Staff Picks: The Best Latin Albums of 2024, Ranked

After a three-year hiatus, Sech returned with Tranki, Todo Pasa — a 14-song set with edgy reggaetón fusions, thumping electronic music and sultry reggae plena. Sech is a changed man after delivering an album that’s primarily about heartbreak and (most importantly) self-care. Tranki, Todo Pasa is a true reminder that “relax, everything passes.” The Panamanian artist is — physically and emotionally —transformed, evolved, healed and doing just fine, and songs such as “Toy Perdio” and “Tarde” are a testament to that. — JESSICA ROIZ

Fonseca’s Tropicalia is a labor of love that elevates the artistry of tropical music in all its rich palette of genres. Our introduction to the Colombian singer-songwriter’s new oeuvre was last year’s “Si Tu Me Quieres” with Juan Luis Guerra, which won best tropical song at the 2023 Latin Grammys and features Fonseca’s pop-infused brand of vallenato. That accordion-tinged sound is the foundation of an album full of poignant moments, but Fonseca also expands. He collaborates with Gilberto Santa Rosa and Chucho Valdés in a beautiful Cuban bolero, with Alex Cuba in a contemporary son, and with Colombian salsa stalwarts Grupo Niche in a jazz-tinged salsa. Tropicalia won the Latin Grammy this year for best contemporary tropical album. — LEILA COBO

After 17 years, Manu Chao emerges from his “Desaparecido” phase with Viva Tu, marking his first solo release since La Radiolina. This album is a vibrant mix of acoustic melodies and multilingual lyrics, presenting a melodic love letter to his global listeners. Featuring earworm guitar riffs and sample-rich tracks like the rumba-infused title track, the album connects through a universal language of rhythm and soul. Highlights include the harmonica-laced “Heaven’s Bad Day” with Willie Nelson and the nostalgic “La Colilla.” Chao’s hands-on approach in both writing and production adds personal authenticity, showcasing his timeless artistry and dedication to craft. — ISABELA RAYGOZA

In his first studio album in three years, Colombian singer-songwriter Manuel Medrano — he of the deep, luxurious voice that stands out in Latin pop — returns with an eclectic set full of funk, pop, electric guitars and retro vibes. This is feel-good stuff that veers from happy-go-lucky (“Este Cuento”) to ethereal (“Luna”), and full of whimsy. Check out the wonderful “Mojado,” where a guy who can breathe in and out of the ocean “filled with positive energy” serves as a metaphor for standing up for one’s uniqueness. It’s quirky and beautiful, like Medrano himself. — L.C.

Buoyed by grit, glitz and an uncanny charm, Argentina’s Ca7riel and Paco Amoroso bring their dance-punk allure to the global dance floor with their debut Baño María. The album opens with “Baby Gangsta,” a drum-and-bass anthem layered with infectious grooves, and swiftly transitions into the defiant industrial beats of “La Que Puede, Puede,” before dipping into the reggaetón-infused “Dumbai,” adding rhythmically-rich layers and a good dose of flirtation. Baño María artfully traverses through various themes, from late-night revelry to societal ironies, capturing the essence of youthful exuberance and playful debauchery. — I.R.

Camilo’s cuatro is the culmination and the summation of four EPs — un, dos, tres and cuatro — released individually, and then together in this last, grand finale. It wasn’t conceived as a marketing ploy. The songs came to be simply as songs, inspired by Camilo’s professed love for his wife and muse, Evaluna, and also for his love of the diverse tropical rhythms that were soundtrack of his childhood;  “Una Vida Pasada,” for example, his collab with Mexican star Carin León, is a salsa. But cuatro’s biggest triumph lies in its storytelling. Each song is a tale, of love lost and won, narrated in Camilo’s efficient (but poignant and compelling) prose. Standouts include “Gordo” and the surprising “Sálvame,” a salsa cover of the RBD hit performed with Cuban timba master Alexander Abréu and his band, Havana D’Primera. — L.C.

Caloncho’s Tofu is a heartfelt experience that nourishes the soul, infused with vibrant energy, infectious joy, and the enchanting sweetness of love. The journey begins with “Superdeli,” a delightful tropical bachata groove that flows effortlessly, wrapping listeners in its warm embrace and illuminating the bliss of romance and sets the tone for this airy and vibrant set. Throughout the LP, there’s a powerful reminder to celebrate the essence of self-acceptance and happiness. P.S. Listen to “Vitamina D” for your new uplifting anthem. — INGRID FAJARDO

After penning hits for artists such as Selena Gomez, Bad Bunny and Rauw Alejandro, Elena Rose has stamped her own artistic vision on her debut EP. Each song on the eight-track set — some indie rock, some funk, some ballad, some música llanera — is backed by the Venezuelan artist’s potent and enchanting vocals sending messages of love, resilience and hope. — J.R.

Jay Wheeler got his start in music singing in the church choir in Puerto Rico, far from the beats of reggaetón. So it’s not surprising that his new album –which opens with an introduction that heralds his return to “making good music for bad days” — is grounded in melodies and beautiful arrangements, with production by Kevin Omar Ortiz (Bones) and Elvin Jesus Roubert Rodriguez (Botlock). Yes, there’s reggaetón here, but the standouts are lush and orchestrated and boast fine lyricism. Lead single “Textos Frías” with Mora could be a pop song with its keyboard accompaniment and climax chorus save for the urban/R&B stylings. “Historias” is a mix of sentimentality with a touch of urban edge; “14 15” is an entreaty. This is Wheeler 2.0. — L.C.

Prince Royce took us on a profound roller coaster of emotions with Llamada Perdida, his most eclectic and most personal work to date. Throughout 23 tracks — mostly bachata, but also boasting fusions with regional Mexican, disco, merengue, urbano and more — the notoriously private star spoke for the first time about his life, sharing intimate details of the pain of his divorce in songs like “Un Papel” and “Frío en el Infierno.” Deeply honest and charming, the set debuted and peaked at No. 2 on the Billboard Tropical Albums chart. — SIGAL RATNER-ARIAS

There’s a depth to Ivan Cornejo’s songwriting that makes it hard to believe he’s just 20 years old. Mirada — which follows his 2022 Dañado LP that ruled the Regional Mexican Albums chart for 37 nonconsecutive weeks — is a collection of songs that displays a new level of songwriting for Cornejo, one that is maximalist, almost radical, with the artist allowing himself to sing freely about the peaks and valleys of unconditional love, with moody guitars serving as his canvas. — GRISELDA FLORES

Eden Muñoz demonstrates his exceptional ability to transform lyrics into musical success in this album, blending sound and emotion that resonates deeply with listeners, making it a compelling musical journey. The Mexican singer-songwriter and producer’s album, his second one under Sony Music Mexico, spans 15 songs on which Muñoz fuses the traditional banda and norteño sound that have characterized his music with genres with bachata, country and rock’n’roll — showcasing just how versatile he really is and making Eden one of the most riveting albums of the year. — I.F.

The opening track of Young Miko’s debut album is aptly titled “rookie of the year.” But this is not your run of the mill, bragaddoccio rap opus intro. Opening with a man’s voice — Miko’s father speaking with his daughter when she was a child — “rookie” is reflective and poignant even as it is defiantly assertive. “To live the dream you have to be awake,” she says in one breath, then adds: “I don’t understand who the hell this happened. You ask, how do I do it? Better than you.” The shift from vulnerable to assertive to partying to sexy and sexual permeates an album that sounds and feels deeply personal, but doesn’t wallow in self-importance. It’s a fun set and it’s also an unapologetically queer set, of a woman talking to and about other women, veering from playfully flirtatious to heartbroken. It’s also intentional, from the selection of collabs to the influences heard in the tracks. Clearly, this is an artist who is not just after quick streams, but is playing a long game. — L.C.

Omar Montes marked a turning point in his career with his third album, which continues his exploration of flamenco music and beyond. This 11-track album is a fusion of five flamenco styles, including rumbas, tangos, bulerías, tanguillos, and sevillanas, perfectly capturing the rawness, darkness, and emotion of flamenco to a mainstream audience. A standout song is “La Niña del Relojero,” a bulería featuring María Toledo, which incorporates a modern twist on the traditional sevillana in the powerful “La Sevillana.” This track showcases Montes’ unique vocal talent, which shines throughout the LP, making it a delight to listen to from beginning to end. — I.F.

Peso Pluma’s go-to songwriter, who also happens to be his cousin, is the super talented Tito Double P, who this year released his highly-anticipated debut LP. With Incómodo, Tito proved that he can hold his own stepping out of Peso’s shadow. The set, composed of 21 corridos fueled by swagger and bravado — is a victory lap for the new artist who perfectly understands the world of corridos bélicos. With A-list collaborators like pioneers Natanael Cano, Junior H and Luis R Conriquez on Incómodo, Tito dethroned his own cousin from No. 1 on Top Latin Albums, earning his first No. 1 on any Billboard album ranking. — G.F.

In this heartfelt tribute to his mother, Eladio Carrión deepens his emotional and musical engagement. The opening track “Bendecido” sets an earnest tone, emphasizing familial love and resilience through a commanding trap melody. His flair for blending musical styles is displayed as he combines Jersey club with dembow in “Sonrisa,” and dips into sultry R&B alongside Rauw Alejandro in “Hey Lil Mama.” The album closes powerfully with “Mama’s Boy” featuring Nach, a poignant homage to his mother showcasing Carrión’s vulnerability. Throughout the album, the Puerto Rican rapper masterfully navigates between Afrobeats, dancehall and Jersey club, all while staying true to his trap and reggaetón roots, charting his evolution as both an artist and a son. — I.R.

Trueno is faithful to rap and hip-hop on El Último Baile — an ode to the cultural impact of the now-half-century-old genre, and a journey through its eras and decades. He freestyles about “keeping it real,” “having knowledge,” and “representing” the hip-hop movement, but also flaunts his experimental edge. “Tranky Funky” brings to life a psychedelic funk-rap fusion à la De La Soul and A Tribe Called Quest; the viral “Real Gangsta Love” fuses rap with groovy R&B; and “Como Antes” has tinges of sultry Afrobeats. The former of the three won the 2024 Latin Grammy for best urban fusion/performance. — J.R.

At a time when there seems to be a surge in up-and-coming singer-songwriters in a Latin market long dominated by urban beats, Kany García stands as a stalwart who steadfastly refused to budge from her core sound, even as she expanded and experimented with other genres. “García,” the title track of the Puerto Rican star’s award-winning album, is a letter from García to herself, addressing the young, vulnerable Kany, and the present-day star, equally vulnerable. (“Tengo miedo de meterme en esta ola de ficción/I’m afraid of losing myself in this wave of fiction.”) The track won singer-songwriter song of the year at the 2024 Latin Grammys, while the album won traditional pop vocal album of the year.

García has always delighted us with her beautifully written songs and the storytelling in her lyrics, and here, with the attention turned to herself, we fully get why her songwriting works: Even when she tells other people’s stories, it’s always in her voice and words. This critic-pleasing-yet-commercial set (it debuted at No. 5 on Billboards’ Latin Pop Albums chart) includes previously released collabs with the likes of Young Miko (a longtime fan of García’s, who met her at last year’s Billboard Latin Music Week), Carin León and Christian Nodal, a nod to García’s natural inquisitiveness as an artist willing to explore other genres. — L.C.

Latin Mafia has joyfully surprised their fans with the long-anticipated release of their debut album, a richly layered and experimental collection that feels like the dawn of a new musical genre, crafted from the very essence of their artistic soul. The album opens dramatically with the hauntingly beautiful track “Siento que Merezco Más” (I Feel Like I Deserve More), which perfectly encapsulates its title by intertwining delicate, soft vocals with soaring high tones and innovative electronic sounds. This captivating introduction sets the stage for an album that unfolds like an evocative poem, guiding listeners through a profound auditory journey. — I.F.

Danny Ocean’s Reflexa stood out thanks to raw, honest lyrics about love, heartbreak, lust and the desire to live authentically as oneself. Plus an elevated pop sound fused with electronic and even Middle Eastern elements. On this particular LP, the Venezuelan singer-songwriter — who this year also released the heartfelt EP venequia. dedicated to his native country — shines sonically and lyrically throughout 12 songs that include the hit “Amor,” which reached No. 1 on Billboard’s Latin Airplay chart. It is a deep and refreshing bet and, as Ocean himself describes, the “pop of the future.” — S.R.A.

Thanks to hits like “Corazón de Piedra,” “La Diabla” and “La Víctima” — all of which gained social media momentum and are part of his debut album — Xavi became a breakthrough star in 2024. The 15-track set earned the Phoenix-born singer-songwriter his Billboard album charts debut at Nos. 9 and 6 on Top Latin Albums and Regional Mexican Albums charts, respectively, in October. Moreover, Xavi shines on Next through his vocal delivery that’s both haunting and charming, and enriched by traditional instruments like the requinto, tololoche, and occasional brass accents. — J.R.

Las Mujeres Ya No Lloran was the culmination of a healing journey, perfectly capturing Shakira at her most vulnerable state. Songs like “Te Felicito,” “Monotonía” and her Bizarrap-produced music session “Vol. 53” previewed just how honest the Colombian star was willing to be about her plight to self-liberation after a messy breakup. Las Mujeres Ya No Lloran — Shakira’s first album in seven years — is a testament to her ability to reinvent herself not only on personal level but also as an artist — showcasing bachata, regional Mexican and powerful ballads throughout the genre-spanning set. — G.F.

Quevedo’s BUENAS NOCHES, his second album bur first under a new distribution deal with Rimas Entertainment, truly stands out. The 18-track LP is packed with club-ready hits, including one with Pitbull himself (“MR. MOONDIAL”), a dreamy ’80s-like synth-pop tune with Aitana (“GRAN VÍA”) and a neo-reggaetón bop with La Pantera (“HALO”). With this set, the Spaniard showcases a maturity in his lyrics, too, which are quite introspective. His signature deep vocals soar in this nearly hour-long album that ushers a new era for Quevedo. — G.F.

Grasa, Nathy Peluso’s third studio album, is a vivid exploration of her rugged upbringing and an ode to the relentless work ethic symbolized by her father’s greasy hands from his days at a gas station. Abandoning an initial collection of songs to better capture her authentic voice, Peluso’s final creation is a daring mix of emotions and styles, ranging from hip-hop to bolero, with detours through symphonic salsa and Latin rock. Standout tracks include the hauntingly raw ballad “El Día Que Perdí Mi Juventud” with Blood Orange, and the electrically charged “Todo Roto,” featuring Ca7triel & Paco Amoroso. With Grasa, the Argentine singer embraces her maximalist tendencies while crafting a deeply personal narrative about resilience, self-love and mental health, delivering a sonic experience that urges unapologetic honesty and self-embrace. — I.R.

On the 19-track Boca Chueca, León’s creative freedom goes beyond música Mexicana without losing touch with his signature soulful norteño sound. He ventures into pop (“Otra Vez”), gospel (“Despídase Bien”), alt-rock (“Frené Mis Pies”), and even ska punk (“No Sé”), further cementing himself as one of today’s most exciting Mexican artists. The album debuted No. 8 and No. 5 on Billboard’s Top Latin Albums and Regional Mexican Albums charts, respectively in June, and won León the 2024 Latin Grammy for best contemporary Mexican music album. — J.R.

With the raw energy of corridos and the dance-floor fervor of Jersey club, Fuerza Regida’s latest creation, Pero No Te Enamores, forges a bold, unprecedented fusion, coining Jersey corridos. Spearheaded by Jesús Ortiz Paz (JOP), the album melds traditional strings with robust dance rhythms, creating a bold, genre-defying sound. This audacious amalgam debuts impressively, securing spots on Top Latin Albums (No. 2) and the Billboard 200 (No. 23), while the lead track “Nel” peaked at No. 70 on the Hot 100. Collaborations with noted producers Gordo and Synthetic inject contemporary flair, ensuring that Pero No Te Enamores challenges conventions while cementing Fuerza Regida’s role as innovators in the evolving landscape of Latin music. — I.R.

Kali Uchis displays versatility throughout this 14-track set, powered by wide-ranging styles, including bolero (“Te Mata”), dembow (“Muñequita”), Afrobeats (“Diosa”) and R&B (“Igual Que Un Ángel”). The gorgeous LP, which scored her both Latin Grammy and Grammy nods, is sonically alluring and lyrically poetic, showcasing Kali Uchis’ prowess as producer and songwriter. Orquídeas blossomed at No. 1 on Top Latin Albums and No. 2 on the Billboard 200. — G.F.

Peso Pluma’s ÉXODO showcases a duality that fuels Peso’s approach to making music. One side of the album is corridos and the other trap, hip-hop, allowing Peso to navigate freely in spaces regional Mexican acts hadn’t entered before. With ÉXODO — which finds him singing braggadocio-leaning corridos with go-to collaborators like Luis R Conriquez (“Sr. Smith) and Tito Double P (“Belanova”) and rapping in English and Spanish alongside Cardi B (“Put Em in the Fridge”), Quavo (“Pa No Pensar”) and Rich the Kid (“Gimme a Second”) — Peso solidifies his commitment to becoming truly a global artist. — G.F.

With his bold reinvention and nostalgic resurgence, Rauw Alejandro’s Cosa Nuestra is a testament to his mastery of melding eras. The album infuses the soulfulness of New York’s ‘70s salsa scene with the fresh verve of modern reggaetón and electro-funk, spotlighting collaborations with powerhouses like Bad Bunny, Laura Pausini, Romeo Santos and Pharrell Williams. This rich musical journey earned a top position on both the Top Latin Albums and Latin Rhythm Albums charts, alongside a celebrated top 10 debut on the Billboard 200.

Cosa Nuestra‘s collection of 18 tracks presents a narrative arc of deep emotional currents, exploring the complex dance of love, lust and loss. From the evocative reimagining of Frankie Ruiz’s classic “Tú Con Él” to the intimate blend of bolero and R&B on “Amar de Nuevo” and the untouchable boss persona he projects on “IL Capo,” the smooth Puerto Rican singer showcases a refined ability to transcend traditional musical boundaries while staying true to his roots and fan expectations. The album solidifies Rauw’s place as a trendsetter in the pop scene, and as an artist capable of historic reflection through a modern lens. — I.R.