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Florida Atlantic University's first student-run news source.


Florida Atlantic University's first student-run news source.


Weekly Music Spotlight: “Las Mujeres Ya No Lloran” by Shakira

Through the diversity in the sound of “Las Mujeres Ya No Lloran,” the intersection between heartbreak, new love, motherly love, and unconformity is explored, displaying Shakira’s ability to pick herself up and reflect, even after what she describes as the most difficult point in her life.
“Las Mujeres Ya No Lloran,” by Shakira, Courtesy of Apple Music

On March 24th, Shakira released her latest album, “Las Mujeres Ya No Lloran,” which translates from Spanish to “Women Do Not Cry Anymore” in English.

This release marks the Colombian singer-songwriter’s first full-length release in over seven years, the last of which was “El Dorado,” an album that experienced massive commercial success with tracks such as “La Bicicleta” and “Chantaje” which both landed in the Billboard Hot 100 chart in 2017. 

The album’s cover reflects the triumphant sentiment regarding her love life in the past year, displaying the singer’s tears turning into diamonds as they stream down her cheeks. 

The diversity in the sound of “Las Mujeres Ya No Lloran” explores the intersection between heartbreak, new love, and unconformity, displaying Shakira’s ability to pick herself up, even after what she describes as the most difficult period of her life.

The release of “Las Mujeres Ya No Lloran” was released following her public divorce from former Barcelona player, Gerard Pique, which resulted in the diss track “Bzrp Music Sessions, Vol. 53.” This single garnered over 50 million streams  across YouTube, Spotify and Apple Music overnight. 

The release of this track alongside up-and-coming producer Bizarrap sent the internet into a frenzy through its direct call-outs to Pique, a diss almost unheard of in the realm of pop music, but especially that of Latin pop. 

You left me with your mom as a neighbor/The press at my door/and a debt with the Treasury” Shakira raps with Bizarrap’s distinct production playing in the background. The singer refers to her home in Barcelona, which was bought next door to her former in-law’s home, and her public legal battle with the Spanish government regarding alleged tax fraud.

The track “TQG,” which debuted at no.1 on the Billboard Global 200 charts, featuring Grammy award-winning Colombian artist Karol G, continues Shakira’s diss streak, examining how she feels about the end of her marriage. 

I forgot everything that we lived/And that’s what got you so offended/Even my life got better/You’re no longer welcome here/I saw what your girlfriend said about me/I’m not even upset, I laugh,” Shakira sings. This collaboration comes after Shakira’s split from Pique and Karol’s split from rapper Anuel AA. 

Tracks like “Cohete,” “Punteria,” and “Nassau” are a couple of the tracks that examine the singer’s attempt at finding love anew, and although weary, express the singer falling in love again. 

“I don’t want anyone to get involved in our relationship/ Baby, I just long to be with you, to love each other in some corner,” Shakira sings in the track “Cohete” featuring reggaeton artist Rauw Alejandro. The singer expresses her desire to keep her new relationship hidden and away from the public eye, unlike her marriage to Pique. 

Shakira also reflects on her role as a mother on the track “Acrostico,” featuring the voices of her sons Milan and Sasha

“And even though life treated me like this/ I will be strong just for you/ All I want is your happiness/ And to be with you,” Shakira sings over a soft acoustic piano sound, expressing the unconditional love she feels as a mother to her sons and sharing the effects of her divorce on her ability to be there for her children.

The archetype of Las Mujeres Ya No Lloran contrasts with her previous album styles and dives into the Regional Mexican genre, which has risen in popularity in Latin American music trends recently with bands such as “Grupo Frontera,” and “Fuerza Regida,” which are both featured on the album. 

The track “El Jefe,” featuring Fuerza Regida, where Shakira shares the experiences of individuals unhappy with intense labor and long work hours, singing, “How ironic, how crazy, this really is torture/Killing yourself dawn to dusk and you don’t even get a certificate.” Shakira reflects on the abuse of power in various work industries.

Towards the end of the track, Shakira shouts out her children’s ex-nanny, Lili Melgar, and states, “Lili Melgar, this song is for you since they didn’t pay you severance,” referring to the alleged time Melgar was fired and left without pay by Pique as a result of her involvement in Shakira finding out about Pique’s affairs. 

Gabriela Quintero is a staff writer for the University Press. For more information on this story or others, contact her at [email protected].


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