Forward of the 2025 Latin Grammys, we make the case for thrilling indie releases by Juana Aguirre, Mabe Fratti, Cheo, Marilina Bertoldi, Woman Extremely and Gepe.
Juan Luis Guerra. Natalia Lafourcade. Jorge Drexler, Caetano Veloso and Shakira. Clearly, Latin Grammy voters have demonstrated again and again some wonderful judgment relating to highlighting artists who know tips on how to make a lovely document or two.
At a time when la música latina continues to expertise a state of grace — each in industrial and artistic phrases — the upcoming nominations are prone to embrace many of the main contenders who dropped new music between June 1, 2024 and Could 30, 2025. However what concerning the singers and musicians who’re evolving the style with out the good thing about a strong document label or high-profile publicity campaigns?
A number of the most progressive, forward-facing information of the 2024-25 season are prone to be ignored by the Latin Academy. With that in thoughts, we’ve assembled a choose record of six Latin artists who ought to be celebrated. Just a few might present up when the nominees are introduced on Sept. 17 — however every of them deserves a Latin Grammy.
Juana Aguirre
In an ideal world, “Anónimo,” the sophomore effort by Argentine digital sorceress Juana Aguirre, can be an apparent candidate for album of the 12 months. In fact, many artists earlier than her have dabbled within the avant-garde deconstruction of the songwriting craft — fellow experimentalist Juana Molina involves thoughts. What locations Aguirre miles forward of the competitors isn’t solely the disturbing vulnerability of her course of — she information at house, in a lo-fi setting, driving herself mad with frustration by reducing and pasting till the disjointed bits and chirps of sound gel right into a cohesive entire — but additionally the otherworldly fantastic thing about the completed product. Aguirre lived in New Zealand and Bolivia earlier than returning to the balmy Buenos Aires neighborhood of San Isidro, and her nomadic previous might account for the assured, cosmopolitan vibe of tracks such because the folktronica lullaby “Lo Divino” and the ghostly, Erik Satie-infused piano of “Las Eamas.” A graphic designer and musician of unhinged creativeness, she deserves loads of accolades.
Gepe
One of the good singer/songwriters ever to emerge from Chile, Gepe is properly established throughout the Americas and will very properly be nominated for his luminous 2024 session “Undesastre” — and if that seems to be the case, properly carried out, LARAS. It might be vital, nevertheless, that his triumphant fusion of South American people roots and nimble digital beats isn’t relegated to the Different subject. A session that glides effortlessly from bouncy, laid-back romantic anthems like “Playaplaya” to stellar duets with the likes of Mon Laferte, Monsieur Periné and Café Tacvba’s Rubén Albarrán deserves a spot within the race for album of the 12 months. A move-you-to-tears orchestral ballad of bone shaking depth, the majestic “Desastre” — it brims with eccentric sound results and Beatlesque progressions — can be probably the most elegant doable selection for each document and music of the 12 months.
Mabe Fratti
In dialog, Mabe Fratti is humorous and unassuming. She makes foolish jokes and describes her music-making progress with selfless glee, seemingly unaware of her personal distinguished standing as a member of the Latin American avant-garde. A composer, cellist and ethereal singer, the 33 year-old Fratti was born in Guatemala and moved to Mexico Metropolis in 2015. The songs on this trendsetting fourth album are amorphous and crystalline, obsessive about discovering magnificence in probably the most faraway corners. “Sentir Que No Sabes” has been hailed as a masterpiece by critics worldwide, from Pitchfork to the Guardian. Its brainy mixture of jazz, classical, post-rock and dreamy synths may simply scare probably the most conservative faction of Latin Grammy voters — and that might be a grave mistake.
Cheo
As a member of Venezuela’s flip of the century get together band Los Amigos Invisibles, guitarist and composer Cheo — José Luis Pardo — acquired to take pleasure in a Latin Grammy win and several other nominations. Sadly, he has saved extra of a low profile since going solo in 2014. Creatively, nevertheless, Cheo stays a formidable composer and arranger. His “Música Para Verse Bien” was the most effective albums of 2023, together with “Agujas en el Pecho,” a wonderful duet with Monsieur Periné singer Catalina García.
In the course of the eligibility interval for this 12 months’s ceremony, he launched three separate volumes within the “Refresco” collection of EPs, paying homage to the style strands that inform his music: tropical, funk and Brazilian. “Si Estuvieras Aquí” underscores Cheo’s weak point for bubbly Latin lounge, with electrical piano prospers and wordless vocals à la Henry Mancini. “Vol. 3: Cheo Goes Brazil” might be probably the most touching of the group, with remakes of two peerless Amigos Invisibles bossa novas: “Playa Azul,” now sung by Cheo himself, and “Las Lycras del Avila,” channeling Antonio Carlos Jobim’s bohemian snapshots of Rio de Janeiro within the ‘60s, with a wistful melody on electric guitar.
Girl Ultra
In 2022, Mariana de Miguel turned a seven song mini-album about life in Mexico City, “El Sur,” into a late-night banquet of darkly hued dance-pop. This year, the artist known as Girl Ultra qualifies for the Latin Grammy on the strength of “Blush:” a delicate EP made up of fleeting miniatures, noir impressions of EDM glamour. The architecture is more refined on shimmering pearls such as the hypnotic “Blu” and the bratty “Rimel.” But it is Girl Ultra’s emotional maneuvering that turns “blush” into an unforgettable expertise.
At first, these songs appear destined to supply the soundtrack for decadent one-night stands. Simply beneath the floor, nevertheless, the hopeful longing within the singer’s voice means that she might also be a romantic at coronary heart. The highest degree manufacturing and Woman Extremely’s masala-like mix of digital spices would greater than justify a document of the 12 months nomination for “Blu.”
Marilina Bertoldi
Need a contact of genius? Strive the 1:30 mark on the music “Autoestima,” when every little thing stands nonetheless — and the stately chords of a church organ add a spoonful of insanity to this tune concerning the negativity that permeates day by day life in Buenos Aires.
Since she emerged as a solo artist in 2012, Marilina Bertoldi has established herself because the resident hurricane of Argentine rock, blessed with a corrosive sense of the absurd, a knack for pop-punk melodies, and angle to spare. Most significantly, her album “Para Quien Trabajas Vol. 1” is super enjoyable, a depraved homage to the robotic drum machines and baroque synth traces that outlined the ‘80s rock revolution in South America — from the classic albums of genre godfather Charly García to the radical moxie of Sumo, and the angular melodic sadness of cult band Metrópoli.
Fortunately, you don’t must catch all of the references with a purpose to really feel uplifted by Bertoldi’s ball-of-fire songbook. The tracks are firmly planted on the now, from the elegant decay of “El Gordo” to the weak “Por Siempre Es Un Lugar.” Bertoldi’s albums have been nominated 3 times previously, however the rock and various fields are just too slender and myopic for this brash, self-produced gem.
