For fans of Latin music, 2023 is a time of sweet vindication. If mega-stars like Bad Bunny, KAROL G and J Balvin had already turned the sounds of Latin America into a global phenomenon with record breaking numbers across streaming services, this year the growth continues unwavered with the addition of a música mexicana boom attracting new listeners from all regions of the world.

In 2022, the consumption of Latin music in the U.S. hit a record high of $1.1 billion. According to the RIAA, 2023 will be even bigger, with a mid-year report of $627 million signaling a 15 percent growth. In 2022, el conejo malo became the most-streamed artist on Spotify for the third consecutive year.

But what will the future look like? Are the rootsy música Mexicana grooves here to stay? Will the ubiquitous reggaetón beat become a thing of the past? Are there any new trends in the making?

Read on for a roundtable discussion with tastemakers and executives who help us define and interpret the present and future of Latin music.

Besides the obvious reasons — the music being irresistible — why do you think the sounds coming from Latin America have captured the imagination of the entire planet?

Diana Rodríguez (CEO, Criteria Entertainment): The rhythm, the fusion. The surprise. It’s music that makes you want to move. It follows no rules, has a strong sense of its own roots, and blurs the boundaries of genre demographics. Many Latin hits are also catchy and easy to digest. In a world full of war, inflation and depression, music allows us to escape.

Sebastián Krys (Producer, Elvis Costello, Juanes, Alejandro Sanz): I think it's because it's not far removed from the root — there's still some folklore hidden in there. In popular Western music, most new artists have no idea where they came from, musically or culturally. That’s not the case with many Latin artists.

Leticia Ramírez (Associate Director, Latin Content and Programming, Pandora): The songs by Latin artists making waves across the globe have highly emotional messages that are relatable to large populations. Recently, we are seeing more artists touring outside of Latin America, strengthening their connection with fans.  

Tomás Cookman (Founder, Nacional Records): I think the spirit, style and quality of the music coming out of Latin America — and Latin artists in the U.S. — is on par with the mainstream. A great KAROL G track is just a great track that happens to be performed in Spanish. The new wave of Latin hits can hold its own against any other Top 10 song. 

Music is so immediate and widely shared now that many of the hitmakers around the world are being impacted by the same influences at the same time.

Anchoring a hooky pop song on a reggaetón beat is quite common. Will the reggaetón aesthetic be a thing of the past? Or will it remain a basic component of the Latin music DNA?

Walter Kolm (Founder and CEO of WK Entertainment and WK Records): Reggaetón will never be a thing of the past, simply because it keeps evolving. That basic dembow beat has extremely strong roots in various other genres. It will keep mutating, and it remains to be seen what the new reggaetón will sound like in the near future.

Ramírez: The reggaetón aesthetic is not outdated at all — as a Latin programmer, I come across these sounds every day. It may seem that way now that industry headlines are focusing on música mexicana — however, reggaetón is still very much alive.

Cookman: Reggaetón is always going to be with us, just as dancehall was before reggaetón. It’s an irresistible beat, but one of the keys to its continued success is the consistency of the genre’s songwriters. At the core of these hits are well written songs. 

Reggaetón is here for the foreseeable future — but it may evolve into slightly altered forms. It will be different from other musical movements — like ‘70s disco, for instance — as it is hard to remember the lyrical side of most disco hits from that era.

Rodríguez: Because of its natural DNA, reggaetón allowed itself to merge with other genres, thus extending what could have been its natural life cycle, far beyond anyone’s predictions. Reggaetón may have reached a point of saturation. The demand that made it a global success is now decreasing, and it remains to be determined what exactly will take its place in the market.

Is the current fascination with the likes of música mexicana superstars like Grupo Frontera a fad? Do you think música mexicana will become an international phenomenon like the urbano movement?

Rodríguez: It was long overdue for música mexicana to impact the market globally. Just like country, it has a fanbase that not only streams the songs, but also fuels the box office, merchandising and physical formats. I’m surprised it took this long. Maybe it needed reggaetón to open up the doors to a wider market? Who knows!

Krys: I don't think it's a fad, but I do believe they have an uphill battle, mainly because it's not dance driven. When you can dance to the music, the language becomes irrelevant. Corridos tumbados are lyric-driven, so the connection will be harder to make. Not impossible, just harder.

Rodríguez: We have a new generation of artists who are able to adapt and represent their musical movement at a faster pace. Right now we are able to look at fads much earlier than before. I think this genre will evolve and take shape in different ways — but its core will always be traced back to the root of Mexican sounds. That blend will be attractive to audiences that aren’t as familiar with the movement’s traditions.

What about traditional pop-rock? Can that format survive the radical changes that Latin music experienced during the past 20 years?

Kolm: If you analyze the evolution of music throughout the decades, you will see that the pendulum keeps swinging back and forth between different styles. The time will come when traditional pop-rock will be back on top. Much like reggaetón and música Mexicana, it will evolve and fuse with other genres.

Cookman: There will always be space for a Juanes track, or the next generation of Juaneses. Pop-rock is not going away — if anything, I believe we will be hearing more guitars in the near future. Maybe not the cliché rock guitars that pop up at times, but real honestly indie pop-rock artists that are already making noise in markets across Latin America, and even in places like Texas.

Latin music is populated by thousands of indie artists who are recording beautiful albums at home. Sadly, their business model is not sustainable. What will happen to those indie creatives? Will music become an expensive hobby to the majority of emerging artists?

Krys: I don’t think there are thousands of artists recording beautiful albums. Most of them are dreadful — indie or otherwise. I think creators need to value their work a bit more. Right now, most people making music are creating "content," which is disposable. Make art, and the conversation changes.

Cookman: I think it is fair to say that some of the recent success stories… and the wave of trap artists that emerged from Argentina are all stemming from the same humble starting points. What propelled these artists above the others is that they had the right sound at the right time. After some initial traction, there were enough people that came to their aid and helped them to rise up. 

At the end of the day, if you’re doing something special, with a bit of luck and good timing, folks will come to your circle. It’s like the small taco stand that always has a long line. Somehow, the mouth to mouth talk brought that long line there.

Rodríguez: Cutting through the noise — in this case, the weekly tsunami of releases — and jumping the hoops is a challenge for any artist. However, there have never been more opportunities to get your music out there and reach an audience. It’s always been a triathlon, rather than a sprint.

Kolm: The odds of making it in this industry remain astronomically low. It is an unwavering conviction and the drive to improve their craft that sets apart the artists that make it. It is their life’s true purpose. I’m also a strong believer that good music will always find its way to the consumers. While the odds have never been favorable to emerging artists, good songs will invariably generate a strong connection.

Any predictions for the next couple of years? Is there a particular scene in Latin America that you are excited about?

Rodríguez: Aside from regional Mexican? I believe lyrics are making a big comeback, through a new generation of bigger and bolder songwriters who have something to say across all genres and formats.

Krys: There is going to be a revival of songs, of poetry. I'm a little tired of the second grade level of most lyrics, and I'm not the only one. There's a wonderful scene of highly creative singer/songwriters about to emerge.

Cookman: I feel there is a new wave of artists influenced by hip-hop. Artists like Trueno are making music that will resonate for years to come. I also see a renaissance of rock artists coming out of the woodwork and doing special things. At the major festivals in Latin America, the programming is more varied than ever. This is healthy, as it can have a positive influence on the new generation of creatives.

Meet The Gen Z Women Claiming Space In The Regional Mexican Music Movement

This year's Met Gala invited guests to step into the enchanting "Garden of Time" at the Metropolitan Museum of Art in New York City, where fashion meets fantasy. Celebrating the Met's exhibit "Sleeping Beauties: Reawakening Fashion," the first Monday in May saw stars transform the red carpet into a vibrant display of sartorial storytelling. The theme showcased a collection too delicate to wear but alive with the stories of fashion's past.

From co-chairs Zendaya and Bad Bunny to Tyla and Jennifer Lopez, see how music icons and film stars embodied this year's theme with spectacular flair. The gala not only highlighted the sensory and emotional richness of fashion but also set the stage for a night of memorable styles — groundbreaking florals, tiered tulle and all. 

Explore the full spectrum of this year's enchanting looks from fashion's grandest night in the showcase below.

Bad Bunny

Jeff Kravitz/FilmMagic/Getty Images

Jennifer Lopez

Photo: Kevin Mazur/MG24/Getty Images for The Met Museum/Vogue

Zendaya

Dimitrios Kambouris/Getty Images for The Met Museum/Vogue

Tyla

Angela Weiss/AFP via Getty Images

Donald Glover

Angela Weiss/AFP via Getty Images

Stray Kids

Photo: Angela Weiss/AFP via Getty Images

Jon Batiste

Angela Weiss/AFP via Getty Images

Queen Latifah

John Shearer/WireImage/Getty Images

Kylie Minogue

Photo: Jamie McCarthy/Getty Images

Christian Cowan and Sam Smith

Photo: Jamie McCarthy/Getty Images

Jack Harlow

Marleen Moise/Getty Images

Teyana Taylor

Jamie McCarthy/Getty Images

Ariana Grande

Kevin Mazur/MG24/Getty Images for The Met Museum/Vogue

Rosalía

Jamie McCarthy/Getty Images

Laufey

Jamie McCarthy/Getty Images

Shakira

John Shearer/WireImage

Doja Cat

Angela Weiss/AFP via Getty Images

FKA Twigs, Stella McCartney, Ed Sheeran & Cara Delevingne

John Shearer/WireImage

Lana Del Ray

Kevin Mazur/MG24/Getty Images for The Met Museum/Vogue

Karol G

Dimitrios Kambouris/Getty Images for The Met Museum/Vogue

Lil Nas X

John Shearer/WireImage

Charli XCX

Angela Weiss/AFP via Getty Images

Cardi B

Gotham/Getty Images

Dua Lipa

Gotham/Getty Images

Lizzo

Dia Dipasupil/Getty Images

Eryka Badu

Gotham/Getty Images

Dua Lipa Is Confidently In Love On 'Radical Optimism': 4 Takeaways From The New Album

When Mañana Será Bonito, the fourth studio album by Karol G, came out in February 2023, its release had been preceded by two momentous hit singles that changed the face of Latin music. 

Panoramic in scope, slick and airy, but also imbued with an intense and lyrical emotional depth, the songs "Provenza" and "Cairo" combined pop, reggaetón and an alternative edge with panache, and confirmed the Colombian singer/songwriter as one of the biggest pop stars in the planet. Mañana Será Bonito would go on to win Latin GRAMMYs for Album Of The Year and Best Urban Music Album, as well as her first-ever GRAMMY for Best Música Urbana Album in 2024.

Karol G wasn’t alone in these accomplishments. Most of the songs on the album were helmed by her longtime producer, Ovy on the Drums. Like Karol herself, 33 year-old Daniel Echavarría Oviedo hails from Medellín. The pair started working together at the very beginning of their careers, and Ovy was behind the haute couture sonics of "Tusa," the 2019 collaboration with Nicki Minaj that first established Karol as a major contender in Latin pop.

"There is a chemistry when we work together that I cannot quite describe with words,"  Ovy says over Zoom from his home in Florida. It’s a weekday morning, and he sits by his keyboard producing station; from time to time, he will play imaginary chords as he searches for the right words for an answer. His attitude remains humble throughout the conversation — even after significant success and a triumphant world tour, where he accompanied Karol on most concert dates.

"I still remember the specific moment when I asked her if she would let me do production work with her," he tells GRAMMY.com. "We keep talking whenever we’re in the studio. She is very clear in her direction; ‘I want this song to sound like that,’ or, ‘Give it another spin and see if we can make it better.’"

Ovy has since been inspired to branch out into different challenges. The latest one is Cassette 01,  a six-song EP with Puerto Rican A-list rapper Myke Towers. The EP is the first in a series of cassette-themed mixtapes that will include a different collaborator on each new installment. "The concept of releasing cassette-themed EPs in the year 2024 is really exciting to me," Ovy says. "It’s linked to the history of pop music, and the way we consume songs."

Known for high-voltage, sexed-up urbano anthems like "La Playa" (2020) and "LALA" (2023), Towers adds his imprint to the songs, but Ovy’s futuristic aesthetic is all over the EP. "It’s true that the loop in the beginning has my personal touch," Ovy says with a laugh when I point out that the intro to "AMOR NARCÓTICO" is trademark Ovy. "Sometimes people tell me that a song has that unique touch of mine, and it really seems unbelievable to me when I hear it."

On "BELLAQUERÍA," he mixes synth patches with real riffs performed by his longtime guitar player; the contrast between organic and digitized is prevalent in his stylistic panoply. And his trademark battle call — the almost dub-like cry of "O-O-O-vy on the Drumsss" is the seal of distinction that pops up in every single production.

Ovy on the Drums and Myke Towers┃SEBA

Musically speaking, Colombia sits on a highly strategic place: next door to the fertile Caribbean islands where reggae, salsa, merengue and calypso originated — but also close enough to the airwaves of mainstream American pop. Growing up, Ovy listened to a bit of everything, and gravitated naturally to lush records with majestic grooves.

"I loved Bob Marley as a kid," he says. "At home, of course, they would play a lot of salsa at parties, and hits of the time like 'Mayonesa' [a tropi-pop smash by Uruguayan band Chocolate.] I was also crazy about Modern Talking’s ‘Brother Louie’ and the Pet Shop Boys’ ‘Go West.’ Those are the songs that defined my childhood."

In the meantime, he continues employing FL Studio — the same producing software that he used at the very beginning of his journey.

"I’ll never stop using it," he promises. "I just can’t see myself on another platform. I used to dream about meeting the software creators, and now they follow me on Instagram and gave me every available plug-in. I’ve been producing music for the past 11 years, and I think I only know a good half of everything there is to learn on FL."

Collaborating with other high-profile artists and finishing up a promised solo album are high on Ovy's priority list.

"At the beginning, I was trying to turn my solo project into a conceptual work — but that’s easier said than done," he admits. "In the end, I realized that I just wanted to make some good music with a well chosen set of guest artists, and let the beats speak for themselves. I’d say my solo album is about 50 percent done at this point."

Karol G recently released "CONTIGO," a Euro-leaning, pop-EDM single with Tiësto. It remains to be seen if the diva will rely as tightly on her usual partner in crime as she begins work on her upcoming fifth album.

"When she had some free time off touring, I happened to be busy with the CASSETTE project," Ovy says. "Since then, we connected again and have been recording a bunch of songs. But I can’t really tell what will happen on the next album. And I think it’s good that Karol is collaborating with other producers and composers, searching for different avenues and sounds. We’re definitely on the same page in allowing things to happen the way they are supposed to."

He pauses for a moment, then adds with an extra wave of enthusiasm:

"I will always be there for her. Our common objective hasn’t really changed. We must always work hard, and come up with cool new songs." 

Mañana Y Siempre: How Karol G Has Made The World Mas Bonito

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

After Dua Lipa kicked off the 2024 GRAMMYs with an awe-inspiring medley of her two new songs, country star Luke Combs followed with a performance that spawned one of the most memorable moments of the night — and one that exemplified the magic of the 66th GRAMMY Awards.

Combs was joined by Tracy Chapman, whose return to the stage marked her first public performance in 15 years. The two teamed up for her GRAMMY-winning hit "Fast Car," which earned another GRAMMY nomination this year thanks to Combs' true-to-form cover that was up for Best Country Solo Performance. The audience went wild upon seeing a resplendent, smiling Chapman strum her guitar, and it was evident that Combs felt the same excitement singing along beside her.

Chapman and Combs' duet was a powerful display of what the 2024 GRAMMYs offered: veteran musicians being honored and new stars being born.

Another celebrated musician who made a triumphant return was Joni Mitchell. Though the folk icon had won 10 GRAMMYs to date — including one for Best Folk Album at this year's Premiere Ceremony — she had never performed on the GRAMMYs stage until the 2024 GRAMMYs. Backed by a band that included Brandi Carlile, Allison Russell, Blake Mills, Jacob Collier, and other accomplished musicians, the 80-year-old singer/songwriter delivered a stirring (and tear-inducing) rendition of her classic song "Both Sides Now," singing from an ornate chair that added an element of regality.

Later in the show, Billy Joel, the legendary rock star who began his GRAMMY career in 1979 when "Just the Way You Are" won Record and Song Of The Year, used the evening to publicly debut his first single in 17 years, "Turn the Lights Back On." (He also closed out the show with his 1980 classic, "You May Be Right.") It was the latest event in Joel's long history at the show; past performances range from a 1994 rendition of "River of Dreams" to a 2022 duet of "New York State of Mind" with Tony Bennett. The crooner, who died in 2023, was featured in the telecast's In Memoriam section, where Stevie Wonder dueted with archival footage of Bennett. And Annie Lennox, currently in semi-retirement, paid tribute to Sinéad O'Connor, singing "Nothing Compares 2 You" and calling for peace.

Career-peak stars also furthered their own legends, none more so than Taylor Swift. The pop star made history at the 2024 GRAMMYs, claiming the record for most Album Of The Year wins by a single artist. The historic moment also marked another icon's return, as Celine Dion made an ovation-prompting surprise appearance to present the award. (Earlier in the night, Swift also won Best Pop Vocal Album for Midnights, announcing a new album in her acceptance speech. To date, Swift has 14 GRAMMYs and 52 nominations.)

24-time GRAMMY winner Jay-Z expanded his dominance by taking home the Dr. Dre Global Impact Award, which he accepted alongside daughter Blue Ivy. And just before Miley Cyrus took the stage to perform "Flowers," the smash single helped the pop star earn her first-ever GRAMMY, which also later nabbed Record Of The Year.

Alongside the longtime and current legends, brand-new talents emerged as well. Victoria Monét took home two GRAMMYs before triumphing in the Best New Artist category, delivering a tearful speech in which she looked back on 15 years working her way up through the industry. Last year's Best New Artist winner, Samara Joy, continued to show her promise in the jazz world, as she won Best Jazz Performance for "Tight"; she's now 3 for 3, after also taking home Best Jazz Vocal Album for Linger Awhile last year.

First-time nominee Tyla became a first-time winner — and surprised everyone, including herself — when the South African starlet won the first-ever Best African Music Performance GRAMMY for her hit "Water." boygenius, Karol G and Lainey Wilson were among the many other first-time GRAMMY winners that capped off major years with a golden gramophone (or three, in boygenius' case).

All throughout GRAMMY Week 2024, rising and emerging artists were even more of a theme in the lead-up to the show. GRAMMY House 2024 hosted performances from future stars, including Teezo Touchdown and Tiana Major9 at the Beats and Blooms Emerging Artist Showcase and Blaqbonez and Romy at the #GRAMMYsNextGen Party.

Gatherings such as A Celebration of Women in the Mix, Academy Proud: Celebrating LGBTQIA+ Voices, and the Growing Wild Independent Music Community Panel showcased traditionally marginalized voices and communities, while Halle Bailey delivered a GRAMMY U Masterclass for aspiring artists. And Clive Davis hosted his Pre-2024 GRAMMYs Gala, where stars new and old mingled ahead of the main event. 

From established, veteran artists to aspiring up-and-comers, the 2024 GRAMMYs were a night of gold and glory that honored the breadth of talent and creativity throughout the music industry, perfectly exemplifying the Recording Academy's goal to "honor music's past while investing in its future." If this year's proceedings were any indication, the future of the music industry is bright indeed. 

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