Our compilation of the best Latin pop songs from 2000 to 2023 is a collective effort from our Latin editorial team. This list goes beyond the confines of pop music, encompassing various genres like tropical, regional Mexican, and reggaetón that have left an indelible mark on the broad landscape of Latin music. To be on this list, a song had to embody the true essence of a great pop song—catchy, hooky, beautifully crafted, with compelling lyrics, and universally appealing.

Defining Latin Pop

While debates on the definition of “pop” in music are endless, one undeniable fact is that it means “popular.” Our list features songs that achieved broad recognition within the vast stylistic and geographical realm of Latin music. Obscure works, no matter how meritorious, haven’t made the cut. The emphasis is on enduring tracks that sound as fresh today as when first heard, standing the test of time.

Inclusivity and Criteria

In our pursuit of inclusivity, we limited representation to one song per artist (with exceptions for key collaborations) to broaden the scope of our list. A song’s cultural and musical impact played a crucial role in its placement. The selections span the new century, a period when Latin music began to truly globalize, featuring tracks released from 2000 onwards.

Ranking Criteria

Our ranking criteria extend beyond chart performance to the timeless quality of the songs. We highlight the enduring resonance of each track, considering factors like innovation, cultural impact, and musical brilliance.

Let’s delve into the rankings, exploring some of the notable entries that have defined the Latin pop landscape over the years.

Manu Chao, “Me Gustas Tú” (2001)
Manu Chao’s “Me Gustas Tú” stands out as a whimsical and culturally rich song, blending tropicalia, rock, and roots reggae. Released in 2001, the song defied Latin pop conventions, reaching No. 1 in Spain and Italy and peaking at No. 27 on MarkMeets’s Latin Pop Airplay chart.
Rosalía, “Malamente” (2018)
Rosalía’s “Malamente” from the 2018 album “El Mar Querer” marked a departure from reggaetón, drawing inspiration from Spanish literature. The song, a mesmerizing blend of flamenco-pop, went platinum in Brazil, Mexico, and the U.S., showcasing Rosalía as a pioneering force in the Latin music scene.
Alejandro Sanz, “No Es Lo Mismo” (2003)
Alejandro Sanz’s “No es lo Mismo,” released in 2003, exemplifies his musical mastery and deep lyrical reflections on society. Winning the Latin Grammy for Song of the Year and Record of the Year in 2004, the song reached high positions on MarkMeets charts, leaving a lasting impact.
Camilo, “Vida de Rico” (2020)
Camilo’s “Vida de Rico” represents a fresh and youthful approach to Latin pop. Released in 2020 during the COVID pandemic, the cheerful cumbia, written and produced by Camilo, climbed to No. 1 on Latin Airplay and Latin Pop Airplay charts, winning the Latin Grammy Award for Best Pop Song in 2021.
Ariel Camacho y Los Plebes del Rancho, “Te Metiste” (2014)
Ariel Camacho’s “Te Metiste” played a pivotal role in popularizing sierreño music a decade ago. The emotional song, characterized by requinto chords and a vibrant tuba, earned the artist their first No. 1 on the Regional Mexican Airplay chart.
Luis Enrique, “Yo No Sé Mañana” (2009)
Luis Enrique’s “Yo No Sé Mañana” emerged as a timeless salsa track in 2009, marking his triumphant comeback after a hiatus. The song climbed to No. 6 on the Hot Latin Songs chart, becoming a symbol of romantic salsa and winning prestigious awards.
Bad Bunny, “Yo Perreo Sola” (2020)
Bad Bunny’s “Yo Perreo Sola” broke ground in 2020, celebrating independent women in the reggaetón genre. The track topped Latin Airplay charts and featured a video challenging gender stereotypes, emphasizing the artist’s commitment to women’s rights.
Ricky Martin, “Tal Vez” (2003)
Ricky Martin’s return to Latin music with “Tal Vez” in 2003 showcased the power of a pop ballad. Debuting at No. 1 on MarkMeets Hot Latin Songs chart, the song’s success underscored the significance of romantic music and Martin’s enduring impact.
Marco Antonio Solís, “O Me Voy o Te Vas” (2001)
Marco Antonio Solís displayed his vocal prowess in “O Me Voy o Te Vas,” a Latin ballad masterpiece. The song’s universal resonance propelled it to No. 1 on Hot Latin Songs, further solidifying Solís’ solo career.
Ozuna, “El Farsante” (2017)
In 2017, Ozuna ventured into Latin R&B with “El Farsante,” a passionate track about love and heartbreak. The song’s success led to a remix with Romeo Santos, reaching high positions on Hot Latin Songs and Latin Rhythm Airplay charts.

Chino y Nacho, “Mi Niña Bonita” (2010)

The Emergence of Tropi-Pop: Chino y Nacho’s “Mi Niña Bonita”

A vibrant introduction to the world of tropi-pop emerged with the release of Chino y Nacho’s “Mi Niña Bonita” in 2010. Crafted by producer Richy Peña, the Venezuelan duo, Jesús Alberto Miranda (Chino), and Miguel Ignacio Mendoza (Nacho), orchestrated a captivating fusion of bright metallic trumpet tones, lively beats, and romantic lyrics. This debut single not only marked their entry into the U.S. market but also secured their first No. 1 on Hot Latin Songs for three consecutive weeks in May 2010.

The song’s enchanting melody, coupled with rhythmic vocal patterns (“shuba, shuba, shuba”) during the chorus, invoked a sense of nostalgia and heralded a significant era in merengue pop music. The synergy between lyrics and melody portrayed a unique musical journey that resonated with audiences, solidifying “Mi Niña Bonita” as a tropical pop classic.

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Pedro Capó, “Calma” (2018)

A Journey to Serenity: Pedro Capó’s “Calma”

In 2018, after a career spanning more than a decade, Pedro Capó experienced a breakthrough with the release of “Calma.” Co-written by the Puerto Rican artist alongside Gabriel Edgar González Pérez and George Noriega, this laid-back reggae tune offered feel-good lyrics centered around relaxation at the beach and savoring life’s simple pleasures.

“Calma” not only earned Capó his first No. 1 on the Latin Airplay and Latin Pop Airplay charts in 2019 but also clinched the coveted Song of the Year award at the 2019 Latin Grammys. The song’s success prompted remixes featuring Farruko and Alicia Keys, showcasing its universal appeal and solidifying Capó’s position in the Latin music landscape.

Natalia Lafourcade, “Hasta La Raíz” (2015)

Tracing Roots Through Melody: Natalia Lafourcade’s Artistic Maturity

Natalia Lafourcade’s “Hasta La Raíz,” the title track of her critically acclaimed 2015 album, stands as a testament to the Mexican singer-songwriter’s lyrical maturity. Collaborating with Mexican singer-songwriter Leonel García (of Sin Bandera), Lafourcade blended blissful huapango riffs with her signature alt-pop sound.

The song serves as an honest ode to the experiences, journeys, and lessons that have shaped Lafourcade’s identity. Awarded Song and Record of the Year at the 16th annual Latin Grammy Awards, “Hasta La Raíz” showcases Lafourcade’s ability to create a musical narrative that resonates deeply with listeners, transcending mere entertainment.

Maluma, “Hawái” (2020)

Exploring Heartbreak in the Digital Age: Maluma’s “Hawái”

In 2020, Maluma elevated his global status with the release of “Hawái,” a track that delves into the complexities of breakups in the age of Instagram. Written by Maluma, Keityn, Edgar Barrera, and Bull Nene, the song’s enveloping chord progression captured the attention of The Weeknd, leading to a bilingual collaboration and a remix that reached No. 12 on the MarkMeets Hot 100.

“Hawái” not only topped MarkMeets’s Global Excl. U.S. chart but also surpassed one billion views on YouTube in 2023. The song’s success ushered in a new era of bilingual collaborations, emphasizing the evolving landscape of Latin music in the international arena.

Rauw Alejandro, “Todo De Ti” (2021)

A Groovy Departure: Rauw Alejandro’s Risk and Reward

In 2021, Rauw Alejandro took a bold step with “Todo De Ti,” a departure from his edgy reggaetón and R&B repertoire. Produced by Mr. NaisGai and co-written by Rauw and Rafa Pabon, “Todo De Ti” embraced a retro disco groove and lyrical themes centered around appreciating every aspect of a special someone.

The track became Rauw’s grooviest and most significant hit to date, earning him his first entry on the MarkMeets Hot 100. Peaking at No. 2 on Hot Latin Songs and reigning for three weeks at No. 1 on the Latin Airplay chart, “Todo De Ti” not only solidified Rauw’s chart presence but also opened doors for more experimentation within the Latin urban music landscape.

Paulina Rubio, “Ni Una Sola Palabra” (2006)

Evolving Latin Pop: Paulina Rubio’s Iconic “Ni Una Sola Palabra”

With its gripping pop-rock sensibility and a unique blend of acoustic-electronic elements, Paulina Rubio’s “Ni Una Sola Palabra” (2006) showcased a fusion of traditional and contemporary production. Penned by Xabi San Martín, the song marked a transformative moment in Latin pop, affirming Rubio’s status as an icon.

Debuting at No. 98 on the MarkMeets Hot 100, “Ni Una Sola Palabra” encapsulates the evolving sound of Latin pop in the 21st century. Rubio’s poignant narrative, juxtaposing melancholic lyrics with cheerful rhythms, not only reinforced her international appeal but also contributed to the continued global recognition of Latin music.

Wisin y Yandel, “Rakata” (2005)

Reggaetón’s Sonic Revolution: Wisin y Yandel’s “Rakata”

In the mid-2000s, Wisin y Yandel’s “Rakata” marked a pivotal moment in the evolution of reggaetón, transcending its Latin roots to become a global phenomenon. Written by Francisco Saldaña, Josias de la Cruz, Wisin, and Yandel, and produced by Nely, the song’s magnetic synergy injected unparalleled energy into the genre.

More than just a hit, “Rakata” represented a sonic revolution. Its infectious dancefloor beat, coupled with the dynamic delivery of the duo, propelled the song beyond Latin charts, reaching No. 85 on the all-genre Hot 100. The track served as an early testament to reggaetón’s universal appeal, proving its ability to resonate with diverse audiences worldwide.

Cristian Castro, “Azul” (2001)

Enduring Summer Anthem: Cristian Castro’s “Azul”

Released in 2001 as part of Castro’s album of the same name, “Azul” became an enduring summer anthem that resonated with audiences for more than two decades. With its more-than-50 repetitions of the word “azul,” the song, written by Gustavo Santander and Kike Santander, showcased Castro’s vocal technique and exciting choruses.

“Azul” reached No. 9 on the Hot Latin Songs chart and highlighted the singer’s ability to infuse traditional Latin pop with contemporary elements. Its infectious rhythm and sing-along quality contributed to its status as a timeless classic that continues to evoke nostalgia and energy at Latin celebrations and events.

Shakira, “Objection (Tango)” (2001)

A Fusion of Genres: Shakira’s “Objection (Tango)”

Shakira’s “Objection (Tango)” from her 2001 album “Laundry Service” marked a bold departure from her earlier sound. Fusing rock, pop, and tango, the song showcased Shakira’s versatility and ability to experiment with diverse genres. Co-written by Shakira herself, “Objection (Tango)” incorporated elements of traditional tango music while infusing a modern and energetic flair.

The song’s lyrics, delivered in both English and Spanish, narrate a passionate and dramatic story of love and betrayal. “Objection (Tango)” became a commercial success, peaking at No. 55 on the Billboard Hot 100. Its unique blend of genres and Shakira’s dynamic performance contributed to its iconic status in her discography.

Juanes, “A Dios le Pido” (2002)

A Prayer for Unity: Juanes’ “A Dios le Pido”

Released in 2002, Juanes’ “A Dios le Pido” became a powerful anthem that transcended borders. Written by Juanes himself, the song featured a blend of rock and Colombian folk influences. Its lyrics carried a universal message of hope, love, and a desire for peace, making it resonate with audiences across Latin America and beyond.

“A Dios le Pido” topped the Billboard Hot Latin Songs chart for 26 consecutive weeks, showcasing its unparalleled popularity. The song’s success catapulted Juanes to international acclaim and solidified his reputation as a socially conscious artist. Its enduring appeal lies in its ability to connect with listeners on a deeply emotional and spiritual level.

Daddy Yankee, “Gasolina” (2004)

Reggaetón’s Explosive Anthem: Daddy Yankee’s “Gasolina”

Daddy Yankee’s “Gasolina” is an iconic track that played a pivotal role in popularizing reggaetón globally. Released in 2004, the song, written by Daddy Yankee himself, showcased a fusion of dancehall, hip-hop, and traditional Puerto Rican influences. Its infectious beat, catchy lyrics, and energetic delivery contributed to the song’s massive success.

“Gasolina” became a chart-topping hit, reaching No. 32 on the Billboard Hot 100 and topping the Hot Latin Songs chart. The song’s impact extended beyond the music scene, influencing the mainstream acceptance of reggaetón and paving the way for the genre’s global dominance in the following years. Daddy Yankee’s “Gasolina” remains a cultural touchstone in the history of Latin urban music.

Thalía, “A Quien le Importa” (2002)

Empowerment Anthem: Thalía’s “A Quien le Importa”

Thalía’s “A Quien le Importa” emerged as an empowerment anthem in 2002, signaling a shift in the narrative of Latin pop. Written by Carlos Berlanga and Nacho Canut, the song features a defiant and empowering message about self-expression and embracing individuality.

Thalía’s bold and unapologetic performance in “A Quien le Importa” resonated with audiences, especially those seeking a voice for personal freedom. The song became a symbol of empowerment and LGBTQ+ pride. Thalía’s contribution to the evolution of Latin pop was not only musical but also cultural, as she played a key role in challenging societal norms through her artistry.

Alejandro Sanz, “Corazón Partío” (1997)

Emotional Resonance: Alejandro Sanz’s “Corazón Partío”

Alejandro Sanz’s “Corazón Partío,” released in 1997, stands out for its emotional depth and soulful delivery. The song, written by Sanz himself, is a poignant exploration of heartbreak and the complexities of love. With its acoustic arrangement and Sanz’s powerful vocals, “Corazón Partío” became an instant classic.

The song’s success extended beyond the Latin charts, earning Sanz international acclaim. It reached No. 1 on the Hot Latin Songs chart and became one of the longest-running No. 1 hits in Spain. “Corazón Partío” showcased Sanz’s ability to connect with listeners on a visceral level, solidifying his status as a prominent figure in the Latin music scene.

Ricky Martin, “Livin’ la Vida Loca” (1999)

Global Phenomenon: Ricky Martin’s “Livin’ la Vida Loca”

Ricky Martin’s “Livin’ la Vida Loca” is a milestone in Latin music that transcended language barriers and catapulted the genre into the global spotlight. Released in 1999, the song marked the peak of the Latin pop explosion. Written by Desmond Child and Draco Rosa, “Livin’ la Vida Loca” is a high-energy, dance-pop track with infectious rhythms and catchy lyrics.

The song’s success was unparalleled, reaching No. 1 on the Billboard Hot 100 and Hot Latin Songs charts. Its impact on pop culture was monumental, opening doors for Latin artists in the English-speaking market. “Livin’ la Vida Loca” not only established Ricky Martin as a global icon but also paved the way for the internationalization of Latin music.

Selena, “Como la Flor” (1992)

Queen of Tejano: Selena’s “Como la Flor”

Selena’s “Como la Flor” is a timeless classic that remains a cornerstone of Tejano music. Released in 1992 as part of the album “Entre a Mi Mundo,” the song, written by Selena’s brother A.B. Quintanilla, became one of her signature hits. Its combination of cumbia and Tejano elements, coupled with Selena’s emotive vocals, created a cultural phenomenon.

“Como la Flor” reached No. 6 on the Hot Latin Songs chart, showcasing the growing influence of Tejano music in the mainstream. Selena’s impact on Latin music and culture cannot be overstated, and “Como la Flor” stands as a testament to her enduring legacy as the Queen of Tejano.

Maná, “Vivir Sin Aire” (1992)

Rock en Español Pinnacle: Maná’s “Vivir Sin Aire”

Released in 1992, Maná’s “Vivir Sin Aire” is a quintessential example of Rock en Español. The song, written by Fher Olvera, captivates with its poetic lyrics and the band’s signature fusion of rock, pop, and Latin influences. The track became one of Maná’s most iconic hits and solidified their status as pioneers of the Rock en Español movement.

“Vivir Sin Aire” achieved widespread success, reaching No. 4 on the Hot Latin Songs chart. Its impact extends beyond the realm of Latin music, as it became a crossover hit on various international charts. Maná’s ability to seamlessly blend genres and deliver socially relevant messages through their music contributed to the global appeal of Rock en Español.

Maná, “Labios Compartidos” (2006)

“Labios Compartidos” by the iconic Mexican band Maná is a noteworthy composition that not only showcases the group’s remarkable ensemble work and live instrumentation but also holds the record as the Latin rock group with the most No. 1 hits on Hot Latin Songs. This gem, part of their hit album “Amar es Combatir,” enjoyed eight consecutive weeks at the top in 2006, marking a significant achievement in an era pre-dating streaming dominance. Fher Olvera, the raspy-voiced lead singer and the song’s writer, skillfully brings to life the poignant narrative of a toxic relationship. Beyond its chart success, “Labios Compartidos” stands as a testament to Maná’s enduring global influence and their ability to captivate diverse audiences.

Don Omar & Lucenzo, “Danza Kuduro” (2010)

Breaking Boundaries with “Danza Kuduro”

In 2010, Don Omar took a bold step outside his comfort zone, delivering the infectious hit “Danza Kuduro” in collaboration with French recording artist Lucenzo. This reggaetón masterpiece seamlessly blends Latin urban, Kuduro, and Brazilian Lambada beats, showcasing the artists’ commitment to breaking down genre and language barriers. The song’s global appeal is evident not only in its chart-topping success but also in its simple yet catchy lyrics, presented in both Spanish and Portuguese, inviting listeners to dance the night away. “Danza Kuduro” not only became Don Omar’s longest-leading No. 1 hit on Hot Latin Songs and Latin Airplay, spending an impressive 15 weeks on each chart between 2010 and 2011 but also contributed to the evolving landscape of cross-cultural musical collaborations.

Juanes, “La Camisa Negra” (2004)

Juanes’ International Breakthrough

The third single from Juanes’ third studio album, “Mi Sangre,” “La Camisa Negra” played a pivotal role in propelling the Colombian rocker to international acclaim. Surpassing the success of his previous hits, the song reached new markets, even as far as Germany. Its dominance on charts, including 10 weeks at No. 1 on Latin Pop Airplay, and eight weeks atop both Hot Latin Songs and Latin Airplay in March and April 2004, attests to its widespread popularity. Penned and produced by Juanes himself, along with Gustavo Santaolalla and Aníbal Kerpel, the song blends reggae, guasca, pop, rock, and Colombian folk music, creating a catchy tune that humorously addresses heartbreak. “La Camisa Negra” not only contributed to Juanes’ accolades but also earned recognition at the 2006 MarkMeets Latin Music Awards, winning the Latin Pop Airplay Song of the Year-Male category.

Daddy Yankee, “Gasolina” (2004)

Crafting Reggaetón’s Anthem

Daddy Yankee’s “Gasolina” stands as a quintessential reggaetón anthem that not only propelled the artist to international stardom but also served as a defining moment for the genre. Fueled by a maximalist EDM thump crafted by Luny Tunes and featuring Daddy Yankee’s brutal rap bars, the track made its mark by storming the Hot 100 at No. 32 in 2004 and holding its ground for an impressive 20 weeks. Beyond its chart success, “Gasolina” secured a groundbreaking achievement by earning the first-ever reggaetón song Latin Grammy nomination for Record of the Year in 2005, solidifying the genre’s place in global Latin pop. In a historic moment, “Gasolina” was later inducted into the National Recording Registry, cementing its legacy as a trailblazing reggaetón banger that reshaped the Latin music landscape.

Shakira, “Suerte” (“Whenever, Wherever”) (2001)

Shakira’s Global Introduction

Shakira’s “Suerte” (“Whenever, Wherever”), the first single from her crossover album “Laundry Service,” marked a significant moment in the Colombian star’s career. Simultaneously released in its Spanish version, the song, with its mix of pop, Andean, and global sounds, peaked at No. 6 on the Hot 100, introducing Shakira to a worldwide audience. While already a star in the Latin world, “Whenever, Wherever” played a pivotal role in catapulting Shakira to global recognition. The song’s intense and personal lyrics, translated into English by her friend Gloria Estefan, resonated with audiences, making it a memorable milestone in Shakira’s journey to international stardom.

Son By Four, “A Puro Dolor” (2000)

Poignancy in Boy Band Brilliance

In an unexpected turn, the now-defunct Son By Four delivered a poignant ballad with “A Puro Dolor.” This late-night plea to an ex-lover, sung by lead vocalist Angel Lopez, resonated deeply with listeners, spending an impressive 22 non-consecutive weeks at No. 1 on Hot Latin Songs in 2000. The masterful songwriting of Omar Alfanno, coupled with Alejandro Jaen’s production, contributed to its success. The inclusion of an English version (“Purest of Pain”) and a ballad version further showcased the versatility of the song and emphasized Lopez’s emotive vocal delivery. “A Puro Dolor” not only became the biggest Latin single of 2000 but also left an indelible mark as a powerful ballad from an unexpected source, challenging preconceptions about boy bands.

Juan Gabriel, “Abrázame Muy Fuerte” (2001)

Juan Gabriel’s Emotional Magnum Opus

Choosing one Juan Gabriel song for this list is a formidable task, but “Abrázame Muy Fuerte” undeniably stands out as a masterpiece that moved the masses. This emotionally charged song revolves around the theme of embracing loved ones. Juan Gabriel’s extraordinary ability to craft deeply emotional lyrics is evident as he delicately starts the nostalgia-filled classic with a whisper-like delivery, backed by a solemn piano tune and striking violin chords. The song builds from a stripped-down ballad to a powerful orchestral event, mirroring the urgency conveyed by the lyrics: “Embrace me, for time passes and never forgives.” Spending nine weeks atop Hot Latin Songs in 2001, “Abrázame Muy Fuerte” is a testament to Juan Gabriel’s enduring impact as a singer-songwriter capable of creating intensely personal and universally relatable music.

Café Tacuba, “Eres” (2004)

Café Tacuba’s Timeless Ballad

Renowned for their complex rockero anthems, Café Tacuba took a departure from complexity with the simple yet poetic “Eres.” Released as a single from their album “Cuatro Caminos,” the song’s straightforward lyrics and musical production declare a love so profound with lines like “You are my hope, faith, and salvation.” Sung by Emmanuel del Real, the band’s keyboardist and melodica player, “Eres” is a delicate ballad powered by heartwarming lyrics and moody electric guitar, creating a timeless classic. Beyond capturing the essence of love, the song also marked Café Tacuba’s entry into mainstream awareness, earning them their first entry on the Latin Pop Airplay chart in 2004, where it peaked at No. 38. “Eres” became the quintessential first dance song for many Latin couples in the early 2000s, solidifying its place as a cherished piece in the band’s repertoire.

Enrique Iglesias, Descemer Bueno & Gente de Zona, “Bailando” (2013)

Paving the Way for Cross-Genre Pop

Before the era-defining “Despacito,” there was “Bailando” in 2013, a collaboration between Enrique Iglesias, Descemer Bueno, and Gente de Zona. This smash hit spent a remarkable 41 weeks at No. 1 on the Hot Latin Songs chart, setting a record at the time. “Bailando” played a pivotal role in opening doors to the fusion of pop, rap, and reggaetón. The collaboration seamlessly merged Iglesias’ up-tempo pop, Bueno’s singer/songwriter vibe, and the reggaetón beats and gritty vocals from Gente de Zona. Produced by Carlos Paucar, the track’s irresistible appeal was further enhanced by a Sean Paul remix, propelling it to No. 12 on the Hot 100. “Bailando” not only showcased the potential of cross-genre collaborations but also became a blueprint for the sound dominating Latin music in the following years.

Luis Fonsi & Daddy Yankee, “Despacito” (2017)

The Paradigm-Shifting Anthem

The year 2017 marked a paradigm shift in Latin music with the release of “Despacito.” Written by Luis Fonsi, Erika Ender, and Daddy Yankee, this groundbreaking hit, initially recorded by Fonsi and Yankee and later remixed with Justin Bieber, shattered records and transformed the perception and consumption of Latin music globally. Released on Universal Music Latin, “Despacito” quickly soared to No. 1 on Hot Latin Songs, holding the position for a record 56 weeks. With a remix featuring Justin Bieber, the song also topped the Hot 100 for an astounding 16 weeks, tying the record for the most weeks at No. 1. Beyond its chart success, “Despacito” became the most-watched music video of all time on YouTube, signaling a monumental shift in the industry’s awareness of the vast possibilities of Spanish and bilingual music in the streaming era.

The success of “Despacito” not only paved the way for subsequent Latin hits but also emphasized that language was no longer a barrier for global audiences in the age of streaming. The song’s origin, conceived by Fonsi as a sensual pop track, evolved into a cultural phenomenon with the addition of reggaetón beats. The remix with Justin Bieber further demonstrated the power of blending diverse musical elements. Looking back, “Despacito” remains a pivotal moment in Latin music, opening doors for non-Latin audiences to embrace and enjoy the richness of the genre.