The peculiar physics of December dictate that all sounds, particularly pop music, ought to travel slower through the air, perhaps due to the pervasive scent of pine needles and the industrial-grade fatigue of the year's close. This annual slowing down—a systemic pause where major labels choose cocoa over contracts—is precisely what Kali Uchis decided to defy.
On December 19, 2025, she shattered the imposed quietude, bestowing upon the world "Muévelo," a track previously known only in the shadowy corners of the internet. This was no meticulously timed rollout; this was a hostage situation resolved by love. The song, a vibrant artifact from the *Orquídeas* era sessions, existed for months as a ghost, an unauthorized demo that fans had petitioned into official reality via the confusing, persistent engine of social media campaigning.
It is a genuinely strange dynamic when the artist must release their own material as an "act of self love" precisely because it was initially stolen; the geography of musical ownership has never been more porous.
Uchis herself articulated this bizarre inversion of control on Instagram: "for my final act of self love this year i will release this song bcoz prior to tonight it was a demo leaked against my will!!!" This short sentence—a tiny, definitive moment of reclamation—is immediately followed by a profound, sweet benediction: *k disfruten y k la persona k se detuvo a leer esto Dios lo proteja siempre a ti y tu familia Amén*. That a simple digital file, intercepted and dispersed without permission, could necessitate such a public, heartfelt blessing for the listener who bothered to stop and read the fine print, captures the delightful, empathetic chaos of her connection to the audience.
"Muévelo" arrives just in time to punctuate an already expansive career moment, simultaneously drawing a definitive line under the creative energies of the recent past while preparing the ground for the global movements of the near future.
The forthcoming 2026 itinerary alone provides sufficient proof of this momentum, a geographical leap that spans continents and climaxes in some truly unique locations. The South American tour kicks off in São Paulo, Brazil, at Vibra São Paulo on February 8, before moving swiftly to the Movistar Arena in Buenos Aires, Argentina (02/10), and the Movistar Arena in Santiago, Chile (02/12). A stop at Costa 21 in Lima, Peru (02/15), and the Movistar Arena in Bogotá, Colombia (02/18), precedes a significant run in Mexico—Monterrey, Guadalajara, and the colossal Palacio de los Deportes in Mexico City. Then, suddenly, after traversing this vibrant tapestry of Latin America, the entire odyssey culminates not in a coastal megalopolis, but at the Hinterland Music Festival in Des Moines, Iowa, USA, on August 2nd. It’s an itinerary that makes perfect, confusing sense; an artist who turns a private violation into a public gift will naturally follow the most idiosyncratic route possible.
With just days left until Christmas , we're officially in the annual dry season of new music releases.Find other details related to this topic: See here
