With Island Boyz, Myke Towers doesn’t just drop another Latin album—he redefines what it means to make music from the Caribbean in 2025. Spanning 23 tracks, the project feels expansive but focused, global in its reach yet rooted in the specificity of Towers’ personal evolution. It’s a bold move that pays off.

The opener, “La Despedida” with DFZM, sets the emotional tone with aching sincerity. It’s a fitting introduction to an album that wrestles with identity, vulnerability, and sonic freedom. There’s no filler here—just range. “Expectativas” invites listeners into Towers’ internal world, while “Soleao” featuring Quevedo charges ahead with massive radio energy, already climbing charts across Spain and the U.S. but never feeling like a forced hit.

The album’s textures are rich and unexpected. “Surferita” with iZaak is one of those rare tracks that sounds like nothing else—ska rhythm, Mexican tuba, and a breezy Caribbean swagger that makes it an instant standout. “No Hay Break” featuring Omah Lay is just as daring, weaving afrobeats into Towers’ flow with ease. “Tengo Celos,” the album’s lead single, strikes a balance between dancefloor appeal and emotional heft, supported by a cinematic video that amplifies the track’s raw sentiment.

Throughout Island Boyz, Towers curates features with purpose. Gabito Ballesteros, De La Ghetto, Manuel Turizo, Ludmilla—they all show up with intent, not just name recognition. The result is a coherent narrative that feels collaborative, not commercialized.

Rather than chasing algorithms, Myke Towers is building legacy. Island Boyz feels like a definitive statement: a fearless embrace of culture, experimentation, and growth. At a moment when many artists play it safe, Towers reaches deeper, aiming for longevity over virality. The album is personal, visionary, and full of fire. If this is the new chapter, it’s his most exciting one yet.