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The 50 best Spanish pop songs from 2000 to 2023, ranked
Our list of the 50 best Latin pop songs since 2000 — ranked from No. 50 to No. 1 — was selected based on the collective input of our Latin editorial team. While the list is intended to be a compilation of pop recordings, it does include songs from other genres (tropical, regional Mexican, reggaeton) that were so impactful that they entered the realm of pop culture, regardless of style and genre.
Although the definition of “pop” is widely debatable, what is indisputable is that “pop” in music means “popular.” All of the songs on this list are recognizable in the vast universe of Latin music, both stylistically and geographically; lesser-known works, which had less significance or “B-sides,” however meritorious, are not on this list.
But widespread recognition alone didn't guarantee an appearance on the list. Our picks had to truly meet the definition of a great pop song: catchy, engaging, beautifully crafted, compelling, universally appealing and innovative lyrics.
When compiling this list, we wanted to focus on the new century, the period when Latin music really began to go global, and we've only included tracks released from the year 2000 onwards. We're sorry, but releases from 1999 were not taken into account for this particular list.
We focus on enduring themes, those that sound as fresh and relevant today as the day we first heard them. Standing the test of time is important.
Another criterion we took into account was inclusion. While some artists boast multiple masterpieces, to broaden the scope of our list and allow for greater variety on the list, we limited representation to one song per artist, with the exception of key collaborations. Last but not least, a song’s cultural and musical impact affects its placement on the chart.
Now, enjoy and choose your favorites!
Manu Chao, “I like you” (2001)
Few positive songs are as enigmatic as “Me gustas tú.” Created solo by Manu Chao, a French singer of Spanish descent, the song’s charm lies in its fusion of cultures and genres, and its bohemian vibe. Its kitsch rhythms find the intersection between tropicâlia, rock and roots reggae in a totally new approach instantly recognizable with Chao’s signature nasal sound. “Me gustas tú,” released in 2001, was part of a wave of alternative artists, including Julieta Venegas, who wanted to break the conventions of Latin pop following the so-called “Latin explosion” of 1999. The song reached No. 1 in Spain and Italy and peaked at No. 27 on Billboard ’s Latin Pop Airplay chart . — ISABELA RAYGOZA
Rosalía, “Malamente” (2018)
2018’s groundbreaking “Malamente” introduced the world to Rosalía, a bright and then-emerging star from Barcelona who would go on to become one of the most compelling flamenco-pop experimentalists in global Latin music. Indeed, this single — from her Latin Grammy-winning album El Mar Querer — not only marked a break from the prevailing, dominant discourse of reggaeton, but also disrupted the music landscape with an uncommon sound inspired by centuries-old Spanish literature. The world the artist conjures in “Malamente” — co-produced by El Guincho and Rosalía herself — is a mesmerizing haze, filled with staccato clapping and her seductive cooing as she sings about her dreams, broken glass, the moon, and the stars. The song was certified platinum in numerous countries in Brazil, Mexico, the United States, and went five times platinum in her native Spain. — IR
Alejandro Sanz, “It’s not the same” (2003)
Alejandro Sanz has long sought to bring depth and complexity to pop music. Released in 2003, “No es lo mismo” showcases his musical mastery. With contrasting verses in which the Spaniard philosophizes about society, the song offers thought-provoking themes on a brilliant platter of prodigious musicians, such as Vinnie Colaiuta (drums) and Anthony Jackson (bass), and the delivery of Sanz’s unmatched voice. Winner of the Latin Grammy Awards for song of the year and record of the year in 2004, “No es lo mismo” also garnered success on the Billboard charts , reaching No. 3 on the Latin Pop Airplay and No. 4 on the Hot Latin Songs and Latin Airplay charts in 2003. — LUISA CALLE
Camilo, “Rich man’s life” (2020)
With the first single from his second studio album, Mis Manos , Camilo made it clear that his early success was no accident. On “Vida de rico,” a rollicking cumbia written and produced by Camilo with Edgar Barrera, the Colombian singer-songwriter offers his beloved everything he has, even if it’s not a fortune. With his wordplay and focus on melody, Camilo managed to introduce a new take on Latin pop rarely heard before: youthful and straightforward, but also beautifully crafted. The song debuted in September 2020, in times of pandemic, and hit No. 1 on the Latin Airplay and Latin Pop Airplay charts. It also entered the top 10 of Hot Latin Songs and charted on the international Billboard Global Excl. US and Billboard Global 200 charts, where it spent a total of 30 and 24 weeks, respectively. Its homemade music video, starring Camilo, his wife Evaluna, and his brothers-in-law and friends, is just as sweet and also showed a new, simple and vulnerable side of pop. — SIGAL RATNER-ARIAS
Ariel Camacho and the Plebes del Rancho, “You got involved” (2014)
Today, sierreña music is a popular style embraced by artists like Natanael Cano, Junior H, and Eslabon Armado. But it was the late Mexican singer Ariel Camacho who popularized the regional Mexican subgenre with songs like “Te metiste” nearly 10 years ago. Bolstered by sentimental requinto chords and a vibrant tuba, Camacho’s ability to convey deep emotion through complex acoustic guitar solos on “Te metiste” inspired a whole new generation of artists in regional Mexican to pick up instruments. In addition to its lasting impact on the genre, this deeply emotive track gave Ariel Camacho y Los Plebes their first No. 1 on Billboard ’s Regional Mexican Airplay chart . — GRISELDA FLORES
Luis Enrique, “I don’t know tomorrow” (2009)
Intended to “propose a philosophy of life […] to make people think and dance,” as Luis Enrique previously told Billboard , “Yo no sé mañana” (Top Spot Music) has become a timeless salsa track. With wise lyrics (written by Jorge Luis Piloto and Jorge Villamizar) about living in the moment, the tropical hit not only preserved the Nicaraguan artist’s salsa romantica but also marked his triumphant return after years of not having a hit. It was also a triumphant return of salsa romantica, which changed the course of tropical music in the 1990s. In 2009, “Yo no sé mañana” reached No. 6 on the Hot Latin Songs chart (the most for Luis Enrique since “Lo que es vivir” in 1992) and topped the Tropical Airplay chart for 11 weeks (his first No. 1 hit since “Así es la vida” in 1994). The song earned the “Prince of Salsa” the Latin Grammy for Best Tropical Song and the Billboard Latin Music Award for “Tropical Airplay” Song of the Year. — JESSICA ROIZ
Bad Bunny, “Yo perreo sola” (2020)
While Bad Bunny has had a seemingly endless parade of hits over the past five years, “Yo perreo sola” blazed a trail musically, aesthetically, and culturally. The popular reggaeton hit, which topped the Latin Airplay chart for two weeks in June 2020 and is part of his album YHLQMDLG , celebrates independent women who can party alone and pioneered the long line of tracks by male artists that sought to “empower” women. However, none were as effective as this one. The song features vocals by Puerto Rican artist Nesi (real name Génesis Ríos) and features Bad Bunny in costume as the protagonist, aiming to break the stereotype of women as sexual objects in the urban genre. “He wanted to symbolize that men also care about women’s rights and that violence against women also affects us as men,” Stillz, co-director of the “Yo perreo sola” music video, previously told Billboard . “I wanted to do something fun and unique that would impact the world, but I wanted to make an impact and bring a message to the reggaeton community that is usually not so open to talking about the LGBTQ community.” — INGRID FAJARDO
Ricky Martin, “Maybe” (2003)
After five years without recording in Spanish, Ricky Martin made his return to Latin music with this powerful pop ballad written by Franco de Vita and produced by Tommy Torres. Included in his album Almas del Silencio , “Tal vez” — in which the singer sadly weighs what he may or may not have done in the face of the impending end of a relationship — debuted in April 2003 at No. 1 on Hot Latin Songs and spent 11 weeks atop the list. It is the most to date for the Puerto Rican superstar among his 11 No. 1 hits on the chart, surpassing even his 1999 megahit “Livin' La Vida Loca,” which led for nine weeks. The success of the song emphasized the importance of romantic music, on the one hand, and Martin as a transcendental artist on the other. — SRA
Marco Antonio Solís, “Either I leave or you leave” (2001)
With his unmatched ability to reach soaring highs and devastating lows with his singing, Marco Antonio Solís displays the full range of his golden voice on “O me voy o te vas.” In the realm of Latin ballads, the song stands as a magnum opus, showcasing the Mexican singer-songwriter’s unparalleled vocal prowess. With its range of emotions, the song helped Solís, who was originally the lead singer of the Mexican grupera band Los Bukis, further cement his solo career, following the mega-success of “Si no te habías ido.” The meteoric rise of “O me voy…” to No. 1 on Hot Latin Songs attests to its universal resonance. — IR
Ozuna, “The Impostor” (2017)
Amidst the burgeoning trap movement of 2017, led by artists like Bad Bunny and Bryant Myers, Ozuna (who also featured on a few trap tracks) dropped a devotional Latin R&B song called “El farsante.” The Puerto Rican artist, who at the time was ushering in a new generation of reggaeton stars to revive the genre, exuded passion with lyrics that attempted to win back the love of his life: “If you still love me like before/ Nothing seems interesting to me anymore/ I already know that in love I am a fake/ Without you I will not fall in love again, baby,” he sings in his powerful, sugary voice. Considered one of Ozu’s most iconic tracks, “El farsante” was later remixed with Romeo Santos, and the new version peaked at No. 2 on Hot Latin Songs and No. 6 on Latin Rhythm Airplay in 2018. Its telenovela-inspired music video currently has nearly 2 billion views on YouTube. — JR
Jenni Rivera, “Partying, rebellious and daring” (2005)
Jenni Rivera was all about and for women, and her music was no exception. Following her groundbreaking female banda anthems “Las Malandrinas” and “La Chacalosa,” one could argue that her breakout album was 2005’s Parrandera, Rebelde y Atrevida , led by the single of the same name, a fascinating and popular song quickly embraced by women who were both powerful and empowered. Raw, honest, and irreverent, the late Mexican-American superstar boasted a rebellious lifestyle, something no other regional Mexican woman was singing about at the time. With no interest in being a good girl, Rivera declares, “Yo soy su madre reinas, potrancas, peligrosos, aquí estoy.” She was definitely describing herself. — GF
Juan Luis Guerra, “The Key to My
Heart” (2007)
In true Juan Luis Guerra style, “La Llave de Mi Corazón” got us dancing in 2007, when it debuted as part of the tenth album by the Dominican maestro and his group 4.40, titled the same as the song. Not only was it his first big hit of the millennium, but a return to his roots after the 2004 Christian album Para Ti , but with a fresh “mambo merengue” sound. This 1950s-flavored tropical pop, playful lyrics and masterful arrangements gave him his fourth No. 1 on Hot Latin Songs, where he spent four consecutive weeks, the most among his six chart-toppers as a solo artist, and also topped the Latin Airplay and Tropical Airplay charts. He closed out 2007 by being crowned song of the year, record of the year and best tropical song at the Latin Grammys. An English version included on the album, “Medicine For My Soul,” is just as fun. — SRA
Thalia, “You didn’t teach me” (2002)
“No Me Teseñaste” is widely regarded as one of the most powerful ballads in Spanish-language pop and remains one of Thalia ’s biggest hits. The song reached No. 1 on Billboard ’s Hot Latin Tracks chart and remained atop Latin Airplay for two weeks between October and November of 2002. Its soaring melodies and heartbreaking lyrics perfectly showcase the superstar’s ability to alternate between dramatic ballads and upbeat tracks. Written by hitmaker Estéfano at the height of his popularity, alongside Julio Reyes Copello, “No Me Teseñaste” embodies the power and pathos of female pop in an era when female music dominated the charts, making it an unforgettable contribution to the Latin pop genre. — IF
Alejandro Fernández, “I dedicated myself to losing you” (2004)
Vicente Fernandez’s son blazed a whole new trail by using his exceptional vocal command of traditional rancheras and romantic pop songs to pioneer the blending of the two genres, earning a huge following. Few songs exemplify this blend better than the beautiful “Me dediqué a perderte,” which debuted atop the Hot Latin Songs chart. This heartbreak classic has sweet melodies and precise lyrics that beautifully tell, over acoustic guitar and violin accompaniment, the story of someone who unintentionally ends the love of their partner. The song was written by Leonel Garcia, one half of the popular duo Sin Bandera, and underscores how contemporary and traditional can go hand in hand. — IF
Carlos Vives, “I was born again” (2012)
Carlos Vives experienced something of a rebirth in the early 2010s — with his first album of original music in nearly a decade and his blossoming relationship with now-wife Claudia Elena Vásquez — and he beautifully captured it in this upbeat vallenato. Written and produced by the Colombian star and Andrés Castro, and included on the 2013 album Corazón Profundo , “Volví a nacer” is arguably one of Vives’ most moving and personal songs. It reached No. 1 on Billboard charts like Hot Latin Songs, Latin Pop Airplay, Latin Airplay and Tropical Airplay, and won song of the year and best tropical song at the 2013 Latin Grammys, returning him to his position as the great global ambassador of Colombian music through the decades. — SRA
Ivy Queen, “I Want to Dance” (2003)
At a time when men completely dominated the reggaeton scene, Ivy Queen broke stereotypes in every way: a woman in a male-dominated genre, who didn’t fit into stereotypes of oversexuality, and whose lyrics focused on romance and female empowerment. It took Ivy a full decade to hit the Billboard charts , and she did so with “Quiero Bailar” in 2005. The Jamaican riddim-infused reggaeton track has stood the test of time thanks to its irreverent lyrics written by Ivy herself, which make it clear that dancing and having a good time with a man in a club doesn’t automatically mean she consents to sex. This anthem was the first reggaeton song by a female artist to enter the charts , peaking at No. 8 on Billboard ’s Latin Rhythm Airplay chart and paving the way for other women in the genre. — JR
Julieta Venegas, “Walking with me” (2003)
“Andar conmigo,” Julieta Venegas’ creative fusion of pop and ranchera, transcended borders with its bold story and accordion-driven melody. With her sweet, signature voice, Venegas weaves a tale about a woman who dares to take the initiative with someone she likes that still resonates with listeners around the world. Written by Venegas alongside Coti Sorokin (who also co-wrote Diego Torres’ “Color esperanza”), the 2003-released song was one of the Mexican artist’s first forays onto the Billboard charts , and perhaps the first “alternative” female artist to chart . It peaked at No. 17 on Latin Pop Airplay in 2004. — L. Calle
Ricardo Arjona, “The Problem” (2002)
Ricardo Arjona ’s “El problema” expresses complex interpersonal emotions through the use of simple yet powerful descriptions. Each verse zeroes in on an unsolvable problem within the relationship, articulated with the conciseness of a commercial. Written by the Guatemalan singer-songwriter, this song is a fascinating way to examine and answer one’s own questions through its verses, and is also an example of elevated yet commercially successful songwriting. This poetic approach is a testament to Arjona’s songwriting skills, and it is also his best-performing song on Billboard ’s Latin Airplay chart , where it remained at No. 1 for eight consecutive weeks in 2002. —IF
Christian Nodal, “Goodbye, love” (2017)
Mariachi had been considered the realm of an older generation until Christian Nodal infused it with youth. At just 18, the newcomer captured the hearts of many with his strong, powerful voice and mature lyricism, as heard on his 2017 hit single, “Adiós Amor.” The track — an original composition by Salvador Garza first recorded as a band by Los Dareyes de la Sierra in 2008 — tells the story of a person who ends a relationship after being betrayed. Beyond its heartbreaking lyrics, “Adiós Amor” put Nodal’s innovative “mariacheño” (a mix of mariachi and norteño) musical style on the map. It earned the Sonora-born singer-songwriter his first No. 1 on the Regional Mexican Airplay chart, where he dominated for seven weeks in 2017. To date, it is his longest-running lead, along with 2019’s “De los besos que te di.” — JR
Gustavo Cerati, “Crime” (2007)
Gustavo Cerati ’s impact on Spanish-language rock transcends Soda Stereo, as evidenced by his solo gem “Crimen.” With a voice that is both haunting and yearning, the Argentine musical maverick captures hearts through a moving narrative amidst beautiful piano orchestration. The 2006 song explores the devastation of heartbreak with heartbreaking poetry, bearing witness to the “criminal” action of feeling that way. Its success has been validated by various awards, including Best Rock Song at the Latin Grammys and the 2007 MTV Video Music Awards, as well as Song of the Year at Argentina’s Premios Gardel, which endorse the song’s mastery and consolidate Cerati’s enduring legacy. — IR
Chino and Nacho, “My pretty girl” (2010)
With the bright metallic tones of a trumpet, a new tropical pop classic was introduced. Written by producer Richy Peña along with a young duo from Venezuela, Jesús Alberto Miranda (Chino) and Miguel Ignacio Mendoza (Nacho), the lively rhythm and romantic lyrics of “Mi Niña Bonita” captivated new audiences in 2010 and introduced a new style of tropi-pop to the market. “Mi Niña Bonita” was not only Chino and Nacho’s debut single in the United States, but also gave them their first No. 1 on Hot Latin Songs. The song stayed at the top for three consecutive weeks in May 2010. The lyrics blend beautifully with an endearing melody and rhythmic vocal pattern (“shuba, shuba, shuba”) in the chorus, creating nostalgia and marking a significant era of merengue pop in music. — IF
Pedro Capó, “Calm” (2018)
Eleven years after launching his career in 2007, Pedro Capó had his first big hit: “Calma.” Written by the Puerto Rican artist alongside Gabriel Edgar González Pérez and George Noriega, the laid-back reggae tune is driven by positive lyrics about chilling on the beach, cracking open a beer, and enjoying the simplest things. In 2019, “Calma” gave Capó, then 39, his first No. 1 on both the Latin Airplay and Latin Pop Airplay charts, as well as his peak at No. 3 on Hot Latin Songs. It also received the coveted song of the year award at the 2019 Latin Grammys and had remixes featuring Farruko and Alicia Keys. — JR
Natalia Lafourcade, “To the Root” (2015)
Natalia Lafourcade’s “Hasta la raíz,” the title track to her acclaimed 2015 studio album, captures the Mexican singer-songwriter’s lyrical maturity that emerged from tracing her roots, as the song’s name suggests. Fusing groovy huapango riffs with her signature alt-pop sound, “Hasta la raíz” is an honest ode to the experiences, journeys, and lessons learned that have shaped who she is today. Written by Lafourcade and Mexican singer-songwriter Leonel García (of Sin Bandera), it won song and record of the year at the 16th annual Latin Grammys. — GF
Maluma, “Hawaii” (2020)
Maluma was already a global star before “Hawái,” but the song, which explores a breakup in the Instagram era, took it to another level. Released in 2020, “Hawái” became the first song to top the new Global Excl. US chart, and continued to sweep into 2023, when it surpassed 1 billion views on YouTube. Written by Maluma, Keityn, Edgar Barrera, and Bulle Nene, it features an immersive chord progression that also caught the attention of The Weeknd, resulting in an epic remix. The bilingual collaboration with the Canadian star helped the song climb to No. 12 on the Billboard Hot 100 and opened the doors for a new era of bilingual collaborations. — L.Calle
Rauw Alejandro, “All of You” (2021)
Rauw Alejandro took “a risk,” as he told Billboard in 2021, when he released “Todo de ti,” which contrasted with his bold reggaeton and R&B style. The song broke with everything going on in reggaeton at the time and became Rauw’s biggest hit to date. Produced by NaisGai and co-written by Rauw and Rafa Pabón, “Todo” is backed by a retro disco beat and verses about liking everything about that special someone. The summer anthem earned the chameleonic Puerto Rican artist his first Billboard Hot 100 entry, as well as his highest position on the Hot Latin Songs chart, where it peaked at No. 2 in September 2021, and his longest lead on Latin Airplay, spending three weeks atop the chart . It also opened the door for further experimentation within Latin urban music. — JR
Paulina Rubio, “Not a single word” (2006)
With its gripping pop-rock sensibility and blend of acoustic and electronic music, “Ni Una Sola Palabra” fuses traditional elements with contemporary production courtesy of Cachorro López. Written by Xabi San Martín, the Golden Girl’s poignant narrative delves into the loneliness of lost love, juxtaposing sad-girl verses with upbeat beats. It not only cemented Rubio’s status as a Latin pop icon, but bolstered Latin music’s international appeal well into the new millennium. The song, which debuted at No. 98 on the Billboard Hot 100, encapsulates a transformative moment and underscores the evolution of the Latin pop sound in the 21st century, at a time when Latina women had a strong presence on the charts backed by top-rated songs. — IR
Wisin and Yandel, “Rakata” (2005)
Wisin y Yandel’s “Rakata” marked a pivotal moment in the evolution of reggaeton in its first international boom in the mid-2000s. Written by Francisco Saldaña, Josías de la Cruz, Wisin y Yandel, and produced by Nely, their magnetic synergy injected unparalleled energy into the genre. “Rakata” was not only a hit, but a sonic revolution. Its infectious dance beat, combined with the duo’s dynamism, propelled the song beyond the Latin charts, entering the coveted Billboard Hot 100 and peaking at No. 85. It was one of the first displays of reggaeton’s universal appeal, proving that the genre could resonate with diverse audiences. — IR
Cristian Castro, “Blue” (2001)
I don’t know if it’s the 50-plus times the word “azul” is repeated in this song, Cristian Castro ’s wonderful vocal technique , or the exciting choruses and guitar solos, but more than two decades later, “Azul” has stuck in our heads, making everyone sing along every time it plays at a party or karaoke. Written by Gustavo Santander and Kike Santander and produced by Kike Santander, Andrés Munera, and Fernando “Toby” Tobón, the song was released in 2021 as part of Castro’s album of the same name and quickly became a summer anthem. It gave the Mexican singer his fifth No. 1 on the Hot Latin Songs chart, which he topped for nine weeks between June and August of that year. — SRA
Calle 13, “Dare-You-Dare” (2005)
From Visitante’s captivating alt-cumbia-urban rhythms to Residente’s unwavering rap bars, this 2005 smash revolutionized the reggaeton landscape in the 2000s. Calle 13’s departure from the hedonism prevalent in urban music at the time marked a seismic shift in the genre’s trajectory. Brimming with wildness, humor, and witty one-liners, “Atrévete-te-te” emerged as a genre-defying masterpiece that broke traditional reggaeton norms. The song charted on multiple Billboard charts , and its accompanying video, with an aesthetic as disruptive as its music, earned the duo the Latin Grammy for Best Short Form Music Video. — IR
Chayanne, “And you leave” (2002)
Written by the great Franco De Vita, “Y Tú Te Vas” became the ultimate heartbreak anthem thanks to agonizing lyrics brought to life by Chayanne ’s emotional delivery , injecting pathos into every verse. The song is heartbreaking, to say the least, with Chayanne singing vividly about life without that one great love. “Y Tú Te Vas” gave the Puerto Rican star his sixth No. 1 on Billboard ’s Hot Latin Songs chart , where it spent seven weeks at the top to become his longest-charting single. — GF
Farruko, “Pepas” (2021)
Before becoming a born-again Christian, Farruko penned the 2021 summer anthem “Pepas,” a provocative guaracha about getting fired up on the dance floor. Armed with hypnotic trumpet riffs and EDM beats (courtesy of IAmChino, Sharo Towers, K4G, Ghetto, and others), the track resonated at global festivals and urban corners alike, becoming a worldwide hit and not just in urban music. The song, which gave Farruko his first No. 1 on the Hot Latin Songs chart, demonstrated the artist’s versatility, seamlessly transitioning between mellifluous crooning and dancehall-style toasting . With that infectious beat, the Puerto Rican elevated the guaracha to unprecedented heights, affirming his status as one of the most multifaceted vocalists on the tropical urban scene. — IR
Romeo Santos, “Indecent Proposal” (2013)
Since its debut in 2013, Romeo Santos ’ “Propuesta indecente” remains a force to be reckoned with. The first single from his Fórmula, Vol. 2 , which also includes “Odio” featuring Drake, “Propuesta” offers seductive lyrics about “an adventure [that] is more fun if it smells like danger.” Elegantly blending bachata with tango, “Propuesta” took the Dominican genre in new directions, further internationalizing it and cementing Santos’ status as a global artist singing local music. The song earned Santos his fifth No. 1 on the Hot Latin Songs chart and spent 14 weeks at No. 1 on the Tropical Airplay chart between 2013 and 2014. Additionally, the sultry track made history in 2015 as the first to spend 100 weeks on Hot Latin Songs. The music video, starring Mexican actress Eiza González as Santos’ love interest, became only the second video by a Latin artist to reach 1 billion views on YouTube, following Enrique Iglesias’ “Bailando” featuring Gente de Zona and Descemer Bueno. — JR
Nicky Jam & Enrique Iglesias, “Forgiveness” (2015)
Nicky Jam made a spectacular and lasting comeback — after his promising career was derailed a decade ago by drug and alcohol abuse — with the release of “El perdón” with Enrique Iglesias. Written by Jam, Iglesias, Cristhian Mena and Juan Diego Medina Vélez and produced by Carlos Paucar, Cristhian Mena and Jorge Fonseca, the song marked the first major collaboration between reggaeton and pop, and gave the Puerto Rican artist his first No. 1 on Hot Latin Songs at age 35. It spent an impressive 30 weeks atop the chart, then the second-most, behind only Iglesias’ “Bailando.” “It was the biggest song of my career and the one that brought me international recognition in places I never dreamed I would reach,” Jam told Billboard in 2019. It also won the Latin Grammy for best urban performance, and its bilingual version, “El Perdón (Forgiveness),” spent 30 weeks on the Billboard Hot 100. — SRA
Marc Anthony, “Living My Life” (2013)
An ode to resilience and enjoying life to the fullest, Marc Anthony’s “Vivir Mi Vida” emerged in 2013 as a tropical anthem that still sounds as vibrant as ever. Khaled’s cover of “C’est la vie,” driven by an irresistible salsa beat and heady wails, became a global sensation. Peaking at No. 92 on the Hot 100 and dominating Hot Latin Songs for 17 weeks at No. 1, “Vivir Mi Vida” transcends mere chart success . Its enduring popularity lives on in its uplifting energy, making it a celebratory piece that not only showcases the Puerto Rican-born New Yorker’s vocal prowess but also reaffirms the universal power of salsa. — IR
Karol G, “Provence” (2022)
Karol G’s “Provenza” quickly went from song of the summer to a top of her catalog of hits to a staple of Latin music. Before “Provenza,” Karol G had established herself as a leading force in urbano with hard-hitting, female-driven songs about being a boss, like “El Makinon” and “Bichota,” driven by traditional reggaeton drums. For “Provenza,” she took a whole new turn. A different kind of girl anthem, set over a melodious calypso beat, “Provenza” is melancholic, gentle, and sweet, injecting a dose of confidence into any girl looking to rekindle a love. The song’s impact was mesmerizing, allowing Karol G to replace herself at No. 1 on the Hot Latin Songs chart on May 14, 2022, a feat never before accomplished by a female artist. — GF
Yotuel, Gente de Zona, Decemer Bueno, Maykel Osorbo & El Funky, “Homeland and Life” (2022)
For more than six decades, the motto of the Cuban revolution, written by Fidel Castro, was “Patria o Muerte.” In 2022, a song turned that life-or-death motto on its head. “Patria y Vida” was written by a group of mostly Cuban stars and artists residing on and off the island (the artists on the track include Spaniard Beatriz Luengo and Yadam González), as a direct rebuke to the Cuban government “to show how a dictatorship behaves with its artists; that if you propose an exchange of ideas, you run into a wall,” said Romero, the song’s creator. Beginning as an evocative, nostalgic trova over acoustic guitar, “Patria y Vida” slowly builds in intensity, rage and pain until it reaches cries of “It’s over!” An unofficial Cuban anthem (though official to many Cuban exiles), “Patria y Vida” is the most politically influential Latin song of the past decade. — LEILA COBO
Diego Torres, “The Color of Hope” (2001)
Written by Argentines Coti Sorokin, Cachorro López, and Diego Torres, the immortal “Color Esperanza,” with its optimistic lyrics (“Saber que se puede, creer que se puede”) has transcended generations since its release in 2001. The song, released in the midst of Argentina’s historic recession, became the country’s second unofficial anthem and propelled Torres to international recognition. In 2004, he reprised it as the grand finale of his MTV Unplugged , bringing it to an even wider audience. The emotional 2020 remake performed by more than 30 artists, including Rubén Blades, Reik, and Nicky Jam, became a powerful statement of hope in the face of the global crisis triggered by the COVID-19 pandemic, further cementing its status as a timeless hit rooted in people’s hearts. — L. Calle
J Balvin & Willy William, “My People” (2017)
In 2017, J Balvin and Willy William redefined contemporary reggaetón with “Mi Gente,” infusing it with a sophisticated edge that set it apart from the edgier genre of the 2000s. The song, a cover of William’s “Voodoo Song,” was also produced by the French DJ of Ethiopian descent, and its Afrobeat-laden beat and Balvin’s smooth delivery proved that elegance and danceability can coexist. This dynamic collaboration was also one of the first examples of a true global hit that drew on disparate influences. Not only did it broaden reggaetón’s universal appeal, resonating from street parties to upmarket clubs, but it also caught the attention of Beyoncé. The American superstar eventually participated in the remix, singing in Spanish and English, and “Mi Gente” climbed the Billboard Hot 100 chart to an impressive No. 3. With a staggering 3.2 billion YouTube views, it is a testament to the genre’s evolution and global dominance. — IR
Armed Link & Featherweight, “She Dances Alone” (2023)
Arguably the best Latin song of 2023, Eslabon Armado and Peso Pluma’s “Ella Baila Sola” not only made chart history , but also marked a before and after for regional Mexican music, taking the genre to the top of Billboard ’s global charts and marking unprecedented milestones for Mexican music. The flirtatious sierreño song, driven by a party-ready, dancefloor-ready beat backed by trumpets, trombones, and charchetas, peaked at No. 4 on the Billboard Hot 100, the highest ranking for a regional Mexican song on the tally. The Gen Z-approved sierreño track, which also became the first regional Mexican No. 1 hit in the history of the Hot Latin Songs chart, thrives on relatable, typical lyrics about two guys trying to get a girl’s attention at a party. — GF
Celia Cruz & Mikey Perfecto, “The black girl has a lot of guts” (2001)
The undisputed queen of salsa did exactly what she wanted throughout her extraordinary recording career, including with this explosive song, the lead single and title track of her 59th album. Released in 2001, when Cruz was 76, “La Negra tiene tumbao” was revolutionary both for the singer’s age and for its heady mix of salsa with reggaeton and rap in between, which became the template — to this day — for a series of recordings with much younger artists. The song also reveled in its exaltation of black power and beauty. Though it reached No. 4 on the Tropical Airplay chart, it was not Cruz’s biggest single. But for a new generation, it was one of her most revolutionary. — L. Cobo
Maná, “Shared Lips” (2006)
“Labios compartidas,” a musical gem from iconic Mexican band Maná, highlights the group’s collaborative work and live instrumentation. Maná is the Latin rock group with the most No. 1s on Billboard ’s Hot Latin Songs chart , but “Labios,” from their breakthrough album Amar es Combatir , was the most successful of all, spending eight weeks at the top in 2006, and also entering the Hot 100 in the pre-streaming era. The raspy voice of Fher Olvera, also the song’s author, brings to life the heartbreaking story of a third party trapped in a toxic relationship. The track stands as a testament to Maná’s impactful global resonance over time and its ability to captivate listeners of all genres. — L.Calle
Don Omar & Lucenzo, “Kuduro Dance” (2010)
Don Omar was ahead of the curve when he stepped out of his comfort zone to release “Danza Kuduro” 13 years ago. For this 2010 hit, the Puerto Rican reggaeton star tapped French artist Lucenzo to musically and lyrically combine infectious world rhythms: Latin urban, kuduro (a type of music from Angola), and Brazilian lambada. Fearlessly breaking genre and language barriers, “Danza Kuduro’s” global appeal is also reflected in its simple, catchy lyrics—in both Spanish and Portuguese—about spending the night dancing. The song became Don Omar’s longest-running No. 1 hit on Hot Latin Songs and Latin Airplay, spending 15 weeks on each of these charts between 2010 and 2011. — JR
Juanes, “The Black Shirt” (2004)
“La Camisa Negra,” the third single from Juanes ’ third studio album , Mi Sangre , helped the Colombian rocker further internationalize his career, surpassing his previous hits “A Dios le pido” and “Fotografía” with Nelly Furtado and becoming a hit as far away as Germany. On the Billboard charts , the song spent 10 weeks at No. 1 on Latin Pop Airplay, and eight at No. 1 on both Hot Latin Songs and Latin Airplay between March and April 2004. Written by Juanes and produced by Juanes, Gustavo Santaolalla, and Aníbal Kerpel, the catchy song—a fusion of reggae, guasca, pop, rock, and Colombian folk music from the Antioquia region—addresses heartbreak with humor, with lines like “tengo la camisa negra y bajo tengo el difunto.” Juanes was inspired by the music of Octavio Mesa, “a singer of popular country music who sang insulting the boss in the 60s, more punk and more rebellious than anyone else,” he tells Billboard Español . “The most beautiful thing is that this country music from my region ended up being what made me universal in some way.” “La camisa negra” also ended up winning “Latin Pop” Song of the Year, Male, at the 2006 Billboard Latin Music Awards. — SRA
Daddy Yankee, “Gasolina” (2004)
Fueled by a maximalist EDM beat created by Luny Tunes, and fortified with Daddy Yankee ’s brutal rap bars (also written by Eddie Avila), “Gasolina” stands as a quintessential reggaetón anthem, embodying the exhilarating power of the genre. As one of reggaetón’s pioneering global phenomena, the club hit not only catapulted Yankee to international stardom, but also served as a catalyst that introduced the Puerto Rican genre to a worldwide audience. In 2004, it broke into the Hot 100 at No. 32, staying on the chart for 20 weeks. The following year, “Gasolina” broke barriers by becoming the first reggaetón song to earn a Latin Grammy nomination for Record of the Year, an unprecedented achievement that cemented reggaetón’s place in the global Latin pop landscape. Now, in a historic moment, “Gasolina” takes its rightful place in the National Recording Registry of the Library of Congress, forging its legacy as the pioneering reggaeton song that reshaped the Latin music landscape. — IR
Shakira, “Lucky (Whenever, Wherever)” (2001)
The first single from Shakira ’s 2001 crossover album Laundry Service , “Whenever, Wherever” was simultaneously released in its Spanish-language version, “Suerte.” A blend of pop, Andean, and global sounds, helped by a music video that spotlighted Shakira the dancer and cliff-diver, it reached No. 6 on the Hot 100, officially introducing the young Colombian star to the world. Shakira was already a star in the Latin world when she released “Whenever,” and its intense, iconoclastic, personal lyrics transcended in its English version (this time, translated by her friend Gloria Estefan), which with lines like (“Lucky that my breasts are small, and don’t confuse them with mountains)” remains indelibly etched in our collective consciousness. As Latinos, we already knew and loved Shakira, but this was the song that introduced her to the rest of the world. — L. Cobo
Son By Four, “A Pure Pain” (2000)
Who knew a boy band could be so moving? The now-defunct Son By Four’s late-night phone call to his ex-girlfriend still brings tears to our eyes as vocalist Angel Lopez pleads, “I’m dying, dying to see you.” Featuring Lopez’s vocals, “A puro dolor” convincingly incorporated an R&B sound into Latin pop, spending 22 nonconsecutive weeks at No. 1 on Hot Latin Songs in 2000, the biggest Latin single of that year. Written by master songwriter Omar Alfanno and produced by Alejandro Jaen, it also benefited from an English-language version (“Purest of Pain”), and more so, its ballad version, which showcased Lopez’s voice with piercing pathos. — L.Cobo
Juan Gabriel, “Hold me tight” (2001)
It’s no easy feat to pick just one Juan Gabriel song for this list, but it’s safe to say that “Abrázame muy fuerte” moved the masses with heartbreaking, passionate lyrics that focus on embracing our loved ones. A testament to Juan Gabriel’s extraordinary ability to craft deeply emotive lyrics that are both personal and relatable, the classic song begins filled with nostalgia with a delicate, whisper-like delivery backed by a solemn piano melody and striking violin chords. The melody only builds as the song progresses, moving from a simple ballad to a powerful orchestral event that matches the urgency of its vivid, solemn lyrics: “Abrázame, que el tiempo pasa y él nunca perdón.” One of the most beloved songs from the Mexican singer-songwriter’s extensive catalog, “Abrázame muy fuerte” spent nine weeks atop Billboard’s Hot Latin Songs chart in 2001. — GF
Café Tacvba, “You are” (2004)
Primarily known for their tongue-twisting rock anthems like “Ingrata” and “Chilanga banda,” Café Tacvba’s seminal song “Eres” is the opposite of complex, both in its lyrics and musical production. It’s a simple, yet poetic declaration of love (“Eres mi salvado, mi esperanza y mi fe”) that can evoke a range of emotions. Performed by Emmanuel del Real, the band’s keyboardist, “Eres” is a delicate ballad, driven by staggering verses and melancholic electric guitar notes punctuated by a drum beat that finds a person giving themselves over completely to an ethereal love. A single from their album Cuatro Caminos , “Eres” rightfully became the go-to song for the first dance at Latin weddings in the early 2000s. Along the way, this timeless classic also catapulted Cafeta into mainstream fame, earning the iconic Spanish-language rock quartet their first entry on the Billboard Latin Pop Airplay chart in 2004, where it peaked at No. 38. — GF
Enrique Iglesias, Descemer Bueno & Gente de Zona, “Dancing” (2013)
Before “Despacito” there was “Bailando,” Enrique Iglesias’ 2013 hit featuring Cuban singer-songwriter Descemer Bueno and Cuban duo Gente de Zona. The song spent 41 weeks at No. 1 on the Hot Latin Songs chart, a record at the time. Before “Despacito,” “Bailando” opened the door to the possibility of mixing pop, rap and reggaetón, marrying Iglesias’ up-tempo pop with Bueno’s singer-songwriter vibe and — the coup de grace — the reggaetón rhythms and distinctive vocals of Gente de Zona. The track, produced by longtime Iglesias collaborator Carlos Paucar, remains irresistible. With the help of a remix by Sean Paul, it rose to No. 12 on the Hot 100, and its blend of pop and urban became the blueprint for the sound that dominated Latin music for most of the decade. — L. Cobo
Luis Fonsi & Daddy Yankee, “Despacito” (2017)
If there’s a before and after in Latin music since 2000, it would be “Despacito.” The 2017 hit—written by Luis Fonsi , Erika Ender, and Daddy Yankee, originally recorded by Fonsi and Yankee, and later remixed with Justin Bieber—not only broke all records, but unequivocally changed the way Latin music was perceived and eventually how it was consumed globally in the streaming era. Released on January 13, 2017 under Universal Music Latin, the now-ubiquitous song, with its instantly catchy “Des-pa-cito” chorus, blew up almost instantly, reaching No. 1 on Hot Latin Songs just three weeks after its release, and staying at the top for a record-breaking 56 weeks. When Bieber hopped on the remix, adding a touch of English and a touch of Bieber to the mix, it topped the Hot 100 within a month, where it stayed for a staggering 16 weeks, tying Mariah Carey & Boyz II Men’s “One Sweet Day” for the all-time record for weeks at No. 1 at the time (a mark that has since been broken).
Globally, “Despacito” remains a force of nature, breaking YouTube viewing records; it is currently the most-watched music video of all time. It’s not just that no other Latin song in history has had that level of success; it’s also everything that came in its wake. “Despacito” opened the industry’s eyes to the vast possibilities of Spanish-language music, or bilingual music with the right song. It made it clear that, in the age of streaming, language was no longer a barrier for listeners eager for new music.
All of that, however, began with the song itself, which Fonsi originally conceived as a sensual, romantic pop song with Ender, his friend and frequent writing partner. Producers Mauricio Rengifo and Andrés Torres added the reggaeton beat, which in turn led to the search for an urban voice that could contrast with Fonsi’s R&B balladeer voice. The perfect blend of urban and pop was born. And then, of course, the remix with Justin Bieber and its mix of cultures. “Now, ‘Despacito’ sounds normal,” Fonsi said last year about the mix of sounds that make it up. “But if you ask me four years ago, when I mixed this cumbia with a guitar and with a Puerto Rican cuatro; when we mixed a pop artist with the king of reggaeton; when Justin Bieber did a remix… now everything sounds normal. But back then it wasn't […] When I look back, what really strikes me is the fact that it opened a huge door for the non-Latin world to vibrate with Latin music.” — L.Cobo
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