Michaël Brun's new EP has almost three times as many guests as it does tracks. And he's keen on you knowing about them.

The first tune on Fami Summer, which arrived July 21, features SAINt JHN, Charly Black and J Perry, with an uncredited J Balvin verse. "Shut Up & Dance" is augmented by King Promise, Kes and Anthony Ramos. The third and final cut, "Closer," enlists Stalk Ashley and Kojey Radical.

But it's not guests for the sake of guests: the Haitian DJ and producer does everything with keen intentionality. "Everybody has a perspective," Brun tells GRAMMY.com. "The chance, the opportunity, to bring my culture and all these amazing artists from Haiti and around the world in one space was something that I've always wanted to do."

He's referring to his volcanic SummerStage performance in New York's Central Park, a day after Fami Summer's release. But it applies to that EP, and his artistic presence writ large.

Brun was brought up in Haiti, where he was exposed to a multiplicity of sounds and styles; as the years rolled on, he acutely perceived the Caribbean's ripple effects, between its various islands and around the world. Accordingly, "I felt like the EP could really encapsulate all the different things that made me who I am as an artist today," he says.

Read on for an in-depth interview with Brun about his globe-spanning Summerstage performance, his impressive roster of guests on Fami Summer and the complicated and evolving role of Haiti in the global music landscape.

This interview has been edited for clarity.

Tell me about your recent Summerstage performance. How did it feel up there?

That was, like, a personal achievement. I've been dreaming about a show like that most of my life. I got to bring out so many iconic artists from Haiti. We had, like, 5,000 people out there.

Tell me about those artists you brought onstage.

I had a really, really big group of artists that joined. For the opening, there was DJ KOLO, a great DJ from Haiti. Right now, he has his own scene that he's been working on in the north. He has a lot of house music influences, Afrotech influences.

And then, Paul Beaubrun, who's a really good friend — one of the original people I started with, like seven years ago. He has an incredible band.

So, they performed, and then during my set, the idea behind this show is: I DJ and MC, but then bring out all these different surprise guests throughout the night. Each of the surprise guests is really meaningful to me in different ways, and some of them are from Haiti.

One example is Naika. There was another artist called Anie Alerte. One more is J Perry, who [worked with me on] my new song, "Jessica," on my EP.

So, those are some of the Haitian artists, but then I also had Saint Levant, who worked on my recent song, "Sak Pase." And Joeboy from Nigeria. Anthony Ramos. So, there's a really interesting mix of all kinds of artists from around the world that I've collaborated with.

For the people who came to the show, they were just hearing the set, and there were surprises every five minutes, which is pretty nuts.

Joeboy was one of the first Afrobeats artists I interviewed when I got hired at GRAMMY.com. What do you take away from him?

I love Joeboy. I've known him for a few years through Mr Eazi, because I worked really closely with Mr Eazi for a while; now, he's become a really close friend.

[Joeboy and I] actually have a new song that's going to come out soon, called "Game Over." We premiered it at the show, and actually shot the music video the day before. So, he came from Nigeria, and that was one of the really big surprises I'm happy we got to make.

**You released three singles earlier in 2023; now, you're back with new music. Tell me about your creative path to this new EP, Fami Summer.**

This year's releases are my first releases with a major. My entire career, I've been indie. I just always felt like I didn't want to do any kind of label partnership until I found partners that really believed in the vision that I had.

As an artist, I've always wanted to make music that builds bridges around the world. So, I felt like with the first three releases, we really focused in on specific areas around the world.

So, "Clueless" was Nigeria, with Oxlade. "Charge It" really felt that confluence. That was with Bayka, who's actually from Kingston; Masego has Jamaican heritage; every time I ever linked with Jozzy, she always talked about how much she loved the dancehall. Then, "Sak Pase" with Saint Levant and Lolo [Zouaï] was very Arabic influenced.

With the EP … I really wanted to bring together my personal heritage as much as possible, which is a mixed Caribbean heritage. There's as much Haitian influence as there is Guyanese influence as there is Jamaican as there is West African, by way of the UK and Europe.

I think because I grew up in Haiti, I was exposed to so many different styles — so many different languages and sounds. So, I felt like the EP could really encapsulate all the different things that made me who I am as an artist today.

Musically, where do all these strains of influence connect for you?

I feel like around Haiti in particular, there's such an interesting history of multiple countries having links to that part of the world. 

So, whether it's European presence, whether it's the incredible West African presence that still exists today … if you even look at the different languages that are spoken throughout the Caribbean, whether it's English or Creole or French mixed with our local languages … In Haiti, we have Creole; but then in Jamaica, there's patois.

All those things are kind of related. If you didn't really know that, you might see them as disparate parts of the world. But really, I think the Caribbean is just as Latin as it is African as it is European as it is local and native. I feel like that diversity of sound is what makes the Caribbean what it is — about diversity of culture.

I grew up traveling to Guyana, and I grew up in Haiti. Sometimes, I would come to the States, and I had a chance to go to Europe and West Africa. All of these different influences, I think, made me appreciate different sounds.

That's how I approached every single song: I wanted this to be the truest version of myself, to the music and the collaborators as well.

Can we do a lightning round where you talk about the special guests on the EP, starting with Anthony Ramos?

Anthony, I linked with a couple of years ago now, and we've been working on music and became such good friends. He's one of the most talented people I've ever met. I think most people know him as an actor, but he's also an amazing dancer and singer. He can rap; he can write. It inspires me a lot.

Charly Black?

Charly Black is such a legend. Like, "Gyal You a Party Animal" is one of the biggest Jamaican hits, I think, in the last decade. And that's one of the songs that truly crosses over, because it's something you can hear at any bar, anywhere in the world.

When I went to Kingston earlier this year and had a chance to work with him — especially on the song "Jessica," to get his voice and perspective — that was so cool.

J Perry?

J Perry is actually my cousin; we grew up making music together. He also happens to be, in my opinion, the best hook maker in the world. So undeniable, so catchy, and I think every time we've ever worked together, there's been only great stuff that's come from it.

Kes?

Kes is from Trinidad, and he has really been my doorway into soca culture and Trinidadian culture. He also has become such a great friend. I feel like the way that he approaches his craft is very similar to my own. It's been so cool with that cultural exchange; we talk a lot about history, actually.

King Promise?

King Promise is, in my opinion, one of the rising stars of Ghana. His hook on "Shut Up & Dance" was so infectious. I remember I sent him that beat a few years ago, and he came back within, like, five minutes. We actually met finally properly in person on Saturday, at my show. He's such a cool guy and really embraced being part of this project.

Kojey Radical?

We linked up last year for the first time, and I was a huge fan of his project. I felt like his artistry, aesthetic and vision are so unique. He's really, really versatile. His voice is really powerful. I'm grateful to see an artist always open-minded to try new things, but also very much themselves the whole way through.

SAINt JHN?

My guy and my brother. We linked up five or six years ago. I feel like he played me his first collection way, way back through a mutual friend. To see his career rise and everything that he's done has been so cool. 

Finally, we have Stalk Ashley.

I actually also met her on my Kingston trip earlier this year, and she is so amazing. Such a sweet person — super, super talented. We actually worked on that song together, maybe the second day that I was in Jamaica, and it just came so naturally. She's really inspiring, and I'm a fan of her music.

From there, can you talk about the role J Balvin plays in the EP, and in your musical world at large?

We've worked on so many projects over the years. We first linked up for the World Cup in 2018, and had a song called "Positivo," and then worked on his [2020] album Positivo. 

We won a Latin GRAMMY from that, and have also been working on a lot of other projects throughout the years and become really, really close friends. He's been an amazing mentor, and also a great collaborator, and I've learned so much through him.

He also introduced me to so many amazing people, like Ed Sheeran. I think with the song "Jessica," it's our first true collaboration for my project. It couldn't have been a more perfect time, because it was right in the center of where our tastes align. 

We've been working for years and years, and I feel like we're going to keep working, as well, in the future. To hear him sing in Creole on our song is really, really exciting. I'm grateful to him for opening his world to my songs and my audience, and I feel like we've influenced each other quite a bit.

Before we go, I'd love to hear your thoughts on this: as borders continue to evaporate in the music industry, where does Haiti fit into this puzzle?

I think Haiti's impact in music and culture has been around, like, low-key. 

So, even if we go to the most obvious Haitian success story, which, in my opinion, is Wyclef and the Fugees, I think their impact is maybe a little bit understated still today — because The Score is still [one of the top] selling rap albums in history. 

To have a Haitian voice have such a huge impact, and then be such a prolific producer, bringing a Haitian flag on TV on the biggest award shows like the GRAMMYs and all kinds of really incredible places — I think that paved the way for future success stories.

And two more recent ones that I know personally are D'Mile and Kaytranada — two artists that have done such incredible things in their respective spaces.

I think the Haitian success stories have been there, but they're not, I think, going to start becoming way more forward facing, as opposed to being more in the background, just because the world's starting to be more open to different languages and new sounds.

I feel like my place in all this is: I feel like a bridge between the diaspora and Haiti. I feel like I'm super connected to both sides of my heritage. I've worked so hard to create a space that feels very welcoming, that feels like a way for people to reconnect with their culture.

For The Record: How The Fugees Settled The Score 25 Years Ago

The beginning of a new year often results in moments of reflection as well as anticipation about what lies ahead. And with the myriad of feelings that ensue upon New Year's Eve, music serves as a powerful source for both introspection and inspiration.

There are countless songs that give listeners a chance to reflect and resonate with the possibilities of what's yet to come. Whether it's the pulsingly hopeful beat of Jamie xx's "I Know There's Gonna Be (Good Times)," the inspiring narrative of The Notorious B.I.G's "Juicy," or Elton John's pumped-up "I'm Still Standing," a good soundtrack is the perfect catalyst for starting a new year on the right note.

As you envision what the coming year has in store, enjoy this playlist from GRAMMY.com — curated not just to celebrate the moment the clock strikes 12, but to infuse the coming year with inspiration and cheer.

79.5 — "B.D.F.Q"

Inspired by singer Kate Mattison's experiences in Detroit, 79,5's "B.D.F.Q." is about perseverance in the face of a music industry marred by misogyny. Short for "B—, Don't F—ing Quit," "B.D.F.Q." amplifies a mood of independence and strength with the declaration, "They! Don't mean a thing/ Don't mean a thing, just do your thing!" While the message is timeless, "B.D.F.Q." will certainly amp you up for any challenges the new year presents.

The Beatles — "Here Comes The Sun"

Whether you spin the 1969 original or the reinvigorated 2019 mix, the Beatles' "Here Comes The Sun,"  remains a classic symbol of continuation and hope. A track from the Fab Four's iconic Abbey Road album, this George Harrison composition is celebrated for its uplifting melody and serene lyrics that playfully describe a new dawn and brighter days ahead.

Elton John — "I'm Still Standing"

Elton John delivered an upbeat ode to durability and the ability to bounce back with "I'm Still Standing," a 1983 track that resonates 40 years on. Between its catchy melody and John's energetic performance (particularly in the beach-set music video), the song conveys a triumphant message about overcoming challenges and emerging stronger.

"Hamilton" — "My Shot"

Of the many dynamic numbers in Lin-Manuel Miranda's renowned musical "Hamilton," "My Shot" is arguably the most inspirational and universal. A powerfully charged manifesto that embodies ambition and determination — delivered with an electrifying blend of hip-hop and theatrical flair — "My Shot" celebrates seizing opportunities and making a mark. It's a welcome New Year's song choice for those compelled to channel their inner strength and embrace new challenges in the year ahead.

J Balvin — "6 AM" feat. Farruko

This vibrant reggaeton track from J Balvin's 2013 album La Familia encapsulates the spirit of spontaneity. Its infectious beat and catchy lyrics manifest as a celebration of lively nights and the adventures that unfold in the early after hours — hence, the 6 a.m. title. This one's for the night owls, who may see the sun rise at the turn of the new year.

Jamie xx — "I Know There's Gonna Be (Good Times)" feat. Young Thug, Popcaan

"I Know There's Gonna Be (Good Times)" by Jamie xx is as upbeat and optimistic as hip-hop tracks come. Featuring Young Thug and Popcaan, the 2015 track melds elements of dance and reggae for an infectious ode to good times ahead — an enduring NYE sentiment.

Jimmy Chamberlin Complex — "Life Begins Again"

The title track of their 2005 album, "Life Begins Again"  is an intricate and evocative composition that blends elements of jazz and rock with a bit of emo sentiment. The track showcases Jimmy Chamberlin's exceptional drumming prowess while promising that life is cyclical — every day can be the first of your life with the right attitude.

John Lennon — "Just Like Starting Over"

With themes of rekindling love and starting anew, John Lennon's "[Just Like] Starting Over" is a fitting tribute to fresh starts and the enduring power of renewal in all aspects of life. And as the final single released while he was alive, it's a bittersweet testament to Lennon's enduring legacy.

Katy Perry — "Roar"

Katy Perry's "Roar," from her 2013 album Prism, is a proud declaration of self-empowerment and finding one's voice. An electrifying track with a booming chorus and spirited lyrics, it embodies the journey from silence to strength. Its message of embracing one's true self and speaking out makes it an inspiring celebration of new beginnings.

Lisa LeBlanc — "Pourquoi faire aujourd'hui"

For those looking to give themselves a little break as the new year begins, Lisa LeBlanc's "Pourquoi faire aujourd'hui" may be the song for you. A single from her 2021 album Chiac Disco, the energetic, disco-inspired French language track features playful lyrics about procrastination, with its titular line asking, "Why do today what you could do tomorrow?" — starting the year off in laid-back fashion. If tu ne parles pas Français, LeBlanc's catchy dance beats are fuel for a joyful New Year's Eve atmosphere.

Lizzo — "Good As Hell"

Like many of Lizzo's songs, "Good as Hell" captures a vibrant, empowering spirit. It celebrates self-care and resilience in the face of adversity, blending a lively rhythm with Lizzo's dynamic vocals. Its uplifting lyrics and infectious energy encourage a sense of confidence and self-appreciation — a powerful anthem of positivity any time of the year.

Nina Simone — "Feeling Good"

A timeless classic first made famous by Nina Simone, "Feeling Good" is a powerful anthem of rejuvenation and hope. Simone's jazz-infused rendition was released in 1965; its resolute delivery captures a spirit of personal transformation and empowerment, offering an enduring sentiment going into the new year: "It's a new dawn/ It's a new day/ It's a new life for me, ooh/ And I'm feeling good."

Notorious B.I.G. — "Juicy"

Although The Notorious B.I.G.'s "Juicy" is a personal account of the late rapper's rise to the top, the song encapsulates a spirit of triumph that can inspire anyone with a dream. From its bouncy beat to the iconic "If you don't know, now you know" hook, "Juicy" will have you reaching for the stars.

Otis Redding & Carla Thomas — "New Year's Resolution"

Memphis legends Otis Redding and Carla Thomas' aptly titled 1967 album King & Queen is notable for being the final studio release before Redding passed away that December. The album also spawned a NYE classic: "New Year's Resolution." With lyrics that explore the concept of ​​making resolutions and embracing change in the new year. While the song lacks Redding's trademark soulful wail, "New Year's Resolution" is temperate and contemplative — a reprieve from the let-it-all-out powerful Stax sound to ease your way into the new year.

Peter Cat Recording Co. — "Portrait of a Time"

Both modern and nostalgic, Peter Cat Recording Co.'s "Portrait of a Time" blends jazz, and indie rock for an eclectic and nostalgic, introspective jam. The song carries a reflective mood of contemplation and transition, with lyrics that encourage leaving "confusion and darkening clouds" in the past and hopping in the Lamborghini of life for a new wild ride.

Taylor Swift — "New Year's Day"

After all of the bold, empowered statements on Taylor Swift's 2017 album reputation, she closes the LP with a tender, piano-driven ballad that captures the quiet intimacy and hopeful sentiments of a new year. Aptly titled "New Year's Day," the song's reflective and heartfelt lyrics contemplate love and loyalty found in life's fleeting moments. Swift's delicate vocal delivery and the track's gentle melody evoke a sense of warmth and enduring connection, making it a poignant choice to embrace the new year with a sense of closeness.

TikTok's Musical Class Of 2023: 8 Artists Who Transformed Virality Into Stardom, From Tyla to FIFTY FIFTY

Joeboy traces the trajectory of a doomed relationship in his song "Contour," a haunting, piano-driven ballad that doesn't shy away from the paradoxical complexities of a love story that is fraught and painful — but ultimately still worthwhile.

"A contour is something that is not straightforward, that's not symmetrical, not a straight line," the singer said in a statement. "This song deals with the contour of a relationship. It's a heartbreak song, but it's a 'feelgood' heartbreak song."

In this episode of Global Spin, Joeboy brings all the counterintuitive details of his song to life with a moody performance of "Contour." He stands at a microphone, singing under a spotlight next to a small table decorated with a vase full of blue flowers. Fog and darkness surround him, but peeking out of the shadows, the viewer can see glimpses of the instruments being played by his backing band.

While the main focus is on the song's story, a melodic accompaniment from a keyboard helps up the drama, as does the soft addition of a string section. Altogether, Joeboy paints an angsty picture of a breakup in his song, focusing on the complexities that made a relationship worthwhile — even as he faces its demise.

"Contour" arrives as Joeboy sees a massive career upswing thanks in part to his 2021 megahit, "Sip (Alcohol)," which has netted over 400 million streams. The Nigerian singer also expanded his global reach in 2022, embarking on his first U.S. tour early in the year.

Aside from "Contour," Joeboy also released his single "Likkle Riddem" this year. Both songs preview his upcoming album, Pon Deck, which is due in early 2023. 

Press play on the video above to watch Joeboy's moody performance of "Contour," and check back to GRAMMY.com for more episodes of Global Spin.

Herbal Tea & White Sofas: Akon And Teemanay's Favorite Tour Meal Is So Iconic That It Has Its Own Festival

Reggaeton star J Balvin had a big night at the 16th annual Latin GRAMMY Awards in 2015. Not only did he share the stage with Major Lazer, MØ and Farruko, but he also won his first Latin GRAMMY trophy.

Balvin's 2014 megahit, "Ay Vamos," won Best Urban Song. In this episode of GRAMMY Rewind, revisit the big moment when Balvin's name was called and he stepped up to the podium to express his gratitude for the recognition. 

The singer was beaming as he made his way on stage to claim his award, surrounded by a posse of his collaborators. As he held his trophy, he stepped back from the mic and covered his mouth, listening to the roar from the crowd and allowing the moment to sink in.

"First, these blessings come from heaven, from the Lord, so thank you very much," he began, before turning his focus to one of his very first supporters. "This is something my mother and I have always dreamed of, and here it is, mom: This is yours. God bless you."

As he dedicated his Latin GRAMMY to his mother, Balvin also had a message for anyone pursuing a dream. "It also proves that you should never think you can't do it," he added. "Because the subconscious takes everything seriously. So you can do it, keep dreaming. Don't let anyone or anything stop you. Keep going."

Balvin wrapped up his speech with a note of gratitude to his collaborators, closing with a rallying cry for the genre he’s helped bring to the global mainstream: "Long live Reggaeton, because this is a new story of Reggaeton.” 

Press play above to watch Balvin's full acceptance speech at the Latin GRAMMYs, and check back to GRAMMY.com every Friday for more new episodes of GRAMMY Rewind.

10 Essential Colombian Albums: From Salsa To Cumbia & Reggaetón

From vallenato and cumbia to salsa and rock, Colombia is one of the most musical places in the world. Because of its strategic location, it assimilated styles from other regions and incorporated them into its own, stubbornly idiosyncratic stew.

Barely restrained passion is an apt description for most Colombian genres — from the giddy speed of its pioneering salsa brand, to the tragic narratives of vallenato lore and the fleshy sensuality of cutting-edge reggaetón. Tracing the development of Colombian popular music from the ‘60s to the present, these 10 albums offer an introduction to a land of wonders.

Leonor González Mina - Cantos de mi Tierra y de mi Raza (1964)

There is a stately, almost otherworldly feel to this session of Colombian Afro genres – the debut of cultural icon Leonor González Mina, known as la negra grande de Colombia.

Born in the Valle del Cauca department in 1934 — and still with us — she began her artistic career touring the world with a dance company, and recorded this album when she returned home. It breathes and sways to the golden era of Colombian music, when virtuoso bandleaders such as Lucho Bermúdez and Pacho Galán infused traditional folk formats with the cosmopolitan swagger of big band jazz. There are some wondrous cumbias here — "Canoa Ranchera" would be covered by Grupo Niche in the ‘90s — but it is Leonor’s voice that steals the show.

La Banda Nueva - La Gran Feria (1973)

Leave it to Colombian musicians to create a prog-rock masterpiece with a tinge of salsa and a healthy sense of humor. The Bogota quartet formed by Orlando Betancur — former member of ‘60s rock group Los Flippers – was short-lived, but La Gran Feria will remain in memory as one of the grand Latin albums of the ‘70s.

There are echoes of Argentinian supergroup Sui Generis in this tender, vulnerable and hippiesque trip into the adventurous youth culture of the time. Hit single "Emiliano Pinilla" brims with Afro-Caribbean euphoria, whereas "El Blues del Bus" traverses the treacherous streets of Bogota and "La Gran Feria" would make early Yes proud.

Fruko - El Grande (1975)

Yes, it’s a salsa record — but it’s also so much more than that. At the time, Fruko y sus Tesos was one of the most epic orchestras in Latin America, combining the prodigious talent of arranger, bandleader and multi-instrumentalist Julio Ernesto Estrada ("Fruko," because he looked just like the character drawn on a can of tomato sauce) and his two stars, singer/songwriters Joe Arroyo and Wilson "Saoko" Manyoma.

Go beyond the timeless mega-hit "El Preso" and you will find the James Brown-inspired funkathon of "Confundido," the wickedly psychedelic "Flores Silvestres" and the sweet melody that permeates "Manyoma," among other delights.

Joe Arroyo – Fuego En Mi Mente (1988)

As a teen, Arroyo performed in the brothels of his native Cartagena, and the sounds of calypso, reggae and funk that arrived in the busy port town influenced the creation of his own frantic and mellifluous subgenre, the joe-son.

Arroyo tasted stardom as a member of Fruko y sus Tesos, but his creativity as a singer/songwriter peaked with his own band, La Verdad, and the albums he recorded for Discos Fuentes in the ‘80s. Famously covered by Juanes, "La Noche" is a love letter to the luster of Afro-Caribbean nights. A raucous cumbión, "A Mi Dios Todo Le Debo" addresses the divine intervention that pulled him from a coma and gave him a second lease of life. "Las Cajas" distills his essence — a pan-tropical performer of unerring instinct and charisma.

Grupo Niche – Sutil y Contundente (1989)

With Jairo Varela’s Grupo Niche, salsa gained in tightness and attitude, lurid moral fables and magical realism. A self-taught songwriter and bandleader from the province of Chocó, Varela left this world in 2012 at age 62, but left behind a rich discography.

This late ‘80s session is one of his best, if only for the inclusion of slow-boiling scorchers like "Miserable" and "Bar y Copas." Both gain in intensity thanks to the delivery of Puerto Rican singer Tito Gómez, whom Varela poached from the venerable Sonora Ponceña after both orchestras coincided in a festival. Watch for the spiraling synth melodies that bring Niche’s salsa an inch away from bubblegum pop.

Diomedes Díaz & Juancho Rois – Título de Amor (1993)

A one-way ticket to vallenato heaven, this 1993 session finds the beloved singer/songwriter Diomedes Díaz and accordion genius Juancho Rois at the highest point of their creative partnership. From Díaz’s self-penned opener "Mi Primera Cana" (where the discovery of a first white hair leads to a bitter meditation on lost youth and romantic disappointment) to the hypnotic melody of "Tú Eres La Reina," this session soars from beginning to end. Sadly, Rois died in a plane crash at 35 on the way to a gig, while Díaz succumbed to a heart attack in 2013 at age 56.

Aterciopelados – Caribe Atómico (1998)

There was punky anger and irreverence to spare in the initial recordings of the duo formed by vocalist Andrea Echeverri and multi-instrumentalist Héctor Buitrago — in concert, a ball of fire. But by the time they released their fourth effort in 1998, the Aterciopelados persona had matured into an inspired melding of Latin trip-hop and fuzzy tropical rock. In retrospect, this is one of the tightest albums of its era — check out the bass line on "Humor y Alquitrán" — and Echeverri’s gorgeous vocals positively soar.

Carlos Vives – El Amor de mi Tierra (1999)

A former soap opera star, Vives single-handedly renewed Colombian music with a pop-rock hybrid that drew from the heart-wrenching vallenato genre, which he called "the rock’n’roll of his land."

Hopeful, sentimental and endlessly romantic — colored by folk instruments like the gaita flute and the feisty accordion lines of master player Egidio Cuadrado — the new sound enjoyed critical and commercial success, and the ever smiling Vives became a worldwide cultural ambassador of his land. El Amor de mi Tierra marks the highest point of his sonic expression, where timeless, self-penned hits are enhanced by his peerless revision of the classic José Barros cumbia "La Piragua."

Monsieur Periné – Caja de Música (2015)

Wonderful as they are, the studio albums of Bogota band Monsieur Periné are a pale reflection of their joyful adrenaline onstage, as singer Catalina García dances in unison to the brass section.

Inspired by the rollicking retro charm of Django Reinhardt and 1930’s gypsy jazz, Periné uses swing harmonies and the subtle shades of French chanson as primary colors in its palette — but there’s also space for reggae, bolero and indie rock. García brings it all together with the clarity and optimism of her voice. This, their second album, is probably their best.

J Balvin – Vibras (2018)

Sometime in the future, an academic paper will be written about the exuberance with which Colombia embraced the reggaetón movement that emerged from Puerto Rico in the early 2000’s — not with the flattery  of imitation, but rather the desire to enhance and transform.

The third album by international urbano star J Balvin, Vibras represents the emergence of 21st century Latin as the new global pop. Who could resist "Mi Gente," with its eerie digital sonics, decadent moombahton pulse and pluralistic idealism ("my music discriminates no one"). From the theatrical beauty of "Brillo" — with a pre-MOTOMAMI Rosalía — to the languid musings of the Carla Morrison-infused opener "Vibras," this is an aural snapshot of Colombia poised for global nomination.

11 Essential Brazilian Albums: From Bossa Nova To MPB