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Here’s a hot take: South by Southwest is a Latin music festival.

When the De Los team headed to Austin, Texas, in 2024 to cover the event for the first time, approximately 60 acts that fell under the expansive Latin music genre umbrella had been invited to perform. Two years later, that number has more than doubled, with more than 150 Latin music acts featured at the iconic festival, now in its 40th year.

“Latin music has seen incredible growth at SXSW in recent years, reflecting its rise across the global music industry,” said Evelyn Gómez Rivera, associate programmer for Latin music. “2026 is shaping up to be our biggest year for the genre in over a decade, with several major labels showcasing their newest and most exciting Latin talent here.”

Ahead of the festival, which kicks off Thursday, the De Los team has assembled a list of acts that have caught our attention. And before you blow up our inboxes asking why the big acts (Fuerza Regida and Junior H are also slated to perform) weren’t included, keep in mind that what makes SXSW unique is that it’s a chance for attendees to see the next big thing before they blow up. In that spirit of discovery, our list is made up of acts you might not have heard of.

Big Soto

“Terminé siendo rapero cuando quería ser doctor,” Gustavo Rafael Guerrero Soto, better known as Big Soto, confesses in his pandemic-era collaborative session with Argentine mega-producer Bizarrap. It’s safe to say that he made the right career move. The 29-year-old from Venezuela (he now lives in Mexico) is signed to Rimas Entertainment and has been at the forefront of the Latin trap movement. — Fidel Martinez

Mariangela

Mexican-born singer Mariangela started off as a tender pop darling when she first uploaded covers to her YouTube channel in 2019, drawing inspiration from indie-pop singers like Carla Morrison and Mazzy Star’s Hope Sandoval before releasing her alt-pop debut album “Sensible” under Sony Music Latin in 2024. Now the Texas-based artist is taking her musical stylings in a new direction, drawing from her Monterrey roots with the release of her latest “Cuando Una Mujer,” a cumbia norteña about fierce female empowerment. — Andrea Flores

Esty

First-generation Dominican American singer Esty doesn’t like to be boxed in. From one track to the next, she’ll shift from a mix of dembow and alternative rock to bachata and pop, as seen in her recent single “V3n3n0,” from her upcoming album, “Domi Star.” — Cat Cardenas

Marilina Bertoldi

De Los contributor Ernesto Lechner is 100% responsible for this entry — he included the avant-garde alt rocker from Buenos Aires in his 2025 list of indie artists who deserved to win a Latin Grammy, calling her “the resident hurricane of Argentine rock, blessed with a corrosive sense of the absurd, a knack for pop-punk melodies, and attitude to spare.” How could you not want to see that? — FM

Ruido Selecto

Hailing from Medellín, Colombia, Ruido Selecto drives forward the Caribbean rhythms of cumbia, salsa, electronic dub and Afro-diasporic styles that have been traditionally transmitted through Picós, hand-painted sound systems popular throughout the country’s coast. His hybrid mixes also include elements of sonideros, most audible in tracks like “Lo Que Esconde.” I’m fascinated by his attention to detail in his project “Los 14 Cañonazos Bailables,” where he created experimental and contemporary tropical mixes using archives from Discos Fuentes, a Cartagena record label largely responsible for disseminating 1960s Caribbean sound across the coast of Colombia. — AF

Delilah

The Mexican American singer got her start in mariachi, eventually learning piano, guitar, violin and vihuela. At just 17 years old, her impressive vocals and ability to mix traditional and contemporary Mexican music have already gotten the attention of artists like Becky G and Iván Cornejo. — CC

Danny Felix

Among the biggest feathers in Danny Felix’s hat is being the producer behind the “Soy el Diablo (Remix),” a Natanael Cano track that also doubled as Bad Bunny’s first venture into the world of música mexicana. The Phoenix-based multihyphenate (in addition to producing, he is also a multiinstrumentalist and singer) has played a major role in shaping the current sound of corridos tumbados and will be repping the subgenre in Austin. — FM

60 Juno

Originating from Merced, Calif., this Central Valley post-punk band radiates a hazy, dreamlike sound, so much that one of their most popular tracks is titled “zzz.” While 60 Juno initially began as a solo project led by Jericho Tejeda in his bedroom during the pandemic, it has now expanded to include three additional members from Whittier, Calif. There’s a bit of everything in this band, mellowed surf-rock wading into punk territory that can be heard in songs like the upbeat “Enjoy the Sunset” and their most popular, hypnotic track to date, “J Song.” — AF

RIA

Before she stepped into the spotlight, Ria was writing songs for other artists. Now, she’s combining her knack for emotional lyricism with her soulful voice, recently opening for Tito Double P in Mexico, and breaking out with her recent single, “Pagana.” — CC

Sebaxxss

Sebaxxss is the on-tour DJ for Feid, the pop reggaeton singer and fellow Colombian. I’m interested to see how his set translates into a smaller, more intimate venue. — FM

Diles que no me maten

Diles que no me maten is an experimental, psychedelic rock band from Mexico City named after the famous short story by Mexican author Juan Rulfo about a man who pleads for his life after being captured for killing his neighbor decades earlier. If listeners didn’t know any better, they would think this band started in the late 1980s during the rise of homegrown rock, with its untouched vocals in songs like “Outro.” Tracks like “El Circo” sound like a gentle birth, while “(Radio Sonora Edit)” presents itself as a ghostly acoustic jazz ballad. — AF

Eydrey

Since competing on Netflix’s Latin music competition show, “La Firma,” in 2023, Eydrey has landed a record deal and released a steady stream of R&B, Mexican and reggaeton-infused tracks. Her borderland upbringing in El Paso has also shaped her Spanglish lyrics. — CC

Lena Dardelet

Hailing from Cabarete, Dominican Republic — the same beach resort town is home to the Bachata Academy, the only bachata school in the world — Lena Dardelet fuses pop with various Caribbean genres, including— yep, you guessed it — bachata. — FM

Mosmo

Signed with Rimas Entertainment, Hermosillo singer Mosmo is bringing his own crooning element to the corrido world. The rising singer first came into the spotlight in 2022 on Netflix’s “La Firma,” a competition looking to find the next Latin urban music star. Mosmo’s raw, drawled vocals can be heard in the romantic bélico “Modo B” and the agonizing “Terapia” that implores a past lover for their return. Mosmo also incorporates elements of trap and reggaeton in songs like “Dimensiones,” as well as pop in the bilingual track “Siempre Tú.” — AF

Selines

Inspired by artists like Natalia Lafourcade, singer-songwriter Selines’ guitar-based songs draw on the traditions of boleros, classical music and jazz, bringing a warm nostalgia and romance to her sound. — CC

For the third year in a row, De Los, the Latino-centric vertical of the Los Angeles Times, will be returning to South by Southwest in Austin, Texas, and things are a little different this time around. While the music portion of the festival has typically been given its own weekend to shine, in 2026, it’ll be “folded into” a week-long event alongside film, TV and interactive programming.

But despite these changes, one thing is clear: After a banner year for Latin music at SXSW in 2025, it seems like everyone’s doubled down in 2026, with the festival welcoming a historic number of Latin artists to Austin. That includes the De Los showcase.

If our 2024 event was more of an intimate kickback, 2025 was an all-out party. Thanks to energetic sets from acts like trap corrido pioneers Arsenal Efectivo and the clashing cumbia punk stylings of Sultanes del Yonke, the crowd was up on their feet dancing, twirling and even forming a mosh pit at one point — all into the early hours of the morning. We hope to bring those same vibes back to SXSW this year.

If you’re in Austin for the festival, join us at Mala Fama, located at 422 E. 6th St., Austin, on Sunday, March 15 starting at 8 p.m. As always, the festival is a great opportunity to discover new artists and exciting new sounds, so whether or not you’ll be joining us in Texas, we hope this lineup might inspire you to find a new favorite artist, song or band.

Here’s who’s playing at the 2026 De Los showcase.

Hermanos Espinoza

With their South Texas upbringing (Puro 956!), it shouldn’t come as a surprise that this duo’s Norteño sound has plenty of Tejano flair too. Hailing from Edinburg, brothers Joel and Leonel Espinoza broke out not long after making their debut in 2022, when their song “Prueba de Fuego” hit more than 100 million streams. Their lively, accordion-rich music feels classic enough to be right at home on the playlist for your next carne asada.

Noteworthy track: “Dios por Delante”

Vanita Leo

Music is in Vanita Leo’s DNA. Born and raised in San Antonio, the singer’s father and aunt are both Tejano musicians who inspired Leo to take up the family mantle and put her own spin on the genre. With a love for the old-school sound of the 1990s, Leo manages to weave together her flirty, unserious humor with vintage romance, writing songs that’ll either validate your heartbreak over a bad ex or have you ready to dance it off and forget they ever existed.

Noteworthy track: “Caballito”

Tropa Magica

The second sibling duo on our lineup, Tropa Magica is the brainchild of brothers David and Rene Pacheco. Their signature sound, much like the East L.A. neighborhood they grew up in, is a melting pot of influences, combining old-school cumbias, ’90s grunge, and psychedelic rock into something completely unique to them. Since coming onto the scene in 2018, the band has gotten the stamp of approval from established acts like Bomba Estéreo, Los Tigres Del Norte and Chicano Batman.

Noteworthy track: “Ojos de Lágrimas”

Eddy

This is set to be Eddy’s year. Born Eduardo Hernández Payán, Eddy first made waves when he was discovered by corridos singer-songwriter Diego Millán (Calle 24) and signed to his Ondeados Mafia label. Last year, he built up a reputation for being an artist to watch in the Regional Mexican space thanks to collaborations with Gabito Ballesteros and Ed Maverick. Now, Eddy is prepping for the release of his debut album, “Náufrago,” later this month.

Noteworthy track: “Ultimo Cigarro”

Nezza

Many of you might know Nezza from her viral moment last summer, when she went viral for singing the national anthem in Spanish at Dodger Stadium — her form of protest against the immigration raids that had been taking place all over L.A. But just take a listen to the Dominican-Colombian singer’s original music, and you’ll see that she’s much more than a viral moment. With her Spanglish lyrics, soulful vocals and glittery production, Nezza has her sights set on international pop stardom.

Noteworthy track: “Tasty”

Bruce Johnston, a six-decade member of the Beach Boys’ live band, announced he will step away from the group.

The 82-year-old Johnston told Rolling Stone that “It’s time for part three of my lengthy musical career! I can write songs forever and wait until you hear what’s coming! As my major talent beyond singing is songwriting, now is the time to get serious again.”

The Beach Boys’ Mike Love also said in a statement that “Bruce Johnston is one of the greatest songwriters, vocalists, and keyboardists of our time. We’ve had the honor of his performance and participation for many many years with the Beach Boys. Change is always promised in life; today we find ourselves in a chapter of change, but not an end.”

Johnston originally joined the group in 1965, filling in as a live vocalist in place of frontman Brian Wilson, and earning a vocal credit on “California Girls.” He left the band in 1972 to pursue solo work, and penned Barry Manilow’s hit “I Write The Songs.”

Johnston returned to the Beach Boys in 1978, and continued to tour as the only member besides Love from the band’s original era. He also wrote several songs for the group, including “Disney Girls (1957),” “Deirdre” and “Tears in the Morning.” Johnston will be replaced by Chris Cron, vocalist for the Beach Boys tribute band Pet Sounds Live.

After Wilson’s death last year, Beach Boys fans still have several occasions to hear the catalog live. Love’s long-running edition of the Beach Boys will play three nights at the Hollywood Bowl over July 4 weekend (which Johnston said he’ll sit in on). Founding member Al Jardine is touring with Brian Wilson’s former backing ensemble, now called the Pet Sounds Band, with a set focused on the1977 LP “The Beach Boys Love You.”

Four hours before Sienna Spiro is due to launch her first U.S. headlining tour, the 20-year-old singer and songwriter from London sits upstairs in the Troubadour’s empty balcony, peering down as several crew members wheel a grand piano onstage.

“The fact that I’m 11-and-a-half hours from home and that this room is gonna be filled with people that have never met me and that I’ve never seen before — that’s just crazy,” she says. “I’m kind of scared.”

The song that brought Spiro to West Hollywood this past Tuesday is “Die on This Hill,” a showstopping pop-soul ballad about staying in a toxic relationship — “I’ll take my pride, stand here for you,” she sings, “I’m not blind, just seeing it through” — that’s been streamed more than 300 million times on YouTube and Spotify since it came out in October. Built around tolling piano chords and Spiro’s titanic vocal, the song hit No. 9 in the U.K. and broke into the Top 20 of Billboard’s Hot 100; last month, Spiro — whose famous admirers include SZA, Mark Ronson and Alex Warren — was nominated for the Critics’ Choice prize at England’s annual BRIT Awards.

With its unabashed emotion and its throwback feel, “Die on This Hill” can be heard as the latest in a long line of melodramatic ballads by young Brits such as Amy Winehouse, Duffy, Lewis Capaldi and Olivia Dean, the last of whom was just named best new artist at the Grammys. Yet Spiro’s voice stands out: Rich and pulpy, with a crack she knows how to deploy for maximum heartbreak, it might be the most impressive instrument to come out of England since Adele emerged nearly two decades ago.

“Sienna is a true artist with the voice of a generation,” says Sam Smith, one more English singer (and former best new artist winner) with a flair for ugly-cry theatrics. Late last year, Smith, who identifies as nonbinary, invited Spiro to join them onstage in New York for a performance of Smith’s song “Lay Me Down.” Spiro, Smith recalls, “blew the room away” — one reason they brought her out again Wednesday night at San Francisco’s Castro Theatre, this time to sing “Die on This Hill” together.

Says Smith of the younger artist: “The world is at her feet.”

At the Troubadour, where she’ll follow Tuesday’s sold-out concert with an encore appearance Friday night, Spiro describes singing as a life calling. “I’ve known what I wanted to do since — honestly, since I’ve been a conscious human being,” she says. Dressed in a black-and-white-striped turtleneck, she has her legs folded beneath her on a wooden bench; her dark hair hangs loose around her face, yet to be styled into the ’60s-inspired do she’ll wear come showtime.

“I always felt a bit invisible,” she adds, whether at school with friends or at home as a middle child. “Not in a victimized way. But I always struggled with that existentialism. Music is the only thing that’s made me feel real.”

Are we to believe that one of pop’s bright new stars was once … kind of a bummer?

“In my own way, yeah,” she says with a laugh. “It’s OK. It happened. Character building.”

Spiro grew up privileged in London, one of four children of Glenn Spiro, a prominent jeweler who counts Jay-Z as a client and pal. Her dad turned her onto Frank Sinatra and Nina Simone and the Italian film “Profumo di donna” when she was little; by age 10 she’d written her first song (“Lady in the Mirror,” it was called) and played her first gig (at a pub not far from Heathrow Airport).

At 16 she enrolled at East London Arts and Music, a performing arts academy she describes as “the up-and-coming version” of London’s prestigious BRIT School, whose alumni include Adele and Winehouse. Her academic career didn’t last long, though: On her first day of classes she posted a TikTok of herself covering Finneas’ song “Break My Heart Again” that triggered a wave of interest from various record-industry types; soon she dropped out and began regularly traveling to Los Angeles to work on music.

Today Spiro says she has a “love-hate relationship” with the town where she estimates she spends half her time. “I’m very English, and I think something about English people is our honesty — you don’t really have to guess what people are saying. What was shocking to me when I came here was that people didn’t say what they meant.

“I was very, very lonely, and it was hard to make music when you feel that,” she adds. “I make sad music, but it’s hard to be a teenager and be away from your family and your friends and be in a place where you kind of have to play pretend being an adult.”

Did suffering among the two-faced liars of L.A. ever lead her to question her commitment to music?

“No. It just made me question how I was doing it. And not everyone’s a two-faced liar. There are some good ones out there.”

Was she ever at risk of becoming a two-faced liar herself?

“Oh, I’m too English for that,” she says. “If I did that, I’d get a slap.”

Sienna Spiro performs this week at the Troubadour in West Hollywood.

(Ariana Drehsler / For The Times)

Spiro started releasing singles in 2024 and quickly signed a deal with Capitol Records; last year she opened for Teddy Swims on the road and turned heads with “You Stole the Show,” a luxuriously gloomy slow jam with echoes of Adele’s “Skyfall.”

For “Die on This Hill,” which she wrote with Michael Pollack and Omer Fedi (both of whom went on to produce the song with Blake Slatkin), Spiro wanted to capture the feeling of “when you go above and beyond just to feel something reciprocated back from someone,” she says. But if the writing came quickly, the recording didn’t: Spiro jokes that she cut “900 different versions” of the song, including one she says sounded like Silk Sonic and another that sounded like Lauryn Hill.

“I was desperate for something up-tempo,” she says, given that virtually everything she’d dropped so far had been a ballad. Yet Fedi pushed her to cut the tune live with just her on vocals and Pollack on piano. They did four takes, according to the producer, one of which forms the basis of the record that eventually came out.

“Very old-school, very human,” Fedi says of the process. “Maybe I’m corny but with Sienna, less is really more. Her voice is so special, so big and upfront, that you just want to put a giant flashlight on it and let it shine.”

In early January, Spiro gave a bravura performance of “Die on This Hill” on Jimmy Fallon’s late-night show; one clip on TikTok has been viewed more than 70 million times. For that appearance, she wore a retro mini dress printed with an old photo of Johnny Carson behind his desk; for a recent performance in the BBC’s Live Lounge, she wore a different dress showing the faces of the four Beatles.

On stage at the Troubadour, her dress features images of the Chateau Marmont and the Capitol Records tower — a bit of setup, she says, for her next single, “The Visitor,” which is due March 13. Spiro has been slowly assembling her debut album for the past two years, but with headlining concerts to play, she’s reaching back for some of her oldies from 2024.

Some, not all.

“To be real with you, some of my early stuff wasn’t the most authentic,” she says as her drummer starts thwacking a snare during sound check . “I was trying to be someone else because I really wasn’t comfortable with myself.”

Can she point to an example?

“‘Back to Blonde,’” she says, referring to a vaguely Lana Del Rey-ish number about a woman who dyes her hair after killing a no-good lover. “I put it out for all the wrong reasons. It was a mistake — an inauthentic move that I regret making.”

What were the wrong reasons?

“It’s a long story, and it’s not very interesting. I didn’t do it because I loved the song — that’s what I’ll say. But at the end of the day it’s my name and I have to stand by it.”

Which is why she’s taking her time on the LP. Some artists her age don’t care much about the album format but Spiro is a true believer. Among her faves: Sinatra’s “In the Wee Small Hours,” Stevie Wonder’s “Songs in the Key of Life,” Adele’s “21” — “a perfect album,” she says — and Billie Eilish’s “Hit Me Hard and Soft.”

“I love an album where you don’t ever question why a song’s on there,” she says. “Where everything feels intentional.”

She doesn’t want to divulge too much about the work in progress. “The problem with me is I have a huge mouth and I give everything away,” she says, which — hey, great.

“No, I know it is for you,” she adds with a laugh. “But not for me, because then when I actually want to do the big reveal, I’ve got nothing because I’ve said it all.”

She will allow one detail: “It won’t be 12 ballads, I’ll tell you that.” She looks toward the ceiling, jiggling her head slightly, as though she’s doing some mental math regarding the track list.

“I mean, there’s a lot of ballads,” she says. “I just love a ballad — I can’t help it.”

New animated sequences of songs from “Encanto,” “Frozen 2” and “Moana 2” are headed to Disney+.

Disney Animation announced Wednesday that “Songs in Sign Language,” comprised of three musical numbers from recent Disney movies newly reimagined in American Sign Language, will debut April 27 in honor of National Deaf History Month.

Directed by veteran Disney animator Hyrum Osmond, “Songs in Sign Language” will feature fresh animation for “Encanto’s” chart-topper “We Don’t Talk About Bruno,” “Frozen 2’s” poignant ballad “The Next Right Thing” and “Moana 2’s” anthem “Beyond.” Produced by Heather Blodget and Christina Chen, the new versions of these songs were created in collaboration with L.A.-based theater company Deaf West Theatre.

“In the majority of cases, we created entirely new animation,” Osmond said in a press statement. “There were a lot of adjustments that we had to do within the animation to be true to the original intention.”

Deaf West Theatre artistic director DJ Kurs, sign language reference choreographer Catalene Sacchetti and a group of eight performers from Deaf West worked together to craft and choreograph the ASL version of the musical numbers for “Songs in Sign Language.” The creatives focused on being true to the concepts and emotion of the songs rather than direct translations of the lyrics.

Kurs said his team jumped at the chance to collaborate and integrate ASL into “the fabric of Disney storytelling.”

“Disney stories are the universal language of childhood,” Kurs said in a statement. “The chance to bring our language into that world was a historic opportunity to reach a global audience. Working on this project was very emotional. For so long, we have known and loved the artistic medium of Disney Animation. Here, the art form was adapting to us. I hope this unlocks possibilities in the minds and hearts of Deaf children, and that this all leads to more down the road.”

Osmond, who led a team of more than 20 animators on this project, said animation was the perfect medium to showcase sign language, which he described as “one of the most beautiful ways of communication on Earth.” The director, whose father is deaf, also saw this project as an opportunity to connect with the Deaf community.

“Growing up, I never learned sign language, and that barrier prevented me from really connecting with my dad,” Osmond said. “This reimagining of Disney Animation musical numbers helps bring down barriers and allows us to connect in a special way with our audiences in the Deaf community. I’m grateful that the Studio got behind making something so impactful.”

Before the onset of YouTube, U.S. parents had very limited options when it came to video programs that helped teach their children Spanish.

There was, of course, the ever-popular Nickelodeon show “Dora the Explorer” and before that, the PBS show “Amigos,” that looked to instill the basics of Spanish into kids across America.

These programs — while useful, innovative and entertaining — never allowed for full-on Spanish-language immersion for viewers, relying heavily on English as their primary tongue.

Now, kid-friendly videos for language acquisition can be found on all corners of the internet with YouTube playing host to the lion’s share of the market, ranging from partially in Spanish to only in Spanish.

The Times spoke to three of the most viewed Spanish-language educators for children on YouTube to see what goes behind creating highly engaging children’s content.

Isa Muñoz — “Aprende Peque”

Isa Muñoz, 33, had known from a young age that she wanted to become a teacher.

Growing up in the Baja California city of Mexicali, Muñoz’s parents worked as teachers, as did many of her aunts and uncles. Seeing how fulfilling her family members’ careers were, she dedicated her life to educating young children.

After graduating with a bachelor’s degree and master’s in special education, she worked as a preschool teacher and a private tutor before one day receiving a call from veteran program producers Alexandra Cohen and Karen Garzon.

Born and raised in Venezuela, but now raising children in Miami, Cohen and Garzon were disappointed after scouring the internet for video tools to help them make learning Spanish fun and effective for their respective children and finding few helpful resources.

To fill this gap in the market, the duo teamed up with their lifelong friend Jessica Rutenberg to create the Spanish-only educational YouTube channel “Aprende Peque.”

As the idea came into fruition, the team searched for the perfect person to be the face of their channel — specifically someone who had experience working with kids and understood how to efficiently communicate with them.

That’s where Muñoz came in.

As part of the auditioning process, she flew out to Miami from Mexicali to try out for the role. The trip resulted in two days of filming which produced three full episodes of the program that included 21 featured songs.

In the almost three years since “Aprende Peque” launched, the channel has gained 1.05 million subscribers on YouTube and posted more than 500 videos, which have amassed more than 500 million views.

The thumbnail of each video features Muñoz’s ever-emotive face, as well as her signature orange-and-white outfit and large orange head bow. More than just adding an energetic face to the videos, she also integrates elements from the latest studies on child education into each episode.

Interwoven between Muñoz’s warm, patient and interactive lessons are musical numbers that range from nursery range to rock to folksy with visuals that fluctuate between grounded and fantastical.

While Muñoz had always envisioned herself as an educator, she wasn’t as ready to be known for singing.

Muñoz works closely with the program’s musical director, Pablo Estacio, to craft the songs featured in each video. The Venezuelan native has served as the bassist and songwriter for the band Bacalao Men for over 27 years and earned a bachelor’s degree in music production and engineering from the lauded Berklee College of Music.

“Pablo has helped me tune, refine and shape my voice to the point that it’s at right now,” she said.

Those musical detours are crucial to breaking up the episodes into distinct sections and provide renewed points of interaction in videos that often last between 40 minutes and an hour.

The process of crafting such long and engaging videos often takes between three and five weeks, Muñoz noted.

“It takes about a week to write one script,” she said. “After that, we film the episode, which takes about 12 hours. Then comes the part that requires the most amount of time, which is editing and integrating any necessary animations.”

The team aims to complete two to three episodes monthly in order to have a constant stream of content year-round.

While making “Aprende Peque” episodes is creatively exhilarating, Muñoz said it’s the fan reaction and interaction that mean the most to her.

“We’re so lucky that our audience has so much love to give and that they send that love through their messages,” she said. “I personally get motivated by knowing that this whole project is actually helping children.

“For a person to reach a point where they believe that the program has worked so well that they feel compelled to write in to thank us is so wonderful,” she said. “That’s something that we’re so thankful for and something that inspires us.

On a personal level, Muñoz has also experienced moments of deep connection with her family thanks to “Aprende Peque.”

“My mom has joined me on several occasions at meet and greets and I’ve seen her shed tears of joy when she sees the impact that the program has had on kids,” she said.

Liz De León — “Spanish with Liz”

In contrast to Muñoz, Liz De León, 39, never really thought of entering the education space before kick-starting her YouTube channel “Spanish with Liz.”

The native Texan was born in El Paso, but spent the first few years of her life just across the Mexican border in Ciudad Juárez. She moved back to Texas for middle and high school before ultimately settling in California for work.

De León was inspired to start her YouTube channel after having kids of her own.

“Once my kids were born, I wanted them to grow up with my culture and my language and the roots that I value so much,” she said.

At first, De León thought she would be able to find plenty of helpful of educational videos online. But much like Cohen and Garzon, she soon found that many of the visual resources out there came up short when it came to teaching fundamental elements of Spanish.

“A lot of it was catered toward only grabbing the attention of the child with a lot of ice cream and candy and sweets and high energy,” she said. “It didn’t teach the true fundamentals of things moms worry about.”

De León’s husband was the one who first suggested that she record herself singing songs that she created to teach her kids. She began to consider it more seriously after a relative told her that her teaching style was similar to the uber-popular kids’ YouTuber Ms. Rachel.

“That’s when I was first introduced to an educator on-screen that I felt aligned with when it came to teaching — with clear pronunciation, a storyline, making sure everything that was spoken was foundational and root words,” she said. “I really liked her format and thought, ‘She’s just a regular person like me and she did it.’ So I just did it.”

Filmed in front of a green screen in one of the rooms of her San Diego home, De León’s videos aim at helping young children learn vocabulary for specific real-life situations.

Donning her signature pink T-shirt and rocking a slicked-back ponytail, she attempts to minimize the stress of things like going to the airport or a dentist visit by introducing kids to the many elements that factor into those experiences. She creates levity in the videos by having colorful animated backgrounds, through the use of puppets and by singing songs throughout.

Raised in a household that put a premium on education, De León had looked at life through the eyes of a student — which proved particularly helpful as a registered nurse specializing in anesthesia.

“If you ask any medical person, they are teachers. Half of your job is education and teaching people how to stay healthy and to take care of themselves,” De León said. “You have to learn to cater to what’s developmentally appropriate to each person. You learn about child behavior, child psychology and the formation of the brain and how they learn.”

Each episode is crafted with two very important subjects in mind for De León: her two kids, who are 4 and 5. As the kids develop, so does the show.

“They are now understanding the episodes at a deeper level,” she said. “For example, we just watched the Halloween episode a couple of months ago and they now understood that October is a month within the year.”

Her children are also her first round of critics and help her understand what works and what doesn’t. Perhaps most importantly, they are De León’s gauge for how engaging her songs are.

“They help me with the music, actually,” she said. “If they don’t learn it and it doesn’t stick with them I know it’s not good enough. Then I redo it. They’re very much my little co-creators.”

One of the reasons “Spanish with Liz” has reached more than 18 million views on YouTube is the obvious care and research that goes into every video. Being a nurse and having a physician husband, De León has extensive access to medical professionals that let her borrow tools and inform her on what they’ve seen be effective methods for working with children.

“Something unique about our channel, is that we’ve thought about the storyline, how we’re gonna say things, the phrases, what works, what doesn’t work, what kids are afraid of and how we’re gonna tackle all that,” she said. “ So much purpose goes into each episode and then we try to borrow the equipment that’s actually going to be used so they can see it.”

And when she doesn’t have an expert on a topic immediately at her disposal, De León seeks out professionals who can thoroughly inform her. For example, when working on an episode about potty training, she took a class from two potty training experts.

Being that making videos is her third job behind being a nurse and a mom, time is a fleeting asset for the YouTuber. Because of that, each video takes about two months to create from start to finish with De León serving as the writer, director, songwriter and preliminary editor. She is aided by her husband who helps record and occasionally functions as a puppeteer, an additional editor, a composer, a designer and a babysitter, whose help allows her the time to record.

But having a team like that doesn’t pay for itself and that’s where De León’s more than 78,000 YouTube subscribers come into play.

According to the content creator, all the money made from the channel goes into paying for the fees associated with production and the rest goes to donating to three different charities — one that helps immigrant families in the U.S.; another is an orphanage in Mexico; and the final one is World Central Kitchen, which provides food relief in response to humanitarian, climate and community crises.

De León still often finds herself shocked that she’s able to have a platform that helps empower people to achieve new goals and that she’s touched so many lives through her videos.

“Isn’t it crazy that YouTube can change someone’s life?” she asked. “I think of all the artists that came up from putting their music out there on YouTube. I feel like it’s a place the whole world can tap into, mostly for good.”

Miss Nenna — “Spanish for Minis”

From her early days of growing up in the L.A. area, Miss Nenna, 32, felt a deep connection to the universal language of math. So profound was her interest that she obtained a bachelor’s degree in civil engineering and now works at a utility firm in the San Diego area.

As an eighth grader, when she served as a math tutor, Miss Nenna thought about what went into becoming an effective teacher.

“I thought about how I could help someone learn to understand it and make it fun,” she said. “So it was always really fun trying to figure out what worked for some students and what what didn’t work for others.”

She has since taken that ethos and turned it into the YouTube channel “Spanish for Minis,” which has 289,000 subscribers and has amassed over 31 million views. As is popular in the genre, her videos are broken into segments that involve a mix of direct instruction, interactive conversation and exceedingly catchy sing-alongs.

Just like with De León, Miss Nenna first got into the video-making game based on a suggestion from her husband made back in 2022.

“He saw a lot of potential in me because I have a bubbly personality around kids,” she said. “He mentioned I should try teaching Spanish and science to kids and added that it would benefit our child.”

It wasn’t until the couple’s 16-month-old son was diagnosed with speech delay that she really got serious about making videos so that her son could interact with her when she was away.

When the project first began, Miss Nenna had no experience with shooting and editing videos.

“I just sat with my husband and we’d watch videos on how to edit, how to use different graphics, how to make sure it’s OK for us to use certain songs,” she said. “So a lot of trial and error and a lot of research, since it’s just the two of us.”

“Spanish for Minis” videos are filmed at the couple’s residence in front of a green screen and each episode takes about 40 hours to complete.

“None of it is ever scripted. I kind of just set the camera myself and all the lighting,” she said. “I get a basket and I put a bunch of toys in it from my kids’ playroom, then I walk into a room and I record myself.”

While filming, Miss Nenna imagines that she is speaking directly to her almost-4-year-old son or 1-year-old daughter in order to make sure she’s in the right headspace.

The topics of the videos aim to evolve with the ever-changing needs of her son. Most of the earlier “Spanish for Minis” videos were focused on babies and now they have transitioned into content for toddlers.

Production on Miss Nenna’s videos has slowed down in recent months as she has focused her time on raising her children, but she has goals to put out two videos each month in 2026.

One of the more rewarding aspects of “Spanish for Minis” is the interactions that Miss Nenna has with parents and children who watch the program.

“I get messages every day, and I try my best to respond to as many as I can because I love connecting with the parents online,” she said. “I also have Cameo where I make personalized videos. Those are a lot of fun because I always message the parents and it’s like, ‘Hey, give me every single detail about what your kid loves. I want to make sure this is a really personalized video and that they enjoy it.’”

The 2026 original song contenders come from deep inside the characters singing them: a simple man wistfully looking back on his ordinary life; a budding bluesman with talent to burn down the house; a 17-time Oscar nominee; a demon-hunting K-pop star channeling the real-life singer-songwriter behind her; and a joyous expression of life from inside a documentary’s main “character,” a retirement home for musicians.

‘Dear Me’ from ‘Diane Warren: Relentless’

Music and lyrics by Diane Warren

Diane Warren in “Diane Warren: Relentless.”

(Don Holtz)

When 17-time Oscar nominee Diane Warren agreed to be in a documentary about her life, she found herself back in her childhood home in Van Nuys — specifically the bathroom where she wrote songs as an angsty teen.

“The acoustics in that bathroom were always great,” she says. “It was cool to go back and look at the bedroom window I used to sneak out of. I’m always connected to that 14-year-old me, with a guitar my dad bought me.”

Inspired by the documentary’s examination of her troubled youth, Warren wrote an “It gets better” ballad sung by Kesha: “Dear me, it’s gonna be all right, all right / Trust me, all of the pain is gonna fade.”

“I get notes from all ages; the song makes them feel like they could hug the little kid inside them,” says Warren. “It’s a love song to your younger self.”

‘Golden’ from ‘KPop Demon Hunters’

Music and lyrics by Ejae, Mark Sonnenblick, Joong Gyu Kwak, Yu Han Lee, Hee Dong Nam, Jeong Hoon Seon and Teddy Park

A scene from “KPop Demon Hunters.”

(Netflix via Associated Press)

Though “Golden” went to No. 1 and has been winning awards, singer and co-writer Ejae still connects “one hundred million percent” to its painful roots in her own, frustrated K-pop dreams.

She related to the film’s protagonist, Rumi, a monster-fighting singer who is secretly part monster herself. “She has this side that she’s so ashamed of, that she was born with. I struggled with my own demons that I was ashamed of, growing up in the K-pop industry, [harshly critiqued for] my physical appearance, my voice, my personality.

“Even when writing ‘Golden,’ things were just not happening. It was a really bad time.”

Yet the hit is a catchy K-pop banger.

“It was very cathartic,” she says. “I remember crying while recording the demo. I was desperate.

“Now when I sing it, it’s a different feeling. I was able to reach a dream, and it makes me feel like this is who I was meant to be.”

‘I Lied to You’ from ‘Sinners’

Music and lyrics by Raphael Saadiq and Ludwig Göransson

Miles Caton, center, in “Sinners.”

(Warner Bros. Pictures)

Ryan Coogler’s “Sinners” features a central moment of musical ecstasy. Emerging bluesman Sammie plays a song he wrote as a confession to his pastor father, a paean to the music he loves. As the juke joint crowd responds, he loses himself in the timeless transcendence artists hope for.

Co-writer Ludwig Göransson says, “It doesn’t happen very often, but you have those experiences when you really are getting into the music and time and space disappears. Ryan’s not a musician, but it was written like he’s been in that position.”

In cosmic communion, practitioners of Black music from many eras appear to Sammie, the joint’s roof combusting in his mind. Göransson assisted in the Dolby Atmos mix, moving the music and sound around spatially as the camera travels.

Co-writer Raphael Saadiq says, “Sammie’s father felt secular music was devil music. Even today, you have people who go to church who don’t listen to the blues [for that reason], but deep down inside, they love it because it’s something we inherited from our ancestors.”

‘Sweet Dreams of Joy’ from ‘Viva Verdi!’

Music and lyrics by Nicholas Pike

Milan’s Casa Verdi, a retirement home for musicians depicted in “Viva Verdi!”

(Viva Verdi! LLC)

Even those who know little about opera have heard of Giuseppe Verdi. What many don’t know is one of his most enduring accomplishments is Casa Verdi — a retirement home for musicians. Yvonne Russo’s documentary “Viva Verdi!” captures the vibrant life inside its walls, expressed in the aria “Sweet Dreams of Joy,” sung by soprano Ana María Martínez and composed by Nicholas Pike.

The filmmakers “sent me this 12-minute assembly, kind of like a teaser, and that’s all I saw,” says Pike. “The passion, the vitality of these residents, the mentoring of young, up-and-coming artists … I went over to the piano and wrote the song.”

He says the whole thing took about a day to craft, with its contemporary piano figures and classical vocals, imbued with the vivaciousness of Casa Verdi’s residents.

He wanted to capture the footage’s “energy and life and hope. We’ve all been to retirement homes; they can be pretty down places. This is 180 degrees from that.”

‘Train Dreams’ from ‘Train Dreams’

Music by Nick Cave and Bryce Dessner; lyrics by Nick Cave

Joel Edgerton in “Train Dreams.”

(Netflix)

When “Train Dreams” star Joel Edgerton called Nick Cave to work with composer Bryce Dessner on a song for the film, the postpunk poet and art rocker was on holiday, avoiding the “attendant agony” of songwriting. But Denis Johnson’s book happened to be a favorite of Cave’s.

Edgerton sent him the film. Cave says, “I sat up in bed and watched it with Bryce’s gorgeous score and fell asleep and had a kind of fever dream with all the images of this extraordinary film, and woke up with the lyrics fully formed, which is extremely unusual for me.”

He went to the hotel’s breakfast room, where there was a piano. “It all just sort of poured out of me. The melody and the lyrics fit perfectly to Bryce’s score.”

The song expresses “the inarticulate wonder at the world that the lead character has. There’s this chordal thing after the refrain, that rises up — an expression of that wonder, rising out of the grief.

“‘This has been going on for years … I can’t begin to tell you how that feels.’”

Willie Colón, a legendary trombonist and pioneer of salsa music, has died. He was 75.

His death on Saturday was confirmed in a Facebook post by his longtime manager, Pietro Carlos.

News of the singer’s condition circulated on the web in recent days. Yonkers Voice News reported Colón was admitted to NewYork-Presbyterian Westchester hospital in Bronxville, N.Y., on Tuesday with respiratory problems and he appeared fragile.

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Born William Anthony Colón Román on April 28, 1950, to Puerto Rican parents in New York City, Colón first picked up the trumpet in school. It seemed like a natural choice for the former bugle-playing Boy Scout, who attended the youth program at the suggestion of his grandmother.

“So I could learn how to be a good boy,” said Colón in a 1988 interview with Associated Press.

By age 13, Colón had started a band and played at some weddings and in the bustling nightclubs of New York City. At one point, he forged a cabaret card, a mandated ID for musicians and entertainers between 1940 and 1967 who worked in establishments serving alcohol, which required individuals to be 18 years and older.

The thrilling 1960s Latin music scene in New York consumed Colón, who was deeply inspired by Latin jazz pioneer and bandleader Eddie Palmieri, once part of a main act at the Palladium Ballroom who went on to form La Perfecta, a Cuban conjunto that revolutionized the New York Latin music scene with its inclusion of two trombones, played by Barry Rogers and Jose Rodriguez, instead of the costly four-set trumpets.

But Colón’s instrumental preference changed once he heard the bodied timbre of Mon Rivera’s all-trombone brass lineup marching to a bomba beat. “It would knock my socks off,” said Colón in a 1988 interview with Associated Press, leading the singer to teach himself how to play the instrument.

By age 15, Colón was signed to Fania Records. Two years later at age 17, he went on to release his debut album, “El Malo,” a record that defined the fierce sounds of New York’s salsa scene, which Colón later described as the Latin equivalent of rap.

According to his former label, the name of “El Malo” was bestowed upon Colón by older musicians who sought to mock his trombone range at the time, though the young bandleader would find a way to use the label to his advantage.

On the LP, Colón’s sound moved away from the polished mambo sounds of orchestral bands decades prior, in large part due to Puerto Rican singer Héctor Lavoe, whose vocals can be heard in tracks like the gritty “El Malo” that vows to knock out any wanna-be street phony.

The pair would go on to record a total of 14 albums through 1973, with Lavoe’s talents for improvisation complementing Colón’s raw, aggressive trombone.

“Salsa came from the same kind of situation that rap does,” Colon said in a 1992 interview with The Times. “It was kind of a hybrid of a bunch of different elements. Hector had just come from Puerto Rico and didn’t speak English. I didn’t speak much Spanish, I was a little New York kid. We got together and just started with the same kind of irreverent, rebellious attitude, writing songs about the baddest guy on the block, drugs and sex. Before that, the lyrics and whole attitude of Latin music was, ‘Look at me dance, listen to those drums, I’m cutting sugar cane.’ It was a rural, folkloric emphasis; we changed it to an inner-city kind of culture.”

Colón’s impact went beyond live music. The album cover of “El Malo,” which showed two serious profiles of Colón, depicted the singer as a sly bad boy, and ultimately gave rise to his gangster persona, which would be a throughline in future projects, including his sophomore 1968 album, “The Hustler” which featured the band with fitted suits, smoking cigars and placing bets in a pool hall. His 1970 album “Cosa Nuestra” featured Colón smoking a cigar while overlooking a dead body in broad daylight in Manhattan’s East River Bikeway. Most famously, his 1971 album, “La Gran Fuga,” depicted the singer on a fake FBI “Most Wanted” poster.

These mob-like depictions occurred long before cult-favorite films like Francis Ford Coppola’s 1972 “The Godfather” and Brian De Palma 1983’s “Scarface” became the prominent gangster storylines various male acts venerate in their music.

By 1973, Colón and Lavoe split — allegedly due to Lavoe’s drug addiction leading to many missed concert performances — although the two would remain frequent collaborators until the latter’s death in 1993 due to complications of AIDS.

The Nuyorican musician would introduce Blades as the new singer of his orchestra, whom he had met years prior while visiting Panama during carnivals. They collaborated briefly on Colón’s 1975 LP “The Good, the Bad, the Ugly,” cementing their partnership in the 1977 album “Metiendo Mano,” which delved into socio-political themes, notably in their track “Pablo Pueblo,” which shares the story of a working class man with broken dreams halted by toils of daily life. Other tracks like “Plantación Adentro,” detailed the story of Camilo Manrique, a fictionalized enslaved character who died at the hands of a Spanish colonizer in 1745.

Many considered this album Colón’s first foray into intellectual salsa — in large part because of Blades, who had a knack for storytelling and political interests (he unsuccessfully ran for president of Panama in 1994) — that addressed colonialism and class disparities. Together they released three albums, including their 1978 “Siembra,” one of the bestselling salsa albums at that time; from the start, their track “Plastico” fused the popular disco music of the moment while addressing superficial beauty standards and colorism in Latin America.

According to 1996 reporting by The Times, “Siembra” delivered pulsating salsa rhythms that “carried messages of freedom at a time when most of Latin America was oppressed by military dictatorships.”

By 1982, Blades and Colón parted ways, but they collaborated again on projects like their 2005 LP “Tras La Tormenta” — which led the bandleader to sing for the first time in his career, “I had to start from zero, and it took me many years to feel comfortable,” Colón said.

This newfound independence gave rise to some of Colón’s most famous songs, including his 1995 track “Talento de Televisión,” an upbeat song with his signature trombone wailing in the backdrop as he sang about an attractive woman with a lack of talent.

Many across Latin America might be familiar with his 1989 song “El Gran Varon” — which narrated the story of a trans woman who is rejected by her father and presumably dies of AIDS — a landmark salsa song that brought awareness to LGBTQ+ themes during the AIDS crisis. Colón would later serve as a member of the Latino Commission on AIDS. “El Gran Varon” is an anthem to this day.

Colón released more than 40 albums in all.

He also acted, taking roles in films including 1982’s “Vigilante,” the 1983 sports drama “The Last Fight,” as well as one-episode stints in TV shows like “Miami Vice” and “The Cosby Show.” He was even featured in Bad Bunny’s “Nuevayol” music video, cutting a slice of cake; the 31-year-old superstar pays homage to the singer in its lyrics: “Willie Colón, me dicen el malo, ey. Porque pasan los años y sigo dando palo”/ “Willie Colón, they say I’m bad, because the years come and I’m still hitting.”

In his later years, he became more involved in politics. In 1994, he unsuccessfully went up against U.S. Rep. Eliot Engel of the Bronx in the Democratic primary. He also ran as a Democrat for Public Advocate in 2001, focusing on community issues, education and AIDS awareness, but failed to gain the popular vote. In 2008, he endorsed Hillary Rodham Clinton over Barack Obama in the primary election.

On May 26, 2014, after graduating from Westchester County Police Academy, Colón was sworn in as a deputy sheriff for the Department of Public Safety, later becoming deputy lieutenant.

As President Trump took office in his first term, Colón’s politics shifted in support of the right-wing candidate, and he said he would be open to performing at his inauguration in 2017.

Billboard magazine named him one of the most influential Latino artists of all time in 2018.

Colón is survived by his wife, Julia Colón, and his four sons and grandsons.

A sparkly pink electric guitar hangs on a wall of the recording studio where Hilary Duff made her new album. The cozy, gear-filled joint near the Van Nuys Airport belongs to her husband, Matthew Koma, who produced “Luck… or Something,” the singer and actor’s first LP in more than a decade. But as Duff points out on a recent afternoon, the paisley-print guitar is all hers.

“I got it for my 16th birthday,” she says proudly — a gift from the Fender company. “I found it in the storage unit and Matt was like, ‘Oh, that’s going up there.’”

Before Miley Cyrus, before Sabrina Carpenter, before Olivia Rodrigo, Duff arrived in the early 2000s as a Disney kid with pop-idol ambitions. She broke out in the endearingly awkward title role of the Disney Channel’s “Lizzie McGuire” then went on to star in family-friendly movies like “Agent Cody Banks” and “Cheaper by the Dozen.” By the time she received that guitar, she’d topped the Billboard 200 with her album “Metamorphosis,” which sold 4 million copies and spawned hit singles like “So Yesterday” and “Come Clean.”

Duff stepped away from music for most of her 20s to focus on acting and starting a family. (An attempted comeback album in 2015, “Breathe In. Breathe Out.,” didn’t really go anywhere.) Now, at 38, she’s returned with a bracingly honest record full of the texture and detail of her life as a wife, sister and mother of four.

In frank yet wordy songs that layer guitars and synths over shimmering grooves, Duff sings about trying to overcome old habits and about her fear that her best times are behind her. “We Don’t Talk” appears to address her estrangement from her older sister, Haylie, while “Weather for Tennis” describes her tendency to keep the peace as a child of divorce. In “Holiday Party,” she recounts a recurring dream in which Koma cheats on her with her friends.

“I wake up in a rage and he’s like, ‘I didn’t do anything!’” she says with a laugh. “And I’m like, ‘But you want to.’ A lot of this stuff came out of the hormonal boom of: I’ve just had a baby and I’m nursing and I’m trying to get my two feet back on the ground again.” (Duff and Koma have three daughters aged 7, 4 and 1, while Duff shares a 13-year-old son with her ex-husband, former hockey player Mike Comrie.)

Asked how he hopes the album fares commercially, Koma says, “I don’t [care]. Public perception or sales, that’s all cool, but it’s a separate experience from why we did it.” The producer, who’s known for his work with Zedd and Shania Twain, adds, “The whole purpose was to make something that Hilary could feel good about stepping into.”

Yet early-2000s nostalgia led to a recent run of sold-out theater gigs, and this summer it’ll carry her into arenas around the world, including Inglewood’s Kia Forum on July 8 and 9. (Less happily for Duff, it also made a viral sensation of an essay in the Cut by her fellow millennial Ashley Tisdale in which Tisdale wrote about leaving a “toxic mom group” that allegedly included Duff and Mandy Moore.)

Curled on a sofa in the studio’s control room, Duff says, “I’m finally at this place where I’m zero percent ashamed of my past and any of the things that used to embarrass me” — one reason she made the bold choice to open her set at the Wiltern last month with two of her biggest hits, “Wake Up” and “So Yesterday.”

After those songs came “Roommates,” perhaps the most vulnerable track on Duff’s new album. It’s about navigating a dry patch in a marriage, and the language is as vivid as it is unsparing: “I only want the beginning / I don’t want the end,” she sings, adding that she longs to be in the “back of a dive bar, giving you h—.”

A surprising word choice.
How would you have said it? Sometimes you need to make the lyrics fit — you need it to rhyme with something. [Laughs] It’s meant to be polarizing because it’s such a desperate plea. I can say I haven’t actually given h— in the back of a dive bar. But it’s just trying to capture the feeling of a time when you felt alive.

Like all teen stars, you had to figure out how to grow up and talk about sex as a public figure. Now there’s the idea that it’s better left to the young.
I finally feel like I know a lot about sex. My whole 20s, sex was not always enjoyable — it was so much to figure out. Now I finally understand it. Maybe that’s a female thing, but I’m not ready to be put out to pasture. People come up to me all the time and they’re like, “Wow, you aged really well.” I’m like, “I’m only 38! Just because you’ve known me since I was 9…”

You’re handling senior citizenship well.
When do I start getting the discounts? I feel like 38 is not old, although when I thought about my parents at 40, they looked so different than we look now.

I always stop at those TikToks where it shows what 35 looked like in 1982.
I don’t think anyone drank water back then. They were, like, dusty-crusty.

Hilary Duff, left, and Matthew Koma at Apple Music Studios in Los Angeles in December.

(Amy Sussman / Getty Images for Apple Music)

You borrow the chorus of Blink-182’s “Dammit” for your song “Growing Up.” Why?
Blink is one of my favorite bands. I remember getting my driver’s license, and that was what was playing on my iPod. “Growing Up” is such a deeply personal song to me, talking about sitting in the backyard with one of my best friends and just needing to drink too much wine and unload about life. But it also feels like a love letter to my fans. I don’t like saying that word, but I genuinely feel like I’ve had fans for 25 years, and getting to see them now in adulthood — I didn’t know I was going to have this opportunity.

What’s the problem with “fan”?
It puts me on a pedestal that makes me feel uncomfortable. If you were to talk to Matt or someone close to me, they’d probably say, “Hilary doesn’t understand what she’s meant to some people.” And I think that’s true. When I think of myself, I’m not like a grand pop star — I feel more like a woman of the people.

A woman of the people?
Am I allowed to say that? [Laughs] Is that offensive in any way? My feet hit the ground in the morning, and I’ve got a million things to do. Sometimes my baby’s still sleeping. And I have a teenager to get ready for school that we’re always all waiting on.

Why do you have four children?
I know — we’re sick.

Did you expect to have four?
I thought I would have at least three. I always wanted a big family because I come from a super small family and I always wanted more siblings. I had Luca obviously pre-Matt, and then we had Banks before we got married. Then the pandemic hit — we had a pandemic baby like everybody else. The fourth was just a crazy-a— decision. Matt was like, “Everybody’s gonna think we’re really Christ-y if we go for No. 4.” We also have three dogs, two cats and eight chickens.

As two artists, how do you sort out the work of child-rearing?
I don’t know if I’ve actually said this out loud — to Matt I have for sure — but I think that part of my wanting to make a record was coming out of having my fourth child. I love motherhood, obviously — I wouldn’t have four kids if I didn’t. But I think I felt really jealous that he got to go to work every day and just be alone with his thoughts. I was like, I need to stretch. That’s what it felt like after the fourth baby: I’m either gonna lose myself completely and just become a stay-at-home mom and wait for the phone to ring, or I’m gonna go make something that moves me.

You don’t need me to tell you that our culture is always happy to make moms feel guilty. Was it a journey to accept that it’s OK to do something for yourself?
That’s what the healthy part of the brain says. But the other part that’s wired to be with the children you birthed — sometimes that part overshadows it. And it’s very hard to fight that. I could probably cry right now thinking about all the things I’m gonna miss this year.

Hilary Duff in the studio where she recorded her new album.

(Jay L Clendenin / For The Times)

You’ve got a line in “Roommates” where you say, “Life is life-ing and pressure is pressuring me.” At the shows you just played, did you think of your audience as being at the same place in life as you?
For sure. When they were scream-singing it back to me, I was like, “Oh, you know.” That doesn’t mean you have to be a parent. “Life is life-ing” is the bills and the monotony and the traffic and the family — it’s all the things. I knew that if it’s bumping around inside my head, and I’ve been living a pretty normal life for 10 years — normal as I can get — then people would see themselves in it.

Twenty-five years ago, you were playing to 10-year-olds. Would a 10-year-old today be interested in your new songs?
I don’t think so. But I mean, I used to sing Natalie Imbruglia’s “Torn” all the time, and I had no idea what it was about.

The last decade has been a golden age for young female songwriters: Taylor Swift, Billie Eilish, Olivia Rodrigo.
You forgot Chappell Roan.

“Luck… or Something” feels aligned with that deepening craft. But maybe your early stuff felt sophisticated to you.
I don’t think the intent back then was sophisticated songwriting. There was no Taylor Swift yet — it’s like before Christ and after Christ.

She changed the game?
On all the levels.

How’d you end up on Atlantic Records? I wondered whether this was a product of personal friendships — the Elliot Grainge and Sofia Richie and Good Charlotte of it all.
We’re more personally friends with them now. I finished making the record and for the first time ever was like, “It’s done — do you like it?”

You weren’t looking for notes from the label.
I’m not saying I didn’t have meetings with A&R. But pretty much the record was created, and that was that. I didn’t go shopping anywhere else, which was fantastic because I hate a dog-and-pony show.

Did you feel like you’d been chewed up by the record industry in any way?
After “Breathe In. Breathe Out.,” it was very easy to be like, “RCA forced me to lead with this song when I knew it should’ve been this song.” But that was me not having [courage], you know what I mean? It was a joint effort of [messing] it up. But I learned a lot from that. I don’t think I would’ve made this record if I hadn’t fumbled the ball a little.

The story about the toxic mom group blew up just as you were launching this album. Did that experience give you pause about reentering the pop world?
I mean, this is not new for me. I’ve had this since I was maybe 15 and starting to get followed around by paparazzi. Everything starts getting documented and everyone knows my life and all the players in it. So the stories that get news pickup — it’s not what happens to a normal person who maybe became an actor as an adult. And now it’s escalated by the talking heads on TikTok that need clickbait. It’s hard because you’re like, “Wait, whoa, that person kind of got it right,” and “Whoa that person doesn’t know what they’re talking about.” I saw something that was like, “None of the moms at school actually like her and neither do the teachers,” and I was like, “First of all…”

Is it hard or easy for you to tune out —
By the way, the women at school are lovely and I’m obsessed with all of them.

But can you ignore the chatter about you on social media?
It just depends on the day. Knowing that I get to open up the backdoors and play soccer as a family and take a hot tub and go get our chicken eggs — that’s the purpose of life. On the days when crazy s— happens, I go home and quiet the noise.

Jesy Nelson’s documentary has brought the X Factor winners back into the spotlight – but what are they up to these days?

Little Mix’s unexpected split has come back into conversation following Jesy Nelson’s recent admission that another band member tried to walk away first.

Fans of the iconic group were left heartbroken when Jesy announced she was quitting the band in 2020, citing mental health reasons.

She left her bandmates Leigh-Anne Pinnock, Perrie Edwards and Jade Thirlwall to continue carrying the torch, but they soon went on a hiatus in 2022.

The X Factor winners’ legacy is still carried by their catchy tunes, which still attract over 16 million monthly listeners on Spotify.

In light of Jesy sharing behind-the-scenes truths about the band, let’s take a look at where they are today.

Jesy Nelson

Jesy has recently opened up about her life since leaving the band in a new Prime Video docuseries, Life After Little Mix.

The 34-year-old had a short-lived solo music career because her first single sparked backlash. She released ‘Boyz’ featuring Nicki Minaj in 2021, and followed it up with a music video.

Fans accused Jesy of ‘Blackfishing’ in the video, which featured her wearing makeup and fake tan that they claim made her appear Black or mixed-race. This scandal caused so much headache for the star that she vowed to never return to music in her new documentary.

Outside of music, Jesy was in a long-term relationship with ex fiancé Zion Foster, which came to an end earlier this month. The former couple welcomed twin daughters Ocean Jade and Story Monroe in May 2025.

Following their birth, the singer discovered they had a life-threatening condition called Spinal Muscular Atrophy (SMA) Type 1. The rare genetic condition causes progressive muscle weakness. Jesy is now campaigning to raise awareness about the condition.

Perrie Edwards

Perrie focused on her family life following the group’s hiatus in May 2022, as she had just welcomed her first son Axel months prior.

The 32-year-old has since welcomed daughter Alanis with footballer fiancé Alex Oxlade-Chamberlain. But she hasn’t forgotten about music. The mum-of-two released her debut album ‘Perrie’ last year and dropped new single ‘Woman in Love’ earlier this month.

Her first album featured the ballad ‘Same Place Different View,’ which is widely understood to be about her former bandmate Jesy.

The lyrics delve into the pain of losing a close friendship and how these losses can be just as devastating as romantic break ups.

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Leigh-Anne Pinnock

Leigh-Anne also married a famous footballer named Andre Gray. The couple share twins but have kept their identities private.

As for her music career, Leigh-Anne has just dropped her first studio album ‘My Ego Told Me To’ and will be touring this April.

Announcing her tour to fans, she wrote: “I’m going on tour baby!!! I can’t tell you how excited I am to perform this album live for you! Get me back to my happy place nowww! This one’s going to be so special!”

Jade Thirlwall

Jade is also embarking on a tour, which spans across the UK, Europe and the US. It comes after her first album ‘That’s Showbiz Baby!’ dropped in September.

The 33-year-old bagged two BRIT Award nominations for Best Pop Act and Artist of the Year following her debut.

As for her personal life, Jade is in a long-term relationship with Rizzle Kicks members Jordan Stephens.

Jesy Nelson: Life After Little Mix is streaming now on Prime Video.

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