TINI

The music of Tini cannot be understood without her voice, that timbre that oscillates between sweetness and strength, with a touch of rebellion that always shines through. From her beginnings in teen pop to her incursions into more urban rhythms, her sound evolved like a bridge between the commercial and the personal, never losing that essence that connects her with her audience. In her early steps, Tini’s Latin pop (2016) sounded fresh, with catchy melodies reminiscent of her time in Violetta, but acoustic guitars and more mature arrangements were already emerging. Over time, this style evolved into bold fusions: reggaeton blended with cumbia in Tini Tini Tini (2020), while in Cupido (2023), trap and pop intertwined with flawless production. What’s interesting isn’t just the genre shifts, but how each album reflects a different stage of her life, from the transition from actress to singer to the construction of her own identity far from Disney’s shadow.

The definitive leap came in 2016, when she left behind the character of Violetta Castillo to launch herself as a solo artist with a self-titled album that, in less than two months, sold over 100,000 copies. That same year, the film Tini: The Great Change of Violetta closed one chapter but opened another: that of an artist no longer dependent on a TV role for recognition. What’s curious is that this turn wasn’t planned as a "reboot," but as a natural evolution. While recording the Spanish version of Frozen’s theme —«Libre soy»— she was already rehearsing her own songs in the studio, as if the character and the singer were destined to part ways sooner or later. The Got Me Started Tour (2017), which took her across Europe, was the first proof that her music could stand on its own without the backing of a series.