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Read ArticlesAlthough Funk Generation just missed the lead on Billboard‘s weekly new Latin music poll results, Anitta‘s new album is triumphant in topping this week’s new music poll that features artists in various genres of music.
Music fans voted in a poll published Friday (April 26) on Billboard, choosing Anitta’s Funk Generation as their favorite new music release of the past week.
The new set from Anitta brought in more than 50% of the vote on this poll, securing a notable edge ahead of new releases from Normani and Gunna, Tems, PARTYNEXTDOOR and more.
The veteran Brazilian star pumps up the funk on her sixth studio album, which has her singing in Spanish, Portuguese and English. The collection features singles including “Funk Rave” and “Joga Pra Lua,” and has Sam Smith guesting on vocals for “Ahi.”
Anitta has mapped out a tour in support of Funk Generation, the Baile Funk Experience Tour, a global trek that includes the singer’s first-ever North American leg: there will be stops in Los Angeles, Miami, Orlando, Boston, Toronto, Chicago and New York. Find the latest tour information on Anitta’s official website.
Trailing behind Funk Generation on this week’s poll is Normani’s team-up with Gunna for “1:59,” with 23% of the vote. The track is set to appear on her long-awaited album Dopamine, out June 14.
See the final results of this week’s poll below. Check out Billboard‘s Friday Music Guide to catch up with more must-hear releases from this week.
Fans Choose Anitta’s ‘Funk Generation’ as This Week’s Favorite New Music in All-Genre Poll
Miranda Lambert‘s new single “Wranglers” is coming, and fans at Stagecoach got to hear it first. Reba McEntire got to hear it, too — because she showed up to Lambert’s stage as a surprise guest Saturday night (April 27).
Reba joined Lambert for a three-song finale of “Mama’s Broken Heart,” her own hit cover version of Bobbie Gentry‘s “Fancy” and “Gunpowder & Lead,” wrapping Lambert’s headlining set that featured the live debut of the unreleased “Wranglers.”
“@Reba at @stagecoach y’all,” Lambert wrote Sunday on X (formerly Twitter), reacting to the fun she had at the Indio, California, festival the night before. “Thank you to my hero and friend for coming out here as my special guest. I’ll never forget it. She brought all the fire.”
“What a night!!! Thanks @mirandalambert for asking me to be part of @Stagecoach last night. And thanks to all the #Countrymusic fans for sticking with us in that wind! #badasssisters #bas #stagecoach,” Reba posted on her own account.
“Wranglers” — written by Audra Mae, Evan McKeever and Ryan Carpenter, and recorded in Austin with co-producer Jon Randall — is set to be released on May 3. The song can be pre-saved here.
“‘Wranglers’ is a classic tale of a woman taking her power back,” Lambert said in a statement released to press. “I think we can all identify with the character in this song, because we have all had a time in our life where we needed to find our strength, and also get a little revenge on someone who did us wrong or hurt us. This offers such a cool, raging take on how something like this unravels. I think the songwriters nailed it.”
She added, “I am so proud to sing it. It feels like it could have been on the same record as Gunpowder & Lead in a lot of ways. ‘Hell hath no fury like a woman scorned’ is a pretty powerful statement, and the way it’s written, you can tell, we’re not kidding.”
Watch a clip of Lambert’s live “Wranglers” performance below, and see some footage of her Stagecoach duets with Reba.
Miranda Lambert Debuts New Single ‘Wranglers,’ Brings Out Reba McEntire at Stagecoach
Taylor Swift was gunning for a truly epic release week long before The Tortured Poets Department actually dropped, with the pop star surprising fans by unleashing 31 new songs — as opposed to the previously confirmed 16 main and four bonus tracks — in the span of two hours April 19.
She’d been crafting the sprawling, Jack Antonoff and Aaron Dessner-produced project for about two years before it finally arrived, with the singer telling fans at a February Eras Tour show that she’d been working on it since the moment she submitted the Billboard 200-topping Midnights to her label some time in 2022. The unavoidable news cycle about her breakups from longtime boyfriend Joe Alwyn and The 1975’s Matty Healy, as well as her blossoming romance with Kansas City Chiefs tight end Travis Kelce, only added fuel to the fire of hype leading up to Tortured Poets, which Swift further stoked by saying at another Eras concert, “I’ve never had an album where I needed songwriting more.”
Come April 19, and her inimitable lyricism, discourse-provoking songwriting and apparent allusions to the aforementioned relationships proved to be more than enough to make millions of listeners tune in, the 14-time Grammy winner smashing records left and right in the process. Before Tortured Poets even hit the Billboard charts, it was doing unprecedented numbers in streaming, sales and vinyl — not to mention selling 1.4 million copies in its first day on the market, according to Luminate — giving Swift’s peers a run for their money in more ways than one.
Keep reading to see all of the major records The Tortured Poets Department has broken — so far — below.
‘The Tortured Poets Department’: All the Records Taylor Swift’s New Album Has Broken (So Far)
Taylor Swift beamed up to a historic debut on the Billboard 200 with The Tortured Poets Department, the ambitious 31-song collection that she apparently wrote, recorded and released while preparing for and embarking on The Eras Tour (and, to quote track 13, she did it “with a broken heart”).
“What do you MEAN,” she wrote in her immediate reaction to the headline published by Billboard, which she reposted on Sunday (April 28).
As reported earlier, Swift not only has the 14th No. 1 album of her career with TTPD, and the top-selling album of 2024 so far, year-to-date — but also the largest streaming week ever, the second-biggest week for any album by units earned, the third largest sales week in the modern era, and the biggest sales week for vinyl in the modern era.
The Tortured Poets Department launched with 2.61 million equivalent album units earned in the U.S. in its first week.
“My mind is blown,” Swift posted on her various social media platforms (X, formerly known as Twitter, Instagram and Facebook) Sunday afternoon. “I’m completely floored by the love you’ve shown this album. 2.6 million ARE YOU ACTUALLY SERIOUS?? Thank you for listening, streaming, and welcoming Tortured Poets into your life. Feeling completely overwhelmed.”
“I was already so fired up to get back to the tour but you doing THIS?? May 9th can’t come soon enough,” wrote Swift, who took the opportunity to upload some behind-the-scenes photos from the making of the album, including snapshots with Post Malone and Florence Welch.
Of TTPD’s 2.61 million sum, traditional album sales (purchases of digital download albums, CDs, vinyl LPs and cassettes) comprised 1.914 million, SEA units comprised 683,000 (equaling 891.37 million on-demand official streams) and TEA units comprised 14,000. Get the full breakdown on the numbers, and why it’s a historic release for Swift, here.
Swift’s May 9 shout-out is for her return to tour after a two-month break. Some are guessing she’ll work in at least some kind of a Tortured Poets era, tracing the evidence in a tour rehearsal clip set to “Fortnight” that Swift shared on Friday. (Looking at you, railing designed like the TTPD logo, and dancers practicing an unfamiliar top-hat-and-cane number.)
She’ll bring The Eras Tour to Paris for a series of four consecutive concerts at La Défense Arena from May 9-12 as she sets off on the European leg of her career-spanning trek, with Paramore opening the show.
Eras will also make its way to Sweden, Portugal, Spain, the U.K., Ireland, the Netherlands, Switzerland, Italy, Germany, Poland and Austria by the end of the summer. All of Swift’s upcoming tour dates are listed on her official website.
Taylor Swift Reacts to Massive ‘Tortured Poets Department’ Debut on Billboard 200: ‘I’m Completely Floored’
Eric Church took people to church at Stagecoach’s Mane stage on the Empire Polo Grounds in Indio, Calif., on Friday night (April 26), but not all attendees of his closing set at the festival’s opening night were ready for some religion.
The country superstar curated a one-of-a-kind set that he obviously put a great deal of thought into, from the stained-glass backdrop and 16-person choir to the setlist that included covers of “Hallelujah,” “Take Me to the River,” “Stand By Me,” “I’ll Fly Away,” “When the Saints Go Marching In” and even “Gin and Juice.”
“This was the most difficult set I have ever attempted,” Church said in a press release issued after the show. “I’ve always found that taking it back to where it started, back to chasing who Bob Seger loves, who Springsteen loves, who Willie Nelson loves, you chase it back to the origin. The origin of all that is still the purest form of it. And we don’t do that as much anymore. It felt good at this moment to go back, take a choir and do that.”
“For me, it’s always been something with records, with performances, I’ve always been the one that’s like, ‘Let’s do something really, really strange and weird and take a chance.’ Sometimes it doesn’t work, but it’s okay if you’re living on that edge, because that edge, that cutting edge, is where all the new guys are going to gravitate to anyway. So if you can always challenge yourself that way, it always cuts sharper than any other edge,” he said.
For much of the set, the only accompaniment was Church on guitar, the choir and his frequent collaborator, Joanna Cotton, but his full band joined at the end for a handful of Church’s tunes, including “Country Music Jesus” and “Springsteen.”
For some fans, the show was a thrilling chance to see a (presumably) once-in-a-lifetime set, while for others, it was too much of a deviation from his regular live show. To be fair, Church has mixed it up on festival gigs before: at the 2019 CMA Fest he did a 17-song acoustic medley, and at last year’s CMA Fest he played a seven-song set that featured some hits with new arrangements and some covers, including Little Feat’s “Sailin’ Shoes,” that left some casual attendees scratching their heads, which surprised Church. “I was shocked because I played the show that I went out there to play,” he told Rolling Stone. “We had a time slot and I went out there to play that slot and try to show a little bit, a peek, as to what I was working on for this tour.”
Some attendees were exhilarated by the one-of-a kind show at Stagecoach:
Others, not so much, with reports on social media of attendees leaving mid-show to to attend Nickelback’s performance at the Palomino stage. Palm Springs Desert Sun reporter Brian Blueskye described the scene as an “unplugged jam session” that “sent festivalgoers for the exit of the Empire Polo Club starting about 15 minutes in, a sight that could be best described as Moses parting the Red Sea” in his review.
Representatives for Stagecoach did not respond to a request for comment. A representative for Church said he declined to comment beyond Church’s statement.
Following well-received sets Saturday night (April 29) by Post Malone (who was joined by Dwight Yoakam, Sara Evans and Brad Paisley) and Miranda Lambert (who was joined by Reba McEntire), Stagecoach concludes Sunday with a closing set by Morgan Wallen.
Eric Church’s Polarizing Stagecoach Set Draws Raves and Boos
Pearl Jam debuts at No. 5 on the Billboard 200 chart (dated May 4) with its latest studio album, Dark Matter, marking the 13th top 10-charting effort for the band. The set launches with a little over 59,000 equivalent album units earned in the U.S. in the week ending April 25, according to Luminate.
Also in the top 10 of the new Billboard 200, as earlier reported, Taylor Swift’s The Tortured Poets Department makes a milestone debut atop the list, with 2.61 million equivalent album units earned in its first week.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new May 4, 2024-dated chart will be posted in full on Billboard‘s website on April 30. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of Dark Matter’s first-week sum of 59,000 units, album sales comprise 52,000, SEA units comprise 7,000 (equaling 9.33 million on-demand official streams of the set’s 11 songs) and TEA units comprise a negligible sum. Notably, of its 52,000 sales sum, vinyl sales comprise a little over 24,000, enhanced by its availability across 12 different color vinyl variants.
The new album was led by the set’s title track, which hit No. 1 on the Mainstream Rock Airplay chart in March (the group’s fourth No. 1 and first since 1998) and has reached the top 10 on Alternative Airplay (the act’s 20th top 10 hit).
At No. 2 on the new Billboard 200, Future and Metro Boomin’s former leader We Don’t Trust You rises one spot with 69,000 equivalent album units earned (down 17%). Beyoncé’s chart-topping Cowboy Carter slips 2-3 with 66,000 (down 33%), and Morgan Wallen’s former No. 1 One Thing at a Time is a non-mover at No. 4 with 64,000 (down 11%).
Future and Metro Boomin’s We Still Don’t Trust You falls 1-6 with 54,000 equivalent album units earned (down 57%), Noah Kahan’s Stick Season slips 5-7 with 45,000 units (down 11%) and Benson Boone’s Fireworks & Rollerblades glides 7-8 with 40,000 units (down 8%). Rounding out the top 10 is a pair of former No. 1s: SZA’s SOS dips 8-9 with 39,000 units (down 2%) and Swift’s Lover climbs 11-10 with 37,000 (down 6%).
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
Pearl Jam’s ‘Dark Matter’ Debuts in Top Five on Billboard 200 Chart
As expected, Taylor Swift’s The Tortured Poets Department makes a gigantic debut at No. 1 on the Billboard 200 albums chart (dated May 4), securing the superstar her 14th chart-topping album. She ties Jay-Z for the most No. 1s among soloists in the nearly-70-year history of the chart. Only The Beatles, with 19 No. 1s, have more.
The Tortured Poets Department launches with 2.61 million equivalent album units earned in the U.S. in the week ending April 25, with traditional album sales (purchases of digital download albums, CDs, vinyl LPs and cassettes) comprising 1.914 million of that sum. Of that sales figure, vinyl sales represent a staggering 859,000. The collected 31 songs on the deluxe edition of the album generated 891.34 million on-demand official streams.
Those eye-popping figures mark the largest streaming week for an album ever, the second-largest week for an album (by total equivalent album units earned) since the Billboard 200 began measuring by units in December 2014, the third-largest sales week (by traditional album sales) in the modern era (since Luminate began electronically tracking sales in 1991) and the largest sales week for an album on vinyl in the modern era.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new May 4, 2024-dated chart will be posted in full on Billboard‘s website on April 30. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of The Tortured Poets Department’s first-week unit sum of 2.61 million, album sales comprise 1.914 million (a number bolstered by its availability across more than 20 different iterations of the album), SEA units comprise 683,000 (equaling 891.37 million on-demand official streams of the set’s 31 songs, on its deluxe edition) and TEA units comprise 14,000. (All figures are rounded.)
With 1.914 million sold, The Tortured Poets Department is instantly the top-selling album of 2024, year-to-date. The second-biggest selling album, counting weekly sales from January through the present, is Beyoncé’s Cowboy Carter, with 228,000 copies sold in total.
Swift announced the album during the Grammy Awards on Feb. 4, and her official webstore began accepting pre-orders for the project that same day. The set was released on April 19, alongside its first single, “Fortnight,” featuring Post Malone.
The Tortured Poets Department (abbreviated as TTPD) was initially released at midnight ET on April 19 as a standard 16-song digital download album, as well as an array of 17-song physical configurations (more details on the assorted versions later in this story). Two hours after the album’s release, Swift announced an expanded 31-song edition of the set and released it as a digital download and streaming album. She wrote: “It’s a 2am surprise: The Tortured Poets Department is a secret DOUBLE album. I’d written so much tortured poetry in the past 2 years and wanted to share it all with you, so here’s the second installment of TTPD: The Anthology. 15 extra songs. And now the story isn’t mine anymore… it’s all yours.”
Taylor Swift Makes Historic Debut at No. 1 on Billboard 200 With ‘The Tortured Poets Department’
Zendaya‘s romance-tennis drama Challengers easily won the weekend box office match with a $15 million opening from 3,477 theaters, in line with expectations and marking the second-best start for an original R-rated drama since the pandemic behind Don’t Worry Darling.
It was a bold move for MGM Amazon Studios to open Luca Guadagnino‘s sexy adult drama nationwide, versus giving it a platform release, considering it’s more of an arthouse movie than a commercial play. The studio did so in part to raise awareness among those who might choose to wait to watch the movie on Amazon’s streaming service, Prime — including Zendaya fans who aren’t yet subscribers. High-profile titles also keep existing subs satisfied, or at least that’s the hope.
And by midweek, Challengers will easily become Luca Guadagnino’s highest-grossing film domestically after passing up Call Me By Your Name, which grossed roughly $18 million.
The film also impressed overseas, grossing $9 million from 52 markets for a global score of $25 million (it earned $1 million last weekend in Australia and New Zealand). Not surprisingly, it is doing well in Europe and Australia. The U.K. led all markets this weekend with $1.8 million to place No. 1 and come in on par with Oscar contender Poor Things and well ahead of Ben Affleck‘s sports drama Air. Warner Bros. International is handling the film offshore for MGM.
Audiences aren’t embracing the R-rated film quite to the degree that reviewers did, giving it a B+ CinemaScore. Female moviegoers made up 58 percent the Friday’s audience, while a whopping 76 percent of ticket buyers were between ages 18 and 34. Challengers is performing best on the two coasts and benefiting from playing to an ethnically diverse audience. White moviegoers made up 43 percent of Friday ticket buyers, followed by Latino moviegoers (27 percent), Black moviegoers (17 percent), Asian moviegoers (9 percent) and Native American/others (4 percent).
Challengers, co-starring Mike Faist and Josh O’Connor, features Zendaya as a tennis player torn between two loves.
A substantial chunk of the opening weekend gross, or 37 percent, came from Imax and other premium-format screens.
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Challengers was supposed to open last year in time for awards season, but those plans were scuttled because of the SAG-AFTRA strike and the ban on talent doing press. Zendaya, in particular, has a huge social reach needed for the film. Exhibitors have praised Amazon for embracing the theatrical model instead of sending a movie such as Challengers straight to streaming.
Coming in No. 2 at the domestic box office is Lionsgate and Kingdom Story Company’s Unsung Hero, which landed ahead of expectations after earning a coveted A+ CinemaScore. The faith-based film opened to an estimated $7.8 million (tracking had suggested $5 million to $6 million).
Unsung Hero is skewing heavily female (91 percent) and is performing best in the middle of the country. It also skewed notably older, with 55 percent of the audience over the age of 55.
Based on a true story, the $6 million film follows David Smallbone as he moves his family from Australia to the U.S. searching for a brighter future after his successful music company collapses. Along the way, he and his wife begin to realize the musical talent of their seven children; three of whom would become two successful acts — KING + COUNTRY and Rebecca St. James.
Godzilla x Kong and Dune: Part Two — both from Warner Bros. and Legendary — celebrated major milestones this weekend in crossing $500 million and $700 million, respectively, at the global box office. They are the two biggest films of the year to date at the worldwide box office.
Coming in No. 3 domestically, Godzilla earned $7.2 million to finish Sunday with a domestic tally of $519.3 million globally, including $181.7 million in North America and $337.7 million overseas. For its part, the Dune sequel finished Sunday with a domestic cume of $279.7 million domestically and $424.5 million overseas for $704.5 million worldwide.
DreamWorks Animation and Universal also had reason to cheer as Kung Fu Panda 4 crossed the $500 million mark globally, including $185 million domestically, where it is the No. 2 film of the year, and $318.5 million overseas. And the Kung Fu Panda series has now passed Madagascar to become the second biggest DreamWorks Animation franchise behind Shrek, with a combined $2.3 billion in ticket sales.
Also making news was 20th Century and Disney’s rerelease of Ridley Scott’s 1979 feature Alien, which placed No. 11 domestically with $1.6 million and drew glowing exit scores. The rerelease is a promotion for the upcoming Alien: Romulus, which opens in August, and includes a nine-minute interview between Scott and Romulus director Fede Álvarez that includes footage from new Romulus.
Back in the top five, A24’s Civil War held in well with $7 million to come in No. 4, boasting a domestic total of $56.2 million through Sunday.
Universal’s horror pic Abigail rounded out the top five with $5 million in its second weekend for a 10-day domestic total of $18.5 million.
With domestic revenue running behind last year by more than 20 percent, Hollywood and theater operators are looking forward to next weekend when the summer box office kicks off The Fall Guy, starring Ryan Gosling. The pic opened early in 38 overseas markets this weekend, earning $8.7 million. Among the handful of major territories where it rolled out, Australia, where the film is set, led with a strong $2.9 million.
This article originally appeared on The Hollywood Reporter.
Box Office: Zendaya’s ‘Challengers’ Hits Target With $15M Opening for No. 1 Finish
Rihanna talked music, makeup, motherhood and the Met Gala at the launch of her new Fenty Beauty Soft’lit Foundation in Los Angeles on Friday (April 26), a celebration ringing in what she called “a new era in foundation for the brand.”
The singer and businesswoman talked up the new cosmetics product’s “soft, luminescent finish, like a nice, glowy, natural-skin look” inspired by what sounds like very lovely golden hours in Barbados.
But this is what you came for: a music update! Rihanna seems aware everyone has long been pining for R9, which would be the long-awaited follow-up her 2016 album Anti, and humored some questions about her next album in an interview with Extra on the carpet at Friday’s event.
In a nutshell, Rihanna is firm on making a new album worth the wait.
“It’s gonna be amazing,” she said of what’s to come from her as an artist. “It has to be — that is the only reason it’s not out yet. If I’m not feeling it and I’m not feeling like it represents the evolution, the time I spent away …There should be a show of growth, right?”
“I want to play, and I feel like music is a playground, and I want to have fun with it and show truly where I am at,” Rihanna said, adding that she only intends to collaborate with another artist if it’s “very intentional. I’ll know when I have the record.”
Just a week and a half ago, it should be noted, Rihanna stated, “I already got stuff that I feel like I could make hits out of.” She referring to her work in progress as “so good.”
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While Rihanna’s new music master plan remains unknown, she did confirm plans to attend the Met Gala, and revealed right now she’s got two options for her dress on the big night — but don’t expect anything too wild.
“I’m actually just keeping it real simple this year,” said Rihanna of what she’s got in mind for the prestigious May 6 event. “Very simple. I think it’s gonna come to what my makeup and what my hair is going to do. We wanna play with that, but I have no idea what I’m gonna do with that.”
“Very simple-ish, compared to everything I’ve ever done,” she said of her idea to arrive in an understated look. “I’m showing up for dinner! Shout out to Anna Wintour.”
The star, who’s a mother to an almost two-year-old (son RZA turns two in May) with A$AP Rocky, explained her experience with fashion since entering parenthood.
“When you become a mom, your style goes from like ‘blah’ to ‘let’s see what fits’ to ‘I’m gonna be a bad bitch today,'” said Rihanna. “You’ve got to remind yourself a little bit sometimes, you know, bad bitch is still in there somewhere.”
Rihanna Says New Music Should Be ‘Amazing’ and ‘Show Growth’
Belinda and Natanael Cano‘s corrido coquette “300 Noches” has topped this week’s new music Latin poll.
In a poll published on Friday (April 26) — in support of the weekly New Music Latin roundup and playlist, curated by Billboard‘s Latin and Billboard Español editors — music fans voted for Belinda and Cano’s new single as their favorite music release of the past week. Coming in closely behind was Anitta’s new album, Funk Generation, which had 41 percent of the vote.
“300 Noches” garnered more than 44 percent of the vote, beating out other new releases such as Yuridia and Los Ángeles Azules’ “Felicítalo”; Rels B and Junior H’s “Un Desperdicio”; Bruses and Humbe’s “Bestia”; Aitana and Sebastián Yatra’s “Akureyri”; Danny Ocean’s “Ley Universal” and Marc Anthony’s new album, Muevense.
Belinda and Cano teamed up for “300 Noches,” Belinda’s second música mexicana single this year, following “Cactus,” which was released in January. The heartbreak track — produced by Marcelo Rivera Levy, Mr. Naisgai and Ángel Sandoval — starts off with a soft piano tune and Belinda’s evocative delivery, setting the tone for this truly heartbreaking song. “I waited so long for you to realize you had left me behind/ What do I do now to forget?” Belinda sings.
“I loved being able to collaborate with Beli for this song,” Cano said about the collaboration. “I’m a fan of hers and I’m excited to see more female artists raising the flag of corridos tumbados. Belinda put her ‘coquette’ touch on it and it was magical.”
See the results of this week’s Latin new music release poll below.
Fans Choose Belinda and Natanael Cano’s ‘300 Noches’ as This Week’s Favorite New Music Latin
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