Karol G is "200 percent" sure that women are gaining visibility in reggaeton.

An urban Latin artist, the 28-year-old is undeniably one of the brightest stars in her genre, with more than 15 million followers on Instagram, four million followers on Spotify, 600k-plus followers (and 183 million lifetime streams) on Pandora, and placement on Apple Music's Dale Play! Latin urban playlist for International Women's Day. And that’s not counting her three No.1 hits on the Latin Airplay Chart and a Best New Artist award at the 19th Annual Latin GRAMMYs in 2018.

There’s little doubt that Karol G is thriving. Her take on reggaeton, a genre that generally borrows from dancehall, reggae and hip-hop, features a pop fusion and empowering lyrics directed toward a female audience. But her success didn’t happen overnight; it’s been years in the making.

"A lot of people may know me for my music now," Karol G says during a stop in Mexico for the tour she's doing with fellow urban artist and boyfriend, Anuel AA. "It took me almost 14 years to get where I am, and it was really hard."

REGGAETON’S HISTORY OF GENDER IMBALANCE

Research supports that female artists in Latin music are scarce. According to Dr. Stacy Smith and USC's Annenberg Inclusion Initiative, who analyzed the top 150 songs from the Billboard Hot Latin Songs Chart between 2015–2917, the ratio for every 10 male artists was one female artist. In 2015, six percent of artists were women in the top 150 songs of the chart, while 2017 saw a rise to 13 percent. In terms of songwriting, women represented 3.8 percent during the three years analyzed.  

"Female artists are few and far in between… I think that is a problem in Latin [that's] always been there," says Head of Latin Music at Pandora Marcos Juárez.

WOMEN DON’T SELL(?)

According to female reggaeton artists, the roadblocks they face have everything to do with gender.

“From the moment I decided to go by ‘Karol G,’ I began doing reggaeton or urban Latin music, and because there were no women, they would say [that] women couldn't do it or because ‘You're a woman,’ this or that,” says Karol. “Because you're a woman they think your values and your dignity, become interchangeable, and they offer you things at the cost of other things.”

Reggaeton has been a male-dominated genre for years. And Latin trap, the Spanish-language version of the South's trap music and another rising sub-genre of urban Latin music, is not much different.

In Puerto Rico, reggaeton began as an underground scene (many attribute the birth of reggaeton to Panama and artists like El General) in the early and mid-2000s. Eventually, what is now known as “classic reggaeton,” expanded outside of the island to other parts of Latin America and parts of the mainland U.S., where there were more young Latino-Americans.

But a recent resurgence of the genre, led by artists like J Balvin and Luis Fonsi and Daddy Yankee's 2017 Latin-pop smash "Despacito," which reached No. 1 on the Billboard 100 with a version featuring Justin Bieber, has taken the genre to a new global level. And thanks to the viral nature of the internet, people in many more parts of the U.S. and world, English speaking or not, are listening to reggaeton's more "marketable" version of itself.

How powerful has the genre become? In 2018, only two of YouTube's top 10 most-watched videos were in English. The rest were in Spanish, and each had at least one urban music artist attached to it. With over 1.5 billion users, the platform is the most popular to stream music, according to Forbes. Only one of those eight songs featured women, "Sin Pijama" by Natti Natasha and Becky G.

As Remezcla points out, women have been instrumental in the Latin Urban genre, one of those artists being Puerto Rico's Ivy Queen who has been a trailblazer for women empowerment with anthems like "Quiero Bailar," which tackles women's rights and objectification. So why has it been so tricky for women to gain visibility in the market?

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Natti Natasha, a Latin urban singer/songwriter who had her first hit alongside reggaeton icon Don Omar in 2012 with "Dutty Love," was initially told by label executives that women simply don’t sell in her genre.

"Any [female] artist that is trying to make it out there is probably struggling right now,” she says. “And then being a woman is like, I had to go places and show what I had and they were like, 'We like it. It's good music, but women don't sell. They're not going to listen to you. So us investing our time and investing all we have in you, it's probably not gonna come back.’”

While "Dutty Love" peaked at No. 1 on Billboard's Latin Pop Songs Chart, the success was short-lived for Natasha. But things turned around years later; Natti Natasha is YouTube's most watched female artist and overall one of the top ten most-watched acts on the platform of 2018.

BREAKING THE GLASS CEILING BY BANDING TOGETHER

With a growing interest in Latin urban music, labels are closing in on the imbalance. Universal, home to Karol G, and Sony, who distributes Natti Natasha and where Becky G and Jennifer Lopez are signed, recently told Billboard that things are beginning to look different for women in urban Latin.

“There was definitely an opening for women [in 2018], ”Executive Vice President Latin America/Iberian Peninsula for Universal Music Angel Kaminsky said. "There has been a surge like we’ve never seen before of female acts from many different countries with lots of attitude and potential. These girls are writing at a younger age, and the material reflects their stories and their lives, leading to bigger engagement.”

"We made a commitment to bring diversity to the Latin music landscape, and this year we’ve had a record number of hits by female acts,” says Nir Seroussi, President of Sony Music U.S. Latin also told Billboard.

While the industry may be more welcoming women now, there was a time where Natti Natasha says women felt pitted against each other.

"They used to want women to compete,” she says. “Don't know why, but it was just like an automatic thing. Once you understand that is not the way to go, you understand why that happens, why they do it. You do all the opposite, and you get together and you make this happen. You prove to people that it's not a competing thing. It's a collaborating situation.”

RELATED: Latin Pop Performer Natti Natasha Takes Center Stage On 'IlumiNATTI'

Collaboration among Latin urban women is absolutely on the rise, agrees Latin Curator at Pandora Leticia Ramirez, which has helped them gain visibility. "I think there is definitely a sense within the music community with female artists that there needs to be a level of support for one another versus a comparison of one another. I think that is allowing more experiences and opportunities with amongst themselves to do things."

Cross-promotion among Latin artists is already a widely utilized practice. During a tribute to Daddy Yankee at Premios Lo Nuestro this past year, the reggaeton figurehead thanked his male colleagues for supporting each other. According to Juárez, public support, like the sort offered by Yankee, is precisely what helps Puerto Rican performers be successful.

"I think what's really unique about Puerto Rican artists is the way they've all put each other on … Puerto Ricans have set the template for collaborating and co-signing artists, and helping bring people up. You see that over and over and over."

Dr. Stacy Smith found in her research that many Laitn chart-toppers are Puerto Rican.

COMBATING "MACHISMO" IN LATIN CULTURE

But, as Juarez points out, there may be more subtle, industry-wide obstacles that deter women’s success in this arena. He notes that listeners on Pandora, which allows users to thumb up or thumb down artists, are not always receptive to female artists.

"I think part of it is probably culture … machismo is real, and I think that is definitely part of it," he says. "I'll tell you what, on [the] Reggaeton de Hoy [station,] it's really hard to put women in there, because people just don't ... number one, there's not a ton of [female] artists [out there]. It's not to say that there is none, I mean, there definitely are some artists who are killing it. But there's not a ton, and people react adversely to it still."

Ramirez sees the industry's recent push for female artists and believes that it may be listeners who need to become more supportive of female artists.

"They are publicists. They're pushing. They're communicators. They're making s**t happen. So I don't think it's something that's dictated from the industry. I think it could be cultural, quite frankly," she says. "I think that for some reason the consumer isn't as easily supportive of a female artist as they are a man. There's still that negative comparison to women … With men, a lot of things are excused. You know?  … I do think there is that part of it. I think that that could kind of impact women and how far they can go in the music industry."

RELATED: Ozuna, J Balvin & More Pay Tribute To Daddy Yankee At Premio Lo Nuestro

MORE WOMEN IN THE STREAMING MIX

Juarez says digital streaming platforms, along with labels, could be doing more. Dr. Stacy Smith agrees. At a panel called Women In The Lead, held during Billboard Latin Week 2018, asserted that it’s ultimately up to streaming platforms to create desire for an audience. "It's not about what the audience wants, it’s what these companies are willing to supply to create the desire amongst listeners."

But what does that look like? An all-female playlist or radio station? Juarez says "all-female" content may not be the best solution.

"I think you run the risk of making [women] ‘other,’” he says. “It's much more beneficial to integrate [women] and have it seem natural as part of just a listening experience. I think more and more, we're getting to that," he says. 

“We have a station, an effort called El Pulso on Pandora, which we launched last year, sort of like a franchise Latin effort. The idea there was to really embrace this popular Latin movement that our listeners are showing us that is important and impactful for them. But then we're also trying to be predictive and trying to include up-and-coming artists, and a lot of those artists are females."

One thing streaming platforms can do, Juarez says, is keep women artists in front of audiences in an organic way.

"I think within that branded listening experience, there're opportunities to just keep ... Not force-feeding people, but just keep trying, you know? Keep putting it in front of people," he says. 

While Apple Music, Spotify and Pandora are all establishing ways to organically integrate women into their Latin music playlists and stations, Karol G says another way females need support is through the acceptance of their lyrics.

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"The only limit I see at the moment is people accepting our lyrics … We have songs about love, about falling out of love … I want to be able to talk about anything and everything because I am human … I think there needs to be a little more equality in that aspect," say says.

But despite the challenges, Karol G believes this moment for women in reggaeton is more than a trend; it’s a genuine movement that’s showing no signs of slowing down.

"There was a time in which there weren’t feminine faces,” she says. “Now that door is open, and we're coming in. Not one, not two, but many of us. That makes people's curiosity grow. People now want to hear our side of the story. They want to know where we've been and how we did it.”

"On Location: Miami": Lary Over Talks About Latin Trap Origins 

One would have expected plenty of pomp and circumstance as the Latin GRAMMYs celebrated their 25th year anniversary. But there were no lengthy speeches or self-congratulatory videos during the Nov. 14 telecast.

This year, the telecast focused on the things that matter: saluting the magic of undying genres like salsa, rock and bossa nova. Honoring the legacies of such Latin American trendsetters as Carlos Vives and Juan Luis Guerra. Giving artists a carefully curated space where to showcase their craft and inspiration.

From the stark cinematic moods of reggaetón to the healing warmth of Afro-Caribbean roots and the bold expansion of música mexicana, here are 10 of the most exciting celebratory moments from the 2024 Latin GRAMMYs.

The Music Of Carlos Vives Is A Priceless Cultural Treasure

Colombian singer/songwriter Carlos Vives was The Latin Recording Academy's 2024 Person Of The Year — a fitting recognition to his groundbreaking fusion of the accordion-heavy vallenato music of his land with rock, pop and even reggae. Vives' path of innovation began with the 1993 album Clásicos de la Provincia, and, like the Latin GRAMMYs, his career has evolved much over the last 25 years.

The singer kicked off the telecast with a career-spanning medley of hits such as "Fruta Fresca" — a rollicking gem off his 1999 classic El Amor de mi Tierra — and the more recent "La Bicicleta." At the end of his performance, he was joined by an enthusiastic group of fellow singers, including Juanes and Camilo. This brisk summary of his creative genius underscored his innate ability to connect with the essence of Latin American culture.

Read More: Watch: Carlos Vives Performs "La Bicicleta," "Robarte Un Beso" & More At The 2024 Latin GRAMMYs

The Moody Soundscapes Of Urbano Continue To Expand

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Jagged regaetón beats and ominous trap atmospherics are a natural component of the Latin pop DNA. But the urbano universe continues to grow, experimenting with novel song structures while incorporating references to other genres.

Early on in the telecast, three contemporary stars joined forces for a segment that showcased the ever evolving side of urbano. Eladio Carrión ("Mama's Boy") Quevedo ("Columbia") and Myke Towers ("La Falda") combined their proven commercial appeal with a sophisticated vision.

A True Master Never Stops Learning His Craft

Let's just say that this year's ceremony was a memorable evening for perennial Latin GRAMMY favorite Juan Luis Guerra. The 67-year-old singer/songwriter won the coveted Record Of The Year and Album Of The Year awards, and cherished his Dominican roots in his acceptance speech.

But Guerra also let the music speak for itself in a mesmerizing performance of Record Of The Year winning track "MAMBO 23." A stunning display of craftsmanship, it begins with a dembow beat, incorporates electronic loops, and also switches between the haunting qualities of spiraling bachata lines and the raucous party vibe of traditional merengue — all within the same song. Clearly, Guerra continues to learn and further refine his musical lexicon with each new project.

Read More: Juan Luis Guerra Sweeps The 2024 Latin GRAMMYs With 'Radio Güira'

Three Mexican Legends Are Sorely Missed

Alejandro Fernández | Photo: Getty Images for The Latin Recording Academy

There was a reflective quality to this year's telecast, which included tributes to classic genres and luminaries of the past. Perhaps the most poignant, though, was the segment dedicated to three late giants of Mexican music: Juan Gabriel, José José and Vicente Fernández.

The delicate sadness of Juan Gabriel's "Hasta Que Te Conocí" (performed by Reik and Leonel García), the apocalyptic balada pathos of José José's "El Triste" as a duet (a duet with Carlos Rivera and David Bisbal), and the unapologetic joy of Vicente Fernández's "No Me Sé Rajar" (fittingly, by his son Alejandro) — illustrated the monumental sway that these masters still hold in the Latin music zeitgeist.

Salsa Lives On — And It Grooves Like Crazy

While it is true that the heyday of salsa took place during the '70s and '80s, this is a genre that simply refuses to grow stale. And to prove it, a parade of stars delivered a dazzling tribute to the tenets of salsa fever.

Venezuela's Oscar D'León offered a swinging reading of his 1974 classic "Llorarás," while Colombia's Grupo Niche had the audience chanting along to the chorus of "Una Aventura." Tito Nieves and young stars Luis Figueroa and Christian Alicea were also present, while the salsa romántica royalty of Marc Anthony and La India revived their '90s mega-hit "Vivir Lo Nuestro" in stunning, dynamic form.

Read More: Watch: Marc Anthony & Salsa All-Stars Tito Nieves, Grupo Niche, Oscar D'Leon & More Celebrate The Genre At The 2024 Latin GRAMMYs

Latin Pop Thrives On Emotional Connection

After winning three Latin GRAMMYs last year on the strength of the genre defining Mañana Será Bonito — including the coveted Album Of The Year — KAROL G added another award to her collection on the 2024 telecast. The Colombian star's eclectic 2023 mixtape, Mañana Será Bonito (Bichota Season), won in the Best Urban Music Album category, at a moment when KAROL G is celebrated as one of the world's biggest pop stars.

As she collected the Latin GRAMMY, she focused on the things that matter. "This is about the love that I share with my fans," said a visibly moved KAROL. "And my family, which makes my life so much easier. Without them, I wouldn't have my mental health." The same feeling of emotional openness permeates the songs in both Mañana Será Bonito projects.

This Is Not Your Parents' Música Mexicana

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It is definitely not a coincidence that música mexicana is experiencing a massive wave of popularity. The charisma and musical talent of stars like Peso Pluma, Grupo Frontera and Fuerza Régida is augmented by the vision of innovators such as Carín León, who blends effortlessly the folk roots of his native Sonora with cool touches of country and blues.

Introduced by Julieta Venegas and Mon Laferte, León performed "Despídase Bien" — the ending track of his extraordinary 2024 album, Boca Chueca, Vol. 1 — backed by a full band and choir. A thorny electric guitar solo and rousing gospel vocals added gravitas to a song that is Mexican to the core, but does not hesitate to venture out of the box in search of true emotion.

The Old Bossa Nova Classics Are Indestructible

There were no sassy baile funk riddims when Brazilian stars Anitta and Tiago Iorc joined forces for a couple of songs in a dimly lit section of the stage. Instead, the duo launched into a fragile, understated version of Anitta's "Mil Veces," backed only by acoustic guitar and the diva's gorgeous voice.

This intimate moment was followed by "Mas Que Nada" — the whimsical 1963 tune by Jorge Ben that turned Sérgio Mendes and his band Brasil '66 into one of the architects of the bossa nova movement. Mendes passed away in September of this year, and the luminous interpretation by Anitta and Iorc served as the most elegant tribute possible.

Read More: Watch: Anitta & Tiago Iorc Team Up For "Mil Veces" & A Beautiful Tribute To Sérgio Mendes At The 2024 Latin GRAMMYs

Visceral Rock n Roll Will Never Go Out Of Style

One of the most intense moments of the telecast lasted less than two minutes — but will stay in the mind of anyone who ever prophesied the death of rock.

Hailing from Monterrey, Mexico, The Warning — a trio made up by sisters Daniela, Alejandra and Paulina Villarreal Vélez — delivered a welcome jolt of rock 'n'roll with a ferocious version of their hit "Qué Más Quieres." The performance was a reminder of how much raucous fun a trio of guitar, bass, drums, and gutsy vocals can generate. And yes, Latin rock is in excellent health, thank you.

Read More: Watch: The Warning Bring Hard Rock Power To The 2024 Latin GRAMMYs With "Qué Más Quieres"

At The End Of The Day, It's All About The Songs

As is often the case with Latin GRAMMY darling Jorge Drexler, the Uruguayan troubadour had some deep thoughts to share when he received the Song Of The Year honor for the exquisite "Derrumbe" — a non-album single he released in February of this year.

"This is madness," Drexler said after exchanging a hug with Juanes, who announced the winner. He pointed out that he hails from a very small country, and that "Derrumbe" itself was a sad and short song — una cancioncita, he called it.

He thanked the Latin Recording Academy for healing his chronic imposter syndrome and proving that a delicate, unassuming tune like his could win. Then again, that's one of the main missions of the Latin GRAMMYs: to acknowledge the power of a great song to inspire and transform.

On New Music Fridays, we wear pink! Or black! That’s because, for the third week in a row, one of BLACKPINK’s members has launched a new solo era. This week, ROSÉ recruits Bruno Mars for "APT.," the infectious lead single to her forthcoming debut full-length, Rosie.

Elsewhere, Bishop Briggs unveils Tell My Therapist I’m Fine, American Authors deliver Call Your Mother and Dillon Francis marks the tenth anniversary of his debut album Money Sucks Friends Don’t with a star-studded remix album.

Plus, Tyler, The Creator heralded the arrival of his eighth album CHROMAKOPIA later this month, and hotly anticipated singles arriving this week include JADE’s "Fantasy," Bailey Zimmerman’s "Holding On," Tiwa Savage’s "Forgiveness," and Estelle’s "Fire."

Below, dive into nine new releases worth checking out from the worlds of K-pop, country, hip-hop, Latin and more.

"Game, start!" Taking its title from the popular Korean drinking game "Apartment," the giddy first taste of Rosie ingeniously meshes ROSÉ’s K-pop polish with everything from surf rock and bubblegum pop, to the kind of suave vintage soul favored by duet partner Mars. Together, the duo creates an earworm that feels both wholly original and instantly unforgettable. Try getting the peppy, chant-ready hook out of your head by the time Mars cheekily asks, "Geonbae, geonbae, girl, what’s up?"

Using an appropriately rosy backdrop, matching leather jackets and just a few instruments at their disposal, ROSÉ and Mars show off their new friendship — and electrifying musical chemistry —  on the track’s goofy music video, which racked up nearly seven million views within just a few hours of its release. While "APT." may be a left turn from what BLINKs and Number Ones expected, it’s clear ROSÉ is swinging for the fences and so far, everything’s coming up rosy.

Read more: Breaking Down Every Solo Act From BLACKPINK: From Jennie's "Solo" To Jisoo's 'Me'

Joy Oladokun flexes her talents for introspection and insight on her fifth album, OBSERVATIONS FROM A CROWDED ROOM. 

Songs like "AM I?," "NO COUNTRY" and "DUST/DIVINITY" are thoughtfully punctuated by a number of spoken word interludes. "Where is the safe space for me?" Oladokun muses before launching into apocalyptic daydreams on "STRONG ONES," while she questions the cost of near-constant vulnerability in service of the career of her dreams ahead of standout "I’D MISS THE BIRDS."

Read more: Joy Oladokun's 'Proof Of Life' Honors Her Own Experience — And Encourages Others To Do The Same

The title of SEVENTEEN’s 12th mini album comes with a hidden message. An anagram for "I FELT HELPLESS," the six-track project promises a new level of emotional vulnerability from the 13 idols and contains DJ Khaled-assisted single "LOVE, MONEY, FAME," plus highlights like "Eyes on you," "1 TO 13," and "Candy."

Released on Monday,Oct. 13, SPILL THE FEELS arrives just in time for the K-pop boy band’s latest world tour, which shows up stateside on Oct. 22 after opening earlier this week with back-to-back shows at South Korea’s Goyang Stadium. After kicking off the American leg in Rosemont, Illinois, the tour will make stops in Belmont Park, New York; San Antonio, Texas; Oakland, California and Los Angeles through Nov. 10.

Read more: 5 Songs To Get Into Seventeen

Project 2024 is more than just a new release for BRELAND, it’s an intensely personal musical examination of the singer’s roots. Following his 2022 debut album Cross Country, as well as his recent duet with Shania Twain on the Twisters soundtrack, the pioneering country artist decided to return to Selma, Alabama — home to generations of his family tree as well as defining moments that helped turn the tide of the Civil Rights movement. 

The result is a powerful and inherently political celebration of life told in BRELAND’s inimitable voice across six tracks — from the proud resilience of opener "Grandmaman’em" and flirty lead single "Icing" to the dancehall-tinged "Motion" and uplifting closer "Same Work" featuring The War & Treaty.

After rocketing to streaming numbers that shot past the billion mark with his 2019 hit "Be Alright," Dean Lewis is back with his third full-length album The Epilogue. As its title suggests, the new body of work purposely adds a postscript to the viral success the shaggy-haired Australian troubadour experienced in the late 2010s while also crafting a soundtrack to hint at his next move.

"An Epilogue typically sums up a book, answers any unanswered questions, and hints at what’s to come," Lewis said in a statement of the LP, which contains heart-wrenching fare like "Empire," "All I Ever Wanted," and "Trust Me Mate." "This is a new chapter. It feels like the ending of the last few years of my life and the beginning of the next. I really tried to define my own style. For me, the music wraps up the past and shines a light on what to expect going forward."

Jean Dawson continues to push the boundaries of experimental pop on Glimmer of God, his fourth full-length studio release. The follow-up to 2022’s Chaos Now (as well as EP Boohoo from earlier this year) takes sonic cues from influences like Prince, Stevie Wonder and Zapp & Roger — all artists he found himself inspired by while growing up between the U.S. and Mexico. 

Led by "Die For Me," a collab with tourmate Lil Yachty, and second single "Houston," Dawson’s album taps into his inner feminine on tracks like "Darlin’," "Black Sugar" and "Murciélago" and also features a guest turn from BONES on album cut "P4IN."

It’s sheer coincidence that Alana Springsteen shares a last name with a living musical legend (no, she’s not related to the Boss). But the rising country phenom has carved her own path through the music industry since she was a child, earning a publishing deal in the mid-2010s at just 14 years old.

The TWENTY SOMETHING singer’s latest singles come two-for-one after she decided on a whim to drop "cowboy" and "hold my beer" simultaneously at midnight on Friday. The former finds Springsteen looking back with regret after getting lassoed by a particularly disappointing cowboy ("He roped me in like no one could/ And in the end, he really broke me good"), while on the latter, the Virginia Beach, Virginia native dusts herself off, gets back on the proverbial horse, and commits to making some delightfully rowdy choices that would make her mama proud. 

Read more: Alana Springsteen Isn't Just Living Her Teenage Dream. She's Speaking To An Entire Generation.

Jordan Adetunji has "Options" on his new single with Lil Baby. Fresh off his viral hit "KEHLANI", the Belfast native remains unthreatened at the prospect that his lover would go off and choose another man, confidently declaring, "I got options/ Baby, you got options/ If you with me, not an option/ Baby, it’s the weekend/ Need it often/ Girl you know that I’m the one to solve your problems."

On the track’s accompanying music video, Adetunji boards a luxurious yacht teeming with bikini-clad video girls, only to later be joined by Lil Baby, who confesses, "Four, five times a day, I check your page/ I’m your lil stalker" at the top of his own, sexually charged verse.

Sevdaliza and Karol G join forces for their new collaboration "No Me Cansaré." The mid-tempo bilingual ballad opens with the Iranian Dutch singer intoning, "Don’t have fear, I won’t let go/ You protect my inner child" before sharing the spotlight with the Latin pop sensation on the breathy second verse. 

"No Me Cansaré" — which translates to "I Won’t Get Tired" in English — also comes with a sultry black-and-white music video depicting the two songstresses as winged angels watching placidly over younger versions of themselves.

To celebrate 25 years of the Latin GRAMMY Awards, the Latin Recording Academy opened a new exhibit at the GRAMMY Museum in Los Angeles on Sept. 19. The entire second floor of the museum is dedicated to capturing the growth of Latin music that has gone hand-in-hand with the Latin GRAMMYs through awards, artifacts, outfits, and instruments from previous winners and nominees like Shakira, Karol G, Peso Pluma, Juan Luis Guerra, Celia Cruz, and many more.

"Today, Latin artists are crafting pop culture, influencing everything, and breaking all the charts," Latin Recording Academy CEO Manuel Abud tells GRAMMY.com. "For the Latin Recording Academy, it's been a privilege to be with them on this journey, and this exhibit tries to bring this journey closer to the people. For us, this is an attempt to bring this journey and this legacy closer to the audience." 

The newly opened exhibit at the GRAMMY Museum, officially named Latin GRAMMYs 25: A Legacy of Musical Excellence, is one of three that the Latin Recording Academy is presenting as part of the 25th anniversary of the Latin GRAMMYs celebration happening throughout this year, all of which will highlight the magic of the Latin GRAMMYs. The Paley Museum in New York City will host its exhibit, which opened Sept. 13, and runs through Nov. 3; the exhibit at Miami's Gary Nader Art Centre will open Sept. 26 and run through Dec. 20. The GRAMMY Museum's exhibit closes Dec. 18.

The series of multi-city exhibits leads up to the 2024 Latin GRAMMYs, which officially mark the 25th anniversary of the Latin GRAMMY Awards. Taking place Thursday, Nov. 14, in Miami, the 2024 Latin GRAMMYs will debut of a new field and two new categories: Best Latin Electronic Music Performance, housed within the new Electronic Music field, and Best Contemporary Mexican Music Album. Ahead of the 2024 Latin GRAMMYs, the Latin Recording Academy will host the official Latin GRAMMY Week 2024, which includes multiple events throughout Miami-Dade County including the 2024 Latin Recording Academy Person of the Year gala, which this year honors 18-time Latin GRAMMYs winner and two-time GRAMMY winner Carlos Vives, and the 2024 Special Awards Presentation.

Ahead of the GRAMMY Museum’s exhibit opening, Abud and Jasen Emmons, Chief Curator and Vice President of Curatorial Affairs of the GRAMMY Museum, took GRAMMY.com on a tour. Below, learn more about the GRAMMY Museum's monumental, history-filled display.

Learn more about the Latin Recording Academy and the GRAMMY Museum’s Latin GRAMMYs 25: A Legacy of Musical Excellence exhibit.

All photos by Rebecca Sapp.

A Timeline Of Latin GRAMMY Milestones

When entering the second floor of the GRAMMY Museum, one of the walls is covered with a giant timeline of major moments and milestones from the Latin GRAMMYs. The timeline starts with the 1st Annual ceremony in 2000, where Ricky Martin, Celia Cruz, and Gloria Estefan paid tribute to mambo legend Tito Puente, who had passed away a few months prior. 

From there, moments highlighted include Luis Fonsi's performance of "Despacito" in 2017 with Diplo, Bomba Estéreo and Victor Manuelle, and Bad Bunny's win for Best Urban Album in 2019 where he advocated for more respect for reggaeton music and its artists. Edgar Barrera, who won the first Songwriter Of The Year award at last year's ceremony, also has his history-making Latin GRAMMY on display. The timeline not only shows the growth of the awards, but its impact on Latin music going mainstream. 

"We created a platform for new artists to evolve and to present their craft, but also a way to celebrate established artists," Abud says as he looks at the timeline. "I think the beauty here is that we celebrate both at the same time that we are nurturing the next generation [or artists]. I love to see an artist like Karol G be Best New Artist in 2018 and winning Album Of The Year in 2023 and breaking all the records. It's the concept of how we bring it all full circle."

Read More: 2023 Latin GRAMMYs: Karol G Wins Album Of The Year For 'Mañana Será Bonito'

The Latin GRAMMY Awards By the Numbers

There's also a few more giant graphics on the other walls of the exhibit that are informational and educational. One graphic — which could be useful for either the GRAMMYs or Latin GRAMMY Awards — explains the difference between the Song Of The Year and Record Of The Year categories; another graphic shows the legacy of the Latin GRAMMYs by the numbers. The number 18 is shown next to Eduardo Cabra, who has the most wins for a producer, while his former Calle 13 associate, Residente, is highlighted for the most wins by a male artist with 28. Meanwhile, 2006 is shown next to Shakira's name for the ceremony where she made history as the first woman to win Record Of The Year, Song Of The Year, and Album Of The Year. 

"I would like for visitors to feel the emotions because music is all about the emotions," Abud says. "I would like for them to go through the journey and remember what they were doing in 2006 or 2016, for example. I hope this exhibit brings them memories and gets them excited about the future. It's a combination of celebrating our past, but also enjoying the present, and preparing for the future."

The Diversity Of Latin Music Through Instruments

Another way the GRAMMY Museum's Latin GRAMMYs exhibit is hoping to educate visitors is through the instruments on display. Mexican group Intocable loaned a series of instruments that highlight the sounds of música Mexicana, including the bajo sexto guitar, the accordion, and a Djembe drums. 

To highlight other genres in Latin music as well, Juan Luis Guerra loaned a güira, which is used in his merengue with "Punta Cana" written across it. The drums that Sheila E. played during her performance with Guerra at the 8th Annual Latin GRAMMYs are also present. The instruments exemplify not only different genres, but also different Latin cultures and countries. 

"We really wanted to show a number of different instruments that we used in Latin music, like timbales or bajo sexto because for many people they may have heard them, but they haven't seen them before," Emmons says. "It's fun for people to be able to go, 'Oh! That's what that looks like, so it's making that sound.' We're really always trying to have that educational element to what we do."

Iconic Performances Revisited

The history of career-defining performances at the Latin GRAMMYs is captured in the fashion at the exhibit.

The colorful spirit of Celia Cruz, who passed away in 2003, is captured in a white and blue wig at the exhibit. The Cuban legend wore the wig during the 2002 Latin GRAMMYs — her last televised performance. 

The outfits on display also further exemplify the diversity of Latin music. Mexican icon Pepe Aguilar's traditional charro suit is next to Peso Pluma's Givenchy and Alexander McQueen outfit from last year's ceremony that exemplifies his more urban approach to música Mexicana. Rauw Alejandro, who has gone from reggaeton hit-maker to global pop star, mixed both worlds with his red-hot Enfants Riches Déprimés look at last year's ceremony. Rosalía's white bodysuit from her flamenco-infused debut on the Latin GRAMMYs stage in 2018 is also on display. 

"It's fun to see the growth of both Latin music, but also the Latin GRAMMYs," Emmons says. "It's extraordinary when you think in just 25 years how massive it's become and incredibly exciting. It was really fun to go through that [legacy of the Latin GRAMMYs] and figure out what were those moments that helped expand awareness of this and celebrate it."

Red Carpet Fashion At The Latin GRAMMYs

The iconic fashion of the Latin GRAMMY Awards isn't only limited to the performances. On the red carpet, many nominees and winners have made statements with their outfits. 

One standout fashion moment in particular at the exhibit is Mon Laferte's purple suit at the 2021, where she proudly flaunted her pregnancy at the time. Karol G's metallic Balmain dress from last year's ceremony — where she later won Album Of The Year — is another stunning highlight among the outfits. 

Barrera's fashion-forward suit that he wore during his historic Songwriter Of The Year win in 2023 is also on display. Beatriz Luengo, who won Song Of The Year for the Cuban protest anthem "Patria o Vida" in 2021, paid tribute to Celia Cruz with a blue gown that had the late legend's face emblazoned on it. 

"The biggest thing I want is for visitors to go away saying, 'I want to listen to these artists,' if they haven't already," Emmons says. "Also, to have more appreciation for the artistry, and the showmanship because a lot of what we have on display are some of the performance outfits, red carpet outfits, and amazing style. At the heart of this exhibit is to inspire people to go discover artists that maybe they haven't listened to in awhile, or they never heard of before."

Latin GRAMMYs season is now officially upon us! Ahead of the 2024 Latin GRAMMYs on Thursday, Nov. 14, the nominations have arrived — and the Album Of The Year Category is stacked.

This year's telecast, which marks the 25th anniversary of the Latin GRAMMYs, will see 10 albums compete for one of the night's biggest honors. Among them are a few previous winners, including four-time Album Of The Year recipient Juan Luis Guerra, whose nomination for Radio Güira marks his eighth in the Category. Two-time Album Of The Year winner Residente, whose wins were both with his group Calle 13, receives his sixth nomination in the Category with Las Letras Ya No Importan. 

Shakira — who won Album Of The Year at the 7th Annual Latin GRAMMY Awards in 2006 for Fijación Oral Vol. 1 — receives her first nomination in the Category since 2017 with her acclaimed 12th studio album, Las Mujeres Ya No Lloran. And after Karol G took home Album Of The Year at the 2023 Latin GRAMMYs for Mañana Será Bonito, the five-time Latin GRAMMY winner is back in the Category in 2024 thanks to its mixtape follow-up, Mañana Será Bonito (Bichota Season). 

Those four are up against fellow past Album Of The Year nominees Mon Laferte, Kany García and Camílo, as well as first-time Album Of The Year nominees Ángela Aguilar, Carin León and Xande de Pilares.

Below, find out more about all of the Album Of The Year nominees at the 2024 Latin GRAMMYs. Then, be sure to tune into the 2024 Latin GRAMMYs, officially known as the 25th Annual Latin GRAMMY Awards, airing live on Univision, Galavisión and ViX on Thursday, Nov. 14, starting at 8 p.m. ET/PT (7 p.m. CT) to see who wins.

Ángela Aguilar — Bolero

Though only 20, Ángela Aguilar is no newcomer to the scene. She made her Latin GRAMMYS debut in 2019 with a memorable performance of "La Llorona." That year, she was nominated for Best New Artist and Best Ranchero/Mariachi Album for her debut Primero Soy Mexicana. She was nominated again in 2022 in the latter category for her follow-up, Mexicana Enamorada, making this her fourth Latin GRAMMY nomination.  

As the child of singer Pepe Aguilar and the granddaughter of ranchera legend Antonio Aguilar, the younger Aguilar is the scion of Mexican musical royalty. In her career thus far, she has dedicated herself to the preservation of música Mexicana and established herself as a standard bearer for the youthquake in traditional Mexican music. 

On her latest album Bolero, she breathes vivid life into romantic Latin ballads, singing such quintessential boleros as "Quizás, Quizás, Quizás" and "Solamente Una Vez" with absolute conviction, as though they had been written for her. As part of her process in making the album, she traveled to Cuba, where the genre was born, to be immersed in the history and culture of the music. Her serious and impassioned approach has led to a celebration of the bolero that is as fresh as it is timeless.

Watch: How Ángela Aguilar Became One Of The Youngest GRAMMY Nominees Ever | Run The World

Camilo — cuatro

At 30, singer, songwriter and producer Camilo is a decorated veteran of Latin pop. Prior to the 2024 Latin GRAMMYs, he had six Latin GRAMMYs and 29 nominations to his name, including three nods for Album Of The Year. 

He adds a fourth Album Of The Year nomination to his résumé with his fourth album, the simply titled cuatro, a rootsy, 12-song collection of tropical music. The self-produced, acoustic album marks a departure for the Colombian musician, as he forays into salsa, merengue and similar genres. However, exploration and experimentation is integral to Camílo's identity as an artist — so, while it is intriguing, it isn't exactly surprising. 

Growing up in Medellín, Colombia, Camílo was surrounded by a cacophony of musical styles, including the aforementioned salsa and merengue, as well as guaguancó and others. He's also displayed tremendous versatility in the past. While he is best known for pop with reggaeton leanings, his Latin GRAMMY-nominated 2022 project, De Adentro Pa Afuera, saw him take on a variety of sounds, including regional Mexican music in collaboration with Grupo Firme. It's all par for Camilo's ever-eccentric course.

Learn More: Meet the First-Time GRAMMY Nominee: Camilo Talks Road To Latin Pop Stardom, Career Highlights & Working With Wife Evaluna

Karol G — Mañana Será Bonito (Bichota Season)

As the reigning Latin GRAMMY Album Of The Year winner, Karol G is back to take either a victory lap or a second such award with Mañana Será Bonito (Bichota Season). Bichota Season is a companion and part two to the Colombian reggaeton superstar's smash studio album Mañana Será Bonito, which took home both Album Of The Year and Best Urban Music Album at the 2023 Latin GRAMMYs. The mixtape has a different tone and style from her other 2023 album and, despite its similar name, is a completely different record.

Though shorter than its predecessor by seven songs, Bichota is long on big, bad diva energy. It contains the hit single "Mi Ex Tenía Razón," a mellifluous, Tejano-flavored cumbia-pop tune that the singer/songwriter has said was inspired by the music of Selena. 

The mixtape also comprises some standout collaborations, including "QLONA" with Mexican star Peso Pluma, "Dispo" with Puerto Rican rapper Young Miko, and Colombian-American singer Kali Uchis. Truly, Bichota Season is the definition of a good thing in a small package, which now gets its own moment to shine.

Watch: 2024 GRAMMYs: Karol G Wins The First GRAMMY Award Of Her Career For Best Música Urbana Album

Kany García — García

In 2024, Puerto Rican singer/songwriter Kany García released García, her ninth studio album, which is her seventh to be nominated for a Latin GRAMMY and her third to be nominated for a Album Of The Year. As of press time, the musician's storied career has brought her five Latin GRAMMY wins and 26 career nominations. 

García opens with the reflective title track in which the musician tells herself to look back on a life well lived, and to give thanks for everything that has happened. It sets the tone for a bravura performance on the rest of the recording. 

The album is as diverse as they come, including bold collaborations on regional Mexican songs with Carin León, Edén Muñoz, and Christian Nodal; her turns with León and Nodal both became massive hits. García also features the searing "En Esta Boca," her bachata hit with friend Young Miko, which has become a queer anthem for its overt theme of Lesbian romance. 

Juan Luis Guerra 4.40 — Radio Güira

An unerring ability to make international pop hits from tropical genres such as bachata and merengue has made Juan Luis Guerra an icon. Album Of The Year has long been the genre-blending artist's domain at the Latin GRAMMYs; he won the award as an artist in 2007, 2010 and 2014, as well as a producer on Juanes' MTV Unplugged album in 2012. This year, he re-enters the competition with Radio Güira, his lively 2023 concept EP, which presents each song as part of a broadcast on the fictional radio station "4:40 FM." 

Radio Güira has a nostalgic 1970s feel, but also a progressive nature. Lead single "Mambo 23" is an experiment in mambo-infused merengue de la calle, while "Cositas de Amor," dedicated to his wife, Nora, is a dreamy, pop take on reggaeton. The eclectic radio station also stirs a bit of jazz, blues and rock into the effervescent tropical mix, taking Guerra's Caribbean roots on a global journey. While he has described the album as a gift to longtime fans, Guerra also invites the younger generation to tune in and discover what has made him a legend.

Watch: Watch Juan Luis Guerra Latin GRAMMY Win For Best Tropical Song For "Las Avispas" In 2005 | GRAMMY Rewind

Mon Laferte — Autopoiética

Alternative pop singer/songwriter Mon Laferte reinvented herself after eight albums with 2023's Autopoiética, a rhythmically driven and musically inventive album built around the concept of self-creation and self-renewal. The Chile-born and Mexico-based star used electronic beats, hip-hop, cumbia, and avant reggaeton to uncover new aspects of herself as a creative force, and received resounding acclaim for her efforts — including three nominations at the 2024 Latin GRAMMYs (Album Of The Year and Best Alternative Music Album, as well as Record Of The Year for lead single "Tenochtitlán"). 

Emotionally intense and artistically fearless, Autopoiética simultaneously represents everything that Laferte is as an artist and is like nothing she has done before. It documents an artist at the peak of her development, still curious about what she can do as a musician. Ever a groundbreaker, in pushing her own limits, she also pushed the boundaries of Latin music.

No stranger to the Latin GRAMMYs stage, Laferte was last nominated for Album Of The Year in 2017 for La Trenza, whose single "Amárrame" (feat. Juanes) won Best Alternative Song that year. As of press time, Laferte has won four Latin GRAMMYs and received 20 nominations.

Carin León — Boca Chueca, Vol. 1

Música Mexicana star Carin León has built a massive following in his native Mexico and beyond with his updated approach to genres such as sierreño, which he infuses with rock 'n' roll swagger and Millennial irreverence. His career has been marked by a string of hits, culminating in two Latin GRAMMYs, one in 2022 for "Como Lo Hice Yo" (Best Regional Mexican Song) and one in 2023 for his third album Colmillo de Leche (Best Norteño Album). 

His nomination for Album Of The Year for 2024's Boca Chueca, Vol. 1 is a major milestone in his career, and one for regional Mexican music as well. If he were to win, it would not only be his first in the Category, but it would also be the first time the award went to an album in the genre. 

Boca Chueca, Vol. 1 underscores León's status as an artist who builds cultural bridges. The album features duets with regional Mexican singer Pepe Aguilar, as well as Mexican rock band Panteon Rococo, country star Kane Brown and alternative singer/songwriter Leon Bridges. Drawing in R&B, country and other influences, León's music crosses genre borders with ease as he himself crosses national borders. He's already made history this year, too, as León became the first Música Mexicana artist to perform at Stagecoach, one of the largest country music festivals in the U.S. 

Xande de Pilares — Xande Canta Caetano

A star of modern samba, Xande de Pilares is used to big stages, high-profile duets and multi-layered rhythms. But his 2023 studio album, Xande Canta Caetano — a celebration of fellow Brazilian singer and songwriter Caetano Veloso — is a quieter outing that reveals a softer side to his artistry. 

Xande de Pilares' interpretations of the Bahian legend's beloved songs display the depth of emotion he can convey, the richness of his voice alone, and the profound reverence the Carioca artist has for Brazilian music. Making the songs his own, the Rio artist teases the samba influences in Veloso's songwriting, highlighting the roots of MPB. 

The album and the nomination signify a capstone moment in the musician's career. Xande Canta Caetano helped Xande de Pilares earn his first Latin GRAMMY nominations as a solo artist; along with the Album Of The Year nomination, the set also received a nod for Best Samba/Pagode Album. His last nomination came in the latter category in 2010, when his former band Grupo Revelação was nominated for their album Ao Vivo No Morro. 

Residente — Las Letras Ya No Importan

As one half of the politically incisive rap duo Calle 13, Puerto Rico's Residente has won Album Of The Year at the Latin GRAMMYs twice — first in 2009 with Los de Atrás Vienen Conmigo and again in 2011 with Entren Los Que Quieran. This time around, he's in the running on his own with the epic Las Letras Ya No Importan, the rapper's first full album since the release of his self-titled solo debut in 2017.

Sonically spare and restrained, the ironically titled Las Letras Ya No Importan, which translates to Lyrics Don't Matter Now, finds the Latin rap godfather as lyrically trenchant as ever. He holds forth mightily on society, the music industry, Puerto Rico, death, loss, and his own life and history. The album further benefits from the support of collaborators, which range from Rauw Alejandro and Arcángel to Big Daddy Kane and Carin León. The single "This is Not America," featuring the ethereal vocals of French duo Ibeyi, marks a musical high point on the album. 

The album hits many such highs before the deeply personal single "René," which features the voices of both Residente's mother, Flor Joglar de García, and Panamanian singer Rubén Blades, and in turn brings the album to an emotional close. Originally released in 2020, "René" helped Residente win the Song Of The Year award at the 2020 Latin GRAMMYs; to date, he has a remarkable 28 Latin GRAMMY wins. 

Read More: Inside Residente's Las Letras Ya No Importan: How His New Album Shows The Rapper In Transition

Shakira — Las Mujeres Ya No Lloran'

Shakira had a big night at the 2023 Latin GRAMMYs, taking home three trophies and delivering an unforgettable performance alongside Bizarrap, Milo J, Agarrate Catalina, Quinteto Ástor Piazzolla, and Ariel Ardit. 

Four months later, Shakira continued the momentum with her empowering 12th album, Las Mujeres Ya No Lloran. Translating to Women Don't Cry Anymore, the break-up album written on a seismic scale marked her first full-length release in seven years. The 16-track project features several star-studded collabs, including reggaeton stars Ozuna, Rauw Alejandro and Manuel Turizo, regional Mexican bands Fuerza Regida and Grupo Frontera, and even chart-topping rapper Cardi B. 

Along with her Album Of The Year nomination, the Colombian superstar tallies two more Latin GRAMMY nominations this year: Song Of The Year for her Grupo Frontera team-up "(Entre Paréntesis)" and Best Latin Electronic Music Performance for the Tiësto remix of "Bzrp Music Sessions, Vol. 53," her Bizarrap collab that won Best Pop Song and Song Of The Year at the 2023 Latin GRAMMYs. What's in store for her this year, and what might she have in store for us? Don't miss the 2024 Latin GRAMMYs on Nov. 14 to find out! 

Listen Now: Every Year Is The Year Of Shakira: 10 Songs That Prove She's Always Been A Superstar