After a pandemic and two years of a partial retreat from music, GRAMMY-nominated singer J Balvin returned to U.S. stages on March 20. The opening night of his Back to the Rayo tour in Atlanta proved why the Medellín, Colombia native is one of the global icons of Latin music.
The two-hour concert centered on Balvin's story through four acts: a journey through time across his career, inspired by the movie Back to the Future. The superstar performed his greatest hits alongside a tribute to the icons of salsa and reggaeton, alongside a new generation who continue to carry Colombia’s name and music to the world.
The 27-date Back to the Rayo tour will conclude on May 17 in Portland, Oregon. The star recently announced his homecoming show, Made in Medellín – Ciudad Primavera, scheduled for Nov. 29, marking his first hometown performance since 2019.
His tour and latest album, Rayo (released in August 2024), center on the nostalgic figure of his first car. That Volkswagen Golf was the vehicle in which Balvin dreamed of sharing his music with the entire world two decades ago.
"I paved the way for reggaeton in Medellín," Balvin tells GRAMMY.com. "I would drive to different schools, clubs, and universities in that car. I would go out and sell the CDs I had in the car. I also sold clothes that I kept in the trunk. [Rayo is] a story of a boy from Medellín fighting for his dream. And symbolically, the car represents that moment."
Rayo is more than a return to Balvin's roots; the LP was the five-time Latin GRAMMY winner's first since 2021. Rayo arrived after two years of reflection and silence following a series of viral controversies, including a diss track from Residente against the Colombian star.
In Rayo, Balvin’s seventh LP, the singer shows maturity in his lyrics. Musically, the production draws on nostalgia and infuses it with a dynamic blend of his globally known reggaeton with genres such as dembow, electronic music, and even música Mexicana, resulting in one of his repertoire's most vibrant and diverse productions. Rayo was nominated for Best Música Urbana Album at the 2025 GRAMMYs.
Balvin spoke with GRAMMY.com about the inspiration behind Rayo, his brief hiatus from Latin music, and his upcoming projects.
This interview has been edited for length and clarity.
Rayo, represents a reconnection with your inner child. How did that nostalgic concept shape your sonic choices, and were there particular sounds you selected to evoke the moment when your father gifted you your first car?
I was looking for a way to enjoy music as I did as a child. I had no expectations about numbers or anything like that, but [that] my mom, my girlfriend at the time, or my friends would like my songs. This album is very honest because I made it for myself. People connect because you stay true to what you do. That's what makes you different.
Often, as artists, we think about what people want to hear, but possibly, what they want to hear is what you want to choose as an artist. That's what happened with this album; I was indulging myself. I felt at peace when I listened to the album, enjoyed it and thought I had created my best version.
The album features a rich fusion of genres: reggaeton, dembow, and even Mexican music with Carín León. How did you achieve that cohesion with all the diverse rhythms in the album?
Collaborations have to be organic. There must be a lot of respect and admiration from both sides. I had people from the new generation [of reggaeton artists] like SAIKO or Zion, who is one of the OGs, then Carín León, who is a new star of Mexican [music], and Luar [La L], who is one of the new Colombian artists who is making waves. I made the album without thinking about the industry.
Do you feel free from the industry's influence while creating this album?
Yes, but now I feel even more liberated.
Why?
I hadn't released an album in three years, and I was still chasing numbers and sales records. At one point in my life, I got used to everything being about being number one.
I took a two-year break, a decision that also had its consequences. But in the end, I've continually reinvented myself, and this definitely won't be the exception. We're showing up with a new season and returning with a tour in the United States that we're enjoying a lot, but there's still pressure because you want to give the audience your best.
How do you adapt your sound to create space for such different voices while not losing that signature that makes you authentic?
What we do is make songs for ourselves. But we think about who might sound good on a song, so we're not working with the bias that it has to sound like a particular artist. Instead, we record, have a good time, and then see who would sound good on each track.
In Carín León's case, he sent me ideas; among them, he sent me the [song] we did, and I loved it. I listened to it and said,Wow, I see myself [collaborating on this track]. With Carín, since it's a different field, I must be more careful and respectful. I can't just apply my flavor to genres I don't master. But if I let myself be guided and know how to choose the moment and where to participate, we'll create a winning track.
The track "Doblexxo," featuring Feid, captivated global audiences and became your 37th No. 1. You are longtime collaborators and have a close relationship. Why do you think your fans enjoyed this collaboration so much?
We hadn't done a song together in about three years. Ferxxo [Feid] is at his best moment. We both come from Medellín. I've seen his process as a composer up to today. [This song is] a celebration of our movement from Colombia, his discipline, and his perseverance.
Did you sense that with Rayo, you were closing or beginning a chapter of your life?
Good question. I think I was closing one, leaving the child behind. I'll never leave it behind entirely because I'm a child forever, but leaving that nostalgia and returning to a much more mature and stronger J Balvin without losing the child's soul. There was a musical reinvention that began with "RIO," the song we released recently, and from there on, it's like a new season, a new movement, more agile, faster, stronger.
You use the lightning bolt [rayo, in Spanish] as a symbol to identify your brand. Why?
Because we are energy, all thoughts are energy. We need energy to move. You have to put energy into life. Food gives us energy. Breathing gives us energy. Water gives us energy. Dreams are energy. A person vibrates with us and provides us with energy. The universe is built of energy. [The symbol] has always been there, but sometimes you don't see it.
You took two years of silence to do what could be called shadow work. Was there any moment during that reflection period that was challenging for you?
Yes, all the time. There was a moment when I had a really bad time with various public situations; some [of these situations] were sought after, others not. That forged my character. I had a really tough time, but tests are meant to be overcome, and it's over now.
I’m embracing our vulnerability as human beings and learning from it. I continue to make mistakes, as any human does. I possibly have more flaws than others, but it wasn't easy to give myself that break then. I didn't leave social media per se, but I was doing shadow work. I was touring Europe and making music, but I stepped away from the Latin and U.S. public eye.
What did you learn about yourself in this process?
This learning is a bit complicated because, truthfully, my problem is opening my heart quickly to people who approach me, but I don't want to close it either. So, I became more selective with the people around me, who I talk to, and who I can trust. Before, I opened myself to everyone and shared my fears and worries.
I put on armor, and little by little, I'm returning to my essence. I'm neither the best nor the worst, but I have nobility. Nobility will always be part of something I can't fight against because it's part of my essence. And the moments I had, moments of diss tracks and all that, it's like I'm not good in the bad guys' field. Everyone has their field. I'm good at giving light and elevating, not at giving darkness. A good person in the world of evil people will always lose.
"Rio" is one of the most beautiful songs in your repertoire; it's also your son's name and a letter to your partner, Valentina. In the track, you express gratitude for the mistakes made. How did you approach looking inward and reflecting it in this song?
I think it's not planned. The music comes on, the beat, the instrumentation, and suddenly, a word opens up a universe, and that's where we went with the guys. It's been beautiful because it's the year's first release, and more than numbers, it has created something more important: connection.
We wanted a reggaeton that isn't usually heard, not to go against the grain, but simply because my message was genuine. That's where people connect.
How is the emotional honesty with which you now express yourself in interviews, with which you are in this new stage, reflected in the lyrics of Rayo?
I won't become a saint or the Pope because that's not what it's about. There has to be perreo, sandungueo, and everything. [I gave] what I feel I like most about reggaeton. I'm being more careful with the things I say. Some words don't come out anymore, nor do I identify with saying them...
Like what?
Well, there are a couple of swear words or words that I've said a lot, like the word bellaqueo (being horny). I've said it a thousand times. I wanted to change and thought [you can] say the same thing differently.
In 2016, the New York Times stated that your mission was to make reggaeton global. You are considered one of the artists who paved the way for Spanish to become mainstream. How do you feel when you reflect on those initial steps?
It’s the power of manifestation. It's ultimately called faith, which is believing before seeing. I always believed, felt it, and was grateful years before it happened.
Twenty or 25 years ago, I dreamed about what I live today. I became the first Latin artist most listened to on Spotify (in 2018); I performed in the Super Bowl and broke sales records, streams, radio records, and [had stellar] collaborations. So many things have happened along this path that I feel I have nothing to prove to the world. But I have to prove to myself that there are more things that I can continue to elevate.
You were the first Latino to headline Lollapalooza. How do you feel about the growing acceptance of Latinos as festival headliners since 2019?
Artists like Daddy Yankee, Wisin & Yandel, and Don Omar worked hard to make this happen. It didn't just fall into our laps; if you don't put in the effort, it won't come to you. However, we stepped up. I always knew this. I’ve headlined at many festivals, some of the most important in the world, spanning Europe and Asia. I’ve been everywhere. This year, we'll go to Japan and then to India. I was just in Azerbaijan and Indonesia. I continue to explore new places.
I worked a lot, focusing on making sounds that connect on a different global level. Collaborations also allowed me to be known in other markets. My vision and strategy worked, and I was recognized practically worldwide. However, there's much more to do.
You recently teamed up with Casio for a special G-Shock edition with your iconic lightning bolt, and you're in the second season of Crunchyroll’s anime "Solo Leveling Arise from the Shadow." What did joining these two projects mean to you?
Both are very powerful because anime is a super strong worldwide culture, and I love it. I only collaborate with what I'm really passionate about. G-Shock has always been an aspirational watch [in Latin America] since we were all very young. Both collaborations we did recently touched the new generations, kids from 9 to 10 and up to those who are 50.