This first intervention took the form of a Venezuelan listening session/party in a bar in London. My intention was to test whether Venezuelan musical heritage could be activated socially through sound, rather than only explained through words, archives, or formal discussion. I wanted to understand whether a curated musical environment could open conversations around migration, memory, identity, belonging and cultural transmission.
The intervention was also connected to my positionality. I have been outside Venezuela for 16 years, and before doing this project I felt uncertain about my authority to speak about Venezuelan musical heritage, especially its more contemporary forms. I felt distant from that identity. However, the process of researching, collecting, listening to and curating the music became part of the intervention before the event even happened. Spending hours listening to Venezuelan music, reading lyrics, selecting tracks and discovering material that did not make it into the final set made me feel Venezuelan again. That was unexpected and deeply moving.
For the party, I placed a letter on each table in the bar. One side included a short description of the project and a QR code linking to a form. The other side included the words “Listening Session” and “Venezuela”, alongside a short curatorial text explaining how Venezuela lives its music through contradiction, and how migration has made this sonic heritage live through mutation, sampling and remixing. The text proposed that, for many of us, Venezuela exists as sound.
During the first two hours, I focused mainly on the musical curation because people were already seated and more attendees were arriving. I began mixing the music documented in my attached HISTORY.html tracklist, which moves across older and newer Venezuelan references: Simón Díaz, Edward Simon, Alberto Naranjo & El Trabuco, Los Amigos Invisibles, La Lupe, Oscar D’León, Canserbero, Rawayana, Arca, DJ Babatr, Safety Trance and others. The tracklist itself became evidence of how I was trying to sonically connect heritage, popular memory, diaspora, remix, electronic mutation and contemporary Venezuelan cultural production.
The session did not present Venezuelan music as something fixed, pure or nostalgic. Instead, the set moved between tonada, joropo, salsa, Latin jazz, folklore, rap, hip hop, Afro House, Tukky Bass, electronic music and club sounds. This reflected one of the central ideas of the intervention: Venezuelan musical heritage is not only preserved by repeating the past, but also by allowing it to mutate.
After two or three hours of mixing, I gathered the courage to walk around the tables and speak with attendees. This was an important shift. Until that point, I had been communicating mainly through sound and atmosphere. Speaking with people made the intervention more relational. My way of initiating these interactions was by asking to take a photograph:
I asked people how they felt, whether they felt comfortable, whether they were Latin American or not, whether they had heard Venezuelan music before, and whether they knew about the Venezuelan migration situation. One thing that surprised me was that everyone I spoke to was a migrant in some way. This made me think about London as a city where it is difficult to find someone who feels “local local”. The context of migration was not external to the event; it was already present in the room.
When I asked people to complete the form through the QR code, the quantitative results were limited:
Views: 15
Starts: 6
Submissions: 2
This became one of the clearest learnings from the intervention. The form existed, but it did not capture the richness of what was happening in the room. People were more willing to speak informally than to complete a structured form. I also noticed that I do not feel comfortable offering something in exchange for a form response. I do not want participation to become transactional. If someone does not want to answer with intention or willingness, I do not feel interested in forcing that data.
This raises an important methodological question for the next iteration: perhaps the most meaningful data in this project will not come from forms, but from recorded conversations, voice notes, oral reflections, informal testimonies, or collective listening sessions where people can respond in a more embodied and spontaneous way.
One of the most memorable moments was a conversation with a Colombian attendee. During the conversation, we spoke about the historical and emotional closeness between Colombia and Venezuela, including the fact that both countries were once part of the same larger national project. At one point, he hugged me.
This surprised me because I have become used to a more polite and physically distanced London social code. The hug interrupted that distance. It felt like something had softened. I wonder whether the music, the conversation, or the shared regional memory made him feel closer to home in some way.
This makes me think that the outputs of an intervention like this may not only be verbal responses, form submissions or measurable data. A hug can also be evidence. A change in body language can be evidence. A person staying longer, asking questions, smiling, dancing, recognising a rhythm or feeling comfortable enough to cross a social boundary can also be part of the research. These are not easy to quantify, but they may be central to understanding how music preserves identity through affect, atmosphere and embodied memory.
This intervention also carried a very personal emotional weight. Shortly before the event, I found out that my grandmother was entering hip surgery after waiting two weeks for her turn in a hospital in Lima, Peru. She is 86 years old. Minutes before starting the party, I was able to wish her a good operation.
Three hours later, I received the message that she had come out successfully. I sent a video to my mother with “Alma Llanera” playing in the background. Only then did I feel able to relax a little and release some of the anxiety I had been carrying.
This moment made the project feel even more personal. The question of preserving Venezuelan musical heritage was not abstract. The music became a way to connect my body in London, my mother, my grandmother in Peru, and Venezuela as an emotional and sonic place. In that moment, Alma Llanera was not only a song; it was a way of sending relief, love and identity across distance. The HISTORY tracklist also records Alma Llanera as part of the session, which now feels important as emotional evidence, not only musical documentation.
I am still not sure whether this first action fully counts as a “proper” intervention. It did not produce a large amount of formal data, and I still need to investigate the research question more deeply. However, I now understand that its value may be different from what I expected.
This first intervention helped me break the first shell. It allowed me to publicly show my intention. It allowed me to test the courage of bringing Venezuelan musical heritage into a public social space in London. It also helped me understand that my research is not only about preserving music for others; it is also about repairing my own relationship with Venezuelan identity after migration.
In this sense, the intervention did generate knowledge. It revealed that:
Music can create conditions for conversation without needing to explain everything first.
Informal conversations may be more generative than forms.
Migrant audiences may respond to Venezuelan music through their own experiences of displacement.
Embodied reactions, such as hugs, comfort, curiosity or emotional openness, may be valid research evidence.
My own positionality is not a limitation to hide, but a central part of the project.
Preservation may not mean keeping heritage unchanged; it may mean allowing it to survive through remix, mutation, memory and social use.
After speaking with Edo and Carolene, colleagues from the MA course, I reflected more critically on the questions I wanted to ask that night and whether they were answered in any way. They helped me consider the balance between what I wanted to say and what I wanted to receive.
The idea of putting 20% of my effort into what I want to say and 80% into what I want to receive feels like a strong challenge for the next intervention. In this first version, I was still carrying a lot of authorial intention: the curatorial text, the music selection, the QR code, the atmosphere, the desire to communicate a position. For the next iteration, I want to design a structure that listens more actively.
This connects to the MA Applied Imagination emphasis on iterative testing, reflection and the development of research tools. The course asks students to undertake interventions, gather evidence, reflect on outcomes and refine the research question and methodology through practice.
The main methodological learning is that the form may not be the right tool for this kind of research, or at least not the central one. The low response rate suggests that the QR code did not match the social rhythm of the event. People were present in the atmosphere, in conversation, in music, in drinking, in listening. Completing a form may have felt too administrative for the emotional and social space that had been created.
For future interventions, I want to explore more organic ways of collecting data, such as:
A small recording booth or “voice-note station” where people can leave a short response after hearing a song.
Consent-based recorded conversations during or after the event.
A prompt card asking people to answer one question verbally rather than through a form.
A collective listening circle with fewer people and deeper dialogue.
Asking participants to bring one song that connects them to home, migration or family.
Documenting gestures, movements, reactions and atmosphere through field notes immediately after the event.
The important ethical question is how to record without breaking trust. The next intervention should make consent visible and simple: people should know when they are being recorded, why, how the recording will be used, and that they can say no. I want to explore recording not as extraction, but as a way of preserving oral memory and emotional response.
This first intervention was cathartic. It was emotionally strong and personally transformative. It did not fully answer my research question, but it helped me understand what I need to ask next.
The intervention helped me move from research as an idea to research as a lived public action. It was not perfect, but it was necessary. It gave me evidence, discomfort, emotion, feedback and direction. Most importantly, it made me feel that Venezuela can exist as sound — and that sound can still gather people, even far from home.
Here is the track list
Track List: HISTORY
| Num. | Title | Artist | Time | BPM | Track | Label | Genre | Key | Remixer | Producer | Release Date | Bitrate |
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 1 | Tonada De Luna Llena | Simón Díaz | 03:08 | 87.898 | 7 | Palacio | Tonada; Joropo | 2m | arranger | 1974/01/01 | 320000 | |
| 2 | Caracas | Edward Simon | 06:28 | 74.712 | 2 | Latin Jazz | 11d | 2014/01/01 | 320000 | |||
| 3 | Canto de Lavanderas | Trabajo y Persona & Ensamble B11 | 02:43 | 58.455 | 4d | 2021/01/01 | 320000 | |||||
| 4 | San Juan, Tambor Y Fuera | Un Dos Tres y Fuera | 05:13 | 80.173 | 11 | Rock; Latin; Prog Rock; Experimental; Psychedelic Rock | 10m | 845000 | ||||
| 5 | Caracas | Edward Simon | 06:28 | 74.712 | 2 | Latin Jazz | 11d | 2014/01/01 | 320000 | |||
| 6 | Calipso Del Callao | Alberto Naranjo & El Trabuco | 04:16 | 55.393 | 4 | Other | 9d | 256000 | ||||
| 7 | Caracas | Edward Simon | 06:28 | 74.712 | 2 | Latin Jazz | 11d | 2014/01/01 | 320000 | |||
| 8 | Calipso Del Callao | Alberto Naranjo & El Trabuco | 04:16 | 55.393 | 4 | Other | 9d | 256000 | ||||
| 9 | Insolito UniVerso – 2023 Ese Puerto Existe (Venezuela) – 04. El Chivo (ft. Laetitia Sadier) | 08:40 | 80.250 | 4m | 269000 | |||||||
| 10 | Intro | Los Amigos Invisibles | 00:36 | 93.964 | 1 | 3m | 2000/01/01 | 320000 | ||||
| 11 | Arepa 3000 | Los Amigos Invisibles | 02:36 | 110.002 | 2 | 2d | 2000/01/01 | 320000 | ||||
| 12 | Toma Cinco | Grupo Baquedanu’s | 03:16 | 119.150 | 6 | El Palmas Music | Latin Jazz / Latin Folk / Pop | 12m | 2022/01/01 | 988000 | ||
| 13 | Masturbation Session | Los Amigos Invisibles | 04:54 | 118.000 | 7 | 11d | 2000/01/01 | 320000 | ||||
| 14 | Aldemaro en su Camaro | Los Amigos Invisibles | 03:32 | 105.069 | 18 | Electronic Funk Jazz Jazz-Funk Latin Jazz | 1m | 1998/03/24 | 854000 | |||
| 15 | Mercedes | Simon Diaz Simón Díaz | 02:53 | 91.328 | 2 | Latin | 2m | (C) 2015 El Palacio de la Musica, S.A. (P) 2015 El Palacio de la Música, S.A. | 2015/09/04 | 827958 | ||
| 16 | Si Yo Fuera | Los Vasallos del Sol | 03:44 | 67.688 | 3 | Network Medien | Afro-Cuban, Afro-Latin | 6m | 2000/01/01 | 939095 | ||
| 17 | Contrapunteo | La Lupe | 02:49 | 80.425 | 5 | Latin | 3d | 1966/01/01 | 320000 | |||
| 18 | Si Yo Fuera | Los Vasallos del Sol | 03:44 | 67.688 | 3 | Network Medien | Afro-Cuban, Afro-Latin | 6m | 2000/01/01 | 939095 | ||
| 19 | Negra Linda | Porfi Jimenez y Su Orquesta Chico Salas Orlando Castillo “Watussi” | 03:30 | 65.383 | 3 | Tropical | 1m | 1975/01/01 | 192000 | |||
| 20 | Llorarás | Dimension Latina | 03:49 | 92.931 | 1 | 6m | ℗ 1974 Musart-Balboa, a division of Concord Music Group, Inc. | 1996/01/01 | 974000 | |||
| 21 | (88) – OSCAR DE LEON – DETALLES (DJ KARLOS CVMIX) | 02:55 | 87.997 | Other | 2m | 320000 | ||||||
| 22 | Irimo | Oscar D’León | 03:05 | 104.000 | 4 | Latin | 11m | 2007/03/12 | 899000 | |||
| 23 | Idilio | Neutro Shorty; Oscar D’León | 05:16 | 93.500 | 4 | 9m | (P) 2026 Rimas Entertainment México, S.A de C.V | 2026/01/01 | 1005000 | |||
| 24 | Incomprendido | Rawayana, Neutro Shorty, Orestes Gomez | 03:00 | 83.000 | Brocoli Records | Latin | 2m | 2023/07/28 | 320000 | |||
| 25 | Idilio | Neutro Shorty; Oscar D’León | 05:16 | 93.500 | 4 | 9m | (P) 2026 Rimas Entertainment México, S.A de C.V | 2026/01/01 | 1005000 | |||
| 26 | Vagos Y Maleantes | Vagos y Maleantes | 03:08 | 98.000 | 1 | Latin Rap Hip Hop Rap | 2d | 2003/01/01 | 320000 | |||
| 27 | Sabor Y Control | Vagos y Maleantes | 04:38 | 95.000 | 6 | Latin Rap Hip Hop Rap | 12m | 2003/01/01 | 320000 | |||
| 28 | Interludio K219 | Canserbero | 01:51 | 92.001 | 9 | 10d | 2016/01/01 | 778000 | ||||
| 29 | Ponmela en el Aire | Apache & Canserbero | 03:02 | 94.300 | 9 | Canserbero Music | 11m | 2013/01/01 | 909000 | |||
| 30 | Únetenos | Canserbero | 03:15 | 91.451 | 13 | 7m | 2016/01/01 | 757000 | ||||
| 31 | Plata | Lil Supa | 02:37 | 86.000 | 5 | 4m | 2022/02/25 | 319965 | ||||
| 32 | La Tormenta | Rawayana & Servando | 02:27 | 96.000 | 19 | Afrikaanse Muziek; Musique africaine | 8m | 2023 Brocoli Records LLC | 2023/01/01 | 749000 | ||
| 33 | la palabra de un capo | Çantamarta | 03:04 | 97.999 | 4 | Musiques du monde, Amérique latine | 10m | © 2026 Çantamarta & Rimas Entertainment Europa ℗ 2026 Çantamarta & Rimas Entertainment Europa | 2026/05/29 | 1618000 | ||
| 34 | KLK (feat. Rosalía) | Arca | 03:48 | 98.000 | 8 | 8m | 2020/06/26 | 990336 | ||||
| 35 | Diavla | Yajaira la Beyaca | 02:29 | 99.999 | 2 | Muakk | Electronic Hard Dance Latin Club Folk | 8d | 2025/06/26 | 320000 | ||
| 36 | El Alma Que Te Trajo | Arca | 02:25 | 197.999 | 5m | 2022/01/01 | 917000 | |||||
| 37 | Reyimiller | Rawayana | 03:23 | 104.000 | 8 | Brocoli Records | Latin | 10m | 2026/01/01 | 320000 | ||
| 38 | Afro Venezuelan Tribe (Original Mix) | Dylan J | 05:46 | 125.000 | whoplaymusic.com | Afro House | 7m | 2024/01/01 | 320000 | |||
| 39 | Caracas De Noche (Original Mix) | Mijangos, DJ Marvin, Aaron Sevilla, dbasser, LemonSouldj, Di Yayo | 04:52 | 122.000 | 4 | Afro House | 5m | 2024/01/01 | 320000 | |||
| 40 | One Noise (Venezuelan Drums) | Dj Babatr | 03:05 | 138.000 | 2 | The Raptor Records | 12d | 2024/12/24 | 320000 | |||
| 41 | tictac | Çantamarta | 02:40 | 124.000 | 10 | Musiques du monde, Amérique latine | 11m | © 2026 Çantamarta & Rimas Entertainment Europa ℗ 2026 Çantamarta & Rimas Entertainment Europa | 2026/05/29 | 1663000 | ||
| 42 | OMG we got it | Todosantos | 03:36 | 137.019 | 1 | Tukky Bass | 12m | 2007/01/01 | 320000 | |||
| 43 | Se Presta | Rawayana | 02:39 | 130.000 | 2 | 4m | 2026/01/01 | 1635254 | ||||
| 44 | Piazo e’ Perra | Los Amigos Invisibles | 03:28 | 121.977 | 15 | 5m | 2000/01/01 | 320000 | ||||
| 45 | Delfines | Sunsplash | 05:00 | 130.000 | 14 | 3m | 2016/01/01 | 286000 | ||||
| 46 | caracas, caracas | un solo pueblo | 04:08 | 117.937 | 1 | World Music Network | World | 10m | 2003/01/01 | 206000 | ||
| 47 | Cementerio del Este | La Vida Boheme | 05:31 | 118.000 | 1 | Independiente | Alternative | 4m | 2013/04/13 | 320000 | ||
| 48 | Panda Sonora | Todosantos | 05:03 | 120.001 | 12 | Indietronica Glitch Pop IDM Synthpop | 11m | 2005/01/01 | 320000 | |||
| 49 | Acid Boys & Acid Girls | Todosantos | 05:37 | 137.000 | 2 | Tukky Bass | 6m | 2007/01/01 | 320000 | |||
| 50 | MALUCA | weed420 | 04:43 | 89.068 | 5 | 4m | 2025/02/14 | 1062000 | ||||
| 51 | Rakata | Arca | 02:32 | 93.999 | 3 | XL Recordings | Electronic | 9m | 2021/11/30 | 320000 | ||
| 52 | Luna Llena | Arca | 03:20 | 97.000 | 5 | XL Recordings | 2m | 2021/11/30 | 979298 | |||
| 53 | Mala Conducta (Feat. Trece Y Belica) | Guerrilla Seca | 06:12 | 98.500 | 5 | Gangsta Rap / Latin Rap / Dirty South / Boom Bap / Horrorcore | 12m | 2005/01/01 | 191000 | |||
| 54 | Maria Lionza | Willie Colón & Rubén Blades | 05:31 | 98.543 | 4 | Salsa | 9m | 1978/01/01 | 859819 | |||
| 55 | Yo Sin Ti [Neey DJ @ Suscripcion] | Salserin [2 =1.33=(1)1s =2.43=(1)1s=1L] | 03:15 | 84.000 | Other | 5d | 320000 | |||||
| 56 | (90) Salserin [ Maldy’14 Pers. ] De Sol A Sol | 03:31 | 90.000 | 1d | 2014/01/01 | 320000 | ||||||
| 57 | La Salsa De Venezuela Ft Orlando Watussi Castillo | 05:49 | 93.002 | 7 | 1m | 2022/01/01 | 320000 | |||||
| 58 | Echando pálante | WATUSSI (Orlando José Castillo) | 04:41 | 93.920 | 1 | Salsa | 2m | 2000/01/01 | 256000 | |||
| 59 | A Quien No Le Va A Gustar | Tambor Urbano | 02:51 | 147.740 | 14 | Folklore | 2m | 2004/01/01 | 158000 | |||
| 60 | Veneka – DJ Babatr Mix | Rawayana | 04:27 | 135.000 | 1 | 9m | 2024/12/20 | 925000 | ||||
| 61 | Dj Yirvin, Phran, Chica Acosta (Original Mix) 140 | Dura | 04:04 | 140.000 | www.iptorrents.com – www.torrentday.com – www.torrenting.com | 12m | 320000 | |||||
| 62 | CCS Quemadito 2007 (Original Mix) | Wost | 05:02 | 140.000 | 1 | fordjonly.com | Hard Dance / Hardcore / Neo Rave | 1m | 2025/01/24 | 320000 | ||
| 63 | Acid Boys & Acid Girls | Todosantos | 05:37 | 137.000 | 2 | Tukky Bass | 6m | 2007/01/01 | 320000 | |||
| 64 | Poppers | coen | 04:36 | 135.999 | 5 | 5d | 2025/01/01 | 320000 | ||||
| 65 | Caracas Bubbling Militia | SAFETY TRANCE | 02:06 | 130.000 | 5 | Club Romantico | Reggaeton Reggae Electronic | 12m | 2022/11/11 | 320000 | ||
| 66 | Rottweiler | coen | 04:40 | 130.000 | 3 | 1m | 2025/01/01 | 320000 | ||||
| 67 | Arca Prada (STRomeo) | KE RARA | 02:59 | 135.000 | Latin | 1m | 320000 | |||||
| 68 | AB&AG (Leif’s Acid Blowing In Wind rmx) | Todosantos | 03:40 | 137.001 | 12d | 2007/01/01 | 320000 | |||||
| 69 | Rank | xxveneco | 05:16 | 146.000 | 12 | 12m | 2025/01/01 | 320000 | ||||
| 70 | se me ocurrio | SAFETY TRANCE | 02:02 | 137.000 | 14 | Club Romantico | Electronic | 4d | 2026/04/30 | 901000 | ||
| 71 | Conga | Rawayana | 01:31 | 138.001 | 15 | Brocoli Records | Latin | 5d | 2026/01/01 | 320000 | ||
| 72 | Playa Pantaleta | Rawayana | 03:13 | 135.003 | 9 | Brocoli Records | Latin | 11m | 2026/01/01 | 320000 | ||
| 73 | panties | SAFETY TRANCE feat. Meth Math | 02:30 | 138.000 | 11 | Club Romantico | Electronic | 6d | 2026/04/30 | 952000 | ||
| 74 | Mi Querencia | Simon Diaz & Cardopusher | 03:46 | 144.999 | 14 | Electronica | 1m | 2014/01/01 | 320000 | |||
| 75 | matatán | Çantamarta | 02:17 | 130.000 | 6 | Musiques du monde, Amérique latine | 9m | © 2026 Çantamarta & Rimas Entertainment Europa ℗ 2026 Çantamarta & Rimas Entertainment Europa | 2026/05/29 | 1750000 | ||
| 76 | Inglés En Miami | Manuel Turizo , Rawayana | 03:23 | 132.000 | 3 | Brocoli Records | Latin | 3d | 2026/01/01 | 320000 | ||
| 77 | Que Rico | Los Amigos Invisibles | 04:00 | 128.002 | 4 | 1d | 2000/01/01 | 320000 | ||||
| 78 | Mentiras | Los Amigos Invisibles | 03:22 | 124.994 | 2 | St. Indie Music | Acid Jazz Electronica Latin Rock | 2m | 2009/06/09 | 1061693 | ||
| 79 | todo lo que toco se hace oro | Çantamarta | 03:01 | 67.499 | 3 | Musiques du monde, Amérique latine | 5m | © 2026 Çantamarta & Rimas Entertainment Europa ℗ 2026 Çantamarta & Rimas Entertainment Europa | 2026/05/29 | 1613000 | ||
| 80 | Naguará | Elena Rose , Rawayana | 03:03 | 193.999 | 6 | Brocoli Records | Latin | 6m | 2026/01/01 | 320000 | ||
| 81 | Miel | Cabra, Rafa Pabön, Rawayana | 02:53 | 191.999 | 12 | Afrikaanse Muziek; Musique africaine | 2m | 2023 Brocoli Records LLC | 2023/01/01 | 844014 | ||
| 82 | Canto de Pilon / Carmela | Tambor Urbano | 04:25 | 71.493 | Folklore Venezolano | 8m | 192000 | |||||
| 83 | Binikini | Danny Ocean & Rawayana | 03:04 | 79.500 | 3 | Afrikaanse Muziek; Musique africaine | 8m | 2023 Brocoli Records LLC | 2023/01/01 | 915959 | ||
| 84 | Incomprendido | Rawayana, Neutro Shorty, Orestes Gomez | 03:00 | 83.000 | Brocoli Records | Latin | 2m | 2023/07/28 | 320000 | |||
| 85 | Canto A Caracas | La Lupe | 02:53 | 60.259 | 3 | Latin | 3d | 1966/01/01 | 320000 | |||
| 86 | Alma Llanera | Simon Diaz | 02:25 | 105.195 | 32 | Venezolana | 1d | 160000 | ||||
| 87 | Malembe ft. Vasallos del sol | Raul Monsalve y Los Forajidos | 01:31 | 82.497 | 1 | 2d | 2020/01/01 | 319981 | ||||
| 88 | Voce | La Vida Boheme | 03:56 | 66.700 | 2 | Alternative | 6d | 2017/01/01 | 320000 | |||
| 89 | Chamito Loco | Big Soto;Trainer | 03:18 | 65.000 | 7 | 7m | 2017/01/01 | 320000 | ||||
| 90 | Neutro Shorty – Mariwana On The Table | 03:36 | 67.000 | 7m | 320000 | |||||||
| 91 | Es Épico | Canserbero | 06:02 | 93.500 | 2 | 2m | ℗© 2012: La Biblioteca, LLC | 2012/03/22 | 893000 | |||
| 92 | Dame Un Break | Rawayana | 03:21 | 115.000 | 2 | Afrikaanse Muziek; Musique africaine | 7m | 2023 Brocoli Records LLC | 2023/01/01 | 917011 | ||
| 93 | Colchones, Tambores y Refrigeradores | Alemán & Rawayana | 03:20 | 112.998 | 18 | Afrikaanse Muziek; Musique africaine | 11m | 2023 Brocoli Records LLC | 2023/01/01 | 789000 | ||
| 94 | La Vecina | Los Amigos Invisibles | 04:20 | 116.001 | 3 | 4m | 2000/01/01 | 320000 | ||||
| 95 | Caliente | Los Amigos Invisibles | 04:23 | 129.998 | 18 | 12d | 2000/01/01 | 320000 | ||||
| 96 | alien (No acostumbro festejar) c/ Dexonia | weed420 | 11:51 | 145.002 | 1 | Epic Collage Latin Electronic Neo-Psychedelia | 5m | 2026/04/01 | 772000 | |||
| 97 | La Tormenta | Rawayana & Servando | 02:27 | 96.000 | 19 | Afrikaanse Muziek; Musique africaine | 8m | 2023 Brocoli Records LLC | 2023/01/01 | 749000 | ||
| 98 | Ponmela en el Aire | Apache & Canserbero | 03:02 | 94.300 | 9 | Canserbero Music | 11m | 2013/01/01 | 909000 | |||
| 99 | Pukita | Yajaira la Beyaca | 03:05 | 103.000 | 4 | Muakk | Electronic Hard Dance Latin Club Folk | 11m | 2025/06/26 | 319972 | ||
| 100 | duro | SAFETY TRANCE feat. nusar3000 & Kinara | 02:33 | 200.002 | 8 | Club Romantico | Electronic | 3m | 2026/04/30 | 992000 | ||
| 101 | Soy Tu Papá (feat. Fernando Palomo) | Fernando Palomo, Rawayana, Spreadlof | 04:17 | 104.000 | 22 | Afrikaanse Muziek; Musique africaine | 5m | 2023 Brocoli Records LLC | 2023/01/01 | 845000 | ||
| 102 | PROPAGANDA | weed420 | 02:25 | 82.995 | 11 | 5m | 2025/02/14 | 884000 | ||||
| 103 | Tonada De Luna Llena | Simón Díaz | 03:08 | 87.898 | 7 | Palacio | Tonada; Joropo | 2m | arranger | 1974/01/01 | 320000 | |
| 104 | Sensemayá – Live At Centro de Acción Social por la Música, Sala Simón Bolivar, Caracas / 2008 | gustavo dudamel & simón bolívar youth orchestra of venezuela | 06:38 | 92.594 | 1 | classical | 8d | 2008/01/01 | 320000 | |||
| 105 | ESE NEGRO | SOLEDAD BRAVO | 05:20 | 98.341 | 2 | Other | 12d | 1982/01/01 | 320000 |