From a home studio in the suburbs of Buenos Aires, a young Argentine producer nicknamed Bizarrap has spent the past couple of years transforming the landscape of Latin music. Biza not only innovates the sound itself with a playful combination of trap, EDM and cinematic moods, but also the way songs are presented, consumed and dissected among his millions of social media fans.

His BZRP Music Sessions on YouTube drop unexpectedly every couple of months (he began the series in 2019, and is currently on No. 56) are followed and anticipated on a global scale. Each session features a new guest on vocals — most of them rappers. Biza provides the backing track, and the guest does the rest. The videos follow the same setup: a Spartan home studio, with Biza in the producer’s chair, arms flailing, while the guests stand in front of the mic, looking directly into the cameras documenting the performance. The visual aspect is so closely associated with Bizarrap’s mystique, that the set has been duplicated in every minute detail whenever the sessions take place outside Argentina.

Gonzalo Julián Conde will be 25 in August, and Time magazine recently selected him as one of its Next Generation Leaders. He continues to stir things up on session No. 55: his first foray outside the urbano genre, a música mexicana track with emerging star Peso Pluma. Recently, he collaborated with GRAMMY nominee Rauw Ajeandro for session No. 56.

Here are five key sessions from the past four years that sum up the Bizarrap phenomenon. 

Session No. 36: Nathy Peluso (2020)

The first session to generate more than 300 million YouTube views, Bizarrap’s collaboration with fellow Argentine Nathy Peluso found the producer face to face with an artist as formidable as she is multi-faceted. Based in Spain, Peluso began her career as a rapper and evolved into an eclectic singer/songwriter who can ignite the dance floor with her authentic salsa jams, then move you to the core with an organic ballad about missing Buenos Aires. 

Peluso’s hip-hop roots are deep, and this session brims with her demented sense of humor, the use of syllables as a powerful rhythmic device, and her subtly menacing, rapper fatale persona. Biza spices up the track with hypnotic electro beats, then autotunes the chorus to brilliant effect. 

Session No. 53: Shakira (2023)

In strict musical terms, Biza’s tandem with Colombian diva Shakira treads similar ground than some of his previous sessions. But this is much more than just a song. A vitriolic revenge fest against Shakira’s former husband — soccer star Gerard Piqué — the track reveals the singer as a vulnerable, yet empowered human being. It connected with the zeitgeist of 2023 and became a cultural phenomenon. 

Followers of Shakira’s personal life have savored the many subtle and not-so-subtle digs and references, some of which are notoriously mordant (the way in which she sings "clara-mente" in reference to Clara, Piqué’s current girlfriend, is delightful).

Session No. 51: Villano Antillano (2022)

In interviews, Bizarrap has affirmed his intention to never censor guests in any way — they can do and say whatever they please. Inviting transfeminist Puerto Rican rapper Villano Antillano was a nod to inclusivity, and gave Villano a much deserved global platform for her dazzling skills. 

Her rhymes are brilliant, quoting Rihanna, literary vampires, the cast of Friends and Chilean poet Gabriela Mistral. Biza is in high form, peppering the backing track with flashy touches of EDM and screeching the beat to a halt in the bridge. Don’t miss the colorful portable fan that appears in Villano’s right hand at the 2:11 mark — her playful smile and eye batting are priceless.

Session No. 54: Arcángel (2023)

Strangely enough, Biza’s collaboration with iconic rapper Arcángel boasts a relatively anemic (for Biza, anyway) 75 million views. A pity, because it’s one of the wittiest Latin tracks of the decade. 

The pair had already collaborated with Argentine trapero Duki on "Bottas," a vertigo-inducing track off Arcángel’s 2022 album Sr. Santos. The rapper makes a hilarious reference to that previous outing, and imitates Biza’s South American accent. The rhymes are inventive throughout, with nods to pot, Argentine soccer players, Roman gladiators and something about straightening out the Tower of Pisa. 

Biza’s ominous, sustained synth notes complement the MC’s high-pitched flow, and Arcángel hams it up for the camera.

Session No. 39: Snow Tha Product (2021)

If there’s one session that showcases Biza’s framework as a space where artists can let their virtuoso tendencies soar, this is it. Born in San Jose, California, Mexican American rapper Snow Tha Product was already known in the Latin hip-hop community for her formidable flow. Biza’s session allowed her to elevate her skills to an almost surreal level. 

Everything here is calibrated to perfection, from Snow’s speed, Spanglish rimas and stage presence to the producer’s raw bass lines and EDM climax. Following the track’s viral success — 220 million views and counting — the rapper posted a pinned message on Biza’s YouTube page expressing her amazement and gratitude.

Farewell CNCO: The Latin Boy Band Shares Career Highlights, From Their First Show To Jumping Out Of A Plane

Peso Pluma marked his musical destiny with a Tupac tribute tattoo in the center of his clavicle: "All Eyez On Me." 

The Mexican artist, born Hassan Emilio Kabande Laija, doesn't remember exactly what year he inked his chest. He knows it was well before his debut in music. Those four words reflected Peso's irrefutable confidence that the world's eyes would eventually be on him. 

The world's eyes are indeed on Peso Pluma. In less than two years, the singer achieved global fame by singing corridos tumbados, traversing a path never before trodden by a música Mexicana artist. 

At 25, Peso Pluma is at the forefront of a new generation of música Mexicana artists that have successfully modernized traditional Mexican rhythms, such as corridos, by infusing them with elements from urban music and a hip-hop aesthetic. The weight of representing an entire genre and a country could be great for some. But pressure doesn't affect Peso Pluma; on the contrary, it motivates him to keep working to exalt his roots. 

"We've come a long way, but we still have a long way to go. And that doesn't mean we have to slow down; it doesn't mean everything is over. This is the beginning of everything," Peso Pluma said in a TikTok video before a performance at the Toyota Arena in Ontario, Canada, a little over a year ago. 

Out June 20, Peso's extensive new album ÉXODO seeks to cement his global star status further. Over 24 tracks, the singer continues to explore corridos tumbados and digs into his urban side via much-awaited collaborations with reggaeton and hip-hop icons. Among those big names is Peso's teenage idol, the American rapper and producer Quavo, as well as further afield collaborations with Cardi B.  

"ÉXODO is a project I've been working on for over a year before we even won the GRAMMY. GÉNESIS was an incredibly special project, and I knew we couldn't make the same diamond twice," the singer tells GRAMMY.com in a written interview. 

Peso Pluma's path to the global stage has been lightning-fast. While he started releasing songs in 2020, Peso will remember March 2023 as the month that propelled him into global mega-stardom. His collaboration with Eslabón Armado on "Ella Baila Sola" led him to become a household name outside his native Mexico.  

The hit resonated with an audience eager for new sounds, accompanying social media videos and surpassing a billion streams on Spotify. "Ella Baila Sola" became the first Mexican music track to top the platform's global chart. On Billboard, it conquered No. 1 on the magazine's Global 200 chart for six weeks and reached the coveted No. 4 spot on the Hot 100 chart. The mega-hit took Peso Pluma and Eslabon Armado to make their Latin GRAMMY stage debut in November with an electrifying performance.  

Another collaboration, "La Bebe (Remix)" with Mexican reggaeton artist Yng Lvcas, released a day after "Ella Baila Sola," also contributed to Peso Pluma's virality in a completely different genre, but one in which he feels comfortable: urban music. 

Learn more: Peso Pluma's 10 Biggest Collabs: From "Bzrp Sessions" To "Ella Baila Sola" &"Igual Que Un Ángel" 

As Peso Pluma gained traction with a global audience, his February 2022 single with Raúl Vega, put him, for better or worse, on the map in Mexico. The warlike content of "El Belicón" lyrics and video clip attracted attention for the way it allegedly promoted narcoculture. 

Despite growing criticism, Peso Pluma remained tight-lipped regarding references to high-profile members of the Mexican drug trade, as well as drug use and trafficking. In a rare admission to GQ magazine, the singer explained this is a "delicate subject to talk about, but you have to touch on it with transparency — because it's the reality of things." 

"In hip-hop, in rap, just like in corridos, and other urban music like reggaeton, it talks about reality. We're not promoting delinquency at all. We're only talking about things that happen in real life," the singer explained.

With the success of "El Belicón" and "Ella Baila Sola" under his belt, Peso Pluma released GÉNESIS in June 2023. Despite being his third album, Peso considers it his true debut in music. 

"I didn't want to delete my previous albums [Efectos Secundario and Ah Y Que?] because they represent my beginnings," Peso told Billboard in a cover story published a few weeks after the release of GÉNESIS. In the same conversation, the singer said he saw himself winning his first GRAMMY and breaking more records. 

Read more: 5 Takeaways From Peso Pluma's New Album 'GÉNESIS' 

In February 2024, Peso Pluma did just that. He took home the golden gramophone for Best Música Mexicana Album (Including Tejano) — his first GRAMMY Award. This victory didn't weigh on him as he approached his next production. "It pushed me to want to create something different that the fans haven't heard from me before," Peso Pluma tells GRAMMY.com. 

While GÉNESIS and ÉXODO may differ in substance, they share similarities beyond music. That both records pull from the Bible for their names is not a random occurrence; the opening book of the Hebrew and Christian Bible delves into the genesis of creation, while the Book of Exodus explores the themes of liberation, redemption, and Moses' role in leading the Israelites through the uncharted waters of the Red Sea. 

"ÉXODO is the continuation of GÉNESIS, which was the beginning," Peso Pluma explains to GRAMMY.com. "ÉXODO means new beginnings, a new era for me. We are preparing for the next chapter, and that's what we are doing for Mexican music, paving the way, laying the groundwork for what's next because it doesn't stop here."  

His "sophomore" album is divided into two discs: the first is corridos, and the second is urban. It also continues the line of collaborations, with twenty tracks where Peso Pluma shares the limelight. 

"Some of my fans were craving música Mexicana, and some were craving urbano, and I wanted to give them everything while still staying true to myself and choosing songs and lyrics that spoke to me," he continues.  

ÉXODO's disc one starts with "LA DURANGO," the album's fourth single, featuring Eslabon Armando and Junior H. In the record, he also invites collaborators such as Natanael Cano and Gabito Ballesteros for "VINO TINTO" and Mexican rising star Ivan Cornejo on the melancholic "RELOJ," among others. 

For Side B, Peso enlisted heavyweights from the urban genre in the Anglo and Latin markets: Anitta in the steamy "BELLAKEO," Rich The Kid in the bilingual "GIMME A SECOND," and Quavo in the existential trap "PA NO PENSAR." Cardi B, Arcángel, Ryan Castro, Kenia OS, and DJ Snake complete ÉXODO's genre crossover. 

In ÉXODO, luxury, drugs, alcohol, and women continue to take center stage in the lyrics, accompanied by fast-paced guitar-driven melodies and reverb-dense vocals. However, the production sheds light on the vulnerable side of Peso and explores the unexpected consequences of becoming globally famous. 

"Fans really get to see the other side of the coin; there are two sides to me. It's darker, rawer," Peso says about the record. 

In the songs "HOLLYWOOD" and "LA PATRULLA," for example, Peso details how this musical path keeps him up at night, as well as his aspirations, and how he remains the same despite his success. 

Perhaps one of the deepest and rawest songs on the album is "14:14," a track inspired by the Bible verse 14:14 from the Book of Exodus, which, the singer explains, was fundamental amidst the turbulence he faced on the way to global stardom. 

"[The] verse 14:14 says 'The LORD will fight for you; you need only to be still.' This verse couldn't be truer," Peso Pluma says. "Over time, I learned to really trust in this and believe that some things are not up to me and I should trust the process."  

In the song — one of the few on the album without a collaboration — Peso references the challenges of his profession and how his faith has kept him afloat amid the vicissitudes. "Things from the job that no one understands/I hide the rosary under my shirt so I don't poison myself, so I don't feel guilty/because whatever happens, the Boss will forgive me," he sings.

In "BRUCE WAYNE," Peso Pluma croons about the passionate feelings his career arouses: "First they love you, and then they hate you/wishing the worst, envy and death," the song says. 

The singer resorts to comparing himself to a superhero figure again. In an unusual twist, Peso crosses comic universes, moving from his now traditional reference to Spider-Man to one from the DC Comics world: Bruce Wayne, Batman's secret identity. A wealthy man, part of Gotham's high society, Bruce Wayne is known for transforming his darkness into power while remaining reserved and isolated.  

"Everyone has two sides of them, even me," Peso tells GRAMMY.com. "Peso Pluma on stage is a high-energy person, someone who is powerful and dominates a show and isn't afraid of anything. And then there is Hassan, who's chill and more relaxed and who deals with all the realities of life." 

During the year and a half it took him to complete ÉXODO, Peso Pluma had to deal with the diverse nuances of a global star's life, including a widely publicized breakup from Argentine rapper/singer Nicki Nicole, the cancellation of one of his shows in October 2023 after a Mexico drug cartel issued a death threat against him, and a media frenzy over his alleged admission to a rehabilitation clinic, the latest a rumor he laid to rest during a March interview with Rolling Stone for his Future of Music cover story. 

"The reality is, all these days, I've been in the studio working on ÉXODO," the artist explained to Rolling Stone. 

Most of 2023 was a successful balancing act for Peso Pluma, who combined touring, an album release, rare media engagements, two Coachella appearances, all the while developing another record. According to the singer, ÉXODO was created in Los Angeles, Miami, New York, and Mexico. "We go to the studio everywhere!" Peso says. "It doesn't really matter where we are; I love to get into the studio and work when we have free time." 

Like GÉNESIS, ÉXODO will be released via Peso Pluma's Double P Records, of which he is the CEO and A&R. Much of the talent the Mexican singer has signed to his label took part in the album's production, and songwriting process. 

"For the Mexican music side, I had the whole [touring] band with me; I like to have them involved in the process so that we can all give our input on how it sounds, discuss what we think needs to be changed, create new ideas," he explains. 

Peso Pluma knows that echoing the success of 2023 is no easy task. He was the most streamed artist in the U.S. on YouTube, surpassing Taylor Swift and Bad Bunny, and was the second most-listened to Latin artist in the country, amassing an impressive 1.9 billion streams, according to Luminate. 

Música Mexicana emerged as one of the most successful genres in 2023, witnessing a remarkable 60 percent surge in streaming numbers, adds Luminate's annual report, crediting Peso Pluma along Eslabon Armado, Junior H, and Fuerza Regida as part of this success. 

Collaborations on and off the mic have undoubtedly played a significant role in the rise of Música Mexicana on the global stage. Peso knows that the key to continuing onward is teaming up with renowned artists inside and outside his genre. 

"All of us coming together is what pushed música Mexicana to go global," the singer affirms. "We showed the world what Mexico has to offer, and now no one can deny the power and talent we have in our country."  

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Those who follow underground Spanish music have known the name Nathy Peluso for a while, but in 2020 the Argentine-Spanish artist came to the attention of a broader audience. That year,  the rapper and singer released her official debut album Calambre, which won a Latin GRAMMY for Best Alternative Album and received a GRAMMY nomination for Best Latin Rock or Alternative Album in 2021. 

Four years later, Peluso is back with Grasa [Grease]. Out May 24, the 16 track follow-up is simultaneously bolder, more vulnerable and more revealing than its predecessor, crystalizing the artist's iconoclastic and often cinema-inspired vision.

At Legacy Records, a hotspot for haute Mediterranean fare in Manhattan's Hudson Yards neighborhood, Nathy is draped in an oversized blazer and pants. She looks like a relaxed, elegant CEO and the style becomes her, especially as she balances it with ultra-feminine touches. Today, its long nails tipped in fire-engine red.

Her fashion choices are as pointed as her manicure, on and off stage. In the recent video for "Aprender a Amar," she raps ferociously into a mirror, sharply dressed in a pin-stripe tie, a jacket with exaggerated shoulders, and delicate black lace gloves. These sartorial choices ask, Why settle for a mob-wife aesthetic when you can be a don yourself?

Both visually and aurally, Nathy Peluso is part cinematic diva and part underworld kingpin, with a fair amount of Missy Elliott swagger. Her tough, independent persona was on full display on her now-multimillion streamed 2020 Bizarrap session, which smoldered and crackled with her bombast. It was fully formed on "Business Woman," from Calambre, and returned with a roar on her 2021 single "Mafiosa," a high drama salsa track.  

Her powerful energy is pure hip-hop in steel-toe Timbs, but she performs with the generous spirit of a burgeoning pop star ministering to a big house of fans. On Grasa, Nathy Peluso brings humanity to her braggadocio. This doesn’t stop her from picking up the mafia saga where she left off on Calambre. The opening track is titled "Corleone." 

Ahead of the release of her first album in four years, Nathy Peluso spoke with GRAMMY.com about overcoming creative burnout, taking inspiration from mob movies, and the true meaning of "grasa."

This album is more personal than your previous releases. What led you to open up more lyrically?

I think it just happened because I am growing. I am learning and I need to tell my truth. The way for me to do that is music. It’s been four years, but, when the moment came, I was ready.

Speaking of four years ago, 2020 was a very big year for you. A lot happened. What are your most vivid memories from that time?

Calambre was the moment. It was really special for me. Winning the GRAMMY was the moment, and then touring with that album was an amazing learning experience for me. I grew up on the stage. 

I grew up as a woman, as an artist, as a performer, maybe as a lover too. You are traveling around the world with so much pressure. Physically, it was a difficult show. I was alone on stage, with my musicians, but no dancers. It was a challenge. 

I grew up in so many ways, but when I finished that tour I was broken. My soul was broken. I was empty. I started looking for myself. It was very tough. 

It sounds like you were experiencing creative burnout.

Yes, my brain was broken, but it was necessary in order to start again. I did an album then, but I decided not to go with that album and to start again. So, it was a very long path. 

You wrote a whole album and then discarded it? What wasn’t working about it?

It was working, but it wasn’t the feelings I wanted to share and the music I wanted to share. Sometimes there are projects whose purpose is just to learn from. It was a process of learning for me. That was a very special moment. 

You start feeling like a failure, but no. It was necessary to go through that to get to Grasa. The things I learned were exactly the things I needed to know to then make this music. 

So, how did you overcome this period of burnout and get to the point where you were feeling creative again?

A lot of therapy. A lot of working on my s— and confronting it.

Is there one song on Grasa that is more intense to perform, or more emotional for you than the others?

"Envidia" is talking real s—. Things happen around you and you need to know who you are and what your intention is. You have to be focused on what you want to bring to the world and not care about anything besides your craft. People are going to talk. Things are going to be crazy. You’ve got to know your choice, your path.

Can you tell me about the song "Corleone"? How do gangster movies inspire you?

I have a song called "Mafiosa." It’s a character I love to perform and I see myself in that character. It’s relatable. The mafia have codes that represent me — not everything [laughs] — but, you know, the family, the legacy, working hard, respect. That kind of feeling in music, in cinema, is what I was looking for. I love the aesthetic. I love Tarantino. I love Tony Montana, the character. On stage, I feel like him sometimes. 

I love for a woman to be that type of character. I think it’s interesting. Usually, those kinds of feelings in music or cinema are represented by men. It’s always that way in salsa. If you look at Celia or Gloria, they were always more romantic. Maybe La Lupe was dangerous. For me, it’s important to bring that energy to the music, like, rude, strong, dangerous. Be careful, bitch!

What were some of your specific musical influences while working on this album?

Always folklore and roots, salsa and bolero, but then I was paying attention to Kendrick Lamar and Kanye West. They are a big inspiration for me. 

How do you bridge the gap, or find the connections among your different influences?

I don’t even know. I just do music, really. I go to the studio and I start singing. I just feel it.  I go to the studio, and suddenly I want to sing, and I want to cry. And then another day, I feel powerful and I want drama and aggressive stuff. It’s very honest. The starting point is always the way I feel.

Is it important to you to make music that empowers other women?

Yes. For sure. But it wasn’t ever a strategy, like, "I want to do music for empowering women." I just did my music without direction. Then I discovered people were feeling the power and using it. I feel inspired by that, but it wasn’t the point. 

What does the word "grasa" mean to you?

I chose that word because it’s the strongest word. It’s dirty. It’s funky. But it’s a word that, at least in Spanish, has a lot of meanings. So, I want people to choose the meaning. After listening to the album, you can choose the meaning and maybe redefine it with the album.

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Electronic music is embedded within the diverse world of Latin music and, for the first time, will be recognized in a new Field and Category at the 2024 Latin GRAMMYs. Within that field, the award for Best Latin Electronic Music Performance was created to shine a light on DJs, producers, and artists blending proudly blending electronic music with the sounds of their cultures.

Electronic music embodies various subgenres like house music, techno, trance, electronica, and many others rooted that have been popularized by DJs and producers. Latin artists have long enriched those subgenres: Mexico's Belanova globalized the electro-pop wave, while Bomba Estéreo blended cumbia with electronica in Colombia. 

The explosion of EDM in the 2010s also allowed the careers of Latinx DJs to flourish. Mexican American DJ Deorro has showcased both cultures during sets at music festivals like EDC, Coachella, Tomorrowland, and more. Arca's music pushes the boundaries of electronic music through a Venezuelan and Latin American lens. More recently, Colombian producer Víctor Cárdenas bridged the gap between EDM and reggaeton with the global hit "Pepas" by Farruko. Since then, electronic music has seeped through the work of Latin hit-makers like Tainy, Caleb Calloway, Bizarrap and Diego Raposo. "Pepas" and many of Bizarrap's music sessions crossed over onto Billboard's Hot Dance/Electronic Songs.

"That’s something that’s very big for us," Deorro tells GRAMMY.com about the new category. "How beautiful that this is happening, because it shows that what we’re doing is working, we’re breaking down doors, and we’re creating more opportunities for artists like us in the future." 

In honor of the Latin Recording Academy's new Field and Category, here are eight must-hear Latin electronic music essentials.

Belanova - Cocktail (2003)

Belanova revolutionized the Latin music space with their 2003 debut album Cocktail, an atmospheric LP that seamlessly blends Latin pop with electronic music. In the dreamy deep house of "Tu Ojos," singer Denisse Guerrero sang about getting lost in her lover's eyes. The trippy techno of "Barco De Papel" was reminiscent of the music from Madonna's Ray of Light album. Electronic music on the ambient level wasn’t common in Latin music until Belenova changed the game in Mexico, which later reverberated into the rest of Latin America and the U.S. 

The trio — which includes guitarist Ricardo Arreol and keyboardist Edgar Huerta — later delved into electro-pop on 2007's Fantasía Pop, which won a Latin GRAMMY for Best Pop Album by a Group or Duo the following year. 

Arca - Kick I-II (2020)

Venezuelan producer/artist Arca is a pioneer in the Latin electronic music space. Arca first began producing her experimental electronica in Spanish with her 2017 self-titled album.

Arca then masterfully mixed the diverse sounds of Latin America and beyond with EDM throughout her Kick album series. 

For Kick I, she combined Venezuelan gaita music and reggaeton with a cyberpunk edge in "KLK" featuring Spanish pop star Rosalía. Arca then blended electronica with neo-perreo on Kick II's "Prada" and "Rakata." Both albums garnered Arca GRAMMY and Latin GRAMMY nominations. 

As a trans and non-binary artist, she is also breaking boundaries for the LGBTQ+ community in the genre. Arca is just not creating more space for queer artists in Latin music, but also in EDM at large by embracing the totality of herself in song.  

Bomba Estéreo - Deja (2021)

Bomba Estéreo, which is comprised of core members Simón Mejía and Liliana "Li" Saumet, has masterfully melded the music of Colombia’s Caribbean coast with electronic music. Since breaking out in 2008 with their sophomore album, the group has often reimagined the African and Indigenous rhythms of their country like cumbia through dance music. Bomba Estéreo’s folkloric approach to EDM has led to collaborations with Bad Bunny, Tainy, and Sofi Tukker.    

In 2021, Bomba Estéreo released its most ambitious album Deja, which garnered a GRAMMY and Latin GRAMMY nominations. The title track put a funky spin on the band's signature electro-tropical sound. House music collided with the Afro-Colombian rhythms of champeta in "Conexión Total" featuring Nigerian singer Yemi Alade. Their album that was based on the four classical elements was a breath of fresh air in the Latin music scene. 

Bizarrap - "BZRP Music Sessions #52" (2022)

Argentine producer Bizarrap launched the BZRP Music Sessions on YouTube in 2018, first remaining behind the console for freestyle rapping sessions with local acts. The sessions quickly went viral, and have featured increasingly larger names in music.

Over the past five years, Bizarrap worked elements of electronic music into his hip-hop productions. In 2022, he fully delved into EDM with his global hit "BZRP Music Sessions #52" featuring Spanish singer Quevedo. The traptronica banger peaked at No. 4 on Billboard's Hot Dance/Electronic Songs and earned Bizarrap his first Latin GRAMMY Award. 

Since then, his music sessions have become a global event. Bizarrap later infused electro-pop with a trap breakdown in "BZRP Music Sessions #53" with Shakira, which garnered him two more Latin GRAMMY awards. 

Javiera Mena - Nocturna (2022)

Javiera Mena first debuted as an indie act in 2006 with Esquemas Juveniles. With that freedom as a producer and artist, the Chilean star pushed Latin music into the electronic space with her 2010 album Mena. 

She fully immersed herself into Latin electronica on her latest album, 2022's Nocturna — an album filled with nighttime club bangers that invite everyone to dance with her. Mena also proudly sings about being part of the LGBTQ+ community in the alluring "La Isla de Lesbos" and the fierce house music of "Diva" featuring Chico Blanco. Considering the influence of queer artists in the formation of electronic genres like house, it’s refreshing to see an artist like Mena remind people of those roots and bring that into Latin music.  

Deorro - Orro (2022)

Mexican American producer Deorro has established himself as one of the world's top DJs, and is known for mixing both of his cultures into his music festival sets. Even before the música mexicana explosion last year, he was one of the first mainstream EDM acts to bring the genre to music festivals around the world through his songs and remixes.   

With his debut album, 2022's Orro, Deorro fully bridged música mexicana with house music. He collaborated with Latin acts like Mexico's Los Tucanes De Tijuana and Maffio in "Yo Las Pongo," which blended the band's norteño sound with EDM. Deorro also explored cumbia with deep house in the sweeping "Dime" featuring Los Ángeles Azules and Lauri Garcia. In his recent sets, he is spinning a fiery remix of "Ella Baila Sola" by Eslabon Armado and Peso Pluma

Sinego - Alterego (2023)

Sinego first broke through in 2019 thanks to his house bolero sound like in "Verte Triste," which put a refreshing spin on an age-old Cuban genre. With traditional genres within the Latin diaspora often falling to the wayside as the years go on, he is reintroducing them to new audiences through EDM reimaginings.   

For his debut album, 2023's Alterego, the Colombian producer pushed his electronic music to another level. Sinego traveled to different Latin American countries and Spain to record with local musicians, reimagining genres like cumbia, tango, and mambo through Sinego's EDM lens. With the sultry "Mala," he blended Venezuela's variation of calypso with house music. He also gave Brazilian samba a house music makeover in "Boa Noite" featuring Tonina. 

Diego Raposo - Yo No Era Así Pero De Ahora En Adelante Sí (2023)

Dominican producer Diego Raposo has helped Latin acts like Danny Ocean, Blue Rojo, and Letón Pé embrace elements of electronic music. In 2018, Raposo released his debut album Caribe Express, which demonstrated his knack for mixing the sounds of the Caribbean with EDM. 

Raposo took that inventive mix into overdrive with last year's Yo No Era Así Pero De Ahora En Adelante Sí. The otherworldly "Si Supieras" featuring Okeiflou blended house music with reggaeton, while "Al Contrario" with Akrilla aggressively mixes drum 'n 'bass with dembow. Rapaso also channels Dance Dance Revolution-esque electronica in the spellbinding "Quédate" with Kablito. 

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Contemporary music is filled with artists who have transitioned from social media stardom to serious streams and even Music's Biggest Night. Kenia Os is proof of this trajectory: After building a massive following on YouTube, Instagram, and TikTok, she established as one of Mexico's top pop stars. 

Kenia Os' ability to pivot successfully is also apparent in her music. Her 2022 debut album Cambios de Luna leaned into trap and reggaeton, while follow-up K23 fully embraced Latin pop with elements of EDM. Her "Universo K23" netted Kenia Os her first Latin GRAMMY nomination for Best Long Form Music Video. 

On her latest album, Pink Aura, the 24-year-old seamlessly blends her worlds of Latin pop and urbano music. "I feel very comfortable making pop," Kenia Os tells GRAMMY.com.  I also love Latin urban music and reggaeton, especially reggaeton Mexa that's blowing up…I wanted to make music in that style as well." 

Pink Aura sees Kenia pushing pop into new territory — with the help of some friends. Puerto Rican singer Álvaro Díaz is featured on the futuristic, drum 'n' bass-infused "Bobo," while Puerto Rican trans rapper Villano Antillano appears on the euphoric "VIP." Argentina's La Joaqui helps Kenia Os meld reggaeton with cumbia on the freaky bop "Kitty." Reggaeton Mexa, or Mexican reggaeton, artists Yeri Mua and Ghetto Kids join Kenia for the sensual banger "Mamita Rica." Elsewhere, Os also links up with another influencer-turned-singer Bella Poarch for the fierce "F* OFF."

In an interview with GRAMMY.com, Kenia Os opens up about overcoming the stigma against artists coming from social media and the empowering meaning behind her Pink Aura album. 

This interview has been edited for clarity.

How would you describe the experience of making the jump from YouTube and social media to becoming a pop star?

It's been incredible. It's been an adventure that I've been on for three or more years. 

At the start, and even now, it's still been a bit difficult to get respect from the music industry. Since day one when I started making music, I've always taken this very seriously, making great music with good producers and my record label. I feel very confident about this new album that we've put out and I feel fulfilled as an artist.  

As someone who did come from social media, what did your Latin GRAMMY nomination mean to you last year?

That day I cried all day. I couldn't believe it. I was very happy. It made me think about all the effort I’ve put in these past few years, and those times I was tired in the studio and thought about quitting. There were times I told myself, I don’t want to keep doing this because it’s very tiring to prove [to people] the artist that I am. I felt like everything was worth it. The hard work that me and my team have put into this over the years has been worth it.  

An artist that has a similar career trajectory to you concerning social media is Bella Poarch. I can imagine that you probably bonded well with her while collaborating on the song "F* OFF."

Working with Bella was an incredible experience. Sometimes when you do collaborations, there's artists that are very much artists. You know what I mean? They love music, but they don't know a lot about navigating social media or what works in that space. 

With Bella, what happened was that we could record TikTok videos and create content for social media. It was very natural and genuine. We shared ideas with each other like, "We'll make TikTok videos this way or you go here and I go there." [Laughs.] It was very genuine how we developed the content for marketing our collaboration. It was very beautiful. It's a very different experience to work with someone who also understands social media.

Tell me about the title of this new album — is there a story behind it?

My fans have asked me, "Kenia, why do you have everything pink? You have said before that you hated the color pink." It's not that I hated pink, but I had always said I didn't want pink in the background of my interviews, in my outfits, or anything. 

The other day I was with my mom, looking at photos from when I was a little girl, and I saw everything in my room was pink. I was thinking about when I started fighting this color. I realized I started to hold back that feminine energy to be able to face the industry, to be the person in charge of my family, and keep up that livelihood. For me, this album was forgiving that feminine energy, embracing it, and healing myself, and above all, letting it shine. 

You’re bridging the gap between Latin urban sounds and pure Latin pop on this album. Was that what you hoped to accomplish with that kind of fusion?

I feel very comfortable making pop. I love pop and it's the genre I enjoy the most. Every time I'm in the studio, I'm writing with my co-writers and producers, and we always make pop. 

I also love Latin urban music and reggaeton, especially reggaeton Mexa that's blowing up. We have artists in that scene who are becoming very big. I feel very proud and I wanted to make music in that style as well because I like going to the clubs and I like to hear myself within that genre. 

You collaborated with one of the top female artists in reggaeton Mexa, Yeri Mua, in "Mamita Rica." How would you describe the experience of working with her?

That was very beautiful. We went to the studio together and there was her whole team. There were her co-writers. 

We were all surprised because you would think that she puts effects on her voice, but no, that's how she really sounds. As we say, she sounds very sexy and makes noises like meowing. [Laughs]. It was very fun! It felt very great to work with her. 

All the reggaeton Mexa that's coming up in Mexico makes me so happy. I believe it was time with Mexico making more noise globally through música mexicana, reggaeton, and pop, and above all, with a sound that's very unique to us. 

You’ve always supported the LGBTQIA+ community throughout your career. On this album, you collaborated with Villano Antillano, who is breaking down barriers for queer artists in Latin music. How did the song "VIP" with Antillano come together?

It's very beautiful to know that I have a lot of fans in the LGBTQIA+ community and that they identify with my music and feel supported by me. It's very important for me to be someone who can speak up for them; it's important for me to support them as well and spread their message through my music, what I say, and with what I do. I stand with them and I'll support them in any way that I can.

Villana is one of my favorite artists. I love everything that she does. When she jumped on this track and we heard it, I almost wanted to cry. The song was perfect for her. When I met her, it was incredible because we connected a lot as friends. We were laughing the whole time while making the music video. We have the same ways of saying things. I love her so much. I loved getting to know her and I got a great friendship out of this collaboration.  

What do you want people to take away from the 'Pink Aura'?

I was telling my girlfriends the other day that this album is perfect for when you're getting ready [for a night out]. When you're in your room getting ready and putting on creams, perfume, and makeup. Then you have a little drink before going out to party. 

This was made so people can enjoy it and connect with it in their room, in their cars, and in the clubs. It was made with a lot of love and the most pink side of myself and feminine energy that I hope resonates with girls and boys too. I want to heal that part of us that we sometimes hide or put to the side in order to face certain situations in life. 

What do you want to accomplish next with your music?

I want to go global. I love my country and I love that my concerts in Mexico are always very full. The people of Mexico love me a lot, but I want to take my music to other countries. I want to be an artist that is internationally known. 

I love pop and I see myself doing pop all my life, but I want to experiment with more genres. I would love to do another reggaeton song and then a corrido tumbado song with guitars. Above all, I want to hold the flag of my country high up wherever I go.

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