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Glamour and elegance were strong themes on the red carpet of the 2024 Latin Grammy Awards on Thursday (Nov. 14), which took place at the Kaseya Center in Miami, Fla.. Nominated for best norteño album and in other categories, Grupo Frontera was among the first group to arrive. All wore super modern tuxedos ranging from […]
The first batch of winners of the 2024 Latin Grammys were announced during the Latin Grammy Premiere on Thursday (Nov. 14). The ceremony — where most of the awards are presented — kicked off at 1:15 p.m. ET, a few hours prior to the televised gala (set to begin at 8 p.m. ET).
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For the second year in a row, Edgar Barrera leads the list of nominees with nine nods, including songwriter of the year and producer of the year. He is followed by superstars Karol G and Bad Bunny, who each got eight nominations.
For its 25th anniversary, the Latin Grammy Awards incorporated a new field of electronic music, and two new categories: best Latin electronic music performance, and best contemporary Mexican music album.
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The nominees for the coveted best new artist prize are Agris, Kevin Aguilar, Darumas, Nicolle Horbath, Latin Mafia, Cacá Magalhães, Os Garotin, Iñigo Quintero, Sofi Saar and Ela Taubert.
Below, find the list of Latin Grammy winners for 2024, which will be updated throughout the day. The televised ceremony will be broadcast live starting at 8 p.m. ET on Univision, Galavisión and ViX.
Record of the year
“Mil Veces,” Anitta
“Monaco,” Bad Bunny
“Una Vida Pasada,” Camilo & Carín León
“Catalina,” Cimafunk & Monsieur Periné
“Derrumbe,” Jorge Drexler
“Con Dinero y Sin Dinero,” Fonseca & Grupo Niche
“Mi Ex Tenía Razón,” Karol G
“Mambo 23,” Juan Luis Guerra y 4.40
“Tenochtitlán,” Mon Laferte
“Igual Que Un Ángel,” Kali Uchis & Peso Pluma
Album of the year
Bolero, Ángela Aguilar
Cuatro, Camilo
Xande Canta Caetano, Xande De Pilares
Mañana Será Bonito (Bichota Season), Karol G
García, Kany García
Radio Güira, Juan Luis Guerra 4.40
Autopoiética, Mon Laferte
Boca Chueca, Vol. 1, Carín León
Las Letras Ya No Importan, Residente
Las Mujeres Ya No Lloran, Shakira
Song of the year
“A Fuego Lento,” Daymé Arocena & Vicente García, songwriters (Daymé Arocena & Vicente García)
“A La Mitad” (Banda Sonora Original De La Serie “Zorro”), Julio Reyes Copello & Mariana Vega, songwriters (Maura Nava)
“Aún Me Sigo Encontrando”, Rubén Blades, Gian Marco & Julio Reyes Copello, songwriters (Gian Marco & Rubén Blades)
“Caracas En El 2000,” Marvin Hawkins Rodriguez, Jerry Di, La Pichu, Danny Ocean & Elena Rose, songwriters (Elena Rose, Danny Ocean & Jerry Di)
“Derrumbe,” Jorge Drexler, songwriters (Jorge Drexler)
“(Entre Paréntesis),” Edgar Barrera, Kevyn Mauricio Cruz, Manuel Lorente Freire, Lenin Yorney Palacios & Shakira, songwriters (Shakira, Grupo Frontera)
“Mi Ex Tenía Razón,” Edgar Barrera, Andres Jael Correa Rios, Kevyn Mauricio Cruz Moreno, Karol G & MAG, songwriters (Karol G)
“Según Quién,” Edgar Barrera, Kevyn Mauricio Cruz, Luís Miguel Gómez Castaño, Maluma, Lenin Yorney Palacios & Juan Camilo Vargas, songwriters (Maluma & Carín León)
“Te Lo Agradezco,” Rafa Arcaute, Kany García, Carín León & Richi López, songwriters (Kany García & Carín León)
“313,” Leo Genovese, Residente & Silvia Pérez Cruz, songwriters (Residente, Silvia Pérez Cruz & Penélope Cruz)
Best new artist
Agris
Kevin Aguilar
Darumas
Nicolle Horbath
Latin Mafia
Cacá Magalhães
Os Garotin
Iñigo Quintero
Sofi Saar
Ela Taubert
Best pop vocal album
Tofu, Caloncho
.mp3, Emilia
El Viaje, Luis Fonsi
Hotel Caracas, Mau y Ricky
Orquídeas (AOP), Kali Uchis
Escrita, Nicole Zignago
Best traditional pop vocal album
Obras Maestras, Diego El Cigala
García, Kany García
Mar Adentro, Juliana
Aún Me Sigo Encontrando, Gian Marco
Almas Paralelas, Laura Pausini
Best pop song
“A La Mitad” (Banda Sonora Original De La Serie “Zorro”), Julio Reyes Copello & Mariana Vega, songwriters (Maura Nava)
“A Las 3,” Paty Cantú, Ángela Dávalos, León Leiden & Saibu, songwriters (Paty Cantú & León Leiden)
“Ahora,” David Bisbal, Pablo Preciado & Carlos Rivera, songwriters (David Bisbal & Carlos Rivera)
“Amor,” José Andrés Benitez, Christian Bermudez, Richard Bermudez, Rodney Kumbirayi Hwingwiri, Juan Diego Linares, Luis Alejandro Márquez, Anibal Morin Diaz, Danny Ocean & Rafael Salcedo, songwriters (Danny Ocean)
“Dime Quién,” Lagos, songwriters (Lagos)
“Feriado,” Rawayana, songwriters (Rawayana)
“Igual Que Un Ángel,” Carter Lang, Manuel Lorente Freire, Kali Uchis & Dylan Wiggins, songwriters (Kali Uchis & Peso Pluma)
Best Latin electronic music performance
“La Ceniza,” Ale Acosta, Valeria Castro
“Drum Machine,” Alok
“Pedju Kunumigwe,” Alok, Guarani Nhandewa
“Bzrp Music Sessions, Vol. 53 (Tiësto Remix),” Bizarrap, Shakira – WINNER
“Bambole,” Vikina Featuring Deorro
Best urban/fusion performance
“Nadie Sabe,” Bad Bunny
“Corazon Vacío,” Maria Becerra
“Young Miko: Bzrp Music Sessions, Vol. 58,” Bizarrap Featuring Young Miko
“S91,” Karol G
“Tranky Funky,” Trueno
Best reggaeton performance
“Perro Negro,” Bad Bunny Featuring Feid
“Un Preview,” Bad Bunny
“Triple S,” J Balvin Featuring Jowell & Randy & De La Ghetto
“Byak,” Alvaro Diaz Featuring Rauw Alejandro
“Qlona,” Karol G Featuring Peso Pluma
“Labios Mordidos,” Kali Uchis Featuring Karol G
Best urban music album
Nadie Sabe Lo Que Va A Pasar Mañana, Bad Bunny
Sol María, Eladio Carrión
Sayonara, Álvaro Díaz
Ferxxocalipsis, Feid
Mañana Será Bonito (Bichota Season), Karol G
El Último Baile, Trueno
Best rap/hip-hop song
“Aprender A Amar,” Pablo Drexler, Alberto Escámez López & Nathy Peluso, songwriters (Nathy Peluso)
“Bendecido,” Eladio Carrión, songwriter (Eladio Carrión)
“Blam Blam,” Al2 El Aldeano & Vico C, songwriters (Vico C Featuring Al2 El Aldeano)
“La Sabia Escuela,” Akapellah, Leonardo Daniel Díaz, Jose Gonzalez Ollarves, Marlon Luis Morales Santana, Luis Jacinto Muñoz Hernandez & Pedro Elias Querales, songwriters (Akapellah Featuring Canserbero & Lil Supa)
“Teléfono Nuevo,” Bad Bunny & Luar La L, songwriters (Bad Bunny Featuring Luar La L)
“Thunder y Lightning,” Bad Bunny & Eladio Carrión, songwriters (Bad Bunny Featuring Eladio Carrión)
Best urban song
“Bonita,” Daddy Yankee, songwriter (Daddy Yankee) – WINNER
“Columbia,” Quevedo, songwriter (Quevedo)
“El Cielo,” Feid, Nicolás Jaña Galleguillos, Gabriel Mora Quintero, Andres David Restrepo Echavarria, Sky Rompiendo & Myke Towers, songwriters (Sky Rompiendo, Feid, Myke Towers)
“La Falda,” Julio Emmanuel Batista Santos, Carlos Alberto Butter Aguila, Orlando J. Cepeda Matos, Ralph Jemar Milln Calderon, Jose Reyes, Myke Towers & Siggy Vazquez Rodriguez, songwriters (Myke Towers)
“Luna,” Feid, songwriters (Feid Featuring Atl Jacob)
“Qlona,” Karol G, Daniel Esteban Gutiérrez, Ovy on the Drums & Peso Pluma, songwriters (Karol G Featuring Peso Pluma)
Best rock album
El Dorado (En Vivo), Aterciopelados
Diáspora Live Vol. 1, La Vida Bohème
Herencia Lebón, David Lebón
Alicia En El Metalverso, Mägo De Oz
Mi Mejor Enemigo, Viniloversus
Best rock song
“Algo Bueno Tenía Que Tener (Bogotá)”, Diamante Eléctrico & Andrés Kenguan, songwriters (Diamante Eléctrico)
“Animal Temporal”, Viniloversus, songwriters (Viniloversus)
“Camaleónica”, Ali Stone, songwriters (Ali Stone)
“No Me Preguntes (Live)”, Jesús Quintero & Draco Rosa, songwriters (Draco Rosa)
“Qué Más Quieres”, Anton Curtis Delost, Shaun Lopez, Kathryn Ostenberg, Monica Velez & The Warning, songwriters (The Warning)
Best pop/rock album
Cuando Ella Me Besó Probé A Dios, Bruses
Jet Love, Conociendo Rusia
Jay De La Cueva, Jay De La Cueva
Reflejos De Lo Eterno, Draco Rosa
Adentro, Francisca Valenzuela
Best pop/rock song
“Acapulco,” Emmanuel Horvilleur, Siddhartha & Rul Velázquez, songwriters (Siddhartha Featuring Emmanuel Horvilleur)
“Afilá,” Ali Stone, songwriter (Ali Stone)
“Blanco y Negro,” Christian Mauricio Aloisio Zavala, Lagos & Elena Rose, songwriters (Lagos Featuring Elena Rose)
“5 Horas Menos,” Conociendo Rusia & Natalia Lafourcade, songwriters (Conociendo Rusia Featuring Natalia Lafourcade)
“Diciembre,” Los Mesoneros, songwriters (Los Mesoneros)
Best alternative music album
Por Cesárea, Dillom
Híper, Hello Seahorse!
Nica, Nicole Horts
Autopoiética, Mon Laferte
Pandora, Ali Stone
Descartable, Wos
Best alternative song
“Cabecear,” J Noa, Jeffrey Peñalva “Trooko” & Skai, songwriters (J Noa)
“Déjalo Ir,” Francisco Rojas & Francisca Valenzuela, songwriters (Francisca Valenzuela)
“El Día Que Perdí Mi Juventud,” Devonté Hynes & Nathy Peluso, songwriters (Nathy Peluso)
“Insomnia,” Goyo, Illmind, Omar Isaiah Lupuku, Don Mills, Carlos Santander & Telly, songwriters (Goyo)
“Lloro,” Nicole Horts, Camilo Velez & Maria Vertiz, songwriters (Nicole Horts)
Best salsa album
Yo Deluxe, Christian Alicea
Muevense, Marc Anthony
Siembra: 45° Aniversario (En Vivo en el Coliseo de Puerto Rico, 14 de Mayo 2022), Rubén Blades and Roberto Delgado & Orquesta
Joyas Que Bailan, Ronald Borjas
Coexistencia, Luis Figueroa
Best cumbia/vallenato album
‘Ta Malo, Silvestre Dangond
De La Uno A La 1000 (Primera Temporada), Omar Geles
Se Agradece, Los Ángeles Azules
Vallenatos Pa Enamorar, Osmar Pérez & Geño Gamez
La Sociedad De La Cumbia (Big Band Live), Puerto Candelaria
Best merengue/bachata album
Radio Güira, Juan Luis Guerra 4.40
Agradecido Live!, Eddy Herrera
Superhéroe Merengue, Magic Juan
Lo Tengo Todo, Oscarito
Llamada Perdida, Prince Royce
Best traditional tropical album
Rodando Por El Mundo, José Alberto “El Canario”
Tengo Algo Que Decirte, Luis Fernando Borjas
Voces De Mi Familia, Alex Cuba
Los Mismos Negros, Yelsy Heredia
A Mis Ancestros, Yeisy Rojas
Best contemporary tropical album
Epílogo: La Clave Del Tiempo, Jeremy Bosch
Cuatro, Camilo
Tropicalia, Fonseca
Monte Adentro, Gusi
La Fiesta, Ilegales
Best tropical song
“Baila y Goza,” Renesito Avich & Rafael “Pollo” Brito, songwriters (Renesito Avich Featuring Rafael “Pollo” Brito)
“Con Dinero y Sin Dinero,” Jorge Luis Chacín, Fonseca & Miguel Yadam González Cárdenas, songwriters (Fonseca & Grupo Niche)
“Hasta Que Aguante El Cuerpo,” Jorge Luis Piloto, songwriters (Dayhan Díaz & Pupy Santiago)
“Llorar Bonito,” Luis Figueroa & Yoel Henríquez, songwriters (Luis Figueroa)
“Mambo 23,” Juan Luis Guerra, compositor (Juan Luis Guerra 4.40)
Best singer-songwriter album
Compita Del Destino, El David Aguilar
Scratch De Versos, El Riqué
Pausa, Leonel García
De Magia Imperfecta, Nicolle Horbath
El Abrazo, Rozalén
Best singer-songwriter song
“Antes Que O Mundo Acabe,” Tiago Iorc, songwriter (Tiago Iorc)
“Derrumbe,” Jorge Drexler, songwriter (Jorge Drexler)
“Entonces,” Rozalén, songwriter (Rozalén)
“García,” Kany García, songwriter (Kany García)
“Luz De Cabeza,” El David Aguilar, songwriter (El David Aguilar)
Best ranchero/mariachi album
Mariachi y Tequila (Deluxe), Majo Aguilar
Que Llueva Tequila, Pepe Aguilar
Te Llevo En La Sangre, Alejandro Fernández
Romances Eternos, Mariachi Sol de México de José Hernández
Best banda album
Presente, Julión Álvarez y Su Norteño Banda
Yo Te Extrañaré, Luis Angel “El Flaco”
Diamantes, Chiquis
Best Tejano album
Imperfecto, El Plan
Siempre Gabriella, Gabriella
Ganas (Deluxe), Vilax
Best Norteño album
El Comienzo, Grupo Frontera
Modus Operandi, Intocable
LNDT, Los Nietos de Terán
Te Amaré, Pesado
Terca, Sofi Saar
Best contemporary Mexican music album
Nata Montana, Natanael Cano
Evoluxion, DannyLux
Jugando A Que No Pasa Nada, Grupo Frontera
Boca Chueca, Vol. 1, Carín León
Trastornado, Michelle Maciel
Génesis, Peso Pluma
Best regional song
“Aquí Mando Yo,” Héctor Guerrero, songwriter (Los Tigres Del Norte)
“Canción Para Olvidarte,” Mango, Nabález, Chris Zadley & Nicole Zignago, songwriters (Majo Aguilar)
“El Amor De Su Vida,” Edgar Barrera & Kevyn Mauricio Cruz, songwriters (Grupo Frontera, Grupo Firme)
“Por El Contrario,” Edgar Barrera, Kevyn Mauricio Cruz & Elena Rose, songwriters (Becky G Featuring Angela Aguilar & Leonardo Aguilar)
“Tienes Que Ser Tú,” Salvador Aponte & Yoel Henríquez, songwriters (La Energía Norteña)
Best instrumental album
Impronta, Omar Acosta
Claude Bolling Goes Latin – Suite For Flute And Latin Music Ensemble, Carlomagno Araya, Jose Valentino & The Latin Music Ensemble
Capriccio Latino, Alexis Cárdenas
Encontro Das Águas, Yamandu Costa & Armandinho Macêdo
Tembla, Hamilton De Holanda & C4 Trío
Best folk album
Canto y Río, Martina Camargo
C4 Suena a Navidad, C4 Trío
Raíz Nunca Me Fui, Lila Downs, Niña Pastori, Soledad
Paisajes, Ciro Hurtado
Bullerengue y Tonada, Tonada
Best tango album
El Cantor de Tangos, Guillermo Fernández Featuring Cristian Zarate
Tangos Cruzados, Franco Luciani, Fabrizio Mocata
¿Y El Fin Del Amor?, Mariana Mazú
Apiazolado, Diego Schissi Quinteto
Ya Está En El Aire, Ullmann Cuarteto
Best flamenco album
Andenes del Tiempo, Vicente Amigo
Rumberas, Las Migas
Historias De Un Flamenco, Antonio Rey
Best Latin jazz/jazz album
Collab, Hamilton De Holanda & Gonzalo Rubalcaba
Searching For A Memory (Busco Tu Recuerdo), Sammy Figueroa Featuring Gonzalo Rubalcaba & Aymée Nuviola
My Heart Speaks, Ivan Lins
Pra Você, Ilza, Hermeto Pascoal & Grupo
El Arte Del Bolero, Vol. 2, Miguel Zenón & Luis Perdomo
Best Christian album (Spanish language)
Necesito De Ti, Jesús Israel
No Yo, Sino Cristo, Majo y Dan
Maverick, Redimi2
Kintsugi, Un Corazón
Tu Iglesia, Marcos Witt
Best Portuguese language Christian album
Ele É Jesus – Ao Vivo, Bruna Karla
Deixa Vir – Vol II (Ao Vivo), Thalles Roberto
In Concert (Ao Vivo), Rosa de Saron
Vida (Ao Vivo), Eli Soares
Temporal, Vocal Livre
Best Portuguese language contemporary pop album
Afrodhit, Iza
Super, Jão
Amaríssima, Melly
Os Garotin De São Gonçalo, Os Garotin
Escândalo Íntimo, Luísa Sonza
Best Portuguese language rock or alternative album
Erasmo Esteves, Erasmo Carlos
No Rastro de Catarina, Cátia de França
Me Chama de Gato Que Eu Sou Sua, Ana Frango Elétrico
Ontem Eu Tinha Certeza (Hoje Eu Tenho Mais), Jovem Dionisio
Lagum Ao Vivo, Lagum
Best Portuguese language urban performance
“Joga Pra Lua,” Anitta Featuring Dennis & Pedro Sampaio
“Cachimbo da Paz 2,” Gabriel O Pensador, Lulu Santos, Xamã
“Da Braba,” Gloria Groove Featuring Ludmilla & Mc Gw
“Carta Aberta,” Mc Cabelinho
“Fé nas Maluca,” Mc Carol, Iza
“La Noche,” Yago Oproprio Featuring Patricio Sid
Best samba/pagode album
Alcione 50 Anos (Ao Vivo), Alcione
Xande Canta Caetano, Xande De Pilares
Iboru, Marcelo D2
Tardezinha Pela Vida Inteira (Ao Vivo), Thiaguinho
Subúrbio (Ao Vivo), Tiee
Best MPB (Musica Popular Brasileira)/MAPB (Música Afro Portuguesa Brasileira) album
D Ao Vivo Maceió, Djavan
Se o Meu Peito Fosse o Mundo, Jota.Pê
Portas (Ao Vivo), Marisa Monte
Outros Cantos, Milton Nascimento, Chitãozinho & Xororó
No Tempo da Intolerância, Elza Soares
Best Sertaneja music album
Boiadeira Internacional (Ao Vivo), Ana Castela
Paraíso Particular (Ao Vivo), Gusttavo Lima
Cintilante (Ao Vivo), Simone Mendes
Raiz Goiânia (Ao Vivo), Lauana Prado
Luan City 2.0 (Ao Vivo), Luan Santana
Best Portuguese language roots album
Mariana e Mestrinho, Mariana Aydar, Mestrinho
Aguidavi do Jêje, Aguidavi Do Jêje, Luizinho Do Jêje
De Norte a Sul, João Gomes
Night Clube Forró Latino (Volume I), Marcelo Jeneci
Faróis do Sertão, Gabriel Sater
Best Portuguese language song
“Alinhamento Milenar,” Jão, Pedro Tófani & Zebu, songwriters (Jão)
“Ata-me,” Junio Barreto, songwriter (Alaíde Costa)
“Chico,” Bruno Caliman, Carolzinha, Douglas Moda, Jenni Mosello & Luísa Sonza, songwriters (Luísa Sonza)
“Esperança,” Criolo, Dino D’Santiago, Amaro Freitas & Nave, songwriters (Criolo, Dino D’Santiago, Amaro Freitas)
“Ouro Marrom,” Jota.Pê, songwriter (Jota.Pê)
Best Latin children’s album
Navidad de Norte a Sur: Cantoalegre Big Band (En vivo), Cantoalegre, Orquesta La Pascasia
Cantemos Juntos, Claraluna
¡A Cantar!, Danilo & Chapis
Dun Dun Dara, Payasitas Nifu Nifa
Todos Podemos Cantar 2024, Todos Podemos Cantar
Best classical album
Aire, Aire… No Puedo Respirar, Ricardo Jaramillo, director; Ricardo Jaramillo, Jefferson Rosas & Marcela Zorro, producers
Credo For Orchestra, Choir And Five Soloists, Iván Cardozo, Fernando Escalona, Claudio González, Jhoxiris Medina & Grace Terán; Christian Vásquez, director; Maria Beatriz Cárdenas, Eugenio Carreño & Eduardo Martínez Planas, producers (Orquesta Sinfónica Simón Bolívar de Venezuela, Coro Nacional Simón Bolívar)
Fandango, Anne Akiko Meyers & Gustavo Castillo; Gustavo Dudamel, director; Dmitry Lipay, producers (Los Angeles Philharmonic)
Fantasies of Buenos Aires, Lincoln Trio; Daniel Binelli & Ted Viviani, producers
The Latin Rites, Josep Vicent, director; Fernando Arias, producers (Adda Simfònica Alicante)
Best classical contemporary composition
“Caribbean Berceuse,” Paquito D’Rivera, composer (Barcelona Clarinet Players, Paquito D’Rivera, North Texas Wind Symphony, Eugene Migliaro Corporon (director))
“Fandango,” Arturo Márquez, composer (Los Angeles Philharmonic, Gustavo Dudamel, Anne Akiko Meyers)
“La Minerva – III. Himno A La Mujer,” Juan Pablo Contreras, composer (Juan Pablo Contreras, Orquesta Latino Mexicana, Angélica Olivo)
“Meditation No.1,” Julien Labro, composer (Takács Quartet, Julien Labro)
“Sueño Austral,” Daniel Freiberg, composer (Barcelona Clarinet Players, Freiburger Blasorchester, Miguel Etchegoncelay & Daniel Freiberg)
Best arrangement
“Sueño Austral,” Daniel Freiberg, arranger (Barcelona Clarinet Players, Freiburger Blasorchester, Miguel Etchegoncelay & Daniel Freiberg)
“Night In Tunisia,” Hilario Durán, arranger (Hilario Durán And His Latin Jazz Big Band Featuring Paquito D’Rivera)
“Fuego De Noche, Nieve De Día,” Julio Reyes Copello, arranger (Ricky Martin, Christian Nodal)
“Linha de Passe,” Nailor Proveta, arranger (Orquestra Jazz De Matosinhos, Gabi Guedes, Kiko Freitas)
“Rapsodia Aérea,” Andrés Soto, arranger (Andrés Soto, Orquesta Sinfónica Nacional de Costa Rica, Carl St. Clair)
Best recording package
En Vivo – 100 Años de Azúcar, Nelson Albareda, Sebastian Aristizabal, Kemelly Figueroa-Mouriz, Omer Pardillo-Cid & Albertico Rodríguez, art directors (Celia Cruz)
Figurantes, Boa Mistura, art director (Vetusta Morla)
Karma, Carlos Ortiz, art director (Diana Burco)
Realismo Mágico, Carlos Sadness, art director (Carlos Sadness)
Tekoá, Leonardo Macias, art director (Jair Oliveira)
Songwriter of the year
Edgar Barrera – WINNER
Yoel Henríquez
Manuel Lorente Freire
Horacio Palencia
Pablo Preciado
Best engineered album
Analu, Tó Brandileone, engineers; Daniel Musy, mixer; André Dias, mastering engineer (Analu Sampaio)
Era Uma Vez, Pedro Peixoto & Matheus Stiirmer, engineers; Pedro Peixoto, mixer; Fili Filizzola, mastering engineer (Mobi Colombo)
Os Garotin De São Gonçalo, Uiliam Pimenta, Julio Raposo & Pepê Santos, engineers; Bernardo Martins, mixer; Felipe Tichauer, mastering engineer (Os Garotin)
Quem É Ela?, Túlio Airold, Alex Dos Reis Silva & Gianlucca Pernechele Azevedo, engineers; João Milliet, mixer; Fili Filizzola, mastering engineer (Mariana Nolasco)
Se o Meu Peito Fosse o Mundo, Thiago Baggio, Will Bone, Leonardo Emocija, Rodrigo Lemos & Felipe Vassão, engineers; João Milliet, mixer; Felipe Tichauer, mastering engineer (Jota.Pê)
Producer of the year
Edgar Barrera
Eduardo Cabra
Nico Cotton
Juan Luis Guerra, Janina Rosado
Julio Reyes Copello
Best short form music video
“Ale Ale,” Marc Anthony; Carlos Pérez, director; Joanna Egozcue, producer
“Baticano,” Bad Bunny; Stillz, director
“Oliveira Dos Cen Anos,” C. Tangana; C. Tangana, director
“Sálvanos,” Leonel García; Nuno Gomes, director; Nuno Gomes, producer
“Glock,” Mau y Ricky; Daniel Duran, director; Alegna Espinoza & Maricel Zambrano, producers
“313,” Residente Featuring Penélope Cruz & Silvia Pérez Cruz; Residente, director; Carolina Wolf, producer
Best long form music video
Beautiful Humans Vol 1. Documental, Alemor; Wismer Jimenez, director; Alemor & Wismer Jimenez, producers
Meu Karma, Jovem Mk; Kaique Alves, Gabriel Avelar & Beto Galloni, directors; Rodrigo Castello, Mariê Nunes & Eduardo Saraiva, producers
Hotel Caracas, Mau y Ricky; Daniel Duran, director; Alegna Espinoza & Maricel Zambrano, producers
Grasa (Album Long Form), Nathy Peluso; Agustín Puente, director
Nacimos Llorando, Rubio; Fernando Cattori, director; Luis Betances, Fernando Cattori, Josep Pardo, Jaume Rigual, Ana Laura Solis, Aura Solis & Joe Solis, producers
For the last few months, Majo Aguilar has been busy working on new music, a tour and partnerships like her team-up with Smirnoff ICE — and it’s only going to get busier in the coming months.
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“A new song will be released every month, and by April, the complete album will be out,” the singer told Billboard of her next studio album, Mariachi Tumbado. A cover of Belanova’s 2003 single “Aún Así Te Vas” dropped in late September and serves as the collection’s lead single, but it just so happens to be a Mariachi Tumbado version. “It’s mariachi music interpreted in the traditional way, but with the addition of laying down instruments. It’s experimental, and I’m really happy with it because it took months of work to make it sound authentic and heartfelt. I’m excited to share something that I love creating so much.”
In addition to the monthly appetizers of music, Aguilar is currently on the road and up for two nominations at the 2024 Latin Grammys, a recognition that she called “a tremendous source of pride.” Among her nominations include Best Ranchero/Mariachi Album for Mariachi y Tequila (Deluxe) and Best Regional Mexican Song for “Canción Para Olvidarte.”
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“It’s the community of artists, composers, arrangers, and engineers who are supporting your project and taking notice of it. Honestly, sometimes I don’t even think about it. For me, the nomination itself is already the ultimate award,” she explained. “Plus, I’m nominated alongside great artists like Mariachi Sol de México, mi tío Pepe [Aguilar] and Alejandro Fernández. So, if I win, it’ll be absolutely crazy. But definitely, for me — and I mean this from the bottom of my heart — having the nomination is a tremendous award, isn’t it?”
Just a few weeks back, she also delivered a show-stopping performance as part of the 35-year celebration of Billboard Latin Music Week in Miami. The Billboard En Vivo concert event was sponsored by Smirnoff ICE and arrived on the heels of her partnership with the brand. The team-up also saw her shine a spotlight on her culture in an accompanying “Cultura a Tu Manera” video series.
“For me, it was a very important and special collaboration because I think culture gives us roots. Culture gives us a sense of belonging. Latinos in the world always yearn for our culture and we like to feel connected to it,” Aguilar explained of the three-part video series. “We want to feel that there are many people around us who also connect with our culture. Food, music and style are key pieces of a culture that show who we are and where we come from. So, I felt that this was a very intimate campaign, and I really enjoyed doing it.”
Click here for more on Aguilar’s participation, including her appearance on The Legacies panel, during Billboard Latin Music Week!
The Latin music community will shine its brightest light on Carlos Vives, who has been honored as the 2024 Person of the Year by the Latin Recording Academy. During the prestigious gala on Wednesday (Nov. 13) at the Miami Beach Convention Center, the beloved Colombian superstar’s immense contributions to the music industry and his tireless humanitarian efforts, such as Tras La Perla, the Rio Grande Music School and others will be recognized.
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“It’s still surprising to me,” Vives told Billboard Español in May. “It’s like a message that the Academy gives at the end because 32 years ago, I chose a path [that was unconventional]. To be successful, to be commercial, there was one way. This other path that’s cultural or has to do with your identity, that doesn’t work, [they would say].”
Winner of 18 Latin Grammys and two Grammys, Carlos Vives is a pioneer of vallenato-pop fusion that has captivated audiences around the world. Over more than three decades, the Santa Marta singer-songwriter has produced hits such as “Fruta Fresca,” “Como Tú” and “Volví a Nacer,” among many others. These timeless songs not only reached No. 1 on the Hot Latin Songs chart, but have also played a crucial role in elevating Colombian popular culture to the world stage.
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“Carlos Vives is one of the most prolific and beloved artists of our time, whose commitment to Latin music and support for the new generations truly personifies the values of our Academy,” said Manuel Abud, CEO of The Latin Recording Academy, in a previous press release. “We honor him as our Person of the Year for his vast contributions to our musical heritage and for his many philanthropic initiatives.”
His 2023 album, Escalona: Nunca Se Había Grabado Así, earned Vives his 18th Latin Grammy when it was crowned best cumbia/vallenato album.
On Wednesday, the eve of the 25th annual Latin Grammy Awards, heartfelt odes are expected from fellow musicians who will pay tribute to Vives’ impact on Latin music by performing versions of his songs. The event will also highlight his work beyond music, including his dedication to social causes and cultural preservation.
Stay tuned as we bring you updates — including performances, speeches and exclusive insights — directly from tonight’s ceremony.
The negative response to the song “+57” by Karol G, J Balvin, Maluma, Feid, Blessd, Ryan Castro and DFZM has led to a lyric change on YouTube, where, in the video, they now sing “a hot mama since she was 18” instead of “14.”
Although it’s unclear who requested the update, the change on the video streaming platform appeared on Wednesday (Nov. 13), after the controversy over the lyrics reached the Colombian Congress, where a group of politicians asked the Colombian Institute of Family Welfare (ICBF) to summon the authors of the song for a training on the problem of sexual violence in the country.
At press time, the song’s lyrics have not been updated on Spotify or Apple Music. Billboard has also reached out to YouTube for comment.
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According to local newspaper El Tiempo, congresswomen Sonia Bernal (Pacto Histórico) and Karina Espinosa (Partido Liberal) criticized the reggaeton song for lyrics that they consider sexualizing minors (one verse mentions a woman who has been a “mamacita” since she was 14 years old), and even announced that they will present a bill called “decent lyrics,” with which they seek sanctions for those who write songs with explicit content that could be interpreted as a violent reference against women and girls.
Since its release Nov. 7, the track has received a barrage of criticism. Rolling Stone En Español published an article titled “The Disaster of +’57′,” which Colombian President Gustavo Petro shared on his X account expressing that “it’s OK to have a cultural debate.” And the ICBF issued a statement saying that the song “reinforces the sexualization of childhood in our country” and that it “does not contribute to our fight against the commercial sexual exploitation of children and adolescents.”
On Monday (Nov. 11), Karol gave a lengthy response to the criticism and apologized, saying, “I still have a lot to learn.”
“+57,” whose title is the international phone code for Colombia, was produced by hitmaker Ovy on the Drums and written by all of the aforementioned artists along with Keityn and newcomer DFZM. The name of the song, and the union of these superstars, had caused anticipation among fans, who were anticipating a new reggaeton anthem for Colombia.
See the original lyrics to “+57” translated to English below:
Colombia, gangO-O-Ovy on the DrumsWhoa
She told her boyfriend that she was going to sleep now.But her friend damaged her mind12:30 and she started putting on makeupSaid she’d arrive in 20She turned off her cell phone to avoid getting caughtThe baby is bad, but smart, yeah
And although that baby has an ownerShe goes out whenever she wantsThe weed is starting to workAnd she was twerking that drunkennessPass the drinks mouth to mouthShe rolls it up and turns it onAnd if they ask her if she has a boyfriend, it depends” (wow)
What we have here is exotic, pills, aguardiente, HpnotiqA chill party, I offer you somethingDrinking, you’re dangerous, they’re not going to catch you
A hot mama since she was 14She enters the disco and you feel the energyMami, I’ll take these shots for youThat, back there, is huge, delicate, pick it up, let it hold
Hot mama since she was 14She enters the disco and you feel the energyMami, I’ll take these shots for youThere is a lot of load below, there is no room for your butt in the car
She has all the codes (oh)Listens to 2Pac and that ass is notoriousI pour the Oreo cream on her abdomen (nasty)To spend it at the strip clubThey don’t even put her on the cover of Q’hubo
Big ass, big ass (awo)Machine shorts so that all that is noticed (tra-tra)I say all the right things so he takes his clothes off
I save your PIN on the BlackBerryIf she has a hit, i’m the remixThat little mouth, to give it some kisses (aha)I called her so that boom, so that boom (yeah)
And although that baby has an ownerShe goes out whenever she wants (ah-ah-ah)The weed is starting to workAnd she was twerking that drunkennessPass the drinks mouth to mouthShe rolls it up and turns it onAnd if they ask her if she has a boyfriend, it depends.
The ass is hers and, therefore, it turns on (Zaga!)She knows who she deals withHe seems innocent, those little eyes lieAnd the kitten has it, it depends
Sucking hottie, mamacita, she’s easy (hey)At the disco she is never in the chair (no)For good luck, yellow thongPrettified in case someone catches her
Sucking hottie, mamacita, esa grillaAt the disco she is never in the chairFor good luck, yellow thongPrettified in case someone catches her
Hat on, conceited (does she know?)So that it turns out great for you (ha, ha)That smile on her little mouth confirmsThat little ass of yours is mine with a seal and signatureIf the boyfriend is late, apply the same to him (ha ha)
Because I’ll break itAnd that guy next to me is a mere foolIf the firecracker is too crazy, I’ll ride itBecause in Medallo I’m like Drake in Toronto
Da-da-da-give me location, give me time and I’ll get to youShe looks at me and I give it all to her, she doesn’t want a weddingShe says to eat quietly and eat blindSex has a code, money beats pretty
She has her thing, she doesn’t want to play (ah-ah-ah)She wants to stay with meThe real deal is talking to me, you’re playing FederballIt’s 11:00 PM, take that ass out for a walk
Break, break, break and give it everything, ma, don’t let anyone stop youOrder one from Ovy on the Drums, the ‘boyfriend’ is not worth itAt the disco, marijuana, drink and pullYour boyfriend, the funny one, let him stop and get off
Wants to feel like a womanThere is no drink that is worth it, there is no positive energy that comes out to herShe wants to feel that she is beautiful again (ha ha, do you know, my love?)
And although that baby has an ownerShe goes out whenever she wants (she wants)The weed is working and she is twerking that drunknessPass the drinks mouth to mouth (mouth)She rolls it up (rolls it up), and turns it onAnd if they ask her if she has a boyfriend, it depends, yah
Karol G-G, La Bichota (yeah)Feid, FERXXO (wow) Let’s goMaluma, Don Juan, yeahBlessed, do you know?
Awo (pu-pu-pum), Ryan CastroDF, Latino gang, gangColombia gang-gangJ Balvin, man, manLet’s go, yeah (baby)
Ovy on the DrumsOvy on the drums, mami, mami, mamiKeityn, in the spotlightColombia gang-gang, yeahOh, Hail MaryHa, how cool
Anthem Entertainment has acquired a “wide” selection of songs from Darell‘s catalog, the company tells Billboard. Included in the deal is the urbano superstar’s star-studded “Te Boté (Remix)” with Casper Mágico, Nio García, Nicky Jam, Ozuna & Bad Bunny, which peaked at No. 36 on the Billboard Hot 100 in 2018 and ruled the Hot Latin Songs chart for 14 weeks.
Additional Darell songs that are part of the acquisition include “Otro Trago” with Sech and “Asesina” with Brytiago, along with tracks featuring Jennifer Lopez, Rauw Alejandro, J Balvin and more.
The Darell catalog acquisition further boosts Anthem’s presence in the Latin music space. The indie music company’s publishing catalog also includes an array of hits by Latin acts such as Pitbull, Karol G, Farruko, Camilo and Ricky Martin.
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Also on Wednesday (Nov. 13), Anthem also announced that industry veteran Victor Mijares has been appointed as the company’s first vp of Latin music and will “work closely” with Anthem’s acquisitions team to “source and evaluate investment opportunities in the Latin market,” according to a press release.
“We are excited to welcome Victor as Anthem’s first-ever Vice President of Latin Music,” Anthem CEO Jason Klein said in a statement. “With his deep expertise in Latin music and culture, alongside his extensive industry experience, Victor will play a crucial role as we expand our presence in this vibrant and rapidly growing market. Under Victor’s leadership, Anthem’s acquisition of this extraordinary catalog of songs from Darell is a significant step in our strategy to invest in exceptional Latin music, further diversifying and enriching our already impressive catalog of songs.”
“I am honored and thrilled to have joined Jason Klein’s outstanding team and to contribute to Anthem’s Entertainment’s continuing success,” Mijares added. “I believe that the potential to grow our business in the Latin sector is open-ended. We have the passion, commitment, and resources to shape exciting opportunities for our partners. The acquisition of a large portion of Darell’s catalog is a very important step for us as a company as well as for the Canadian music industry. We are delighted to add Darell’s masterful works to our growing repertoire.”
Darell was represented in the deal by Angie Martinez, Esq., Denny Marte at MPA Advisors, LLC and Eddy Perdomo at EPM Entertainment.
JENNI, the new ViX original film inspired in the life of the late superstar Jenni Rivera, will premiere on ViX and select theaters in the U.S. and Mexico on December 6, the Spanish-language streaming service announced today (Nov. 13) in a press release including the first trailer of the film.
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Starring Annie Gonzalez (Flamin’ Hot, Gentefied) as the iconic Mexican-American banda singer, the movie follows Rivera from her humble beginnings in her hometown of Long Beach, California, to her rise as one of the most famous female regional Mexican artists, and the last days before her tragic and unexpected death.
“JENNI also shows the struggles that she endured in her personal life and how she became the artist fans all know and love today, and how she persevered and found strength from within,” adds the press release. “This story of resilience and bravery shows the building blocks of what made Jenni Rivera who she was and the remarkable legacy she left behind.”
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The trailer starts with Gonzalez — who also sings and is credited as executive producer — performing Rivera’s early song “La Chacalosa” at a night club. “My life ain’t no fairy tale,” she’s heard saying while the song continues in the background and a collage of scenes shows Jenni’s struggles with teenage pregnancy, domestic violence and stumbles with the law, but also her ascend to stardom and role as the proud mother of five.
Rivera paved the way for women in Música Mexicana, a genre that to this day is dominated by male artists. Her anthemic songs, including “La Gran Señora” and “Inolvidable,” offered empowering lyrics and became a source of inspiration for women everywhere.
Known as “La Diva de la Banda,” she was the single most successful woman in regional Mexican music and on the Billboard Latin charts when she tragically died in a plane crash in 2012 at the age of 43. Among other achievements, she entered more than 30 songs on Regional Mexican Airplay, including 15 top 10s and her No. 1 hit “De Contrabando.” On Hot Latin Songs chart, she placed a total of 25 songs. La Misma Gran Señora gave her her third No. 1 on Top Latin Albums in December 2012, ruling for eight weeks and becoming her longest charting title, remaining on the tally for 73 weeks.
JENNI‘s cast includes Manuel Uriza as Pedro Rivera, Jenni’s father and Regional Mexican entrepreneur; Cinthya Carmona as her oldest daughter, singer Chiquis Rivera; and Jero Medina and Miguel Angel Garcia as Trino Marín, Jenni’s first husband and father of her three oldest children, at different stages in his life. Gabriela Reynoso plays Jenni’s mother, Rosa Saavedra; J.R. Villarreal plays Juan “Cinco” Lopez, Jenni’s late second husband; and newcomer Tatiana Alicia Beltrán portrays the young Jenni Rivera.
JENNI was produced by Javier Chapa and Phillip Braun of Mucho Mas Media and Alec Meachem from De Line Pictures, under the direction of Gigi Saul Guerrero with a screenplay by Shane McKenzie and Kate Lanier.
Watch JENNI‘s official first trailer below:
Now in its third year, the Latin Grammy’s Best New Artist Showcase raised the bar for emerging talent, delivering a spectacular evening on Tuesday (Nov. 12) at Miami Beach’s Faena Forum. Hosted by Catalina García of Monsieur Periné, the event spotlighted this year’s contenders for the 25th Annual Latin Grammy Awards best new artist category, each proving why they deserved their place on this prestigious platform.
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The event featured a star-studded lineup of nominees, each bringing their own flavor to the stage: Agris, Kevin Aguilar, Darumas, Nicolle Horbath, Cacá Magalhães, Os Garotin, Íñigo Quintero, Sofi Saar, and Ela Taubert.
The performances spanned a gamut of genres and styles. Many artists — who each had the opportunity to sing two songs — chose to cover iconic renditions, a move that, while risky, paid off in some cases by highlighting their vocal prowess and interpretive skills.
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Kany García, who won the best new artist title in 2008, introduced Monterrey’s Sofi Saar, who captivated the audience with her “popteño” swagger, reflecting a much-needed female perspective in the genre. Her performance included her exciting original work followed by a cover of Selena’s “Si Una Vez,” a personal favorite of mine by the late Tejana legend.
Spanish sensation Íñigo Quintero, who previously topped the Billboard Global Excl. US chart, delivered a poignant performance with his trademark soft piano balladry. Brazil’s Cacá Magalhães and Mexico’s Agris both left strong impressions with their potent singing abilities — the latter artist sang the timeless hit “Paloma Negra” with a haunting but thrilling vocal quality.
US-based trio Darumas — comprising Aldana Aguirre, Ceci León and Vedala Vilmond who hail from Argentina, Cuba, and Haiti, respecively — kicked off with their mix of old-school funk, rock-infused R&B, and a dash of riot grrrl attitude. However, one of the standout moments of the show was when they impeccably sang one of the hardest songs to sing by the legendary Whitney Houston, “I Wanna Dance With Somebody.”
Ceci Leon, Vedala Vilmond and Aldana Aguirre from the band DARUMAS performs during the 25th Latin GRAMMY Awards – 2024 Best New Artist Showcase and CPI on November 12, 2024 in Miami, Florida.
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Hands down, a highlight of the night was Os Garotin’s performance. Composed of Anchietx, Cupertino and Leo Guima, the trio from Rio de Janeiro’s São Gonçalo amped up the vibe with their infectuous mix of funk, soul, and rap, which got the crowd to their feet and received a standing ovation. Their dance moves were also contagious which kept all eyes glued to them.
Though Barranquilla’s Nicolle Horbath delivered a competent rendition of 2024’s Person of the Year Carlos Vives’ “Fruta Fresca,” it was a relatively safe choice that nonetheless succeeded in engaging the audience. Missing in action was Mexico’s experimental rock troupe Latin Mafia — a personal disappointment, as they are one of my favorite emerging stars of the year — although an introductory video managed to cover their absence somewhat.
The showcase closed on a high note with the youngest nominee, 13-year-old Kevin Aguilar, whose old-soul voice and invigorating performance belied his young age. Accompanied by an accordion, he delivered an impassioned performance of the corrido “Cuando Te Cambian Por Alguien,” evoking comparisons to a young Christian Nodal at the onset of his career.
In an exhilarating turn, Aguilar then shifted gears to perform Luis Miguel’s “La Incondicional,” infused with a polka-styled norteña beat. His execution was flawless, hitting each note with precision and intensity that captivated and left the audience in awe, confirming his status as a standout performer of the night.
Kevin Aguilar performs during the 25th Latin GRAMMY Awards – 2024 Best New Artist Showcase and CPI on November 12, 2024 in Miami, Florida. (Photo by John Parra/Getty Images for The Latin Recording Academy)
Esteemed past winners and nominees such as Tiago Iorc, Joaquina, Juliana, Manuel Medrano, Nella, Mau y Ricky, and Nicole Zignago also graced the event as presenters of this year’s nominees.
In the words of the Latin Recording Academy’s CEO, Manuel Abud: “The best new artist category is very special for us, because it is a reflection of the mission of The Latin Recording Academy, to support and promote new talent and open doors for them,” he said from the stage. “The guys are surely going to have several nominations and surely many awards, but nominated for best new artist, just this once. That makes it a very special moment and it’s also one in which we can influence and positively affect the artist’s life in a unique way. It is a turning point in their careers.”
Each performance echoed Abud’s sentiments during an evening that not only celebrated the current crop of new talent but also set a high standard for Latin music’s blooming future.
Earlier this year, Mexican hitmaker Carin León made his Grand Ole Opry debut performing “Primera Cita” and “The One (Pero No Como Yo)” (his recorded collaboration with Kane Brown) on the revered Nashville stage, to an audience filled with adoring fans.
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The moment highlighted a convergence between two of the U.S.’s fastest-growing musical genres. According to Luminate’s 2023 year-end report, Latin music rose 24.1% year over year in U.S. on-demand audio streams, while country music rose 23.7% year over year.
The surge is happening with live music as well. Through Nov. 7, 24 tours in 2024 have grossed more than $100 million, according to figures reported to Billboard Boxscore. Of those, four are by country artists and four are by Latin artists. At this point last year, only two country tours and one Latin tour had met those benchmarks.
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“Everybody wants to be a cowboy right now, everybody wants to do country right now,” León told Billboard earlier this year, noting how much of the roots of country music and cowboy culture are embedded in Latino culture. “We as Americans, as Mexicans, we want to feel proud of what we are for. We don’t want to emulate what everybody’s doing — these are our roots. Our hat is what we are, our boots are what we are. I’m very happy that people are looking to our culture in such a big way that is happening right now.”
Crossover collaborations between the two styles of music have always dotted the soundscape, but recently León, known for Billboard Latin Airplay hits including the four-week chart-topper “Segun Quien” with Maluma, saw his duet with Brown reach No. 48 on the Hot Country Songs chart. Country singer Carrie Underwood previously collaborated with David Bisbal on the bilingual “Tears of Gold,” and country singer Scotty McCreery, who is of Puerto Rican heritage, teamed with Gusi for “Why She Gotta Be Like That.” Brown also teamed with Camila Cabello teamed for “Never Be the Same.”
According to a preview of the Country Music Association’s upcoming fall 2024 Diverse Audience study, country music listenership has increased in the Latino community: 58% of Latino music listeners consume country music at least monthly, compared to 50% when the last study was conducted in 2021. The growth of weekly country music listenership among the Latino audience experienced an even greater jump, rising from 25% in 2021 to 36% in 2024, signifying a 44% growth.
Major country labels have also taken notice. Universal Music Group Nashville signed Louie TheSinger, while Warner Music Nashville inked William Beckmann, who told Billboard he chose from “six or seven different record deals on the table.” Singer-songwriter Kat Luna (formerly of the Latin-country duo Kat and Alex) is signed to Sony Music Nashville. BBR Music Group/BMG Nashville’s roster includes “Country’d Look Good on You” hitmaker Frank Ray.
“We all know that there’s a Hispanic audience that loves country music,” UMG Nashville chair/CEO Cindy Mabe recently told Billboard. “Leaning into it starts to change that and having intentionality about what we’re signing to bring to the table… For me, it’s about bringing in those people that actually can help me change that. That may be through joint ventures, or they may be partners. Whatever that looks like, I’m looking to bring it in so that we’re just widening.”
Other Latino artists who have launched country music careers in recent years include independent acts Angie K, former Sony Music Nashville-turned-indie artist Sammy Arriaga (who in addition to releasing country songs such as “Boat,” has found success online through performing Spanish-language versions of country hits from Chris Stapleton, Morgan Wallen and others), Andrea Vasquez, Valerie Ponzio and Stephanie Urbina Jones. Texan Matt Castillo recently released his album Pushing Borders and has already made inroads on the Texas Regional Radio Report country chart — earning four No. 1s, including the bilingual songs “Te Necesito” and “Corazon.”
However, like many women, Black and LGBTQ+ acts in country music, Latino artists continue to face an uphill battle, especially when it comes to finding chart-topping success at radio. As noted in the 2021 Redlining Country Music report from researcher Jada Watson, Hispanic/Latinx artists represented .4% of artists with songs played on country radio (Mediabase reporting) from 2002-2020. Overall, songs by BIPOC country artists represented 1.5% of songs played on country radio during that same period, while songs by white artists represented 98% of songs played on country radio during that period.
Ray broke through in 2022 with his top 20 Country Airplay hit “Country’d Look Good on You,” and also charted with “Somebody Else’s Whiskey.” In March 2023, Ray was part of Country Radio Seminar’s New Faces of Country Showcase, performing alongside Jelly Roll, Priscilla Block, Jackson Dean and Nate Smith.
However, when Ray followed up at country radio with “Uh Huh (Ajá),” a song that incorporated more Latin music-influenced guitar and percussion, as well as Spanish-language lyrics, he admits candidly, “It flopped. I appreciate country radio for giving it a shot, and that, to me, kind of lets me know that maybe the country music fanbase isn’t quite ready for that much of an infusion. So, there’s a lot of different reasons why I think it’s important to continue to create music like that. Obviously, from a career standpoint, you’ve got to be very strategic about it. We need inclusivity to happen, and it’s got to be socially acceptable all the way around.”
With streaming, playlists such as Spotify’s Latino Country have offered platforms for artists, while a range of other initiatives have spotlighted Latino artists, such as CMT’s Next Women of Country and an ongoing Nashville songwriters round featuring several Latina songwriters and hosted by celebrated Nashville Songwriters Hall of Famer Pat Alger. Meanwhile, music publishers including Sony Music Publishing and Warner Music Publishing have held songwriting camps for country and Latin music songwriters.
“Growing up in Texas, I was often exposed to Tejano and Mexican music, and I have always believed there are similarities between country music and Mexican music,” Rusty Gaston, CEO of Sony Music Publishing Nashville, tells Billboard in a statement. “Our Nashville office recently coordinated two Mexican/Nashville writing camps over the past 18 months and we’ve seen amazing cuts and releases come from each of them already. We’ve only scratched the surface of what is possible.”
“They wouldn’t be pushing for it if they didn’t feel like there was an audience out there that would appreciate it,” Ray says. “I’m proud of what the country music industry‘s doing on the industry side where they’re seeing that the potential for the representation here, and more and more Hispanic artists are getting signed, getting songwriting deals or getting producer credits. So, Nashville is certainly trying [its] d–ndest to be as inclusive as possible.”
According to Luminate, one driver behind Latin music’s surge is Regional Mexican music, which encompasses a range of subgenres, among them banda, mariachi and Norteño — styles that have long been intertwined with country music.
“If you peel it back from a historical standpoint, regional Mexican music, especially corridos, are basically ballads,” says Del Rio, Texas native Beckmann. “A lot of them were these murder ballads specifically about drug cartel and that world. What I would compare it to is the murder ballad ‘El Paso’ by Marty Robbins, where it’s almost like a movie playing through song. Regional Mexican music and country music, a common thread between those two is the story and the storytelling aspect of it, how a lot of it is centered around lyricism.”
MŌRIAH, a Mexican-American musician, actress and producer who has worked on projects including the film Unsung Hero, and previously earned a top 10 hit on the Billboard’s Top Christian Albums chart with her project Brave, just released the new single “Hasta Manana,” which is geared toward a country audience.
“We brought a mariachi band in from Juarez, Mexico, to record this, and I’m so glad they were a part of it,” she says. “My music director said at one point, ‘Mariachi is the folk music of Mexico, and country is the folk of America.’ So, it’s really, it’s not a long bridge to cross once you start kind of finding those connections.”
Much of cowboy culture in the United States comes from Spanish vaquero traditions, including cattle drives, cowboy hats, ranching, lassos and rodeos.
“Vaqueros were the first cowboys and a lot of the American cowboys’ traditions came from them,” says country singer-songwriter and California native Leah Turner, the daughter of a rodeo champion father and a first-generation Mexican-American mother. Turner released This Is Mi, which features bilingual songs, on Oct. 4. “I feel like country music has had such a love affair with the Mexicana culture, and they’ve been dancing for a really long time.”
“At quinceañeras, you’ll have a Tejano song, you have a country song, you have a Norteño song, you have a country song,” says singer-songwriter, journalist and historian Veronique Medrano, who released MexiAmericana in 2023. “We here in deep south Texas have always had a very close relationship to country music. That community that I have at these shows really brings everyone together. I do that very purposefully. I have English and Spanish and bilingual [songs], and I blend those in a set because that is how I walk through the world.”
Throughout the decades, artists with Latin roots have had success on Billboard’s country charts, including Sabinal, Texas native Johnny Rodriguez, who in the 1970s earned multiple Hot Country Songs chart-toppers including “Ridin’ My Thumb to Mexico” and “You Always Come Back (to Hurting Me),” and was nominated for the Academy of Country Music’s entertainer of the year award in 1974.
Long before Ray, Rodriguez was also featured as part of the Country Radio Seminar’s New Faces of Country Music show, in 1973. Freddy Fender, who is the subject of an exhibit curated by Medrano at the San Benito (Texas) Cultural Heritage Museum, topped the all-genre Billboard Hot 100 with “Before the Next Teardrop Falls,” which incorporated verses in Spanish. The song was named the CMA Awards’ single of the year in 1975, while Fender was nominated for male vocalist of the year (his album also earned a nomination for album of the year).
“Teardrop” also topped the Hot Country Singles chart, as did “Wasted Days and Wasted Nights,” “Secret Love” and “You’ll Lose a Good Thing.” Mexican-American singer-songwriter Linda Ronstadt paid homage to her heritage with albums including Canciones de mi Padre and Mas Canciones. In the 1980s, Rosie Flores charted with songs including “Crying Over You” and “He Cares,” and was nominated for the Academy of Country Music’s top new female vocalist accolade.
In the 1990s, Capitol Nashville artist Emilio Navaira, known as the “King of Tejano,” placed songs on both the Country Songs chart (including his top 30 song “It’s Not the End of the World”) and the Hot Latin Tracks chart. That same decade, Rick Trevino saw his songs including “Learning as you Go” and “Running Out of Reasons to Run” become Country Songs chart hits, while The Mavericks broke through on the mainstream country charts with “What a Cryin’ Shame,” “O What a Thrill” and “All You Ever Do Is Bring Me Down,” the latter featuring Flaco Jiménez.
Beckmann hopes he and his fellow artists signal the beginning of a new wave of hitmakers of Latin heritage in country music. “You can probably count on one hand the Johnny Rodriguezes and Freddy Fenders and Rick Trevinos of the world, but it is one of those things where maybe it’s taken this long for it to be the right place at the right time,” he says. “I’m just excited that I’ve got an opportunity to not only put myself out there and showcase my songs, but also help represent the culture of where I’m from and how I was raised.”
Mexican singer Pancho Barraza begins a new stage in his career with Fonovisa Records, the label he signed with earlier this month. The banda sinaloense singer’s story has been peculiar: After spending time as a vocalist of Banda Los Recoditos in the early ’90s, he began a solo career achieving fame and glory. However, issues with substance abuse kept him away from music for a decade and he hit rock bottom.
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It wasn’t until an invitation from Julión Álvarez to his Mis Ídolos Hoy Mis Amigos Tour in 2016 gave him the motivation to return to what he was once passionate about, and with the help of RB Music, an independent management and booking company, he began playing live shows again and released new music. Barraza even returned to the Billboard charts, most recently with “Me Voy a Alejar,” which entered the Regional Mexican Airplay this year.
“I was always a fan of Mr. Pancho Barraza so, in 2015, I invited him to receive an award at the Premios de la Calle,” says Ricardo Bobadilla, CEO of RB Music. “There, he told me that he had no record label or team, so I put myself at his service and, almost ten years later, we continue working with great enthusiasm.”
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The resurgence of Barraza, whose hits include “Mi Enemigo el Amor,” “Música Romántica,” “Yo Estaba Solo” and “Nunca Cambies,” made Fonovisa pay attention.
“Pancho Barraza is without a doubt an artist who is leaving a very important legacy to Mexican music,” says Antonio Silva, managing director of Fonovisa Disa US/Mexico. Adding Barraza to the roster, he adds, made sense. “Fonovisa Records has artists with great careers and who have left their mark, such as Los Tigres del Norte, Banda El Recodo and many more. That is how important we consider him to be.”
On Nov. 21, he will release “Mi Otro Yo,” a collaboration with Colombian artist Charlie Zaa in a banda version that will show another facet of Zaa. Speaking exclusively with Billboard Español, Barraza, 63, talks about this new chapter in his career.
You are a clear example that age doesn’t matter when you want to move forward.
As long as you have a voice to sing and something to offer the audience, you are in the competition. It has a lot to do with what you put in your head, what you believe about yourself, what you want for yourself. Definitely attitude is a key piece.
How did the alliance with Fonovisa come about?
There came a time when I felt like we — RB Music and my label Pachy Music — had reached a limit. Ricardo [Bobadilla] told me that he had very good results with Universal Music as a publisher and I liked the idea of including my compositions, but also my music. I called Antonio [Silva], with whom I had not had contact for a long time, and he answered me almost immediately. That was a sign, that’s how the conversations began.
What does this new chapter in your career consist of?
Fonovisa will be entirely in charge of the distribution of Pancho Barraza. The machinery that a company like this has will allow us to go even further, like being present at awards ceremonies, for example. If I want to become like the great artists who remain for posterity, I need to advance to another level.
The catalog you have recorded with Balboa Records and Musart is from Universal, so this is like the continuation.
That’s right, that is already there and will move, but now we will focus on the new, on Pancho Barraza’s music reaching many more places.
Your first release with Fonovisa is “Mi Otro Yo.” How was it doing it in banda with Charlie Zaa?
First it was recorded in his style, in response to his invitation, and it was a pleasant experience. The video is a reflection of how well we got along and enjoyed it. I’m sure you’ll like the banda version as well and you’ll enjoy hearing Charlie in a very different facet. When I sent it to him he loved it and he went to Guadalajara to record the video. Everything happened very quickly.
Musically, what can we expect from Pancho Barraza in 2025 in this new stage?
Several things are coming: the album Barraza Dinasty, with unreleased songs; another album with impressive collaborations. I can’t reveal the names at this point, but I went all the way. As for touring, we will go to conquer other markets, such as Central America and Colombia.
You have made a difference with your musical style. Are you aware of it?
I swear it was out of ignorance. I started recording romantic songs in different tones, in different harmonies, the banda musicians told me I was crazy. They got upset and I got upset with them, but in the end they agreed to do it and it sounded totally different from what banda sinaloense was.
With your more than 30 years of career, what can you say about regional Mexican music today?
That there is no difference between the music that the [new] guys are making and ours — it is just the language. Because, at the end of the day, as long as they use a charcheta, a tuba and a trombone, it still sounds like banda.