The Latin Recording Academy announced the nominees for the 26th edition of the Latin Grammy on Wednesday, in an event that brought together music industry professionals from various countries. The awards ceremony, scheduled for November 13 at the MGM Grand Garden Arena in Las Vegas, United States, recognizes works released between June 2024 and May 2025.
This edition features 60 categories in total, with three new additions that expand the scope to visual media and roots songs, reflecting the evolution of Latin music on digital platforms and audiovisual narratives.
Bad Bunny stands out with multiple nominations in Record and Album of the Year, solidifying his influence in global reggaeton. Liniker, from Brazil, earns seven nominations, including major ones, for her album Caju and tracks like Veludo Marrom. Karol G and Natalia Lafourcade compete in impactful songs, highlighting fusions of pop and Latin folklore.
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The selection process involved thousands of academy members who voted in initial rounds to determine the contenders. The final winners will be decided on October 1, ensuring a balance between innovation and tradition in the region’s music.
Several Brazilian artists appear on the list, such as Marina Sena and Milton Nascimento, reinforcing the vitality of the national scene. Anticipation grows for performances that blend genres, with a focus on cross-border collaborations that define the contemporary Latin sound.
Highlights in the main categories Bad Bunny leads the Record of the Year category with Baile Inolvidable, a track that blends urban rhythms with danceable elements, capturing the festive essence of his recent productions. He also competes with DtMF, exploring introspective lyrics about fleeting relationships. CA7RIEL & Paco Amoroso stand out with El Día Del Amigo, an Argentine collaboration that merges indie rock with electronic touches, celebrating friendships amid urban chaos. Jorge Drexler and Conociendo Rusia present Desastres Fabulosos, a Uruguayan duet blending folk with subtle orchestrations, addressing themes of loss and resilience. Zoe Gotusso competes with Lara, a delicate ballad with acoustic arrangements and light percussion. Karol G appears with Si Antes Te Hubiera Conocido, a hit combining dembow with pop influences, amassing record-breaking streams. Natalia Lafourcade competes for Cancionera, an album that honors Mexican traditions with modern reinterpretations. Liniker closes with Ao Teu Lado, a soulful performance integrating MPB elements with global rhythms. Alejandro Sanz concludes with Palmeras En El Jardín, a Spanish track evoking Mediterranean summers with flamenco guitars and ethereal choirs.
These nominations showcase a diverse sonic tapestry, where urban meets acoustic. The initial voting prioritized works that innovate while preserving cultural roots, resulting in a selection that balances commercial hits and auteur projects. Producers like Rafa Arcaute influenced several choices, with mixes that highlight unique sonic textures.
Brazilian presence in the nominations Liniker leads the national nominations with seven, including Album of the Year for Caju, a record exploring intimacy and identity with deep vocal layers and minimalist instrumentation. Marina Sena competes in Best Portuguese-Language Song with Ouro de Tolo, a contemporary take on an MPB classic with R&B touches. Her album Coisas Naturais is also in Contemporary Pop. Milton Nascimento appears in collaborations like Um Vento Passou with Esperanza Spalding, blending jazz and Minas Gerais folklore. Djonga emerges in Alternative Rock with Quanto Mais Eu Como, Mais Fome Eu Sinto!, critiquing social inequalities with dense rhymes. Carol Biazin competes in Contemporary Pop Album with No Escuro, Quem É Você?, exploring emotional vulnerabilities. BaianaSystem competes in Alternative Rock with O Mundo Dá Voltas, fusing afrobeats with Bahian rhythms. Mc Hariel and Gilberto Gil compete in Urban Performance with A Dança (Ao Vivo), blending carioca funk with tropical touches. Julia Mestre enters with Maravilhosamente Bem, a ballad celebrating self-acceptance. Alcione represents samba with her self-titled album, reviving roots pagode. Zeca Pagodinho marks 40 years of career with Zeca Pagodinho – 40 Anos (Ao Vivo), capturing samba’s essence.
These names illustrate the breadth of Brazilian music, from established icons to emerging voices. Lauana Prado competes in Sertanejo with Transcende (Ao Vivo / Deluxe), modernizing the genre with strong female narratives. Ana Castela competes with Let’s Go Rodeo, infusing Brazilian country with themes of overcoming. Chitãozinho & Xororó revive classics in José & Durval, a duet with updated arrangements.
New categories and innovations The introduction of Visual Media recognizes projects integrating music with cinematic narratives, with Pedro Osuna competing for Cada Minuto Cuenta, a soundtrack for a migration documentary. Best Song for Visual Media highlights Camilo Sanabria in Cien Años De Soledad, using Andean flutes to evoke solitude. Federico Jusid competes with El Eternauta, a score blending dark electronics with epic strings. Eduardo Cabra competes for In The Summers, merging Puerto Rican folk with symphonic elements. Gustavo Santaolalla closes with Pedro Páramo, a minimalist soundtrack inspired by Mexican literature.
Best Roots Song celebrates Luis Enrique and C4 Trío with Aguacero, fusing Venezuelan salsa with folk harps. Natalia Lafourcade collaborates with El David Aguilar in Como Quisiera Quererte, reviving son jarocho. Anita Vergara and Tato Marenco present Ella, a Nicaraguan piece with marimba. Monsieur Periné and Bejuco compete with Jardín del Paraíso, a joyful Colombian cumbia. Bad Bunny surprises with Lo Que Le Pasó A Hawaii, a roots track with Hawaiian ukulele.
These additions expand the award, valuing intersections with cinema and ancestral traditions. The academy adjusted criteria to include more regional diversity, with record nominations from countries like Uruguay and Argentina.
Albums defining the year Rauw Alejandro opens Album of the Year with Cosa Nuestra, exploring love and disillusion in polished reggaeton. Bad Bunny follows with DeBÍ TiRAR MáS FOToS, a visual narrative with lo-fi and trap sounds. CA7RIEL & Paco Amoroso present Papota, capturing Argentine urban youth. Gloria Estefan returns with Raíces, blending classic salsa with modern pop. Vicente García competes with Puñito de Yocahú, fusing merengue with indigenous rhythms. Joaquina enters with Al Romper La Burbuja, introspective pop about mental health. Natalia Lafourcade reinforces with Cancionera, reconstructing Mexican songbooks. Carín León competes with Palabra de To’s (seca), a revised ranchera. Liniker shines with Caju, Brazilian soul with queer narratives. Elena Rose closes with En Las Nubes – Con Mis Panas, a light reggaeton mixtape. Alejandro Sanz concludes with ¿Y Ahora Qué?, Spanish ballads with dramatic piano and strings.
Emerging voices in breakthrough Alleh blends trap with Arab influences, bringing queer perspectives. Annasofia emerges with electronic pop about immigration. Yerai Cortés represents modern flamenco with electronic beats. Juliane Gamboa, Brazilian, explores Afro ancestry in MPB. Camila Guevara raps about inequalities in Cuba. Isadora presents Brazilian indie folk with ecological themes. Alex Luna competes with Mexican psychedelic rock. Paloma Morph explores Argentine experimental electronics. Sued Nunes, Brazilian, competes with soulful R&B. Ruzzi closes with Italian-Latin urban pop.
Exploration in pop and urban Andrés Cepeda opens Best Pop Song with Bogotá, a cumbia-pop anthem. CA7RIEL & Paco Amoroso repeat with El Día Del Amigo. Yami Safdie and Camilo present Querida Yo, an electronic ballad. Shakira competes with Soltera, an empowerment reggaeton anthem. Nicole Zignago closes with Te Quiero, romantic Peruvian pop.
In urban, Bad Bunny dominates with Debí Tirar Más Fotos. Fariana emerges with Underwater, R&B with oceanic samples. Nicki Nicole presents Naiki, Argentine trap. Papatinho competes with MPC (Música Popular Carioca), instrumental funk. Yandel closes with Elyte, high-tech reggaeton.
Instrumentals and Latin jazz Ariel Brínguez and Iván “Melon” Lewis open with Alma En Cuba, Cuban piano with Afro-Cuban rhythms. Yamandu Costa and Orquestra Assintomática compete with Saga, Uruguayan guitar with reinvented tangos. Harlem Quartet and Aldo López Gavilán present Havana Meets Harlem, blending Cuban classical with jazz. Hamilton de Holanda Trio leads with mandolin in reinterpreted Latin standards. Paquito D’Rivera competes with La Fleur de Cayenne, clarinet with Guyanese rhythms.
Children’s music and composers Canticuentos and Coro de Ríogrande open with Los Nuevos Canticuentos, Argentine educational songs. Antonio Caramelo and Malibu present Aventuras de Caramelo, Chilean musical tales. Palavra Cantada competes with Cenas Infantis, educational Brazilian rhymes. Luis Pescetti and Juan Quintero enter with Buscapié, Argentine rhymed tales. Rita Rosa closes with Jirafas, Portuguese children’s pop.
In Composer of the Year, Edgar Barrera leads with Latin pop hits. João Ferreira shines in sertanejo and MPB. Pablo Preciado excels in regional Mexican. Mónica Vélez in urban ballads. Ale Zéguer closes with innovative fusions.
Videos and technical productions Bad Bunny opens Short Music Video with EL CLúB, satirizing nightclubs. Bk’ competes with Diamantes, Lágrimas e Rostos Para Esquecer (Dlre), an urban narrative. CA7RIEL & Paco Amoroso repeat with #Tetas, a surreal video. Vera Grv enters with Cura Pa Mi Alma, a spiritual journey. Guitarricadelafuente closes with Full Time Papi, a family comedy.
In Long Version, CA7RIEL & Paco Amoroso lead with Papota, a studio documentary. Hodari presents Iradoh – 3 Atos De Irmandade, a Brazilian film. Mon Laferte competes with Mon Laferte, Te Amo, an emotional biopic. Gaby Moreno closes with Lamento (Extended Cut), a Guatemalan journey.
Producer of the Year goes to Rafa Arcaute and Federico Vindver, masters of urban mixes. Edgar Barrera shines in pop, Nico Cotton in indie, Andres Torres and Mauricio Rengifo in ballads, and Matheus Stüirmer in MPB.
