The Best 8 Performances at 2024 Premio Lo Nuestro: Staff Picks

Don Omar wasn’t just a special honoree at Premio Lo Nuestro, getting recognized with the Ícono Global award, he also gave what is arguably the best performance of the night. Joined onstage by Machine Gun Kelly, Anitta and Wisin & Yandel, the riveting set was post-apocalyptic with the man of the hour appearing at the top of a mountain against a neon-green backdrop. With 15 dancers in tow, Don Omar took audiences down memory lane singing some of his biggest hits, including Salió el Sol,” “Danza Kuduro” & “Pobre Diabla.” The jaw-dropping moment was when MGK came out with his guitar, strumming the riff to “Danza” getting everyone on their feet.

Ana Bárbara commands a stage like very few can and at Premio Lo Nuestro, it was no exception. Accompanied by her beloved mariachi, equipped with trumpets, violins, and a guitarrón, the Mexican superstar sang her heart out, belting out hits such as “No Es Brujería,” “Lo Busqué” briefly joined by Carin León, “Loca,” and “Me Asusta Pero Me Gusta.” Ana Bárbara delivered not only vocally, no surprise there, but also in the production of her set. She changed about four times, going from a baby pink cowgirl sparkly outfit, a vintage yellow ensemble with fringes, and one piece that sported horns on her chest, the star worked the dance floor like no other — even doing the splits at one point, along with her troupe of dancers amid the occasional pyrotechnics.

There’s a reason why Olga Tañón is known as “La Mujer de Fuego (The Woman of Fire).” At Premio Lo Nuestro, where she received the Premio Lo Nuestro a la Exelencia, the Puerto Rican star was on fire as she showcased her excellence, performing a riveting medley that became a singalong of sorts. The merengue icon gave an electric performance, taking the audience on a journey with her biggest hits, including “Es Mentiroso,” “Mi Forma de Ser,” and “La Gran Fiesta.” The performance also served as a vibrant celebration of her enduring career.

One of the most highly anticipated performances of the night, Carin León and Kane Brown didn’t disappoint. More than anything, it was the chemistry between these two that really made their time onstage unforgettable. The stripped-down country-tinged “The One (Pero No Como Yo)” marks the first collab between León and Brown, who sublimely merge regional Mexican and country.

Looking regal and sounding sharp, Yuridia and Ángela Aguilar delivered a heartfelt rendition of their duet “Qué Agonía,” which won mariachi/ranchera song of the year. The pair traded the main stage for a makeshift one in the middle of the floor accompanied by a mariachi outfit, whose wailing trumpets and stirring violins added to an already emotional performance.

Gloria Trevi proved her prowess as a performer and her ability to exist in multiple worlds all at once and move between genres with ease. First, Trevi joined Banda MS to sing their attitude-heavy banda collab “Y Que Soporten,” which only fired up the Mexican pop star. She then joined a troupe of dancers on the main stage to sing her pop anthem “Medusa.” As visuals of cobras with laser-like eyes took over the screens, the Mexican diva took centerstage to remind everyone why she continues to be an enduring figure in Latin music and one of the best performers in the biz, pulling off complex choreography with her dancers.

Cuban duo Gente de Zona gave us Celia Cruz and that enough earns them a spot in best performances. Singing “Celia” — which uses original recordings from the Queen of Salsa to create an infectious medley with Cruz’s “Ella Tiene Fuego” and “La Negra Tiene Tumbao” — Gente de Zona delivered a celebration of Cuban culture and Cruz’s legacy.

Emilia and Tini joined forces on stage in a girl power number that began with Emilia performing her hit “No_Se_Ve.mp3” accompanied by a group of dancers, under magenta lighting and large screens in the background projecting changing images that included Brazilian singer Ludmilla, with whom she originally recorded the song. The set soon gave way to “La_Original.mp3,” but this time with her collaborator Tini — who sported a hot new look of short platinum hair — joining her on stage. “Like Madonna in the ’90s,” the song’s lyrics point out, Emilia and Tini offererd a lively and sensual choreography, before ending with a fleeting kiss on the lips.