Natalia Lafourcade​ won Best Regional Mexican Music Album (Including Tejano) for Un Canto Por Mexico, Vol. 1 at the Premiere Ceremony of the 63rd GRAMMY Awards. This marks her second career GRAMMY win. 

Their album bested fellow nominees Alejandro Fernández, Lupita Infante, Mariachi Sol De Mexico De Jose Hernandez and Christian Nodal.

Stay tuned to GRAMMY.com for all things GRAMMY Awards (including the Premiere Ceremony livestream), and make sure to watch the 2021 GRAMMY Awards show, airing live on CBS and Paramount+ tonight, Sun., March 14 at 8:00 p.m. ET/5:00 p.m. PT.

Check out all the complete 2021 GRAMMY Awards show winners and nominees list here.

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

"Oh no, I’m going to start crying again," says La Santa Cecilia singer La Marisoul during a touching scene in Alma Bohemia, the documentary directed by Carlos Pérez honoring the Los Angeles band’s 15 year anniversary. 

As it turns out, there are many reasons to be emotional about this film — and the very existence of La Santa Cecilia in the contemporary Latin music landscape. Fittingly, Alma Bohemia was received enthusiastically by the capacity audience during an exclusive screening on April 3 at the GRAMMY Museum’s Clive Davis Theater in Los Angeles. 

Formed by La Marisoul (real name is Marisol Hernández), bassist Alex Bendaña, accordionist and requinto player José "Pepe" Carlos and percussionist Miguel "Oso" Ramírez, La Santa Cecilia was for years one of the best kept secrets in the Los Angeles music scene.  As close friends and musicians, they won over audiences with an organic, down-to-earth sound and a lovely songbook that draws from traditional formats such as bolero, ranchera and nueva canción.

Alma Bohemia follows the making of La Santa’s 2023 album, Cuatro Copas Bohemia en la Finca Altozano. A celebration of the band’s longevity, the session also functions as a subtle, yet powerful musical experiment. It was recorded at the Finca Altozano in Baja California, where the band members stayed as guests of celebrated chef Javier Plascencia — a longtime fan.

Argentine producer Sebastián Krys — the band’s longtime collaborator — calls this his Alan Lomax experiment. The album was recorded live on tape with a variety of strategically placed microphones capturing hints of ambient sonics — a sweet afternoon breeze, the clinking of glasses, the musicians’ banter, the soft sounds that accompany stillness. 

From the very beginning, the making of Cuatro Copas mirrors the band’s bohemian cosmovision: A communal approach where the quartet — together with carefully selected guest stars — get together to share the magic of creation, the unity of like-minded souls, homemade food, and more than a couple of drinks. In effect, the bottles of mezcal and never ending rounds of toasting quickly become a running joke throughout the documentary.

La Marisoul’s fragile lament is enveloped in spiraling lines of mournful electric guitars with soulful understatement on the track "Almohada." Guest artists liven things up, with Oaxacan sister duo Dueto Dos Rosas adding urgency to "Pescadores de Ensenada," while son jarocho master Patricio Hidalgo ventures into a lilting (yet hopeful) "Yo Vengo A Ofrecer Mi Corazón," the ‘90s Argentine rock anthem by Fito Páez.

Visibly delighted to be part of the bohemia, 60-year-old ranchera diva Aida Cuevas steals the show with her rousing rendition of "Cuatro Copas," the José Alfredo Jiménez classic. "Viva México!" she exclaims as the entire group sits around a bonfire at night, forging the past and future of Mexican American music into one.

Read more: La Santa Cecilia Perform "Someday, Someday New"

Following the screening, the band sat down for a Q&A session hosted by journalist Betto Arcos. Sitting on the first row, a visibly moved young woman from El Salvador thanked the band for helping her to cope with the complex web of feelings entailed in migrating from Latin America. La Santa’s songs, she said, reminded her of the loving abuelita who stayed behind.

"We love the old boleros and rancheras," said La Marisoul. "We became musicians by playing many of those songs in small clubs and quinceañeras. It’s a repertoire that we love, and I don’t think that will ever change."

Carlos touched on his experience being a member of Santa Cecilia for about seven years before he was able to secure legal status in the U.S. When the band started to get concert bookings in Texas, they would take long detours on their drives to avoid the possibility of being stopped by the authorities. Carlos thanked his wife Ana for the emotional support she provided during those difficult years.

Ramírez took the opportunity to acknowledge producer Krys for being an early champion of the band. "He had a vision, and he made us better," he said, flashing forward to a recent edition of the Vive Latino festival. "There were about 12,000 people to see us," he said. "And they were singing along to our tunes."

"The band is just an excuse to hang out with your friends," added La Marisoul just before La Santa performed two live songs. Her voice sounded luminous and defiant in the theater’s intimate space, always the protagonist in the group’s delicately layered arrangements.

"The first time I got to see the finished documentary, I felt proud of all the work we’ve done together," said producer Krys from his Los Angeles studio the day after the screening. "On the other hand, there’s a lot of work ahead of us. I believe La Santa Cecilia deserves wider exposure. They should be up there among the greatest artists in Latin music."

Martha Reeves Takes L.A.: The "Queen Of Motown" Shares Memories Of Smokey Robinson, Her Solo Career & Finally Receiving A Hollywood Star

The 2023 Latin GRAMMYs may have occurred months ago and thousands of miles away, but the leading lights in Latin music also shined at the 66th GRAMMY Awards. From historic wins and meaningful nominations, to electric performances and interesting installations, Latin music excellence was everywhere. 

In anticipation of the 25th anniversary of the Latin GRAMMYs in 2024, the exclusive GRAMMY House — the site of multiple GRAMMY Week events — included a significant installation dedicated to the Biggest Night In Latin Music.

The cylindrical display showcased some of the biggest moments in Latin GRAMMY history, including images, facts, and even a real Latin GRAMMY award. 

The celebration of Latin music continued throughout GRAMMY Week, with several Latin GRAMMY-winning artists also winning on the GRAMMY stage. Among the major moments at the 2024 GRAMMYs, Karol G won her first golden gramophone for her 2023 LP Mañana Será Bonito. "This is my first time at GRAMMYs, and this is my first time holding my own GRAMMY," the Colombian songstress exclaimed during her acceptance speech. 

Música Mexicana star Peso Pluma also took home his first GRAMMY; his album GÉNESIS won in the Best Música Mexicana Album (Including Tejano) Category.

Premiere Ceremony presenter Natalia Lafourcade — whose Todas Las Flores won big at the 2023 Latin GRAMMYs — also took home the GRAMMY Award for Best Latin Rock or Alternative Album. She tied in the Category with Juanes. 

Premiere Ceremony performer Gabby Moreno also took home a GRAMMY Award for Best Latin Pop Album for her album X Mí (Vol. 1). 

Beyond the stage, Latin artists graced the red carpet and the nominations list. For example, producer and songwriter Edgar Barrera was the only Latino nominated in the Songwriter Of The Year, Non-Classical Category.

10 Must-See Moments From The 2024 GRAMMYs: Taylor Swift Makes History, Billy Joel & Tracy Chapman Return, Boygenius Manifest Childhood Dreams

From Miley Cyrus winning her first GRAMMY to Billy Joel’s comeback performance after 30 years, the 2024 GRAMMYs were filled with a range of special moments at Crypto.com Arena.

Backstage at the Recording Academy’s media center and press room, GRAMMY U spoke with several GRAMMY winners just as they stepped off the stage. Each spoke about the vital role of collaboration in the studio, and the role they played in their GRAMMY-winning Categories. 

Read on for insights from Jack Antonoff (Album Of The Year and Producer Of The Year, Non-Classical), Laufey (Best Traditional Pop Vocal Album), Jacob Collier (Best Arrangement, Instruments and Vocals), Natalia Lafourcade (Best Latin Rock or Alternative Album ), and Brandy Clark (Best Americana Performance).

Jack Antonoff Can Truly Fly Free With A Collaborator

The 10-time GRAMMY winner took home several golden gramophones on Feb. 4, including the prestigious Album Of The Year for Taylor Swift’s Midnights as well as Producer Of The Year, Non-Classical for the third consecutive year. 

Antonoff told GRAMMY.com that, as a producer, collaboration is simply "everything."

"The visual I have is a balloon. When it's your words, lyrics, and your life, you have to be able to fly free without being scared of drifting away," Antonoff continues. "I see the producer holding that string, and I know both ends." 

When he’s not creating hits for other artists, Antonoff delves into his own artistry as the founder and lead singer of indie rock band Bleachers, known for their hit single "I Wanna Get Better."

"When I’m making the Bleachers records, I’ll have these crazy thoughts and then [producer] Patrik Berger will ground me in it. I think it’s really about trust," Antonoff reflects.

Laufey Won In The Same Category As Many Idols

Laufey first wowed audiences with a live performance of her hit song "From the Start" at the 66th GRAMMY Awards Premiere Ceremony. Later in the day, the 24-year-old won her first GRAMMY on Sunday in the Category of Traditional Pop Vocal Album for Bewitched. 

"This category means so much to me, so many of my inspirations and idols have won in this category before," she tells GRAMMY.com. 

Read more: With 'Bewitched,' Icelandic Singer Laufey Is Leaving Jazz Neophytes Spellbound

Laufey transcends the boundaries of genre, blending jazz and pop into her original music. With 18 million likes on TikTok and 3 million monthly listeners on Spotify, the Icelandic singer/songwriter effused awe an gratitude. 

"It feels so cool to make the kind of music I make today and still get recognized for it," she shares. 

Jacob Collier Shared His Imnprovisiation Techniques

Collier won his sixth GRAMMY Award this year, taking home the golden gramophone for Best Arrangement, Instruments and Vocals for his feature on "In the Wee Small Hours of the Morning" by vocal supergroup Säje. The first-time GRAMMY-winning vocal group is composed of Sara Gazarek, Amanda Taylor, Johnaye Kendrick, and Erin Bentlage. 

The multi-instrumentalist provided insight into the making of "In the Wee Hours of the Morning," revealing that this collaboration began with an improvisation Collier created around the song, which was later decorated with Säje’s harmonies. 

"The best types of collaborations reveal parts of oneself that you wouldn’t otherwise have access to, and I think the amazing thing about [Säje] is that the four [of them] brought colors out of me that were new," Collier says. 

"I feel so lucky to have been clothed by these four voices, it feels really wonderful," he says. 

Natalia Lafourcade Realized Her Own Importance

Known for infusing a variety of Latin genres with elements of folk, jazz, and alternative music, Natalia Lafourcade picked up her fourth GRAMMY win for Best Latin Rock or Alternative Album with De Todas Las Flores.

"It took seven years for me to realize I need to write my own music again," Lafourcade says. "This album has [helped me realize] the importance of my inner garden, my creative universe." 

Read more: Catching Up With Natalia Lafourcade: How Togetherness, Improvisation & The Element Of Surprise Led To Her Most Exquisite Album

The Mexican singer/songwriter also served as a presenter at the Premiere Ceremony, presenting in Categories such as Best Music Video and Best Song Written for Visual Media. Previously, Lafourcade won for Best Latin Rock or Alternative Album at the 58th GRAMMY Awards for Hasta La Raíz, and discussed the importance of reclaiming her sound in this category. 

"Having the producers, musicians, and my beautiful team has been an incredible experience. It means a lot," she says. 

Brandy Clark Loved Working With Brandi Carlile

After 17 nominations, Brandy Clark landed her first GRAMMY win in the category of Americana Performance. At the Premiere Ceremony, Clark performed a solo acoustic rendition of "Dear Insecurity," which features 10-time GRAMMY winner Brandi Carlile. 

Previous nominations for the Washington native include Best Country Song and Best Country Solo Performance. 

"The work I did with Brandi Carlile was really important for me. Seventeen nominations, first GRAMMY win — I’m mind blown," Clark says.

Clark's collaboration with Carlile is a key part of her support system, and she continues to push the boundaries of artistic expression — especially when it comes to her love for country music.

10 Must-See Moments From The 2024 GRAMMYs