As the world began to rebuild from COVID-19 in 2021, Latin stars used their experiences to inspire art that made a lasting impact. On the one hand, the unavoidable ripples of the pandemic encouraged many artists to channel their feelings into song; on the other, the reopening of concert halls unleashed an infectious wave of creativity.

While chart-topping stars in the urbano field had the entire planet listening, artists in other facets of the genre — from rock and electronica to Regional Mexican, folk and Brazilian — emerged with luminous creations that pushed the music forward. Here are some of the notable Latin trends that emerged during the past 12 months.

For Today's Hitmakers, Stylistic Diversity Equals Musical Bliss

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If the new albums by hugely successful artists such as Puerto Rico's Rauw Alejandro and Spain's C. Tangana have something in common, it is their stubborn refusal to confine themselves to the parameters of their expected genres.

Rauw's blockbuster hit "Todo De Ti" begins with the countdown of acoustic drums, then blends its urbano sensibility with touches of disco and new wave, evoked through the warm prism of childhood memories. Tangana's El Madrileño is the majestic manifesto of a rapper desperately in love with music — all kinds of music — who infuses his compositions with multiple points of view: neo-flamenco, Mexican corridos and introspective rock anthems.

Latin Rock Retained Its Power to Generate Epic Albums

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Undeniably, rock has become more niche than ever following the mainstream domination of música urbana. Still, 2021 found a number of seasoned rockers releasing some of the best albums of their career.

With Sonidos de Karmática Resonancia, Mexico's Zoé demonstrated their ability to channel both The Cure and Soda Stereo through highly melodic, bittersweet tracks. On Origen, Colombian singer/songwriter Juanes paid loving tribute to a wide array of influences, from the confessional pathos of Fito Páez ("El Amor Después Del Amor") to the scorching tropical fever of Joe Arroyo ("Rebelión").

Psychedelia Returned With a Vengeance

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From rockers like Babasónicos and Liquits to late '60s tropicália in Brazil, psychedelia has always had a profound effect on Latin music. Perhaps mirroring the trippy qualities of quarantine life, neo-psychedelia experienced a triumphant resurgence in 2021 through hazy, atmospheric masterpieces by Spain's Unidad y Armonía, Brazil's Glue Trip and Mexico's Daniel Quién.

Unidad y Armonía — the sextet led by singer/songwriter Miguel Martín — released a remarkable third album, Un Verano Invencible, that evokes the sweet nostalgia of summers past. From the cinematic grandeur of opening instrumental "Rayos de Sol" to the Pink Floyd-like soundscapes of "Poderes Sensoriales," this is a band that honors classic psychedelia while echoing the present.

Glue Trip’s single "Água de Jamaica" (from the Paraíba quartet’s forthcoming third album) is a wondrous psychedelic artifact, complete with cosmic keyboard effects and ethereal vocal harmonies. Hailing from Mazatlán, 25 year-old Daniel Quién creates bedroom-pop miniatures that belie his young age — evidenced this year by his second album, Aroma a Nostalgia. Equally influenced by Mexican torch song and alternative rock, his songs are enveloped in the slow-mo twilight of early Pink Floyd.

The Beauty of Folk Continued Nurturing Chilean Pop

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The mystical energy of Andean folk has permeated Chilean music since the emergence of the nueva canción movement and iconic artists like Violeta Parra, Inti Illimani and Quilapayún. The same aesthetic — soaring vocal choruses, restrained arrangements, the purity of acoustic string instruments — informs the work of young Chilean musicians who move freely between electronica and pop, rock and the avant-garde.

Singer/songwriters Diego Lorenzini and Niña Tormenta brought those folk elements to their first original release together, the affecting "El Demonio del Mediodía." The pair previously collaborated on a 2020 cover of Parra's "Miren Cómo Sonríen."

The Afro-Caribbean Groove Is Truly Pan-American

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Until recently, a number of tropical formats were confined to their country of origin. Most bachatas were recorded by artists from the Dominican Republic, plena was celebrated in its native Puerto Rico, and Peruvian cumbia blossomed in, well, Peru. But as reggaetón and trap continue to globalize Latin culture, more artists are writing and recording authentic samples of Afro-Caribbean genres.

It's almost hard to believe that Juan Ingaramo, a singer/songwriter from Argentina, created "El Fenómeno del Mambo," an authentic slice of merengue. Similarly, Mexico's brilliant Marco Mares gave us one of the best bachatas of the year with "Alboroto," complete with danceable chorus and syncopated bongo beats.

Old School Reggaetón Can Still Deliver The Goods

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With superstars like J Balvin and Rauw Alejandro updating the urbano genre with intriguing new twists and turns, it's a good moment to celebrate the reckless fun of old school reggaetón.

This year found genre godfather Don Omar returning to the recording studio, and he did so with a bouncy, wickedly funny duet featuring fellow Puerto Rican Residente. The former Calle 13 MC is in rare form on the sinuous "Flow HP," placing his distinct flow at the service of a sonic gem that celebrates the movement that changed the essence of Latin.

In Brazil, Ladies Reigned Supreme (As Always)

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It is impossible to think of Brazilian music without the contribution of literally hundreds of female legends. From Elis Regina, Sylvia Telles and late bossa nova icon Maysa to Gal Costa, Maria Bethania and Marisa Monte, women have always played a leading role in the country’s percolating sounds.

This year was marked by the appearance of many singer/songwriters with talent to spare. Vicka's "Cafeína" is funky and soulful; "nada contra (ciúme)" by Rio-based actress and singer Clarissa anchors its groove on a darkly hued alternative edge; Magi's "Bossinha" pays loving tribute to the silky song format that started it all — complete with a whistling interlude.

Against All Odds, Tango Continued to Evolve

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The last stylistic development that shook tango to the core happened a good 20 years ago, when ensembles like Gotan Project and Bajofondo caused a stir by mixing the venerable rioplatense genre with electronic beats. Tango has continued to grow through incredibly sophisticated arrangements and crisp sonics.

Led by keyboardist and composer Max Masri, Tanghetto emerged during the first wave of electro-tango with a cheeky cover of New Order's "Blue Monday" in 2005. Fifteen years later, Tanghetto's 2021 album Reinventango presents a rugged masterpiece of melancholy melodies and sharp beats. Relentless in the purity of its vision, it sets a gold standard for all tango records to follow.

2021 In Review: 8 Trends That Defined Pop

Álvaro Díaz has a twinkle in his eye — he knows he’s onto something special.

"It’s crazy that it’s an alternative album, but also the most reggaeton I’ve ever made," Díaz says of his recently-released sophomore album, Sayonara. "It’s both worlds. I have my fingers crossed that people are going to love it."

Díaz, who is 28, has been making music since he was a teenager. A constant creative force, he grinded for years as an independent artist, building a solid fanbase in Puerto Rico before breaking into the wider Latin urbano scene with 2021 debut, Felicilandia, which layered fresh pop melodies onto playful reggaeton and trap beats, exploring the euphoria of love.

Notably darker and much more experimental than its predecessor, Sayonara marks the end of that "happyland" feeling. 

"My story with ‘Felicilandia’ ended in heartbreak," he tells GRAMMY.com. "I was just writing about my life. It’s like a nightmare when you can’t stop thinking of that person. The usual Puerto Rican [reaction] to a breakup is like,'Don’t worry, let’s go to the streets!'"

The first half of the record soundtracks this feeling of party and abandon. Perreo tracks like the Feid-featuring dancefloor banger "Gatas Sandungueras Vol.1" nod to old school reggaeton, while Diaz and guest Tainy twist into ravey house beats on "Fatal Fantassy."

With an assist from Spanish indie pop star Sen Senra, "1000Canciones" marks a turning point in the album’s mood. It’s slow, reflective and poignant, with unashamedly heartfelt lyrics. "I went to the streets, and played 1000 songs that reminded me of you / even though I knew it was late / I took my phone to call you," Diaz sings in Spanish.

Lovingly nicknamed "Sadvarito"by fans, Diáz’s vulnerability stands out amidst a reggaeton scene dominated by party hits and swag. Even the biggest hits on Felicilandia— "Lori Party" and "Babysita </3" — were tinged with heartbreak; and fans will be reassured to see his signature fragility thoroughly embedded in Sayonara.

"It’s just how I feel, sometimes I feel empty, sometimes there’s a lot to say," Díaz says of the album’s changing moods. 

At the end of the album, Díaz considers trying to get back with his former flame ("Quizás si, quizás no," featuring Quevedo). But, he soon realizes it won’t work: "You know it’s not the same — it’s just me saying 'Sayonara,'" he says. 

GRAMMY.com spoke with Díaz over Zoom about why reggaeton is the perfect heartbreak genre and how ‘Sayonara’ is his most experimental work yet.  

This interview has been edited for clarity and length.

Sayonara **comes three years after your debut, Felicilandia. There are some similarities in the two albums’ artwork, but we can see something’s gone a bit awry/**

There’s an explosion at the left of the Felicilandia artwork. We were predicting what was going to come. I’m a fan of when artists do these little things, merge album covers, or make songs that live in the same universe. 

Felicilandia is the way to find happiness, Sayonara is saying goodbye to the happiness you thought you found. 

When you’re with a person you create a world together. But, todo se fue a la mierda. That world has gone. On [the artwork for] Sayonara, I’m looking ahead, but you don’t know my intention. I could try to save everything, or I’m just taking the last look. 

The track ‘‘Gatitas Sandungueras Vol. 1’ feat. Feid, has dark undertones, even though it’s a song about partying.  How is the track related to the album’s main theme of overcoming heartbreak?

Me and Feid put everything into the song. It’s based on the story of missing her: you’re blind; you’re trying not to think about her.  

Feid is like my duo, we always talk about making projects together, and our fanbase likes it when we work together. He couldn’t be out of ‘=Sayonara —he was in Felicilandia singing a sad song, and now he’s singing a party song, so it’s a total contrast. 

Same with Rauw Alejandro, who is on the track "BYAK," and was also on Felicilandia single "Problemón."  It’s special to have Feid and Rauw on both albums. We didn’t want to repeat what we did before, we wanted to go in another direction. 

The album mixes a lot of different genres, but reggaeton is definitely at the foundation of Sayonara. What artists were your core inspirations?

The selection of the sounds, and the beats, reminds me of the golden era of reggaeton in the 2000s. We even used the old Fruity Loops software, and searched for inspiration in [LunyTunes & Tainy 2006 album] Mas Flow: Los Benjamins, or the [2003 compilation album], Blin Blin. All those albums that changed your life in Puerto Rico. That’s why the reggaeton tracks have 2000 vibes, it’s what I listen to. 

You’re known for making an emotional brand of reggaeton. When did you first explore reggaeton’s potential to be more vulnerable?

My fans’ favorite songs are my most heartfelt songs. Maybe my most played song on Felicilandia is "Problemón," but on tour, the song people go crazy for is "Babysita." It’s a song I recorded in my house, but it’s bigger than all my other tracks. 

So, I know how the people who follow me connect with me. The way I talk about heartbreak speaks to a lot of people; it’s more relatable than how other people sing about it. They call me "Sadvarito," so it was always a challenge to find a way to bring that Sadvarito energy to reggaeton. 

What is your favorite reggaeton heartbreak song?

Damn, there’s a lot. It’s hard. 

My favorite reggaetoneros growing up were Zion & Lennox, they were my GOATS, and most of their songs are heartbreak songs. So, Zion & Lennox, "Solo Una Noche." 

There’s also a song on [Luny Tunes-produced 2005 compilation album] Mas Flow 2 which is my favorite ever: "Es Mejor Olvidarlo." That’s my jam. I used to blast that when I was little. I didn’t know heartbreak then, but I felt that.  

So you can cry to reggaeton?

You definitely can! Old school people may say you can’t, but, ey, reggaeton be having feeling. It will make you feel a type of way in a club. It could change your mood completely.

Connecting with fans is everything to you. On Sayonara, how are you hoping to reach people?

I have a really hard time saying goodbye. There’s a phrase: la esperanza es lo último que se pierde, I’m one of those types of guys; the last one who loses hope even if my world is going to pieces. I want to make her fall in love, like on the track "Quien te quiere como el nene." It’s saying I really love you, I want to fix things. 

The point of the album is for people to see what chapter they’re in. I’ve never been able to reach the last track, to finally be able to say Sayonara, but I know I will get there! 

One woman who listened to the album said it’s awesome to hear a man’s perspective — you go out and party, and then you miss her. She said, usually, for girls, it’s the other way around: you miss him at the beginning, then you go out to party. It gives it realism, boys really be like that. I love it when real life and music come together. I really hope people find themselves in the songs.

"Quien te quiere como el nene" is one of the more experimental tracks on the album, and unexpectedly goes into a drum and bass rhythm. How did that come about?

I did that whole beat with my mouth! I had it in my mind. I had the bass, but it needed a sound there. I don’t know why but I started making these sounds. I sent a demo to Tainy and asked, "Do you think you can do this?" Obviously, he can, he’s Tainy. Alongside Manuel Lara, my main producer, they took it to the next level. They are a dream team. 

You break from the reggaeton beat a lot in the album — "Fatal Fantassy" is very house. Tell us about these electro elements.

I like to experiment with different sounds. It’s harder for me to do reggaeton than do experimental things. Different tracks just come naturally. Tainy and I were listening to the album after we had 60 percent of it ready, and we felt like it was missing energy, it needed a bit more uptempo. So we did three sessions and came up with those ideas. 

I made a playlist with everything I want to do in the album, so I could say "I want a riff like this." I like to take a lot of ideas and work them little by little. My process is different to a lot of my friends who go to the studio and make three or four songs a day. I really like to feel like what I’m creating.  

You’re in Japan right now, and this album frequently mentions Japanese words, people and culture: from "Sayonara," "Kawa," "Majin Buu" and "Yoko." How did Japan influence you?

Japan is really important in this album, the names, the creation. I didn’t want it to be obvious, but it’s there, in the minimalism, the names, It’s magical for me to be now in Japan and listen to the album. I can say, damn this song feels like Toyko, this one feels like Osaka. Now I’m in Kyoto, and I feel "Quien te quiere como el nene" is definitely a song for this city. 

I’m a cinematographic guy, I create songs with movies on mute. I recreate the vibe, how I feel it would sound. Even movies filmed in Japan, like ‘Lost in Translation’—I watched that a lot and was inspired by that. That feeling of being lost, of not knowing what’s next. 

"Majin Buu" is one of the most heartfelt tracks on this album, and references a "Dragon Ball Z" villain. Why do you draw on that character?

It’s a 2024 alternative love poem! He’s a bad guy, but I flip and use it in a good way. 

I like to play with names, most of the time I have the name of the song. I knew I wanted to make a song with Majin Buu but I didn’t know how it was going to sound. The same day I made "Majin Buu," I made the track "Yoko."

Speaking of "Yoko," do you relate to the person who has been painted as the bad guy?

Definitely. When I watched the Get Back documentary about the Beatles on Disney+, I remember seeing Yoko every single moment beside John Lennon. They were inseparable until his last day. All the Beatles had a family, they all had wives, but it was Yoko who was next to John at every moment. 

It was a romantic way to say, I want you by my side like Yoko was with John Lennon. 

You're very close to your fanbase. Is there anything that artists can do to stay grounded with their fans? As you’re getting bigger, how do you manage the relationship with fans?

Fans made me. Especially during those years when my project didn’t have the light it deserved, my fans were there for me. It’s important for me to have a healthy relationship with them. 

I always try to put myself in the shoes of a 16-year-old and think what things could he say to me to make me fall in love with this project?, or what did this artist do that made me a superfan? I try to create experiences. In the run-up to releasing Sayonara, we did listening parties with 15 fans in different parts of the world, with exclusive merch. Seeing the reactions of the people is important for me. 

I’ve been making music since 2012. Some [artists] don’t know the hustle; they get big after two to three years. But [success] is not given, it’s earned. I get the rockstar mentality, but that’s not me. It’s impossible for me to lose touch with the fans. 

[Sayonara] is a celebration for me and for the fans. I want to do small shows in Puerto Rico, places I played when I was started. I love the shows where you can feel people’s emotions. When you get big, you kind of lose that. But to me, that connection is magical, I never want to lose that.

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Flamenco is undergoing a sweeping transformation. Propelled not by a single artist, but by a wave of creative talents, a new generation of artists are injecting fresh life into this storied genre. 

Six years after Rosalía's 2018 release, El Mal Querer, catalyzed a wider renaissance in the flamenco world with an approach inspired by the legendary Romani flamenco singer Camarón de la Isla a new wave of artists are rushing in to redefine the landmark Latin sound.  

A new generation of Spanish musicians draw deep inspiration from flamenco's rich traditions while redefining its contemporary form. Rooted in the flamenco traditions cherished by their ancestors, today's artists are innovating this heritage with a new set of sensibilities. Flamenco itself, with its diverse array of styles or palos, offers a unique medium of expression, characterized by distinctive rhythmic patterns, melody and emotional intensity. 

Discover the vibrant future of flamenco through the innovative works of trailblazers like La Plazuela, Queralt Lahoz, Mëstiza, C. Tangana, Maka, and María José Llergo. From Maka's trap-fueled infusions of reggaeton to Lahoz's innovations on traditional guitar-playing techniques, each of these artists, with their unique contemporary take on traditional styles, is reimagining flamenco and captivating audiences around the world. 

La Plazuela

La Plazuela duo Manuel Hidalgo and Luis Abril are both from Albaicín in the Andalusian city of Granada. It's a district infused with rich cultural history, where steep, winding streets are bursting with art and the sounds of flamenco. 

La Plazuela soaks the rhythms of flamenco in a distinctively sunny sound, forgoing the woeful connotations of the genre to explore new, optimistic possibilities. On their new song "Alegrías De La Ragua" the pair teamed up with flamenco singer David de Jacoba and electro producer Texture. The track is an ode to the sugar cane fields of Andalusia, highlighting the region’s agricultural importance and intrinsic relationship with the land — distinctly Granada both in sound and story.

Queralt Lahoz

Born in Barcelona to an Anducian family, Queralt Lahoz was raised on the sounds of flamenco at home where her Granada-born grandmother immersed her in the musical traditions of southern Spain. 

While her soulful, urban style deeply resonates with flamenco, Lahoz has stressed that she is not a purist of the genre and enjoys experimenting with different styles. Stripped back, brutally honest and direct, tracks like "De La Cueva a Los Olivos" is a multifaceted track that opens with rasgueado (percussive guitar technique integral to flamenco) that evolves into a brassy, jazzy chorus, and even includes a rap verse. She cites late flamenco great La Niña de los Peines alongside Wu-Tang Clan among her influences — a testament to her love of musical diversity. 

Mëstiza

Mëstiza envisioned flamenco for the nightclub: The DJ duo Pitty Bernad and Belah were already hot names in the Spanish club scene before they combined forces.  

Pitty hails from the southern region Castilla-La Mancha, and Belah from neighboring Andalucia. The two met in the Madrid DJ scene and shared a love for electronic music steeped in folkloric tradition. They are behind legendary Spanish club night Sacro, an immersive audiovisual experience rooted in ritualistic Spanish folklore. The duo has plans to bring their unique Sacro sound across the globe soon with to-be-announced performances planned for Europe, Asia, and the United States. 

C. Tangana

C. Tangana (full name Antón Álvarez) co-wrote eight songs on former flame Rosalía's El Mal Querer and demonstrates his dexterity and vision in the sounds of flamenco on his 2020 release, El Madrileño. The album explores regional sounds from across Spain and Latin America, employing the finest artists from these genres as collaborators. 

The album's first single, "Tú Me Dejaste De Querer" features flamenco stars Niño de Elche and La Húngara singing in the chorus between Álvarez’s rapped verses. Alvaréz’s tour of the album was based on a typical Spanish sobremesa (post-dinner conversation), with bottles of wine placed on a long table set with tapas, elbow-to-elbow with fellow musicians who clap palmas flamencas, play guitar, and provide backing vocals. El Madrileño earned three Latin GRAMMYs in 2021 and The Tiny Desk performance of the album is among the series’ most-watched concerts. 

Maka

Granada-born Maka has been a pioneer in viewing flamenco through an urban lens. A versatile artist, he is both a skilled rapper and prolific singer/songwriter. In his 2014 release, Pna, Maka combined flamenco singing (canté) over hip-hop beats ("La Dirty Flamenca") and reversed the formula to rap over flamenco rhythms ("Vividor").  

Maka returned to flex his mastery in flamenco in his 2021 album, Detrás de Esta Pinta Hay un Flamenco, which pays homage to the melodic pop-flamenco bands of the 1980s and 1990s with a throwback feel. His latest 2024 single "Amor Ciego'' combines a reggaeton beat with flamenco vocal embellishments, calling back to many of his early reggaeton and trap-fueled releases. 

María José Llergo 

María José Llergo released her debut album Ultrabelleza last October to critical acclaim, sparking an upcoming U.S. tour. As a trained flamenco vocalist, she graduated from the prestigious Escuela Superior de Música de Cataluña (Rosalía is a fellow alum.)

Llergo grew up in the small town of Pozoblanco, on the outskirts of the Andalusian city, Cordoba. Her grandfather, a vegetable farmer, taught Llergo flamenco from a young age, singing with her as he worked the land. 

Llergo’s music combines flamenco with the sounds of nature, reimagined synthetically through electronic experimentation that results in lush, immersive soundscapes. "I turn like the moon in the sky... If I stop moving, I’ll die", she sings in Spanish on the track "Rueda, Rueda," contemplating the rhythm of life. Her lyrics are deeply poetic and metaphorical, tying place to emotion, and nature to feeling. 

María José Llergo On Her Debut Album 'Ultrabelleza,' Her Upcoming US Tour & Flamenco As A Cultural Bridge

Puerto Rican rapper Residente wants to embark on new adventures.  

The artist born René Pérez Joglar has dreams of directing movies and acting, writing books, and making for pleasure — not to pay the bills. These goals reflect a new attitude, one resulting from time spent reflecting on the passage of time and the presence of death.

Residente's sophomore album, Las Letras Ya No Importan (Lyrics No Longer Matter), echoes this transitory period. An extensive body of work, featuring 23 tracks, with several songs surpassing the five-minute mark. Las Letras is an act of deeply intimate rebellion.

"It’s a very personal album, and I sought to connect with myself in many moments throughout," Residente tells GRAMMY.com. 

While Las Letras explores topics already a hallmark of his music — the music industry, political systems, Puerto Rico — it's also exceedingly vulnerable. The 28-time Latin GRAMMY and four-time GRAMMY winner opens up about depression and personal relationships, and confronts mortality.

Lead single "313" is inspired by Residente's late friend Valentina, whose voice appears in the first interlude. As Residente recounted to El País of Spain and GQ Spain, Valentina was a violist, and the last messages they exchanged on WhatsApp were at 3:13.

The song begins with a French verse, fulfilling Valentina’s wish, expressed in the first interlude, to do something in that language. "Les paroles n'ont pas d'importance," (words no longer matter), a female voice whispers, followed by a spectacular string arrangement.

Residente revisited older works during this period of creative transition, and the record features previously released tracks  "René," "This Is America," and "Quiero Ser Baladista."

 Las Letras Ya No Importan features many collaborations, with actress Penélope Cruz, Spanish singer Silvia Pérez Cruz, Rauw Alejandro, Ricky Martin, Christian Nodal, Arcángel, Jessie Reyez and others making appearances. Hip-hop icon Busta Rhymes is featured on "Cerebro," while Big Daddy Kane makes an appearance on "Estilo Libre" with Vico C.

GRAMMY.com spoke with Residente via Zoom about the process that led him to his second album, the symbolism behind "313" and the artistic connection to Spain.  

This interview has been edited for length and clarity.

What inspired you to create Las Letras Ya No Importan?

It’s an album that marks a musical transition for what’s coming for me. It feels diverse; it also has songs with which I may not feel as connected [to] now because several years have passed since I made them. There are newer songs with which I do connect, which have a bit more to do with the way I want to start working on my music in the future.

"René" is part of this album, even though it came out four years ago. This is an album I was going to release during the pandemic. 

We have "René," which is very personal; we have "313," which I also feel is personal; then "Ron en el piso," [a song about the passage] of time, the collaboration with Nodal ("Pólvora de Ayer") also touches on the theme of time, of enjoying everything.

You confront death in several songs. In "René," you sang about losing a friend; in "Ron en el piso," you see your funeral; and in "313," you draw inspiration from your late friend Valentina. What is it about death that inspires you?

It’s something I’ve been going through in recent years. I lost many people I love, and it made me much more reflective when it comes to understanding time, the things I want to do, and the things I’ve stopped doing.

That’s why I’m also transitioning to cinema. I’ve always wanted to make films, directing, being behind the scenes, not being on stage.  I’m crazy about dedicating myself entirely to that.

I discovered acting now in a movie I starred in [In the Summers] that won the Jury Award at Sundance. When I saw it, I didn’t know I was the protagonist until I watched it. [The film] encouraged me to follow that too, and I’m going to want to act, direct; I want to dedicate myself to that for a while fully.

The album has a lot of life, and even though the lyrics no longer matter, you still have much to tell. You already said the album is very personal, but how would you describe it?

I can describe it in two years, not right now. It’s transitional. That’s what happened with Calle 13; everything was a musical and lyrical change from the second album onwards.

Residente represented a fusion of world music and rap. Now, in this one, I’m using a lot of strings, cellos, and double bass. I’m going to experiment a lot with different instruments in different ways. I’m going to be creative without the need to balance the album.

What’s coming next doesn’t have that artistic pressure. The only artistic pressure I want to have is to do the highest I can, which happens organically, not feeling pressured but naturally.

I want to do art as I did in college [at Savannah College of Art and Design]. I was never thinking about people or trying to convince anyone, and I was completely free, and that’s what happened with "313." I had the freedom I always wanted to have.

There’s substantial symbolism in "313," from the faceless dancers, the color pink. What was your vision with the visuals?

The dancers represent time. Penélope [Cruz] can represent many things, from life to Valentina, my friend, who inspired me to make the song. Penélope controls me, holds me, flies me, brings me back, and then I decide to control my life and time. That’s why I raise my hands, and everyone raises them, and time is running out, and then you see a sunset.

Sunset marks the end of something. The colors of the costumes also have some dusk elements. You can see at the end when I’m disappearing; it fades and blends with the end of the sunset.

These are decisions I make that are both aesthetic and technical. I put masks on the dancers because I liked it aesthetically. It also helped me speed up the process with makeup. I had to find creative ways to maintain the video’s aesthetics and make everything more agile because in filming, everything is time, and I had little of it.

What’s the idea behind the song "Las Letras Ya No Importan?"The arrangement is magical, with a numerical sequence from one to eight in different languages and a voice spelling of the alphabet.

That was the initial track. Before "313," I had this idea that I dreamed of with some basic notes, and it turned into something big.

There’s a voiceover of Penélope [Cruz] that says that we were eight [people in the studio], we are on an 8th street in New York, in studio B, which, if you look at it, it resembles the number 8. Everything connected with eight and [that number] also at a time level can mark infinity. So, I connected all that with the immensity of letters and languages. That piece’s runtime is five minutes. I think it’s pleasurable. I like that music, which resembles what I want to do.

Leo Genovese, an excellent musician and musical genius, made the arrangements. I greatly respect him.

In "Cerebro," you showcase your skill and vocal speed; what was it like collaborating with Busta Rhymes, whose own flow is iconic?

We met, and he loved the concept of what I was working on. He was a very humble, good person to me. After we met in person and talked for a while, he went to write after I sent him everything I had written in English.

I created ["Cerebro"] a while ago…. That’s why I tell you that the album has several concepts that I had to let go of because it was too much, and a lot of time had passed. I had a previous concept when I released the song "René" [in 2020], which is why it’s on the album. [At that time] I was working with the brain waves of different animals and people, and I made music with those brain waves.

This song ["Cerebro"] is part of that, and that’s why it’s called "Cerebro." The album was originally going to go that route. Then I didn’t do it; maybe I’ll connect to it in the future because I loved that idea.

What has Spain meant to you? The country has been so prominent in the trailers you’ve released and in the collaborations in your latest songs.

I've been making frequent trips to Madrid. This past year, I was there a lot; I was more in Madrid than at home. I traveled, wrote, and filmed videos like "Problema cabrón" and "313."

 I grew up with Spanish cinema by Almodovar and a bunch of directors I admire, and I wanted to collaborate with the actors I grew up watching in movies.

This album has many personal elements, and cinema is very intimate for me. I saw [Penelope Cruz] in [the movie] Abre los ojos when I was a kid; working with her now is a dream. The same goes with Javier Cámara and Najwa (Nimri) [who is in the film] Lovers of the Arctic Circle by Julio Medem. I saw all these people, and now being able to collaborate with them, be friends with them, talk to them is a dream. Everything is very connected to my life.

Erick The Architect Steps Into A New World On 'I’ve Never Been Here Before'

The five nominated works for Best Latin Rock or Alternative Album at the 2024 GRAMMYs underscore how incredibly pluralistic the genre has become. 

Recorded live on tape with a cadre of virtuoso players, Mexican songstress Natalia Lafourcade’s De Todas las Flores explores grief, impressionism and the healing power of love. Motivated by a deep marital crisis, Vida Cotidiana by Colombia’s Juanes is a middle-aged rocker’s message of hope — and it grooves like crazy. A collage of alternative sonics hand-crafted at his Puerto Rico home studio, MARTÍNEZ finds former Calle 13 founder Cabra delving into trance-inducing electro and slick Afrobeats. A cool, sophisticated affair, Diamante Eléctrico’s seventh album Leche de Tigre fuses Colombian rock with nocturnal vibes and cosmopolitan funk. In Argentina, Fito Páez lovingly reinvented his 1992 masterpiece El Amor Después del Amor on EADDA9223, populated by a gallery of iconic guest stars.

If the nominees at the 66th GRAMMY Awards are any indication, Latin rock and alternative are more than a sound. They signify a point of view, a credo, a way of doing things that spans countries.

With that in mind, GRAMMY.com organized a roundtable with this year’s nominees, who discussed their influences, the current state of the multifarious genre, and the dreams of future albums that keep their creative fires burning. 

Is rock 'n'roll eternal? Will its mystique continue to influence musicians for generations to come?

Natalia Lafourcade: It is eternal, yes. Rock is like life itself. It evolves and transforms in language and form — its tempests, energy and meaning. I would never have imagined my album being nominated in this category. But then I think about the idiosyncrasies of rock — a style spawned from broken places, the crevice where a flower can blossom   and it makes sense. I cherish the fact that rock can encompass so many different possibilities of singing about emotion.

Cabra: I understand rock’n’roll as an agent of change and attitude is already dead. In my work, I like using musical references from the past as I create in the present mode.

Juanes: Rock will be eternal to me for as long as I live. In my own universe, rock was the channel that allowed me to transform as a person and I find in it a very powerful energy. I hope future generations will learn to play instruments, form their own bands and write songs — even with the current avalanche of technology and AI.

Fito Páez: Rock is much more than just a genre. It represents an open minded, eccentric cultural reality that fears nothing and transcends the music itself.

Juan Galeano (vocalist and bassist, Diamante Eléctrico): Rock has evolved, just like music has. It will live on as long as it preserves its avant-garde qualities and continues to challenge the establishment.

Who were the rock artists who first inspired you?

Juanes: Metallica, Led Zeppelin, Black Sabbath and Pink Floyd. Heavier stuff too: Slayer, Sepultura. Even Venom. [Laughs.] That was my path during the ‘80s here in Medellín. Before I discovered rock, the sounds of Latin American popular music that I heard during childhood defined my path as a musician as well.

Lafourcade: The works of women like Julieta Venegas, Joni Mitchell, Björk, Fiona Apple, PJ Harvey and Erykah Badu, among many others. All of them acted as anchors on my artistic path. They offered guidance and illumination.

Páez: I was influenced by artists outside the confines of rock — people who played all kinds of music, like Charly García and Luis Alberto Spinetta. Is [Brazilian MPB icon] Chico Buarque rock? Sort of. You could say he’s part of the rock culture, much like [tango master] Astor Piazzolla was. 

There’s something really cool about the Alternative Field. It goes beyond the mainstream — there’s an extra serving of fun in it; it defies logic. An artist is truly alternative when he’s different from everyone else.

During the ‘70s, rock became exceedingly ambitious — incorporating elements of jazz and classical, folk and the avant-garde. I believe the same ethos informs the Latin Alternative today, a time when stylistic experimentation is accepted as the norm. Do you agree?

Cabra: I agree about 50 percent. I believe the experimental tendencies of the ‘70s and ‘80s signified the genre’s finest moment. Right now, there are artists who dare to innovate. At the same time, many defend the purity of various musical styles, and as a result, everything sounds the same.

Lafourcade: Rock will always be linked to that utmost freedom of expression. It’s connected to the soul, and it’s deeply spiritual. There is no strategy in it. It’s about seeking the disruptive, the unexpected — that which will surprise and shake us up. It allows you to scream, weep and laugh — to be silent following heartbreaking chaos.

Galeano: Something that we really enjoy about the last few years is the increasing blurring of genre boundaries. We’ve always believed that Diamante is much more than just a rock band. We borrow from different styles: funk, soul and cumbia; jazz and classical; Black music in general, and, of course, rock 'n' roll. I love that the younger generations don’t listen to any specific genres anymore — just good songs.

Are reggaetón and urbano the new rock? Could they coexist with the works of Soda Stereo or Café Tacvba?

Páez: No, they’re not. Clearly not. I’m writing a lengthy essay on the current state of the music scene. I think it will generate an interesting debate.

Juanes: I notice in artists like Bad Bunny the same kind of rebellious spirit and desire to provoke that was present in rock. That said, I think music will continue to evolve. It can never stagnate.

Cabra: Rock is a feeling, a lifestyle. That is why I believe it is dead.

Within a rock context, is there a fusion or experiment that you have yet to attempt? Is there a treasured album percolating in your soul, waiting to emerge?

Lafourcade: I’d love to return to the electric guitar at one point, and explore beyond the familiar limits. To navigate alternate possibilities that can continue to surprise me and make me feel like it’s the first time doing this.

Juanes: I’d like to record an album or EP focused on cumbias, slow and heavy. Haven’t found the time yet, but it’s something I would love to do at one point.

Páez: The music I desire the most is the one I have yet to record — that much is clear. The advantage of music over words is that the potential combinations are infinite. You just have to play, something I’ve been doing my entire life. Sometimes you have to push the new melodies away so that you don’t step on them when you get out of bed in the morning. At other times, you can’t find a single tune. It’s all about being adventurous, studying and researching — the kind of activities that are not in vogue at the moment.

Cabra: This year I’d love to make a record of complicated duets in different genres. Right now I’m dreaming of that album.

Galeano: We’d love to experiment with jazz, corridos tumbados, cumbia and Brazilian. Whenever we collaborate, we gravitate to artists who come from different worlds. I’d love to record a song with Carín León.

2024 GRAMMY Nominations: See The Full Nominees List