminiscent at times of “El presente,” a classic in her repertoire. In another verse, she even alludes to Baudelaire and his collection of poems, Les Fleurs du Mal (The Flowers of Evil). “Tiempos dorados” (Golden Times) is an invitation to reflect on the passage of time, while the music permeates her border roots between Mexico and California. — N.C.

Check out more Latin recommendations this week below: