New generation of Cuban musicians revitalizes the island’s music scene

HAVANA — A new generation of Cuban musicians is revitalizing the island’s music scene, filling concert halls in downtown Havana with a hypnotic form of traditional jazz as established performers have emigrated or remained abroad during one of Cuba’s deepest economic crises in decades. The revival is taking shape not only on classic stages but in intimate spaces that have sprung up across the capital, where young artists blend heritage with modern influences and reach audiences through phones and social media.

Among the most visible rising acts are Fabio Abreu, 19, and Diego Abreu, 17, who command attention on stage with a quiet, focused presence that gives way to confident, high-energy performances. The brothers perform in venues such as the Fábrica de Arte Cubano, a sprawling cultural center housed in a former factory that now operates as an art gallery, music venue and nightclub. Their repertoire leans on traditional jazz, but it is equally clear they are part of a broader, hybrid movement reshaping Cuba’s soundscape. "We do what we like and we’re fortunate enough to make a living from what we love, which is music," Fabio Abreu said shortly before a concert at the venue.

The Abreus’ ascent comes as Cuba’s music scene undergoes rapid transformation. The exodus or relocation of several high-profile artists has left a void that the new generation is actively filling. “The recent migration of major Cuban artists — many with established careers — has created a void that is now being filled by a new generation of musicians,” said Michel Hernández, a writer and journalist who specializes in music. He notes a highly hybrid approach that mixes rock, pop and electronic music with Afro-Cuban styles such as son, the root of salsa. The phenomenon has contributed to the emergence of new genres, including the commercially successful reparto, a term used to describe a style that originated in Havana’s working-class neighborhoods and is known for its explicit lyrics.

Along with traditional forms, Cuba’s younger performers are exploring a spectrum of sounds, from timba and salsa to electronic music and hip hop. The shift toward private bars and intimate venues has become a signature feature of this generation’s rise. The lack of a formal record industry on the island means that artists rely heavily on social media and the internet—a resource that has become more widely accessible in Cuba only since late 2018. Music videos produced with modest budgets are often shared directly between phones, helping to spread a sound that is both rooted in history and distinctly contemporary.

Melanie Santiler, a 23-year-old pop singer and songwriter who has built a following among Cuba’s young listeners, credits online videos with much of her own momentum. Her Instagram account has about 248,000 followers, while her YouTube channel sits at around 73,000 subscribers. “We emerging musicians are the ones carrying the flag and shaping the future of Cuban music. For me, this is a decisive moment,” Santiler said.

The new wave is not only about niche experimentation; it has a broad commercial dimension. The reparto genre, a fusion of reggaeton and traditional island sounds, has begun to attract attention beyond Cuba’s borders, with artists such as El Taiger and Bebeshito helping bring the sound to international audiences. Dasiel Mustelier, who performs under the name Wampi and trained as a saxophonist, is one of reparto’s rising faces. He has amassed large followings—about 712,000 on Instagram and more than 300,000 on YouTube—and is preparing a European tour for November and December, in addition to collaborations with Cuban global star Cimafunk. “Young people should take full advantage of this moment,” he said.

The Cuban music scene is simultaneously intimate and expansive, a study in how a culture can preserve its core while reimagining it for new generations. The Abreu brothers and their peers speak to a broader truth about Cuba’s arts economy: even in the face of economic hardship, creativity continues to thrive where there is access to new platforms, audiences and venues. For many artists, private bars opened over the last decade offer crucial performance spaces, while online channels provide the reach that a formal record industry has yet to deliver on the island. As officials, musicians and fans navigate this evolving landscape, Cuba’s cultural life appears to be undergoing a renaissance that is as much about resilience as it is about reinvention. The moment is being watched closely by observers of Latin American and Caribbean music, who see in these artists both a continuation of tradition and a bold step toward a more diverse, international sound.