When I meet Sophie Castillo on a scorching, 93-degree afternoon in Austin, Texas, she takes a seat by the pool at the Fairmont hotel in a long leather blazer — and tells me she’s keeping it on.
“We went seven consecutive days without sunshine last month,” says the London-born singer-songwriter, who performed at the city’s annual South by Southwest Music Festival (SXSW). “I need to soak up the sun!”
The daughter of a Colombian mother and a Cuban father, Castillo is on a mission to amplify the Latin American diaspora in the U.K., primarily through her music: an elegant mélange of balmy electronic textures and Latin American heritage sounds like salsa, bachata and reggaeton. She hopes these genres can take off in the U.K., as did Afrobeats, ska, bhangra and other musical styles that immigrant communities helped integrate into British popular music.
“British people [don’t] get enough credit as to how open-minded they are,” she says. “Whenever I’ve seen people react to Latin music in the U.K., they’re excited. They’re not like, ‘Oh, I don’t want to listen to that because it’s in Spanish.’ They’re like, ‘This is cool, tell me more!’”
During the Amigo showcase at Rozco‘s on the night of March 12, Castillo, decked in a cowboy hat and a red velvet ensemble, introduced her new single, “The Betrayal.” A cut from her upcoming EP, due in April, “The Betrayal” is a sultry baile funk song that simmers with righteous indignation.
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“I love Brazilian music, so I wanted to try out a funk fusion,” explains Castillo. “It all came together with this Shakira-esque Arabic scale. The drama was there, cinematic element was there, which is what I love.”
(Elana Marie / De Los; Photos by Leila Sophie Castillo)
Beyond Latinidad, music runs in Castillo’s blood. Her father, renowned salsa dancer and DJ Nelson Batista, studied dance at the Casa de Cultura in Havana before immigrating to London in the 1980s. He became the first known salsa instructor in the U.K. Sparks flew between him and Castillo’s mother, a salsa dancer who immigrated from Colombia.
Castillo’s uncles, Eddie and Lee, took young Sophie to see musicals as a child. And when she was old enough, they encouraged her to attend an after-school theater program. She then supplemented her musical education by learning how to produce songs using GarageBand at home.
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“My uncle Eddie dropped off a CD of mine at Universal when I was 13,” she says. “It was so funny. I didn’t know anyone in the music industry, nor the Latin music industry. How do you make noise?”
Castillo built her audience organically on TikTok, where she test drove clips of her songs among fans of the Marías and Kali Uchis — two U.S.-based acts that were essential in her own development as a Latina artist between cultures. “I always wanted to sing in Spanish, but I was just a little bit shy,” says Castillo. “But Kali Uchis really laid out the path for the indie Latina by making English-language music with a bit of Spanish. I really have so much love and respect for that.”
In 2022, Castillo released the song, “Call Me By Your Name” — a dream-pop bachata tune sung in English. “POV: you’re listening to an indie bachata by a British Latina,” read the caption of her video. It was a viral sensation. “Americans were like, ‘What, you guys are over there?’” Castillo recalls. “They’d say, ‘I can’t believe [a] U.K. Latino is a thing!’”
While there exist demographic categories for Caribbean people from former U.K. colonies, an accurate count of the Latin American population is hard to find. In 2013, the census reported at least 250,000 Latin Americans living in the U.K. Yet according to a 2024 report, the population of Latin Americans increased by 406% in London and by 395% in England and Wales from 2001 to 2021.
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Castillo performed small open-mic nights at restaurants and clubs in Brixton, often with the Latin alternative artist Desta French, who is Colombian and Italian. But Castillo landed her biggest gig in the summer of 2024, when she got an email from J Balvin’s team — inviting her to open for the Colombian superstar during his June 5 concert at the O2 Arena in London. She became the first U.K. Latina to perform at the venue.
“It’s amazing, you know — TikTok is like such a powerful tool,” she says of her experience. “I’ve been able to like be a completely independent artist and like have all the freedom and control to do whatever I wanted.”
At the centre of Madhuvidhu directed by Vishnu Aravind is a house where only men reside, three generations of them living in harmony. Unlike the Anjooran household in Godfather, this is not a house where entry is banned to women, but just that women don’t choose to come here. For Amrithraj alias Ammu (Sharafudheen), the protagonist, 28 marriage proposals have already fallen through although he was not lacking in interest.
When a not-so-cordial first meeting with Sneha (Kalyani Panicker) inevitably turns into mutual attraction, things appear about to change. But some unexpected hiccups are waiting for them, their different religions being one of them. Writers Jai Vishnu and Bipin Mohan do not seem to have any major ambitions with Madhuvidhu, but they seem rather content to aim for the middle space of a feel-good entertainer. Only that they end up hitting further lower.
After more than two and a half years of research, planning and construction, Dataland, the world’s first museum of AI arts, will open June 20.
Co-founded by new media artists Refik Anadol and Efsun Erkılıç, the museum anchors the $1-billion Frank Gehry-designed Grand LA complex across the street from Walt Disney Concert Hall in downtown Los Angeles. Its first exhibition, “Machine Dreams: Rainforest,” created by Refik Anadol Studio, was inspired by a trip to the Amazon and uses vast data sets to immerse visitors in a machine-generated sensory experience of the natural world.
The architecture of the space, which Anadol calls “a living museum,” is used to reflect distant rainforest ecosystems, including changing temperature, light, smell and visuals. Anadol refers to these large-scale, shimmering tableaus as “digital sculptures.”
“This is such an important technology, and represents such an important transformation of humanity,” Anadol said in an interview. “And we found it so meaningful and purposeful to be sure that there is a place to talk about it, to create with it.”
The 35,000-square-foot privately funded museum devotes 25,000 square feet to public space, with the remaining 10,000 square feet holding the in-house technology that makes the space run. Dataland contains five immersive galleries and a 30-foot ceiling. An escalator by the entrance will transport guests to the experiences below. The museum declined to say how much Dataland, designed by architecture firm Gensler, cost to build.
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An isometric architectural rendering of Dataland. The 25,000-square-foot AI arts museum also contains an additional 10,000 square feet of non-public space that holds its operational technology.
(Refik Anadol Studio for Dataland)
Dataland will collect and preserve artificial intelligence art and is powered by an open-access AI model created by Anadol’s studio called the Large Nature Model. The model, which does not source without permission, culls mountains of data about the natural world from partners including the Smithsonian, London’s Natural History Museum and the Cornell Lab of Ornithology. This data, including up to half a billion images of nature, will form the basis for the creation of a variety of AI artworks, including “Machine Dreams.”
“AI art is a part of digital art, meaning a lineage that uses software, data and computers to create a form of art,” Anadol explained. “I know that many artists don’t want to disclose their technologies, but for me, AI means possibilities. And possibilities come with responsibilities. We have to disclose exactly where our data comes from.”
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Sustainability is another responsibility that Anadol takes seriously. For more than a decade, Anadol has devoted much thought to the massive carbon footprint associated with AI models. The Large Nature Model is hosted on Google Cloud servers in Oregon that use 87% carbon-free, renewable energy. Anadol says the energy used to support an individual visit to the museum is equivalent to what it takes to charge a single smartphone.
Anadol believes AI can form a powerful bridge to nature — serving as a means to access and preserve it — and that the swiftly evolving technology can be harnessed to illuminate essential truths about humanity’s relationship to an interconnected planet. During a time of great anxiety about the power of AI to disrupt lives and livelihoods, Anadol maintains it can be a revolutionary tool in service of a never-before-seen form of art.
“The works generate an emergent, living reality, a machine’s dream shaped by continuous streams of environmental and biological data. Within this evolving system, moments of recognition and interpretation emerge across different forms of knowledge,” a news release about the museum explains. “At the same time, the exhibition registers loss as part of this expanded field of perception, most notably in the Infinity Room, where visitors encounter the 1987 recording of the last known Kauaʻi ʻŌʻō, a now-extinct bird whose unanswered call becomes part of the work.”
“It’s very exciting to say that AI art is not image only,” Anadol said. “It’s a very multisensory, multimedium experience — meaning sound, image, video, text, smell, taste and touch. They are all together in conversation.”
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