It’s a strange time to celebrate America. Maybe that’s why something like Durini’s Partyan urban music festival on the 4th of July at the Wynwood Marketplace, feels so good this year.

Behind the festival are reggaeton superstars Zion y Lennox, as well as Miami Music Partners, which held its annual IndepenDance Fourth of July weekend. In addition to Puerto Rican powerhouses, the lineup includes De La Ghetto, Micro TDH, Jerry Di, Akapellah, Casper Magico, Caleb Calloway, Brray, Joyce Santana, Caceres, Kendaya, Young Miko and Carmen DeLeon.

“[The festival] was born out of the fact that we always wanted to organize a festival with our colleagues where we could support new artists, including those from the Baby Records Inc family,” Zion and Lennox recount. new times by email. “We created this festival where we could all come together and celebrate.”

The duo, who wanted to answer all new times‘ questions in unison, say they couldn’t think of a better day to launch a huge perreo July 4, adding that the event happened thanks to their team.

With Spanish-language artists like Bad Bunny topping the charts Billboard charts, it’s hard to imagine a time when urban music wasn’t so popular. But Zion y Lennox got its start in the early 2000s, when reggaeton was still gaining ground in Latin America. The derivative form of Spanish-language dancehall music that rose to prominence in the late 1980s and early 90s with acts like El General in Panama, but it wasn’t until Puerto Rico gave the music its own twist than the reggaeton we know and dirty dancing to today came into being.

Zion and Lennox were part of this first wave, with singles like “Estoy Esperando” and “Hay Algo en Ti”. Their first album, 2004 Motivation at the Yalwas an instant hit.

Yet at the time, Spanish-speaking artists weren’t dominating in the United States, and those who did—Shakira, Marc Anthony, Ricky Martin, Paulina Rubio—had to take the crossover route, singing in English.

“We’ve been in this game for a long time, and the fact that it continues to rise fills us with joy,” they say of urbano’s current popularity. “We want to keep making music and connecting with audiences around the world to keep the momentum going.”

While the “Latin explosion” of the late 90s and early 2000s ultimately turned out to be a flash in the pan, it looks different this time around. Maybe it’s because Spanish-speaking artists seem less inclined to sing in English to win over audiences. (Bad Bunny has notoriously refused to make music in English.) And at the same time, it feels like the current wave is more adept at experimentation, setting it apart from American and European sounds that tend to dominate the soundscape.

Zion and Lennox see reggaeton and its closely associated genres of Latin trap and urbano as here to stay – and also to go forward.

“It will continue to evolve, mixing beats without losing the essence of the genre, adding international and local voices to give it a special, dynamic and different touch,” they wrote. “Right now, with the tools and platforms that didn’t exist before and those that will come, it will be easier to keep taking Latin music to the next level and all over the world.”

Durini’s feast. 4 p.m. Monday, July 4 at Wynwood Marketplace, 2250 NW Second Ave., Miami; Tickets cost from $45 to $89 at