Latin
Page: 137
After releasing two previous collaborative efforts, Feid and Yandel made many fans very happy when they dropped a joint EP called MANIFESTING 20-05 earlier this month. This wasn’t the first time two reggaetón giants joined forces for an entire set; in fact, one of the first artists to do so were J Balvin and Bad […]
Two weeks ago, FloyyMenor and Cris MJ made history as the first Chileans to enter the top 10 on Billboard‘s Hot Latin Songs chart since La Ley and Ednita Nazario’s “Tu Sabes Bien” did so 25 years ago. The only other Chilean artist to have reached similar heights was Myriam Hernández with 1998’s “Huele a Peligro,” which peaked at No. 5. This week, the emerging pair catapulted to No. 1, dethroning Xavi’s months-long reign with “La Diabla.”
The song making waves is “Only Gata,” a sly reggaetón number about online flirtation. According to Luminate, the viral track registered 11.11 million official U.S. streams, a 33% gain from the previous week. That landed them a No. 34 debut on the Streaming Songs chart and gave them a second week atop the Latin Streaming Songs chart. “Gata Only” also occupies No. 48 on the Hot 100. Last week it was at No. 74.
But how did two relatively unknown Chilean artists manage to not only break through on the global music scene but also clinch the top spot on the Hot Latin Songs chart? The success story begins with some strategic planning, innovative marketing and a dash of serendipity.
Trending on Billboard
Initially, FloyyMenor was a mysterious figure circulating online who had scored a few local hits. His identity was obscured and the art on his early YouTube releases was composed of car imagery, never revealing his face. “You needed to go to the nightclubs to see him,” says Adrian Mainou, artist marketing manager of Latin/U.S. at UnitedMasters.
The Latin team at UnitedMasters had been monitoring the Chilean music scene, having signed Nicko G over two years ago and being fans of Paloma Mami and Polimá Westcast. When the company’s Latin A&R lead, Gerardo Mejía — a music veteran with 30 years of experience and a former rapper/singer originally from Ecuador — began scouting the country’s music scene in the summer of 2023, he encountered FloyyMenor performing live and was captivated by the young artist’s unique appeal and the audience’s enthusiastic response.
“This kid was packing venues [with audiences] singing lyric after lyric,” recalls Mejía. At the time, FloyyMenor’s big local hit was “pa la europa,” while “Gata Only” was just a song people knew from his live shows and online teasers. Eager to sign the promising talent, Mejía had to wait until Floyy turned 18 in December.
After the signing, UnitedMasters released “Gata Only” in December — and the song began gaining traction within the first week and a half of its release. Not long after, Cris MJ — a Chilean act who had gained recognition from Karol G’s remix of “Una Noche en Medellín” featured in Mañana Será Bonito (Bichota Season) — reached out to Floyy, expressing his love for the song and his desire to be part of it.
As Mejía recalls: “When I got back to Chile in January, [Floyy] called me and said, ‘Cris MJ loves the song.’ I said, ‘Cool. We’ll do the remix.’ He said, ‘No. He loves the song so much he wants to be the original.’ I was like, ‘My brother, if Cris MJ calls you, then get on it with their teams and go record.’ We pulled down the original and waited maybe two weeks before we released it [on Feb. 2] with Cris MJ, and the rest is history.”
In a conversation with Billboard, Mejía and Mainou provided an in-depth look at the strategic rise of “Gata Only” to the top of the Hot Latin Songs chart. See below for the full interview.
The accomplishment alone as the first Chilean acts to make the top 10 of the Hot Latin Songs chart in 25 years is already very impressive, then to top the chart at No. 1. How does that happen?
Adrian Mainou: It was a very interesting and entertaining build up. [After we officially released it], we saw social growth and began working with a press team in Chile. It was a no-brainer to see the movement on TikTok and that we needed to lean into this. So I activated the first phase of influencers with Kono Sur [marketing y diseño]. We pushed [the song] in Chile, Argentina, and Ecuador, and we were able to see a lot of reactions on YouTube from those countries. Once we saw that, we had Floyy go to Argentina and do some shows while pushing press and [involving] influencers. For an artist coming out of Chile, having the Argentina push is a very cool look; it’s a very important country to connect with. For Floyy, it was pretty easy. He loves Argentinian culture. He got in on a Monday, did a show that same Tuesday, and by Thursday it was No. 1 on Spotify Argentina.
[Publicist] Cris Nova then joins the team [and he] was able to paint the narrative with press across socials, streaming and [seeing] the bigger perspective. At this point, we activate a second phase of influencers in Mexico, who helped us create more noise. [Mexico is] the third country in his top demographic at the moment.
Activating influencers. Please explain.
Mainou: We looked at lip-synching which fueled social media content. Then we looked into dance challenges. This is where we can start connecting with other countries and going global. We moved from lip-synching to the dance challenge [because] we knew it’s an easier thing for people in other countries to tap into.
We saw a couple of fan [pages] chiming into this. It was key to leverage from this and create new [dance challenges]. We were like, “Let’s take advantage of that and work with them.” We collaborated with fan accounts on TikTok, being like, “Yo, let’s work together. Put this [song] up.” At the end of the day, it’s content that they’re pushing on an organic level.
Once we got into Mexico, it was a no-brainer to start activating DJs for the song. We did that across Colombia, Argentina, Chile, Miami, targeting different demographics. We were able to get data on Spotify, Apple Music and YouTube. That puts us on this new level, and the song started translating into the U.S., and it was going crazy in the U.S.
FloyyMenor is a relatively unknown artist. What is your thought process when attempting to break an unknown act into the U.S.?
Mainou: This is an independent artist, so I don’t have a lot of money. How can we take advantage of what we’re doing? I connected with the digital team to give me Mexico influencers [whose] second-biggest demographic is in the U.S. With that mindset, I can pay for the influencer Mexico fee. Then it caught U.S. growth; [Mexican influencers] have a very strong presence in U.S. Latin culture. That can cover almost every big Latin influencer in the U.S. doing the song without us having to pay. We saw the song growing to almost 20 million streams on Apple, and from that a large portion came from the U.S. That took me into this current new position where I’m starting to push specifically the U.S. The song is already here, and we know it’s [playing] in nightclubs, people doing remixes, and the DSPs are supporting. He’s gotten [on] pretty much every single cover [of official playlists on] DSPs, and social support. We’ve seen artists [using] the audio [on social media], from Kenia Os to Shadi and Malu Trevejo…as well as Trapeton, Trap House Latino, etc.
Why do you think “Gata Only” is resonating with the masses?
Mejía: The lyrics talk about TikTok, about likes, about following. I think that he hit something that resonates with the kids. To top it off, it’s such a great melody. And having Cris MJ never hurts.
Mainou: The sound is very particular. I’ve become a very big fan of the Chilean sound from “Ultra Solo” [by Polimá Westcoast and Paloma Mami] a couple years ago, and from working with Nicko G. I think the production is very Chilean, [combined] with very good vocals and great analogies.
[embedded content]
What is UnitedMasters doing different than other management and agency companies?
Mejía: At UnitedMasters, our mission is to be a tool for the artists and get them wherever they wanna get. We work with independent artists, and that has some challenges around it. Not all of them have managers, nor friends that can make them music videos; not all of them have a studio that they can record music at. We sat down with Floyy, we were able to not only get to know him but make him look at the bigger picture. We told him, “This is what we can do with you if you trust us, if you listen to us. This is where we can take you.” It’s about sitting down with the artists, understanding their needs, and being able to make a plan around it, creating a timeline.
MediaCo Holding has acquired all of Estrella Media’s network, content, digital and commercial operations, the company announced on Thursday (April 18). According to a press release, the transaction — which closed April 17 — will see Estrella Media brands join MediaCo. These include the EstrellaTV network’s linear and digital video content business, Estrella Media’s digital […]
Telemundo Enterprises announced on Thursday (April 18) a new structure for its entertainment studios to “boost its scripted content,” according to a press released issued by NBCUniversal’s Spanish-language division. The restructure, which will merge the media company’s linear and streaming studios (launched in 2021) into one unit, was unveiled by NBCUniversal Telemundo Enterprises chairman Luis Fernández. “At […]
National Exercise Day is held on April 18, and to set the mood, Billboard has curated the ultimate Latin workout playlist.
The unofficial holiday was founded in 2020 by Dr. Jeuse Bernard Saint-Fleur to raise awareness on the importance of exercise and how it can save lives, according to Daysoftheyear.com. It happens each year in April.
The Latin workout playlist includes more than 40 songs, perfect for a two-hour sweat sesh at the gym.
Explore
See latest videos, charts and news
See latest videos, charts and news
For those who want to feel motivated and listen to positive affirmations, we’ve included bops such as Karol G’s “Que Chimba de Vida,” Bad Bunny’s “Los Pits,” Randy Malcom’s “Bendecido” and Thalia’s “Arrasando.”
For the gym junkie who needs reggaetón music to get hyped, there’s Rauw Alejandro’s “Diluvio,” Daddy Yankee’s timeless hit “Gasolina” and “Gata Only,” the viral hit by Chilean newcomers FloyyMenor and Cris MJ, which hit No. 1 on the Billboard Hot Latin Songs chart.
Trending on Billboard
Songs such as Fuerza Regida and Marshmello’s “Harley Quinn”; Maluma’s “Coco Loco”; Lenny Tavárez and Sergio George’s “El Yate”; “Mercho” by Lil’ Cake, Migrantes, and Nico Valdi; and Manuel Turizo’s “La Bachata” represent the dance, merengue, salsa, cumbia, and bachata genres, respectively.
And of course, the playlist could not exclude gym-inspired tracks such as Tainy’s “La Baby” featuring Daddy Yankee, Feid and Sech, and “Gym,” a catchy dembow by former Billboard On the Radar Latin act J Molina.
Now go throw on your best gym fit, get in a sweat sesh and listen to the playlist below:
Banda MS achieves a regional Mexican radio takeover as “Tu Perfume” rises 2-1 to lead the Regional Mexican Airplay ranking dated April 20. With the lift, Banda MS breaks from a tie with Intocable for the second-most No. 1s on Regional Mexican Airplay overall, for the band’s 20th champ, since the list launched in 1994. […]
It’s hard to believe that Sheila E. had not released a salsa album until only a couple weeks ago. As the daughter of American percussionist Pete Escovedo, the “Queen of Percussion” grew up surrounded by Latin music royalty — including the “King of the Timbales” Tito Puente, who was her godfather, and the “Queen of Salsa” Celia Cruz — before becoming a star in her own right.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
“Everyone thinks I’ve done a salsa record already, but I have not,” she says on a Zoom call from her home in Los Angeles about Bailar (released April 5 under Stiletto Music), for which she recruited Latin legends such as Gloria Estefan, Rubén Blades and Gilberto Santa Rosa. Her famous dad plays in one song, also featuring José Alberto “El Canario”, and its stunning big band orchestration and arrangements are a testament to her love for the genre.
Trending on Billboard
“I mean, I grew up listening to that music and it’s just so inspiring,” explains the Oakland-born singer and percussionist of Mexican and French Creole ancestry, who has performed, recorded, and toured with renowned artists from a multitude of musical styles — from her close friend and collaborator Prince, to Whitney Houston, Mariah Carey and more. “And then when I really got into listening to Fania All Stars and all the other groups that were part of that,” she continues, “I was just in love.”
Sheila E. started playing drums at the age of 5 — although she admits she doesn’t fully remember that — and made her professional debut at 15, playing the congas for her father’s Latin-rock-funk band Azteca. Active in the industry ever since, this year she also appeared in the Netflix documentary The Greatest Night In Pop, about the historic night in January of 1985 when many of the biggest stars in music gathered to record “We Are the World.” “That was one of the biggest nights in my career,” she recalls.
During the interview, the artist spoke endearingly about her role models, the new generation of female percussionists, the simple joys in life, and what she misses most about Prince.
1. Congratulations on Bailar, your first salsa album. What took you so long!?
I don’t know! [Laughs.] Everyone thinks I’ve done a salsa record already, but I have not. But you know, it was on my bucket list a while ago. When I started thinking about doing it, it was 2015 and it took me this long to really get it together … I’m really excited. I grew up listening to salsa music, it’s so important to me, and I thought, “Man, this is the time to do it! Why haven’t I done this yet?”
2. Many of the songs have a very classical salsa sound. Where did you find the inspiration?
Listening to my dad rehearsing when I was younger at the house every day, he would practice to vinyl and he would play Latin jazz music, but he also listened to Tito [Puente], to Mongo [Santamaría], Celia [Cruz], Eddie Palmieri, Tito Rodríguez, Fania All Stars. You know, so many people. Ray Barreto. I mean, I grew up listening to that music and it’s just so inspiring. And then when I really got into listening to Fania All Stars and all the other groups that were part of that, the whole scene back then, I was just in love.
3. You dad actually plays in your album on the song “Descarga,” also featuring José Alberto “El Canario.” How was this experience for you?
It was so much fun! When I told him, “Daddy” — oh, I call him Papi some times — “Papi, I want you to play in one of the songs on the record and we’re gonna write it especially for you,” he’s like, “You better ask me to play on this record!”
So he came to my studio, and we recorded him here, and then something happened to the track, which is crazy, so my brother had to record him while I was out of town. They recorded him in the Bay Area, at another friend’s studio, so we finally got it. But it was just awesome to have him playing on the record […] He was really excited. And my mom also played guiro on the same song.
4. What’s your first salsa memory? Do you remember any particular song or artist that captivated you?
My dad was 18 when he met Tito, and Tito would come San Francisco, to the Bay Area, to play, and they would go see him play. Later on, after I was born, [when I was] a little bit older, meeting Tito and see them play, I mean, it was just amazing. [Later] my dad and I went to New York to see Tito play at the Palladium and the Corso, all these clubs that, you know, there are like four different bands playing. We didn’t have something like that in the Bay Area! And when you’d go to New York you’d hear these 10, 15-piece bands, playing multiple clubs in one night till 5 in the morning — you just go, “What is this?!” … I was about 15.
5. What’s the biggest lesson you learned from your dad?
My dad has taught me to be on time and learn your craft, learn your music, practice. If there’s a situation where you’re going to perform live or in the studio, if you have the music ahead of time to learn it, understand it — so when you walk into the room you’re gonna feel good about yourself, which gives you confidence, and it helps you to enjoy what your craft is, what your gift is. Preparation means everything … And to treat others respectfully. I just watched him respect his musicians, and how he was a leader and treated his musicians as family. That’s what I’ve done my whole life.
6. You were actually very close to Prince and you played with him for years. What do you miss the most about him?
HIM! [Laughs.] Which encompasses a lot. The times that we had. And being in the studio, just hanging out, playing music, making up music, you know, writing, jamming, parties, playing for parties. Just having fun. And competing against each other! Teaching each other, sharing new music. Just everything about him.
7. You were also Tito Puente’s goddaughter. How do you remember him?
He was hilarious! He was so much fun, he was always a jokester. If you didn’t know him, you thought he was stern, but he would do that on purpose, just messing with people. […] Some of the funnest times where when he and Celia [Cruz] where together and they make each other laugh. He picked on her all the time, and they were just funny together, like brother and sister, fighting all the time.
8. Any particular anecdote with him?
I just remember when we were going to New York and my dad and I would go to sit with him, […] we never saw any other young girls playing at the time. It was different for me as a woman, to sit with these guys [in the band], and he would always tell them, “Just leave her alone, she’s gonna play what she’s gonna play.” You know, even if I didn’t understand the music completely, he understood what my heart felt about the music, because I didn’t read [music]. And then he would tell me, “Don’t listen to those guys, they don’t know what they’re talking about. You just go play and you just be you.”
9. As a young Latina musician, who did you look up to growing up?
Basically my dad, and my mom. My parents were just — and still are — amazing. Actually, right when I just got on [this Zoom call], they just knocked on the door and came to my house, so I get to see them often, I talk to them constantly, they’re always with me. They were my role models and my inspiration, and still are. You know, for them to still be alive and doing well and healthy, still in love with each other and married — they’re going on 68 years in October — it’s a big deal! They mean everything to me.
10. What’s your first memory playing drums?
Well, the first time I played with my dad I was 5 years old. I remember the process of getting dressed at my grandmother’s house, dressing up really pretty, and then I remember waking the stairs [to the club] and hearing my dad’s band — he was playing with his brothers. This is in Oakland and I can hear the music. We got to the door, he saw my mom and he said, “I wanna introduce my wife and my daughter Sheila. She’s gonna come up and play.” So we walked to the stage, and I remember all the audience partying and clapping. I remember literally just my dad picking me up on the stage and standing me on a stool to play the congas. I just remember everything up to that point. He said that I played well, but I don’t remember.
11. Do you play every day nowadays?
No. When I was living at home [with my parents], in my teenage years, I was playing a lot. But no. I mean, I have drums in my home and my studio, and when someone comes over and I have to record, a lot of times I don’t touch my instrument until I get on stage.
12. What do you like doing besides music? What do you enjoy?
Oh, I enjoy life! I love being outside and nature. Walking, bike riding. I used to skate all the time, playing basketball outside, swimming. I love sports, I love going to the basketball games, professional, NBA, WNBA, football. Anything having to do with sports! I love playing ping-pong, pool. My whole family, we’re all into sports, and we love competing against each other. And I love going to other countries and learning about the food and the community.
13. What was the last country that you visited?
Spain. I was in Gaucin, Spain.
14. Favorite food?
It’s simple. I love making fresh juices in the morning, green drinks to start my morning with something really good. Later on in the day my food changes and I want potato chips and popcorn. It’s a balance. But I love Japanese food and I love all kinds of food! I really do.
15. Do you like cooking?
I do — I love grilling outside. Sometimes, even if it’s cold and it’s raining, I’ll still go outside and grill. I make amazing steaks, fish. I [also] make great gumbo.
16. Any young female musician you admire and are rooting for?
Oh my Gosh, there’s so many it would be unfair for me just to mention a few. What I do, when I have a couple of minutes, I’ll go on social media and I’ll look to see — you know, because of the algorithms it will tend to steer you away to find other people. So I’m always trying to encourage young women playing not just drums, but any instrument. I just reached out to another young girl last night and she D.M. me this morning and she was just like, blown away. “Oh my God, you have no idea,” she said. “I started playing percussion and drums because of you. I started at 9 years old and you are my idol.” And I just love hearing that. “Thank you for your gift,” it’s what I said to her. But there’s so many.
17. What does it feel like to be called the Queen of Percussion?
There are so many amazing queens playing percussion right now that I have seen that can outplay me for sure, and I can’t wait for them to be discovered, because they’re so amazing. So it’s a blessing and I’m humbled by it, but there are so many others that can play as well and should be called Queen of Percussion.
18. If you weren’t a drummer, what would you would be?
I would be an athlete! I was training to be in the Olympics when I was younger in school. I did track and field, I was a sprint runner, I was very fast. And I also played soccer for 5 years.
19. I saw you recently in the documentary The Greatest Night in Pop. What did you think about it?
I thought it was really good. I mean, I didn’t know who was going to be in it, they just said, “We want to do an interview,” and I was like, “Sure!” After I left later at 4:00 in the morning [the night of the recording of “We Are The World” in 1985,] I didn’t know what transpired after, so it was nice to see. And it brought back wonderful memories of what I had accomplished that night [when I also played at the American Music Awards right before]. That was one of the biggest nights in my career.
20. If there was a movie about your life, who should play you?
There are women that have come out to me to say, “I’m gonna play you if you ever do a movie.” [Laughs.] [Actress] Nicole Parker, she was one a long time ago […] and I was like, “Absolutely!” And Nicole Scherzinger, from the Pussy Cat Dolls, we talked to her a long time ago. She’s amazing, and she’s like, “I would love to do it.” And I said, “Well, I will have to teach you some timbales!” And then early on, when we were thinking of doing something, my nieces played percussion and they of course look related to me, so that was a good find for playing me when they were younger.
Young Miko attains a new milestone in her Billboard chart career as her full-length debut, Att., opens at No. 9 on Top Latin Albums and at No. 4 on Latin Rhythm Albums (dated April 20).
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Released April 5 via The Wave Music, the set earned 10,000 equivalent album units in the U.S. in the tracking week of April 5-11, according to Luminate.
On Top Latin Albums and Latin Rhythm Albums, units comprise album sales, track equivalent albums [TEA] and streaming equivalent albums [SEA]. Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album.
Trending on Billboard
Of Att.’s opening sum, 9,000 derive from SEA, a figure that equates to 12.5 million official U.S. audio and video streams of the album’s songs. Album sales contribute 1,000 of the remaining units, with a negligible amount of activity from track-equivalent units.
With Att. Young Miko earns her first top 10 effort on any Billboard albums chart, after scoring eight song entries across Billboard’s rankings, including the No. 2-peaking “Fina,” with Bad Bunny, on Hot Latin Songs, which combines radio airplay, streaming data, and digital downloads. The track concurrently reached No. 6 high on the all-genre Billboard Global 200 last October.
As Att. bows in the top 10 on Top Latin Albums, Young Miko becomes the third artist to debut in the top 10 with their first entry in 2024, after Oscar Maydon’s Distorción (No. 9 launch, Jan. 6) and Luis R. Conriquez’ Corridos Bélicos, Vol. IV, (No. 5, Jan. 20).
Plus, Young Miko marks the first time a woman debuts in the top 10 on Top Latin Albums on her first try since Selena Gomez’s Revelación (EP) debuted at No. 1 in March 2021.
Further, Young Miko joins seven other women who have scored a top 10 debut on Top Latin Albums this decade. Here’s the recap, which includes triple and double debuts by Karol G and Becky G, respectively:
Artist, Title, Debut Date, Debut Position
Selena Gómez, Revelación (EP), March 27, 2021, No. 1
Karol G, KG0516, April 10, 2021, No. 1
Rosalia, Motomami, April 2, 2022, No. 3
Becky G, Esquemas, May 28, 2022, No. 5
Selena, Moonchild Mixes, Sept. 10, 2022, No. 8
Karol G, Mañana Será Bonito, March 11, 2023, No. 1
Karol G, Mañana Será Bonito (Bichota Season), Aug. 26, 2023, No. 1
Becky G, Esquinas, Oct. 14, 2023, No. 7
Kali Uchis, Orquídeas, Jan. 27, 2024, No. 1
Shakira, Las Mujeres Ya No Lloran, April 6, 2024, No. 1
Young Miko, Att., April 20, 2024, No. 9
Notably, Uchis’ debut album, Sin Miedo (Del Amor y Otros Demonios) joined the top 10 on Top Latin Albums in its second week (climbing 21-8) as the set, released Nov. 18, 2020, via EMI/Interscope/ UMe, debuted at No. 21 from two days of activity. (Sin Miedo later peaked at No. 3 where it held for four weeks).
Over on the multimetric Hot Latin Songs tally, Att. spins off a new single: “Offline,” with Feid, launching at No. 45.
Beyond its top 10 debut across Latin albums charts, att. makes its maiden appearance on the all-genre Billboard 200, at No. 129. Plus, it debuts on the Independent Albums tally, at No. 23.
Today (Apr. 17), the Latin Grammys announced their return to Miami to celebrate the 25th anniversary of the award show, set to take place Thursday, Nov. 14.
It’s the second big announcement by the Latin Academy in the past few weeks. In late March, the Academy announced it was adding new categories to the awards: best contemporary Mexican music album and best Latin electronic music performance.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Addition of the best contemporary Mexican music album in particular was heralded by many as a positive reaction to longstanding criticism that the Latin Grammys don’t fairly represent regional Mexican artists and music, particularly in the “Big Four” categories: album, record and song of the year and best new artist.
Trending on Billboard
The new category also highlights how the Academy can respond swiftly to changes in the market. In the past 12 months, regional Mexican music (or Música Mexicana), as many use to refer to the many genres of Mexican music, has flooded the Billboard charts (including the Hot 100). Much of the activity has come from particularly new and often very young artists, whose brand of music reflects a more “contemporary” artistic and personal outlook.
The Academy made another major change, stating that if a category does not get enough entries, its status can change. This brings the Latin Grammys in line with the regular Grammys, which has long had such a rule.
In order to have the standard five nominees, each category needs at least 40 distinct artist entries. “If a category receives between 25 and 39 entries, only three recordings will receive nominations in that year,” the rules now read. “Should there be fewer than 25 entries in a category, that category will immediately go on hiatus for the current year and entries will be screened into the next most logical category. If a category receives fewer than 25 entries for three consecutive years, the category will be discontinued, and submissions will be entered in the next most appropriate category.”
That change, buried underneath news of the new categories, is actually crucial, as it ensures competitiveness for the entire field of nominees. With that in mind, here are three other arenas where the Latin Academy would benefit from additional change.
1. Reduce the number of nominations in the “Big Four” categories.
In 2012, the Latin Grammys bumped the number of nominees in each of their Big Four categories from five to 10. We see little value in this increase. The result is a bloated list of nominees that often reads like a list of trying to please everyone, which effectively dilutes the merits of the big nominees. The Latin Grammys’ jump from five to 10 was emulated by the Recording Academy in 2022, when it also raised the number of Big Four nominees from eight to 10 (the categories only had five nominees up until 2017). That experiment lasted all of two years: In 2023, the Academy announced it was going back to eight nominees in each of the big categories — still way too much, but better than the 10 that make our eyes glaze over at the Latin Grammys.
2. How about those nominating committees?
In 2021, the Grammys eliminated their controversial nominations review committees, leaving them in place only for “craft” categories that require special know-how (think categories like best music film or best engineered album).
But the Latin Grammys have not eliminated the vast majority of its committees, leaving the fate of many nominations in the hands of a select few. The Latin Academy’s website states that “in craft and other specialized categories, final nominations are determined by national nomination review committees comprised of voting members in the U.S. and International.” If the criteria for a nomination committee is “specialization,” why are there still committees deciding the fate of the Big Four categories?
With very limited exceptions (i.e. very specific categories like flamenco or vallenato), the rank and file of voters should decide who final nominees are.
3. Change the requirements for best classical music album category.
Classical music is universal, with the same repertoire performed by accomplished musicians around the globe. And yet, the requirements for this category state: “For the Latin Recording Academy, Classical Music albums are those in which participants are predominantly Latino composers, directors or performers in any of its forms: composition, performance, direction.” The Academy should modify this description by dropping the requirement that performers or directors be predominantly Latino, and instead focus on the importance of the composition itself as of Iber-American origin.
Narrowing this award to artists of Latin origin, regardless of the repertoire, dilutes the importance of both the award and its recipients. Latin artists should compete on equal footing — as, for example, Gustavo Dudamel, the conductor of the Los Angeles Philharmonic, has successfully done in the Grammy awards.
Shakira did not lie when she announced on social media: “se viene la loba” (the she wolf is coming). The Colombian superstar unveiled the dates to the North American leg of her 2024 Las Mujeres Ya No Lloran tour on Tuesday (April 16), just on the heels of revealing the big news during her surprise […]