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\t\tEditor\u2019s picks<\/p>\n<\/h2>\n<\/section>\n
\n\tAll these nominations bode well for El Conejo Malo, but multiple nods in big categories could split his vote and make it harder for him to take home the trophy in those areas.<\/p>\n
\n\t\tM\u00fasica Mexicana Get Snubbed \u2014 Again\t<\/h2>\n
\n\tIt seems like every year, the Latin Recording Academy reminds us just how out of touch it is with the ever-growing and modernizing m\u00fasica mexicana scene. Across its main categories, just one act from the genre, Carin Leon, made the cut in the Album of the Year category, despite its massive last few years. Song and Record\u00a0of the Year got zero musica mexican acts, and no, Natalia Lafourcade, a Latin Grammy favorite\u00a0doesn\u2019t\u00a0count.\u00a0A closer look shows an even deeper disconnect: the Academy completely ignores what younger generations are actually listening to. It\u2019s not just that m\u00fasica mexicana was excluded from the top awards \u2014 albums like Fuerza R\u00e9gida\u2019s history-making\u00a0111xpantia<\/em>\u00a0were entirely overlooked in genre-specific categories like Contemporary Mexican Music Album, despite making history on the charts. Rising stars with stellar debut albums, like Xavi and Net\u00f3n Vega, didn\u2019t earn a single nod. And in Best New Artist, breakout acts such as Estevie and Vega were nowhere to be found. It\u2019s the same story every year \u2014 and maybe it\u2019s time the Latin Recording Academy takes a long, hard look at itself and ask: Do we have a diverse enough group of voters to make this process truly fair? Jimmy Humilde put it poetically when he reacted to the nominations in 2023: \u201cI think they\u2019re full of shit.\u201d<\/p>\n\n\t\tLiniker and CA7RIEL & Paco Amoroso Are the Breakout Darlings\t<\/h2>\n
\n\tEvery year, one of the most exciting parts of the Latin Grammys is seeing which breakout artists had a huge year. 2025 is shaping up to be all about Brazil\u2019s Liniker, who turned up in major categories on the strength of her album Caju<\/em>, and Ca7riel & Paco Amoroso, the Argentine duo who went wildly viral after their Tiny Desk concert last October. \u00a0<\/p>\n\n\n
\t\tRelated Content<\/p>\n<\/h2>\n<\/section>\n
\n\tBoth offer a side the Latin Grammys hasn\u2019t typically embraced, since it can often feel like Brazilian music and pop-jazz fusions are siloed off into specialty categories. But both acts are up for Album of the Year, Song of the Year, and Record of the Year \u2014 with Ca7riel & Paco Amoroso even enjoying multiple nominations per certain categories, similar to Bad Bunny.<\/p>\n\n\n
\t\tTrending Stories<\/p>\n<\/h2>\n<\/section>\n
\n\t\tNew Categories Show Innovation\t<\/h2>\n
\n\tA Best Roots Song category could seem like a throwaway category ignored at the telecast, but the newly unveiled category actually makes a lot of sense thanks to contemporary artists blending traditional sounds with pop music. The nominees are especially interesting: Bad Bunny has a much-deserved nod for \u201cDtMf,\u201d a song that seamlessly weaves in Puerto Rico\u2019s plena sound with modern instrumentation and rap-sung verses. There\u2019s also room for interesting work being done by Natalia Lafourcade and El David Aguilar, who have been known to revisit the past and bring it into the future.<\/p>\n
\n\tThe second new category, Best Music For Visual Media, speaks to music that\u2019s cinematic in scope and spirit. The frontrunners there seem to be Argentine legend Gustavo Santaolalla, who has soundtracked films like Amores Perros and Brokeback Mountains, and Cabra, the famed producer and former half of Calle 13, both who create sonic landscapes in their work.<\/p>\n<\/div>\n
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