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Ten. That’s the total months fans had waited for the highly-anticipated Bésame Mucho festival, which took place Saturday (Dec. 3) at Los Angeles’ Dodger Stadium. The Live Nation-produced, one-day event — which sold out in just 12 minutes when the 2000s-inspired lineup was announced in February — as promised showcased the best of the ’90s-’00s Latin pop, rock, banda, norteño, cumbia and merengue acts.
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The multigenerational (both in terms of performers and its attendees) event opened its doors at 10 a.m. local time with the first band, Los Cadetes de Linares, kicking it all off at 11:25 a.m. Featuring four stages — Rockero, Las Clásicas, Te Gusta El Pop? and Beso spread across the stadium’s parking lot — fans literally had to sprint across to catch whichever act was on their must-see list.
Some even having to watch an artist for the first 15 minutes to be able to make it to another artist’s set that was on the complete opposite side. The earlier acts, which included Kinky, Raymix, Panteón Rococó Caló and Los Freddy’s, got only around 35-40 minutes. Headliners, which included Juanes, Los Tigres del Norte, Paulina Rubio, Alejandra Guzmán, Bronco, Caifanes, Oro Solido and Elvis Crespo, secured a few more minutes with their sets lasting about 50 minutes to an hour.
Catch up on Bésame Mucho’s seven best moments below.
Short and sweet
Artists acknowledged onstage how short (timewise) their sets were — some embraced the quickness of the process while others wish they would’ve had more time. “Cortito pero seguro (short but you can count on us),” Kinky’s frontman Gil told a sweaty crowd who showed up early for the group’s noon set at the Rockero Stage. Meanwhile, La Oreja de Van Gogh’s lead singer Leire Martínez didn’t seem to want to leave the stage after her time was up. “What a shame that these festivals are like this: everything has to be quick and rushed.”
Turnaround…
With four stages featuring back-to-back sets, initially it wasn’t clear how the transitions would work or how efficiently production would be when it came to changing sets. In hopes of helping speed up the process, they set up revolving stages. When one band or act had wrapped up their set, the next artist was already setting up in the back part of the stage. When ready to perform, the stage would revolve and place the new artist in front of the crowd. “Let’s go, vamos,” you’d hear artists like Julieta Venegas rushing the production team to turn the stage.
Pick your fighter
You could tell by the person’s outfit which stage they were heading to. The typical outfit for Las Clasicas Stage, where mostly all regional Mexican acts performed, included the cowboy hat and the pointy boots. If you were mainly there for pop artists, you were wearing a pop of color, 2000s fashion such as overalls, berets, a polo with the popped collar for men, and sparkly blazers. Those two stages out of the four were most represented in terms of fashion.
Primer Fest Sin Marciano
Hands down the most emotional moment at the festival was when Los Enanitos Verdes took the Rockero Stage. Marking the Argentine band’s first live performance since the untimely passing of their frontman, Marciano Cantero, they dedicated their performance to their member who “left us too soon,” Enanitos’ Felipe Staiti, who took on the role of frontman for the first few songs such as “La Muralla Verde,” told the crowd. “We’re here. Hurt but alive.”
For the second half portion of the set, Staiti welcomed special surprise guests who joined them onstage to help them sing the rest of the songs. The first guest was Hombres G’s lead singer David Summers who sang “Mi Primer Día Sin Ti” and “Lamento Boliviano.” At the end of his performance, he blew a kiss to the sky and said “Marciano, I love you.”
Los Enanitos Verdes’ first performance without Marciano 🫶🏼 The band was joined by David Summers (Hombres G), Ruben Albarran (Café Tacvba) and Noel Schajris (Sin Bandera) at Bésame Mucho to help sing a few songs. pic.twitter.com/2zzmbsbL8n— Griselda Flores (@grissyflrs) December 4, 2022
Then, Café Tacvba’s Ruben Albarran joined the band to sing “Por El Resto.” Following his performance, Albarran said: “We’re honoring Marciano. Sending him all the joy of this festival to wherever he’s at right now.” For the last guest, Staiti introduced Sin Bandera’s Noel Schajris to sing “Luz De Día.”
Staiti ended the set with a special message and a special song. “I was 16 years old when we started this band. I want to dedicate this performance to Marciano and the time we spent together. You all, the fans, are the reason we kept recording songs. I want to honor Marciano’s memory with this song.” And he went on to sing “Mariposas.”
Battle of the bands
The Rockero and Las Clasicas stage were closer to each other. While the Te Gusta El Pop? and Beso Stages were nearby. So, sometimes, you’d hear the other artist’s music cross-pollinate with another artists set. Most times, fans and artists were cool with that. For example, right before Enanitos Verdes hit the stage, fans patiently waited while singing along to Ramon Ayala’s “Tragos Amargos” anthem. At other times, it got a bit awkward. Such was the case when Sin Bandera was about to wrap their set, Oro Solido kicked off their own blasting merengue across the stadium. “The pachanga (party) started next to us. Can you lower down the volume?” the duo’s Noel Schajris asked jokingly.
Technical difficulties
Perhaps in every stage there were technical difficulties with the sound. Safe to say that all artists dealt with some sort issue and at times complained to production while onstage and in front of all their fans. From microphones not working for half of the song to the sound being off or distorted, not everything was perfect at the festival. But, to its credit, it was their first year and they were ambitious. It could have been worse.
OG regional Mexican
Mexican music is going through a renaissance with a new generation of mostly Mexican-American teen kids leading the new era without having to stick to the traditional instruments and outfits, and core sound of the legacy genre. But today at Bésame Mucho, norteño and banda fans showed up for the artists that made them fall with the genre initially. From Banda Machos to Ramon Ayala, Banda El Recodo and Los Tigres del Norte, all artists wore their traditional vaquero outfits and played the OG regional Mexican anthems that opened doors for the new generation of Gen Z artists that are taking the genre to the next level.
First Stream Latin is a compilation of the best new Latin songs, albums and videos recommended by the Billboard Latin editors. Check out this week’s picks below.
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Tommy Torres, “Mi Secreto” (Rimas Entertainment)
Tommy Torres is on a hot streak of experimenting with sounds. After releasing El Playlist de Anoche, his 2021 alt-rock album produced by Bad Bunny, the Puerto Rican singer-songwriter — known for his sentimental pop ballads — is now venturing into the bachata world, gifting fans “Mi Secreto.” While the sound may be different, the track is a quintessential Torres song, with mature and poetic lyrics that narrate a love story. “Love me here and now, don’t ask about the past,” he croons.
Moreno IFT, Gangoso World (Interface Music/Gangoso World / Good Partners)
Bursting into the scene with grim ominous beats and an intoxicating flow arrives Moreno ITF, a Bronx-dwelling, Dominican-born rapper who is helping lead the relentless rise of New York’s Latin drill scene. With his hard-hitting debut EP, Gangoso World, the artist takes the drill sound to the next level, infusing the style with an irresistible Afro-Caribbean edge on the clubby “Pull Up.” On “Cobain,” the rapper slows down the vibe for an R&B-tinged reverie. At times, his potent quips and vocal delivery are reminiscent of Brooklyn drill artists like Pop Smoke. Yet, Moreno’s unmistakable approach highlights the teteo life in the hood, and navigating it as a mercurial Latin living in a gangoso world.
MAR, “Más Que Tu Amiga”(Marbella Music)
Emerging singer MAR, daughter of the iconic Marco Antonio Solís, is paying homage to one of her father’s anthems with her new single “Más Que Tu Amiga.” Delivering a new take on the Hot Latin Songs chart-topping track “Más Que Tu Amigo,” MAR makes the song her own with her dulcet vocals but maintains its tropical and rhythmic essence. “My dream is to be, explore and explore,” MAR previously told Billboard. “It’s intimidating to see all that [my father] has accomplished and want to pursue the same line of work, and he noticed I was insecure at one point. He just told me to believe in myself.”
Junior H, Contingente (Warner Music Latina/Rancho Humilde)
Without a doubt, Junior H has become a one-to-watch in the Mexican music space, after delivering back-to-back sad sierreño and corridos tumbados albums packed with emotional gems powered by acoustic guitars. But for his new album, he did an about-face. The Mexican singer-songwriter is showcasing his versatility with his new trap-leaning album Contingente.
Equally emotional and lyrically striking as the rest of his sierreño albums, the 12-track set finds Junior H delivers hard-hitting, brutally honest songs about fame, love and heartbreak. “I’ve been working on this project for two years,” he says in the set’s opening song “Índice.” “While I was working on it, I wondered if I was really going to release it. That’s why it’s called Contingente, because I made it for myself, for you — and it may be the last time,” a reflective Junior H says. A standout track is “Veneno,” where Junior H trades cheeky verses with Chilean artist Paloma Mami over a reggaetón beat. The album includes other collaborations with Snow Tha Product, Aleman and Big Soto, among others — and make sure to stick around till the end of the album for a surprise dance track.
Ryan Castro, “El Plan de Estefania” (Sony Music Colombia)
If after “Mujeriego,” you were hoping to hear more merengue from Ryan Castro, today is your lucky day. The Colombian newcomer, known for his street-style trap anthems, is blessing fans with another “merenguito.” The hip-swiveling “El Plan de Estefania,” produced by SOG (who also produced “Mujeriego”) is part of Castro’s new EP Los Piratas, which marks his second EP this year after Regggaetonea. The remainder of Piratas sticks to Castro’s signature urbano beats with back-to-back reggaeton bops.
When GALE wrote her first song at age seven, she thought she might be a superhero.
Titled “Amor Sincero,” the salsa track was dedicated to a boy who didn’t like her back. “When I finished writing it, I was like, ‘Wait, did I just create something that didn’t exist just by using a melody and chords?’” she recalls. “I thought I had a superpower. Since then, I’ve just kept going.”
Expressing herself through music came easily to the Puerto Rican singer-songwriter, who grew up surrounded by artistic minds. Her father is also a musician — who, along with his band, performs at local events. Her grandfather was a professional cuatro player. Meanwhile, her mother was an actress who performed theater. “I was always free to experiment,” says the 29-year-old, who’s written songs for artists such as Fanny Lu, Juanes and Manuel Turizo, and is currently working on her first album.
Even before learning to perform professionally at Escuela Libre de Música, her father had been preparing her for the big stage since she was a little girl. “He used to make me perform every single time at every family reunion,” GALE says. “He would tell me, ‘If this is what you want to do your whole life, you need to practice.’ I was like, ‘I just want to go play hide and seek with my cousins!’ But then I’d sing 10 songs and I’d enjoy it.”
Now, GALE has become a go-to songwriter for a handful of artists — and on Nov. 17, she won her first Latin Grammy, thanks for songwriting credits on Christina Aguilera’s Aguilera, which scored best traditional pop vocal album, and is also nominated for best Latin pop album at February’s Grammys. “If you work hard and you manifest it, it happens. It’s grounding.”
Creating a path for herself is what GALE — who grew up listening to Shakira, Avril Lavigne and Selena Quintanilla — focused on since moving to Miami from Puerto Rico after Hurricane Maria. “First, I knew had to work my ass off to make things happen,” she explains. “What I always wanted was to have my own project as an artist and that’s what I was going to do no matter what. But how would I get there? I figured I’d start writing with other artists and build those relationships. Then get a publishing deal and get signed by a label.”
So, she started door-knocking and visited publishing companies to show them the catalog of songs she had recorded in her closet. Her first big break came in 2019, when peermusic invited her to a session with Colombian artist Fanny Lu, which is when they co-wrote “En Mis Tacones.” Since then, she says, doors opened thanks to “word of mouth because producers started recommending me, Fanny Lu wanted to work with me again.”
She eventually got a publishing deal with Warner Chappell Music and a record deal with Sony Music Latin. Then, she landed on Aguilera’s project — co-writing (along with DallasK and Josh Berrios) the Ozuna-assisted “Santo,” which peaked at No. 12 on Billboard‘s Latin Airplay chart in February.
She remembers meeting Aguilera during a writing session for “Brujería.” “She sat next to me and asks, ‘Is that you singing [on the demo]?’ I was like, ‘Yeah,’ and she said, ‘What a beautiful voice.’ In my mind I was like, ‘Oh my God, I’ve practiced singing Mi Reflejo every single day, I know the album from top to bottom. I’ve practiced performing all your songs…’ But what I really said was, ‘Thanks, you have a beautiful voice as well.’ It was a moment,” she says laughing.
Thankful that songwriting for other artists has opened doors, she’s now also focused on her own project, with plans to drop her debut album in 2023 — which would include her three singles, “Inmadura,” “Prolemas” and “D-Pic.” Describing her style as “Bad Bunny meets Dua Lipa meets Avril Lavigne,” her first songs showcase her raw, edgy songwriting skills and her pop-punk and rock influences. And, instead of going the collaborations route, she decided her first wouldn’t feature other artists. “It’s me saying, ‘This is who I am and this is it, I hope you like it,’” she says. “Collaborations will come because they’re also important and valuable. But for now, it’s just me.”
Below, learn more about this month’s Latin Artist on the Rise, in her own words:
Name: Carolina Isabel Colón Juarbe
Age: 29
Recommended Song: Oh snap, that’s hard. Because my three singles are all different, but they’re similar in that they’re raw and honest. I guess if someone is more into the romantic, nostalgic vibe, then listen to “Inmadura.” But if someone is like in their badass era, then they have to listen to “D-Pic.” And “Problemas” is like the perfect mix musically of what I do: pop, rock and urban. But if I had to pick, I’d say “D-Pic,” because it’s a statement. You’ll get a real representation of who I am as an artist.
Biggest Achievement: Starting to take my songs that are born from a vulnerable and intimate place and perform in front of a live audience. One of my favorite performances was the one I did at Latin Music Week in September. It felt magical. The connection with the people was amazing. I thought, “D–n, I am ready for this.” I will share that before going onstage, I called my dad and he said, “Mi amor, don’t worry, from the stage you can’t see anyone because of the spotlight. You just do your thing.” First thing when I go up on the stage, I see everyone’s faces.
What’s Next: I am working on my debut album, which is almost done. It’s very special, because it’s born after a breakup, the exact moment when I decided to end things with this person that I knew, since the very beginning, that this person was not my person. But I wanted to make it work. When I broke up with them, all these songs started coming to me and they represent different stages. Because it hurts to hurt someone, it’s a roller coaster of feelings.
I’m very excited for the album. It’s coming early to mid-next year. And I’m definitely doing more shows next year. In fact, I’m performing at Fiestas de la Calle San Sebastián in Puerto Rico in January, which is a huge event. It’s legendary in my country.
Nicki Minaj, Maluma and Myriam Fares have dropped their infectious and celebratory new World Cup song “Tukoh Taka.” Thriving on a jittery hook and a throbbing beat, the track — produced by Gordo, Play-N-Skillz and Massari — makes history as the first FIFA World Cup song featuring English, Spanish and Arabic lyrics.
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“I am so happy to be part of this FIFA World Cup anthem! I always dreamt of an opportunity like this,” Maluma said in a statement. “Representing Latin music on this global track alongside amazing artists that sing in English and Arabic, takes our culture to another level.”
Fares added: “‘Tukoh Taka’, the song that I was honored to participate in its composition, arrangement, and choreography, made me more passionate about it, in addition to working alongside two of my favorite international artists, Nicki Minaj and Maluma. I truly wish that ‘Tukoh Taka’ will be transmitting the Eastern culture and Arabian music to the whole world.”
On Saturday (Nov. 19), Maluma and Fares will perform the song together live for the first time at the opening of Doha’s FIFA Fan Festival.
This year, FIFA has released a handful of official songs for the 2022 World Cup. The first song was the uplifting track “Hayya Hayya (Better Together)” by Trinidad Cardona, Davido and Aisha, which fuses R&B and reggae influences. The tournament’s soundtrack will feature a multi-song collection, with international artists “showcasing diverse musical genres that span the world, setting the tone for a truly global celebration,” according to FIFA.
The 2022 FIFA World Cup kicks off on Nov. 20 with host nation Qatar’s tournament opener against Ecuador. A total of 32 teams representing different countries will participate. One team will be crowned the World Cup champion on Dec. 18.
Romeo Santos was as vulnerable as ever during his 2022 Latin Grammys performance where he took the stage, with bottle in hand, to perform “Bebo.”
The bachata anthem is a sorrowful and emotional heartbreak track. Santos was playing into the song, by drinking his sorrows away onstage. “I know I’m a bit drunk but a drunk person always tells the truth,” he said in the middle of his performance. Of course, pretending to be drunk was part of his performance but the bachatero proved to be a great actor and stuck to the role to the very end when he fell onstage.
The track is part of art of the “King of Bachata’s” newest album Fórmula, Vol. 3, which was released in September and is home to 21 tracks. The new set flaunts the ever-experimental Santos taps into hip-hop, trap, tango, merengue and regional Mexican without losing touch of his bachata essence.
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Bad Bunny leads this year’s list of nominees with 10 nods. Mexican songwriter and producer Edgar Barrera followed closely with nine nominations. Other top nominees include Rosalía and Rauw Alejandro with eight; and Christina Aguilera, Jorge Drexler and Tainy with seven.
The Latin Grammy Awards — which “promise to honor the legacy, celebrate the present and embrace the future of Latin music, with deliberate consciousness, paying-it-forward to the next generations of music creators,” according to a press statement — were held Thursday (Nov. 17) at the Michelob Ultra Arena at the Mandalay Bay Resort and Casino in Las Vegas, and aired live on Univision.
Karol G brought her star power to the 2022 Latin Grammys. The Colombian star delivered a standout performance, which had the entire crowd on their toes for nearly the entirety of her set.
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Karol kicked off her five-minute-plus set singing the reggaeton anthem “Gatubela” surrounded by her fierce dancers who adored her equally fierce leader. She then lit-up the crowd with her Afrobeat-powered “Provenza,” which is up for both record and song of the year. With this track, she became the first woman to replace herself at No. 1 on the Hot Latin Songs chart in May when it traded places with “Mamiii,” with Becky G.
Karol, who won best new artist at the Latin Grammys in 2018, ended her performance with a high-energy rendition of her latest single “Cairo” with her go-to producer Ovy on the Drums taking the stage with her for the song, released Nov. 13.
Bad Bunny leads this year’s list of nominees with 10 nods. Mexican songwriter and producer Edgar Barrera followed closely with nine nominations. Other top nominees include Rosalía and Rauw Alejandro with eight; and Christina Aguilera, Jorge Drexler and Tainy with seven.
The Latin Grammy Awards — which “promise to honor the legacy, celebrate the present and embrace the future of Latin music, with deliberate consciousness, paying-it-forward to the next generations of music creators,” according to a press statement — were held Thursday (Nov. 17) at the Michelob Ultra Arena at the Mandalay Bay Resort and Casino in Las Vegas, and aired live on Univision.
One of the best performances of the night at Thursday’s (Nov. 17) Latin Grammys included four artists onstage: Carlos Vives, Camilo, best new artist nominee Nicole Zignago and one of the best new artist winners, Silvana Estrada.
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The four artists took the stage to sing a gorgeous version of Vives and Camilo’s “Baloncito Viejo.” In a soulful performance that united two generations of musicians, Vives, Camilo, Zignago and Estrada — who shared the best new artist win with Ángela Álvarez — gave the audience a new, more instrumental version of the song that marked Vives’ and Camilo’s first-ever collaboration.
Over the summer, the tropo-pop track peaked at No. 1 on Billboard‘s Latin Airplay chart and is up for record of the year, song of the year and best pop song at the awards show.
Bad Bunny leads this year’s list of nominees with 10 nods. Mexican songwriter and producer Edgar Barrera followed closely with nine nominations. Other top nominees include Rosalía and Rauw Alejandro with eight; and Christina Aguilera, Jorge Drexler and Tainy with seven.
The Latin Grammy Awards — which “promise to honor the legacy, celebrate the present and embrace the future of Latin music, with deliberate consciousness, paying-it-forward to the next generations of music creators,” according to a press statement — were held Nov. 17 at the Michelob Ultra Arena at the Mandalay Bay Resort and Casino in Las Vegas, and aired live on Univision.
The Latin Recording Academy honored and celebrated this year’s Leading Latin Ladies during an intimate luncheon on Tuesday (Nov. 15) that officially kicked off Latin Grammys week.
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Hosted by Gloria “Goyo” Martínez, the emotional event offered a space for both women and men in the industry to applaud the contributions made by the honorees, which included singer-songwriter Kany García; pianist, arranger and musical director Janina Rosado; Amazon Music’s global head of Latin music Roció Guerrero; and Rosa Lagarrigue, CEO of artist management company RLM.
The nearly three-hour ceremony included moving speeches by the honorees who were presented with the award by their mentors, fellow recording artists or executives who’ve supported them along the way.
Rebeca Leon, who was part of the Leading Latin Ladies class of 2017, was the first to take the stage to present the award to Guerrero for her strides in Latin music and for pioneering the first-ever Latin playlist: Spotify’s Baila Reggaeton.
Other executives who took the stage were Afo Verde, chairman/CEO of Sony Music Latin-Iberia, who, along with Sony Music Latin Puerto Rico’s VP, Tuti Bou, presented García. “Kany is intelligent, talented, and I have the honor of working with her for a long time. She defends her flags, opens many roads, and gives voice to the voiceless,” he expressed. Meanwhile, merengue icon Milly Quezada introduced Rosado and Spanish artist Ana Torroja took the stage to present the award to her longtime manager Lagarrigue.
Launched in 2016, the Academy’s Leading Latin Ladies initiative was created to honor and recognize “professional and socially-conscious women within the arts and entertainment fields who have made significant contributions and inspired the next generation of female leaders,” according to the Academy.
Additionally, the Leading Ladies of Entertainment joined forces with She Is The Music for a second consecutive year on their collaborative “Leading Ladies Connect TogetHER” mentorship program, where a former honoree will be invited to mentor a She Is The Music mentee.
The 2022 Latin Grammy Awards ceremony is taking place Thursday (Nov. 17) live from the Michelob Ultra Arena at Mandalay Bay Resort and Casino in Las Vegas. The telecast will air on Univision at 8 p.m. ET, and it will also be available on HBO Max.
Below, check out five best moments from the luncheon:
Rocío Guerrero on her message to the next generation of female leaders: “This is a responsibility I don’t take lightly,” she started her speech. “To the new generations of girls and young women that will be our future: I hope you grow up understanding that anything is possible with hard work, risk taking, ambition and ethics. I mean each of those things. No matter what you look or sound like, you can do it. I hope you can see yourself in women like us. I hope we can be a reminder that there are no limits to your growth.”
Kany García on becoming her own role model: “Why am I shaking? It’s easier to sing than to do this speech,” the “Aguita e coco” singer joked. “Since I was little I’ve felt different and I’m not talking about that moment when you feel ‘special’ but when you feel like you don’t fit anywhere. They told me so many things about my voice, so many no’s accumulated that they made me a woman who was scared and filled with insecurities. I remember that little girl who never found a woman on television who represented her. A woman who didn’t have shake her hips or a woman who liked women but also liked wearing high heels, dresses and putting on makeup. Not the typical stereotype of the women in my community who is supposed to be the opposite of that. So, I had to become my own role model. I owe this to my younger self, who struggled so much to feel represented.”
Janina Rosado on not being mediocre: “I have to start by thanking God because He wanted me to be here and for me to be a musician and to be born into a family where music was our language. We only spoke about music,” Rosado, who’s produced for artists such as Juan Luis Guerra, said. “I come from a family that marked me. They gave me the confidence and my father would tell me, ‘You can do it. Don’t be mediocre. If you’re going to go to school and study, you can’t expect to pass by with mediocre grades. You have to put in all your effort to everything you do.” Which is what I have always done, and it’s gotten me here.”
Rosa Lagarrigue on being an optimist: “I’m so emotional,” said Lagarrigue, who’s managed the careers of artists like Alejandro Sanz and Miguel Bosé, to name a few. “After working in the music industry for 44 years, I feel so proud to be recognized. We’re still missing many women in relevant positions, but I’m an optimist. I want to especially point out the good relationships there are between us and a sort of complicity. We will achieve to fill in those positions. We should give opportunities to women, to diversity and young people.”
Who will have a big night at the 2022 Latin Grammys? Each year, Billboard offers its analysis of who will win and who should win in the main categories (song of the year, record of the year, album of the year and best new artist).
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This year, leading up to Latin Grammys on Thursday (Nov. 17), we’ve gathered our Latin editorial team and embarked on a lively discussion, with educated guesses based on the marketplace and past voting behavior (not endorsements). Our participants are Leila Cobo, Billboard’s Chief Content Officer, Latin/Español; Jessica Roiz, Billboard‘s Latin assistant editor; Griselda Flores, Billboard‘s senior Latin writer; Ingrid Fajardo, social media manager & Latin’s staff writer; Sigal Ratner-Arias, Billboard Español’s deputy editor; and Isabela Raygoza, Billboard Español’s associate editor.
The 2022 Latin Grammy Awards ceremony is taking place live from the Michelob Ultra Arena at Mandalay Bay Resort and Casino in Las Vegas. The telecast will air on Univision at 8 p.m. ET, and it will also be available on HBO MAX. See the complete list of nominations here.
Here are our predictions:
Record of the year“Pa Mis Muchachas” – Christina Aguilera, Becky G, Nicki Nicole feat. Nathy Peluso“Castillos De Arena” – Pablo Alborán“Envolver” – Anitta“Pa’lla Voy” – Marc Anthony“Ojitos Lindos” – Bad Bunny & Bomba Estéreo“Pegao” – Camilo“Tocarte” – Jorge Drexler & C. Tangana“Provenza” – Karol G“Vale La Pena” – Juan Luis Guerra“La Fama” – Rosalía feat. The Weeknd“Te Felicito” – Shakira & Rauw Alejandro“Baloncito Viejo” – Carlos Vives & Camilo
Leila Cobo: “La Fama,” in part because Rosalía is a darling of the production community and what she does at a producer level is very highly regarded. She has The Weeknd involved, and she also has these very personal and thoughtful lyrics about the meaning of fame. And it was a clever way of fusing bachata with what she does and The Weeknd singing in Spanish in that genre – all of that is hard to accomplish sonically, and they were able to do it.
Griselda Flores: I don’t think there’s a clear winner here. Many of the songs nominated could easily win — “Provenza,” “La Fama,” “Ojitos Lindos” as examples. But I think “Pa’ Mis Muchachas” will win this category. It’s Christina Aguilera’s comeback in Spanish, and it’s a well-produced track with Rafa Arcaute, who is a Latin Recording Academy darling. Plus, you’ve got these other incredible artists such as Becky G, Nathy Peluso and Nicki Nicole on the guaracha record, and that has made a huge statement.
Jessica Roiz: I would love to see Karol G take this one. “Provenza” is a genre we hadn’t heard Karol G in, and I feel it’s such a universal song. Anyone around the world, whether you like reggaeton or not, will connect. The song is easy to sing, and I feel like it was very refreshing. But there are many Latin Grammy darlings in here, like Juan Luis Guerra and Jorge Drexler, so for all we know they could end up winning.
Sigal Ratner-Arias: Given that “Provenza” is also up for song of the year, I would say “La Fama” or “Tocarte,” because of their production value. I love “Provenza” and I want to see Karol G win, but I think she’ll take song of the year.
Isabela Raygoza: If it were up to me, I’d say “La Fama” because obviously we see Rosalía being exploratory with other genres and enlisting The Weeknd, and it’s a phenomenal song. The way she’s introspective about fame with her lyricism is on point. If I were to not go with my personal favorite and think more objectively, I’d have to agree with “Pa’ Mis Muchachas.” This is Christina Aguilera’s comeback within the Latin space and the people that she enlists, it’s a masterclass in female empowerment. It’s a celebration of Latina resilience.
Ingrid Fajardo: I’m between two: “Provenza” because it’s simple but it can become fascinating. It’s so subtle to the ear that it captivates you easily. I also think that the way they produced “La Fama” and the way they created this bachata in a very modern way, and her being a Spaniard, is also fascinating. I think either of those two songs could win.
Album of the yearAguilera – Christina AguileraPa’lla Voy – Marc AnthonyUn Verano Sin Ti – Bad BunnyDeja – Bomba EstéreoTinta Y Tiempo – Jorge DrexlerYa No Somos Los Mismos – Elsa y ElmarViajante – FonsecaMotomami (Digital Album) – RosalíaSanz – Alejandro SanzDharma – Sebastián Yatra
Cobo: I think we all think Bad Bunny will win, but that doesn’t mean he will. This is, after all, the Academy, and while there are many worthy albums here in many different genres which will have widely varying degrees of appreciation, I think not giving it to Bad Bunny will be an oversight given the moment in music we’re living, and the role he plays in it.
Ratner-Arias: The Latin Grammys have never been a popularity contest, and we’ve seen it over the years when the most popular song or album isn’t the winner. Having said that, I think this is Bad Bunny’s year, and I think he deserves it.
Flores: I think it could really come down to Bad Bunny and Rosalía. Un Verano Sin Ti and Motomami both made huge statements in their own ways. Bad Bunny is the most obvious winner, but I think Rosalía’s album is also deserving. Hearing Rosalía navigate all these different worlds and sounds is truly noteworthy.
Roiz: I’m happy to see artists like Elsa Y Elmar in there. I’d love for her to win, but there are so many artists here that could take it. Bad Bunny… how can he not win? The Internet would break if he didn’t win!
Raygoza: I’d like to see Motomami take this one, because production-wise it’s so avant-garde, she did push the limits of what production looks like especially in Latin music. She never confines herself to one specific sound. What she captures in her songs puts you in a headspace where you’re transported to a fascinating world. It’s an exciting listen and I love the moods she journeys through. Of course, there’s also Bad Bunny, and this is his year. I think his collaborations really stood out on this album: he brought underground artists to the forefront, and it was a brilliant production. It’s an instant earworm at first listen.
Fajardo: Bad Bunny’s album represents a summer that no one will ever forget. This summer will forever be the summer Bad Bunny dropped Un Verano Sin Ti. To also see the impact it had on people’s lives is crazy. It represents so much, and it connects with people in a way I hadn’t seen people connect with songs in a long time.
Song of the year“A Veces Bien Y A Veces Mal” — Ricky Martin ft. Reik“Agua” — Daddy Yankee, Rauw Alejandro & Nile Rodgers“Algo Es Mejor” — Mon Laferte“Baloncito Viejo” — Carlos Vives & Camilo“Besos En La Frente” — Fonseca“Encontrarme” — Carla Morrison “Hentai” — Rosalía“Índigo” — Camilo & Evaluna Montaner“Pa’ Mis Muchachas” — Christina Aguilera, Nicki Nicole, Becky G ft. Nathy Peluso“Provenza” — Karol G“Tacones Rojos” — Sebastián Yatra“Tocarte” — Jorge Drexler & C. Tangana
Leila: I’m a big believer in “Provenza.” It broke the paradigms of what a hit can sound like in the voice of someone who is an urban artist; it’s also a new form of songwriting that is very eloquent. I also very much like “Tacones Rojos,” a perfect pop song. It’s danceable, clever, so many things. Out of this roster of songs, the ones I think are most commendable as pure songs are these two. They are the songs I have on repeat on my playlist and that’s the hallmark of a good song.
Griselda: This one is tough, but there’s just something about “Provenza” that makes it the most enjoyable song ever. Everything, from its liberating lyrics to its infectious beat, works and connects and makes you feel, and it captured the zeitgeist, so I think this song should and will win.
Sigal: “Provenza” and “Tacones Rojos” are the catchiest songs on the list. They get me in a good mood, treats that I don’t get tired of listening to. “Índigo” and “Pa’ Mis Muchachas” could win, but I see it going more for either “Provenza” or “Tacones Rojos.”
Isabela: Personally, I loved the lyrics of “Tocarte” especially because we’re getting out of a moment in the pandemic where we couldn’t be close to each other and took physical contact for granted. Jorge Drexler is a Latin Grammy darling and C. Tangana is fascinating to me so I’m rooting for that one.
Jessica: I think “Provenza” will probably win record of the year because of the musical arrangements, but what I also love about the lyrics is that Karol feels so empowered and sings messages that, in the past, women weren’t really singing, about calling ex-boyfriends. Before, I feel that female artists were expected to be more submissive, and Karol G is the opposite. But “Índigo” and “Tacones Rojos” could win too, because they are clever songs. Then there’s Carla Morrison’s “Encontrarme” — I mean, that song could save lives.
Ingrid: One of the songs here that I can’t stop listening to is “Índigo,” because that song has so much light and is made with so much love. It’s one of those songs that that you don’t get tired of.
Best new artistAngela ÁlvarezSofía CamposCande y PauloClarissaSilvana EstradaPol GranchNabálezTiareValeYahritza y Su EsenciaNicole Zignago
Sigal: I want Ángela Alvarez to win. She’s waited long enough. She’s been writing songs for 70 years, and she can finally present them to an audience at age 95. People have received her with open arms and her attitude is beautiful. The message she gives as a human being makes her so deserving. She really made an impact on me.
Leila: My vote is for Silvana Estrada. She’s poignant, she knows her music, she takes it seriously, she’s studied it. She’s a complete artist in every sense of the word.
Isabela: I like that Silvana rescues that folk song. She’s very poetic and deep. She’s from Veracruz, she plays the cuatro, she’s involved in everything and has so much control over her music. I love that she can do that.
Griselda: Since I heard Silvana for the first time, I fell in love with her voice and her lyrics. She has a very strong presence, she’s a beautiful artist who takes her craft very seriously and protects it. I respect that. I’d love to see her win.
Ingrid: I have two favorites. Silvana is one of my favorites because to me she represents music. To grow up watching your parents make instruments… I mean, for her it’s just natural. She was born to do this. And there’s also Pol Granch. Both are completely different, but I like Pol a lot. He has a new sound and it’s very European, and it sounds very modern.
Jessica: Silvana Estrada should win this. But I also think that if Yahritza Y Su Esencia wins, it will make a huge statement. These kids don’t come from a musical family – their parents are farmworkers, and they didn’t study music, yet what they create is beautiful. If Yahritza wins, it could motivate many people who are in their shoes.
Karol G is blessing fans with new music. On Sunday (Nov. 13), the singer-songwriter dropped her new track “Cairo,” an infectious track produced by her go-to producer Ovy On the Drums.
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Penned by the team behind “Provenza” — Karol, Ovy and Keityn — “Cairo” is a head-bobbing earworm that thrives on a fusion of dance beats and Afrobeat. In the song, Karol sings about allowing herself to love again, even after swearing she wouldn’t.
“I’m not in love yet, but soon I will be,” she confesses.
“Cairo” follows Karol G’s “Gatubela,” which dropped in August. With the track, in collaboration with Maldy, the Colombian artist banked her 16th top 10 on Billboard’s Hot Latin Songs with a No. 4 debut on the Sept. 10-dated ranking.
Billboard recently reported that Karol G‘s $Trip Love tour had grossed $69.9 million and sold 410,000 tickets across 33 shows in North America (through the end of October), according to numbers reported to Billboard Boxscore. With those figures, the Colombian star has now earned the highest U.S.-grossing tour by a female Latin act.
With $Trip Love, the “Provenza” singer surpasses Jennifer Lopez‘s $50 million grossing It’s My Party World Tour in 2019. Meanwhile, Shakira grossed $28.2 million in 2018 with her El Dorado World Tour. This year, Rosalía’s Motomami world tour has grossed $28.1 million through the end of October.
The 31-year-old artist is currently working on her forthcoming album, which will follow her chart-topping, Grammy-nominated 2021 set, KG0516. She’s also slated to headline the 16th annual Calibash, taking place Jan. 21-22 at Crypto.com Arena in Los Angeles. She joins a previously billed group of headliners that includes Ozuna, Myke Towers and Farruko.
The song dropped alongside a music video, shot in Cairo, directed by WEOWNTHECITY. Watch it below.