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

After finishing the first mixes of their new album, Kehlani knew exactly what she needed to do: head to Las Vegas. 

The L.A.-based, Oakland-born singer/songwriter had always identified with Sin City: "I’m full of juxtapositions," she tells GRAMMY.com. "Vegas is this crazy bright light city in the middle of a vacant desert that has weddings and also strippers." Fittingly, Kehlani harbored a very Vegas-like image in their head while creating Crash, a record built on blaring neon, glowing smoke, and the highest highs.

Crash drops June 21, and is Kehlani's fourth solo album. She burst onto the scene in 2009 as a member of teen sextet PopLyfe, but their 2014 debut solo mixtape Cloud 19 announced a far more complex character. Their debut full-length, SweetSexySavage, was released three years later to critical acclaim, with two more albums and a handful of platinum-certified singles following. As if that weren’t enough, Kehlani added acting, appearing in "The L Word: Generation Q" and a cameo in Creed III. 

And while Crash embodies the evolution and growth through all those experiences, the record builds a hyper-real language all their own. Beyond any sense of R&B or pop, soul or hip-hop, Crash finds Kehlani chasing passions that refuse to fit in any box, shifting multiple times within a track — refusing to focus on anything but the moment. 

"A crash isn't anything from the past. It isn't the anxiety of what's about to happen," she says. "It's the height of the moment. It's right now."

Nearing the release of Crash, Kehlani spoke with GRAMMY.com about finding inspiration from international music, getting their five-year-old to sing on the album, and their need to stage dive.

What’s it like living in Los Angeles after growing up in the Bay Area?

I moved to L.A. when I was about 17. I had already left the house. I left the house at 14, and by the time I was almost 18 it was the appropriate time for me to situate in a new place. L.A. and the Bay are like cousins. Do we have differences? Absolutely, things that are fundamental to us, but when you leave California, you can really see that we're just like a big family.

Had you been dreaming of L.A. as a place where you could pursue art? Were you already set on that goal?

It was the closest place that a young, very broke person could go and work in music. I'm sure there were other places with musical homes, musical cities, but if all I had to do was get on a $15 bus and go find someone to stay with in L.A., I was gonna do it for sure.

That’s the same ambition that I feel drives this new record, which is just so dense and full of surprises. That includes the lovely retro radio intro to "GrooveTheory," where you move from this ‘60s pop feel to the present. That’s such a smart way to foreground your evolution.

I think the second that we made that song and then turned it into ["GrooveTheory"], I was like, This feels like it encompasses where I'm headed, this whole new sound. 

Once that radio dials in and it comes in with R&B elements, it's producing where I'm headed, but also remembering that my core hasn't changed. Especially the energy of what I'm saying in the song, like, "I'm kind of crazy," it's introducing this energy difference on this album. I feel like that's the biggest change, and that's what's so prevalent in this whole rollout. Energetically, I'm on a whole different type of time.

You can sense it. 'Crash' feels really rooted in self-expression and personal growth, and when you listen to it as a whole, it really does seem like an evolution story. Beyond just the genre and style, how do you feel the way that you've expressed your true self has shifted over the years?

Thank you! That's been the feedback I've gotten from pretty much everyone who's listened, and I don't know what I expected, but it wasn't this. I have realized the public's understanding of me and the general consensus for so long, and I also realized how multi-faceted I am to people. 

People get really confused when I express all the sides of my personality. They’re either, like, "Okay, she makes really sweet love songs," or "We've seen you be political, we've seen you come out, we've seen you be a family member." And then there's a lot of people who are, like, "I feel like she's f—ing crazy. I've seen her in multiple relationships. I've seen her be angry. I've seen her get online and cuss people out." 

I want this next batch of music to feel like the most fiery parts of me. I want it to feel like the most present and energetic parts of me. I don't want anything to feel somber. I don't want anything to feel reminiscent. I think a lot of my albums in the past have been me looking back, and sitting in that feeling and detailing it. I just wanted [this album] to feel right here, right now, which is why the title came about. A crash isn't anything from the past. It isn't the anxiety of what's about to happen. It's the height of the moment. It's right now.

That’s unfortunately a story you hear too often about artists of color — that essentialization, where you can only be seen as one thing. R&B often gets hit with those same issues. Throughout your career you’ve stood up to those expectations, and "Better Not" on this album is such a good example of that. It’s a left turn, a stylistic contrast and an open conversation with the listener. You cleverly fuse that intentionality with a voice that’s stronger than ever.

In the past, I have had moments where I would make the song and [start recording], and there would be so many versions of each song on different microphones, recorded in different places.

"Let me try vocal production. Let me try to go back and work with this version again." I went back and did vocal production with Oak Felder, who did all the vocal production on SweetSexySavage. When I come back to some of my favorite vocal production moments, it was moments like "Distraction" or "Advice" or "Escape" — songs on my very first album — and I wanted to get that feeling again. Where it's lush where it needs to be, but also that I really mean what I'm saying. 

That started with the approach in the songwriting. Once I had the songs and I had to go back and deliver them, I had enough time to listen and listen, to learn the songs and identify with them. We would make music all day and then go out, and we would be in this sprinter van on the way to going out, and, like, bang, the songs we just made, the energy was just different. It allowed me to be present in a different way where my voice is able to show up like that.

Learn more: R&B Isn't Dead: Listen To 51 Songs By Summer Walker, Josh Levi & More Artists Who Are Pushing The Genre Forward

Which again ties perfectly to crashing into the present. As someone from South Africa, I love that the other guests that you included represent different cultural viewpoints. You worked with Young Miko from Puerto Rico, Omah Lay from Nigeria. Having that musical dialogue is so powerful.

We had so many conversations about how America's in the backseat often when it comes to music. We have our moments, and it's fantastic, like Beyoncé’s Cowboy Carter. There's a culture that is super American, that is Black, that historically needs to be dived into. It needs to be shown that we do have something here. 

So many people that don't speak Spanish bang Bad Bunny all day. Amapiano’s taking over; Tyla’s going up. It's really not here. So that wasn't a conscious choice. It's just what we've all been listening to, what we've been loving.

Read more: 11 Women Pushing Amapiano To Global Heights: Uncle Waffles, Nkosazana Daughter, & More

Speaking of guests, I wanted to ask about your daughter, whose voice is on "Deep." Was she just in the studio and you got her singing?

So those vocals on that, that’s actually my little sister and my goddaughter. And [my daughter] was in the room and she started singing along. She has perfect pitch; she's always freestyling or singing or making something up. 

I was like, "You want to just go sing on it?" What's on there is her first take. Literally. She did it the first time, all the way through, perfectly. I was like, "Well, that's it, guys. I can retire." 

That track is so lush. It feels so alive. Were you working with a full band?

[Producer] Jack Rochon, who I did a lot of the music with, he just is a freaking genius music whiz. Honestly, he's one of the most humble people that I know, and deserves credit for how amazing a lot of this album is.

Talking about touchstones, there's a Prince energy to the title track. Did you have any new inspirations or influences for this record?

Thank you! My main focus for this album came from going on tour for my last one and making such a pretty, sweet, intimate album, and then playing some of the biggest venues of my career. At some point I had to rearrange the setlist to add in a lot of the album before that one, because it was just more energy on the stage. By week two of tour, the setlist had completely changed. I knew that I was playing venues on this next tour that I've dreamt about, places that I can't fathom that I'm playing, like Barclays Center. 

I do a lot of things for, like, my inner child, and this is such a move for my inner child. Like, You're about to go play Barclays. Do you want to look back and say, ‘I rocked out and played Barclays’? I'm a person who headbangs on stage. I stage dive. I wanted to create an album that would ring through a venue like that. I want people to be engaged again. I'm not looking for the lighters and the somber, holding each other — which will occur regardless, because it's a me show. 

But I really wanted people to be in their bodies, and their heart’s exploding and the ground’s shaking. So that's what we accomplished. I wanted to have fun. This album is so fun to me. It’s a place of fire in my heart.

It took me a second to get the word play on "Eight." I loved the track, and then suddenly I was like, 'Oh… I knew there was something raunchy going on here.'

[*Laughs.*] "Eight" was super fun, and shoutout to the boys that I did it with, because they made it everything for me. 

I didn't come up with the wordplay. My boys did. Like, "This is how you talk!" I was like, "It is! This is perfect." Once I got in to fix things, add things, add my own spin, and finish writing, my favorite part was that it sounds like a Brandy song. She's my favorite.

I also wanted to ask about the Nina Sky sample on "After Hours."

That was mine. I was like, "What can we flip that when it comes on, my generation loses their mind?" And for me, every single time that Nina Sky comes on in the club, everybody's like "Woo!" And then you see how many songs were made from that same sample, and they're all songs that make us lose our minds. 

I went into the room with the producers, and I was like, "So, I want to flip this, but I want you to make it to where it doesn't become one of those where the whole thing is just a sample."

Similarly, "Lose My Wife" balances breeziness with high emotional stakes. Is finding a balance like that just natural for someone so capable of juxtaposition?

The second that we established that [the record] felt like Vegas, I knew what components were missing from the energy of how I feel the second my car crosses the line into the city of Las Vegas. I knew I was missing that feeling of the next morning when you realize you went on this high and you come down. I wanted to create these scenarios that weren't necessarily applicable to me, but captured that emotion. I've been there before, and I want people to be like, Damn, I've been there before. I know this feeling. 

I recorded that song at 4 in the morning with a sinus infection. The second that we finished it, everybody was like, "You can never re-sing that. Don't try to make another version, you're not gonna be able to sound like that again." All the chatter in the background of that song is really everybody who was in the studio that stayed up to just hang out. We had the tequila out, it was perfect. That was probably one of my favorite moments of making the album.

It takes a while as an artist to reach a place where you can capture those moments. You said before that people try to figure you out, and I mean this in the best possible way, but it feels like now you don’t care if they can’t figure you out.

I don't give a f—anymore, yeah. And that was a very important thing for me to learn. I used to care so much, and I would spend so much time explaining myself online, in music, in interviews, on stage. I realized that you're damned if you do, damned if you don't. 

I've been so forward-facing with my heart my entire career that I've left a lot of room for people to consistently pedestal me and then critique me, for people to want to tear me down. I realized I'm just being present, here, existing loudly in front of a billion people, and whichever way that goes is how the cookies gonna crumble. Me giving a f—? I'm the only one it's affecting at this point, for sure.

Angélica Garcia's Intuition: How 'Gemelo' Was Born By Embracing L.A., Ancestry & Spanish Language

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.

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