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      Romeo Santos’s Melodramatic Return, and 13 More New Songs

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      Hear tracks by Jack Harlow, Flock of Dimes, Tame Impala and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new songs and videos. Just want the music? Listen to the Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at theplaylist@nytimes.com and sign up for our Louder newsletter, a once-a-week blast of our pop music coverage.Romeo Santos, ‘Sus Huellas’“Sus Huellas,” the first single from Romeo Santos’s forthcoming fifth solo album, “Formula, Vol. 3,” finds him reprising the bleeding-heart theatrics he’s known for, recalling the kind of cortavenas (roughly, “wrist cutting”) torment of bachata classics. This time, the genre’s white-pants-wearing, antics-obsessed lover boy is trying to recover from the despair of a lost love, and the melodrama is in overdrive: “Come, pull out my veins/Because the plasma inside of me has the poison of her love,” he sings. “And take this lighter, I want you to burn my lips/Eliminate the taste of her tongue, which did me harm.” It’s not all tradition though; Santos drops in an EDM interlude that will have uptown clubs losing it. ISABELIA HERRERAJack Harlow, ‘Nail Tech’Last year Jack Harlow went to No. 1 as the guest on Lil Nas X’s “Industry Baby,” and he’s learned something from that experience. “Nail Tech” has echoes of that song’s horns, and Harlow approaches the beat similarly, with imagistic rapping — “You ain’t one of my dogs, why do you hound us?” — and a confidence that makes this song sound like a victory lap. JON CARAMANICAC. Tangana, Omar Montes, Daviles de Novelda and Canelita, ‘La Culpa’The Spanish singer-rapper C. Tangana gets top billing on “La Culpa” (“The Blame”), a song added to the deluxe version of his 2021 Latin Grammy-winning album “El Madrileño.” But except for a brief, vulnerable bridge, he spends most of the song merged in harmony with three other singers who are more robust and closer to flamenco — Omar Montes, Daviles de Novelda and the especially gutsy Canelita — while rock drums and electric guitars join flamenco handclaps to pace the song. While the lyrics profess guilt and regret, they’re delivered with jolly camaraderie, suggesting that male bonding can easily overcome pangs of conscience. JON PARELESTame Impala, ‘The Boat I Row’Kevin Parker, a.k.a. the one-man studio band Tame Impala, took so long to release his 2020 album, “The Slow Rush,” that of course he had outtakes. “The Boat I Row” is from his collection “The Slow Rush B-Sides and Remixes.” It shares the album’s stately, logy, time-warped sound — psychedelically phased drums playing a hip-hop beat, multitracked vocal harmonies suggesting both the Beatles and ELO — and its thoughts about dogged persistence. “Even if it takes a hundred thousand goes/The way’s in front of me ’cause that’s the one I chose,” Parker sings, at once diffident and determined. PARELESFlock of Dimes, ‘Pure Love’Jenn Wasner, who records as Flock of Dimes, ponders unsatisfied desire — material and emotional — in “Pure Love,” recorded with the producer Nick Sanborn from Sylvan Esso: “I keep dreaming of a better moment,” she sings. She’s surrounded by looped voices and instruments, with ricocheting programmed beats that hit like 1980s drums; she sounds like she’ll persist. PARELESAsa, ‘Ocean’The songwriter Asa has forged a long career in Nigeria, singing about adversity and conflict as well as romance. But “Ocean” is pure affection. Asa is about to release her fifth studio album, “V,” and “Ocean” distills the ways Nigerian Afrobeats exalts Minimalism. The percussion is just a few syncopated taps, the bass lines are only two or three notes and Asa’s breathy voice floats with professions of pure devotion: “Boy, you are the ocean,” she coos, and everything about the song promises bliss. PARELESYeat featuring Young Thug, ‘Outsidë’Two generations of surrealists in one liquid pool of syllables. Yeat is still swooning over abstraction, and Young Thug, several years older, has learned how to form word-like shapes while still seeming to melt in real time. CARAMANICASigurd Hole, ‘The Presentation Dance’Like so many, the Norwegian bassist Sigurd Hole — a nimble-fingered player and a composer of sonically expansive, thoughtfully paced music — has been overcome with dismay at the fast-worsening climate crisis. Like too few, in the face of it he’s sought out wisdom and theory from non-industrialized societies. “The Presentation Dance” comes from his newest album, “Roraima,” which he made after reading “The Falling Sky,” a book by the Yanomami shaman and mouthpiece Davi Kopenawa. The rain-like pitter-patter of a marimba interacts with a small corps of strings, playing fluid and intertwined melodies that sometimes fall into a pizzicato repartee with the marimba’s mallets. GIOVANNI RUSSONELLOEd Sheeran featuring Bring Me the Horizon, ‘Bad Habits’Last week Ed Sheeran released a new version of his song “The Joker and the Queen,” accompanied by Taylor Swift. Pfft. Predictably pretty. Plain. This is more like it. “Bad Habits” is maybe Sheeran’s most anodyne pop hit, and this version, which is theatrically stomped all over by the British metalcore band Bring Me the Horizon, rescues it, recalling the essential and overlooked “Punk Goes Pop” compilation series. CARAMANICAFrontperson, ‘Parade’Frontperson is the indie-rock duo of Kathryn Calder, from the New Pornographers, and Mark Hamilton, from Woodpigeon. Blooping, calliope-like keyboard arpeggios and layers of nonsense-syllable vocals give “Parade” a blithe, circusy tone as Calder and Hamilton sing about anticipation, connection and disconnection, accepting it all: “Sometimes you’re left/Sometimes you leave.” PARELESAmbar Lucid, ‘Dead Leaves’Ambar Lucid’s music bottles youthful longing. The 21-year-old, whose debut album, “Garden of Lucid,” collected stories about escape and radical self-acceptance, seems to know exactly how to stir the soul. “Should I even bother letting anybody know how I feel?” she wonders on “Dead Leaves.” It’s soft winter balladry that contains all the pain and promise of the change of seasons. HERRERAHurray for the Riff Raff, ‘Jupiter’s Dance’“Jupiter’s Dance” is from the newly released “Life on Earth,” the seventh album Alynda Segarra has made as Hurray for the Riff Raff. The new songs contemplate the natural world and humanity’s toll on it. “Jupiter’s Dance” is a quasi-mystical reassurance — “Celestial children coming through/You never know who you’ll become” — with a glimmering bell tones and an undercurrent of Puerto Rican bomba, a brief benediction. PARELESJavon Jackson featuring Nikki Giovanni, ‘Night Song’The poet Nikki Giovanni selected the repertoire for “The Gospel According to Nikki Giovanni,” a new album by the strapping tenor saxophonist Javon Jackson that explores the lineage of Black American spirituals and hymns. But her voice appears on only one track, and it’s the one that’s not a church melody: “Night Song.” Rather that recite her own poetry, Giovanni sings this ode to unbelonging — a favorite of her old friend Nina Simone — with wistful conviction, picking up where Jackson’s gentle treatment of the melody leaves off. Her voice crinkles up on the high notes but loses none of its gravitas or tenderness as she sings: “Music, by the lonely sung/When you can’t help wondering:/Where do I belong?” RUSSONELLOChris Dingman, ‘Silently Beneath the Waves’For the vibraphonist Chris Dingman, solo playing was becoming central to his practice even before the pandemic hit. Since then, it’s been his primary mode, and he’s increasingly sought to use the big, chiming instrument as a vehicle for transcendence. That pursuit has guided him into a close study of a far tinier instrument: the mbira, a thumb piano with spiritual applications across southern Africa. On “Silently Beneath the Waves” — the opener to a new album of solo performances, “Journeys Vol. 1” — you can hear evidence of that research, as he repeats fetching, hypnotizing patterns that pull you into their force field before gradually giving way to a different shape. RUSSONELLO More

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      Tito Matos, Virtuoso of a Puerto Rican Sound, Dies at 53

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      A lifelong champion of the plena genre, he helped rejuvenate it for a new generation both in Puerto Rico and in New York.Tito Matos, a master percussionist, revered educator and lifelong champion of the Puerto Rican style of music known as plena, died on Jan. 18 in San Juan, P.R. He was 53.His wife, Mariana Reyes Angleró, said the cause was a heart attack.Mr. Matos was a virtuoso of the requinto, the smallest and highest-pitched hand-held drum, or pandereta, used in plena. Rooted in African song traditions, plena emerged in the early 20th century on the southern coast of Puerto Rico and came to be known as “el periódico cantado,” or “the sung newspaper.” In street-corner style, it narrated stories, some gossipy, about love and the concerns of everyday working-class and Black Puerto Ricans. In its early years, wealthy elites maligned the genre.Mr. Matos was a member of multiple plena groups but first gained wide recognition with the band Viento de Agua, founded in New York in 1996. It reimagined plena and bomba, another Afro-Puerto Rican style of music and dance, by infusing them with jazz textures, exuberant horn sections and Cuban batá rhythms.For Mr. Matos, the band’s first album, “De Puerto Rico al Mundo” (1998), opened the door to a dynamic career that transformed him into one of the foremost plena practitioners of his generation.Héctor René Matos Otero was born on June 15, 1968, in the Río Piedras district of San Juan, one of three children of Héctor Matos Gámbaro and Hilda I. Otero Maldonado. His father was an accountant and a salsa enthusiast; his mother is a homemaker.Raised in Villa Palmeras, a barrio of the Santurce section that is considered a nexus of bomba and plena, Héctor embraced plena as an 8-year-old when his grandfather gave him his first pandereta, for the Three Kings Day holiday. Héctor had no formal musical training and could not read sheet music, but his love for plena was planted.He moved to New York in 1994 and eventually completed a degree in landscape architecture at City College. He entered a new diasporic community of musicians, joining Los Pleneros de la 21, an intergenerational East Harlem ensemble, and learning from plena masters who had migrated to New York in the 1940s and ’50s.Mr. Matos, third from left, playing the pandereta in 2014. “He got a lot of young people to just pick up a pandereta,” a friend said, “who were not necessarily interested in plena.”Hiroyuki Ito for The New York TimesIn New York, he met Ricardo Pons and Alberto Toro, two saxophonist-arrangers. “Tito was addicted to plena,” Mr. Pons said in a phone interview. “Un fiebrú,” he added, laughing, “like he had a fever.”Historically, only certain families were custodians of plena, charged with keeping its traditions and rhythms alive. “It was a problem, because they were very restrictive,” Mr. Matos said in an interview in 2010.Instead, Viento de Agua sought innovation. “It was not about conserving plena or bomba,” Mr. Pons said; “it was about doing whatever we wanted with it.”The group’s album “De Puerto Rico al Mundo” was infused with an irreverent, imaginative spirit. Writing in The New York Times, Peter Watrous praised it as “exuberant and raucous.”The group performed in Mexico, Cuba and across the United States, sometimes accompanied by a full jazz band.“Tito was super, super gregarious and charismatic,” Ed Morales, a journalist, author and friend of Mr. Matos, said in a phone interview. Mr. Matos, he added, had a special ability to reach Puerto Ricans both on the island and in the diaspora and instill in them a sense of communion — particularly when he performed at a biennial concert at Hostos Community College in the Bronx.“You really got to feel the connection between people in Puerto Rico and people in New York more than almost any other place,” Mr. Morales said.In the early 2000s Mr. Matos returned to Puerto Rico, where he became an educator and cultural advocate. He co-founded Plenazos Callejeros, a monthly initiative that gathered musicians across Puerto Rico for spontaneous plena performances on street corners.“He got a lot of young people to just pick up a pandereta,” Mr. Morales said — “people who were not necessarily interested in plena, because maybe they thought it sounded corny or something, or it wasn’t like salsa or hip-hop or reggaeton.”Today, plena is undergoing a cultural renaissance; in recent years it has played a central role in progressive political gatherings and protests in Puerto Rico, including those in the summer of 2019 that led to the resignation of Gov. Ricardo Rosselló.Subsequent projects led Mr. Matos to collaborate with stars like Eddie Palmieri, Ricky Martin and the jazz saxophonist and composer Miguel Zenón. Mr. Matos later founded the band La Máquina Insular, which focused on returning plena back to its roots.In 2015, he and his wife founded La Junta, a bar and performance space in Santurce, where they hosted live music and plena workshops. Hurricane Maria destroyed the space in 2017, but its spirit was revived in “La Casa de la Plena,” a historical exhibition, curated by the couple, that opened in May 2021 at the Taller Comunidad La Goyco, a community center they established in an abandoned Santurce school building they had renovated.In addition to his mother and his wife, whom he married in 2013, Mr. Matos is survived by their son, Marcelo; two children from previous marriages that ended in divorce, Celiana and Héctor; a brother, Yan Matos Otero; and a sister, Glennis Matos Otero.A procession this month honoring Mr. Matos in San Juan drew hundreds.Taller Comunidad – La GoycoOn Jan. 21, Mr. Matos was honored with an immense procession in Santurce. Friends, family members and dozens of fans walked the streets, drumming on panderetas and singing words of gratitude. “Muchas gracias, te amamos,” they chanted — “Thank you very much. We love you.” More

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      Elza Soares, 91, Who Pushed the Boundaries of Brazilian Music, Dies

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      She rose from a favela in Rio to samba stardom in the 1960s. But her career was later overshadowed by an affair with a famous soccer player that became a national scandal.Elza Soares, the samba singer whose meteoric rise from the favela to stardom was later eclipsed by a scandalous affair with one of Brazil’s most famous soccer stars, died on Thursday at her home in Rio de Janeiro. She was 91.Her death was announced in a statement on her official Instagram account, which added that she “sang until the end.”With fine features that led to comparisons with Eartha Kitt and a rough voice that was reminiscent of Louis Armstrong, Ms. Soares became one of the few Black women singers in Brazil to be featured in films in the 1960s and on television in the ’70s.Her first album, “Se Acaso Você Chegasse” (“If You Happen to Stop By”), released in 1960, introduced scat singing into samba. Her second, “A Bossa Negra” (1961), was conspicuously lacking in bossa nova. Instead, it featured the kind of samba popular in the favelas, thus reclaiming the African roots of a sound whose international success stemmed from taking away samba’s drums and adding complex jazz harmonies.As her fame grew, she remained true to her roots. “I never left the favela,” she liked to tell reporters, and she often finished shows thanking audiences for “every scrap of bread that my children ate.”Such talk was almost unheard-of in the 1960s in Brazil, where — despite a yawning gap between rich and poor, and despite a larger Black population than any other country outside Nigeria — publicly discussing issues of poverty and race was considered inelegant.RCA Records declined to offer her a contract after learning that she was Black, and she spent years singing in Copacabana nightclubs before being signed to Odeon Records in 1960, where she began a long recording career subtly — and sometimes not so subtly — pushing the boundaries of Brazilian music.But by the 1980s, she was perhaps better known as the wife of the soccer star known as Mané Garrincha — considered in Brazil to be second only to Pelé — than for her music. When Garrincha left his wife and eight children to marry Ms. Soares, it was a national scandal. She was widely disparaged and labeled a home wrecker. Angry fans pelted their house in Rio with stones and even fired shots at it.Ms. Soares and the soccer star known as Mané Garrincha in an undated photo. When he left his wife and eight children to marry Ms. Soares, it was a national scandal.Associated PressIt wasn’t until the early 2000s, long after the death of her husband, that Ms. Soares staged an unlikely comeback, embracing younger composers and producers who were just beginning to discover her music. Her new songs were even more direct than her earlier ones in addressing social issues, openly advocating for the rights of Black people, gay people, and especially women.Elza Gomes da Conceição was born on June 23, 1930, in Rio de Janeiro’s Padre Miguel favela. Her mother, Rosária Maria da Conceição, was a washerwoman; her father, Avelino Gomes, was a bricklayer who played guitar and liked samba music.Her father forced her to marry Lourdes Antônio Soares when she was 12; by the age of 21, she was a widow and the mother of five.She said it was a desperate need to buy medicine for a sick child that led her to take a chance singing at a popular radio talent show when she was 15. She showed up in pigtails and a dress, borrowed from her mother, hemmed in with safety pins. She was nearly laughed offstage until the show’s host, Ary Barbosa, asked her what planet she had come from. She disarmed him with her reply: “The same planet as you — Planet Hunger.”“At that moment everyone who was laughing sat down in their seats and everyone was quiet. I finished singing and he hugged me, saying, ‘Ladies and gentlemen, at this exact moment a star is born,’” Ms. Soares said in a 2002 television interview.Her singing career took off, leading to appearances in movies and on TV. She was one of the few Black Brazilian women to rise to stardom at the time.Her career, however, was soon overshadowed by her fiery love affair with Manuel Francisco dos Santos, known as Garrincha. Their romance began at the 1962 World Cup in Chile, where she was representing Brazil as an entertainer, and where her career might have taken a very different turn: She also met Louis Armstrong, who invited her to tour the United States with him, but she chose instead to follow her heart and return to Brazil with Garrincha. That move would have disastrous repercussions.Harangued by the public and the press, the couple were forced to move to São Paulo and eventually to Italy, where they spent four years. They married in 1966.Ms. Soares was pregnant with their son, Manoel Francisco dos Santos Júnior, when the couple returned to Brazil in 1975. By that time, Garrincha’s alcoholism was becoming a serious problem. He had been driving drunk in 1969 when he had an accident that killed Ms. Soares’s mother. He beat Ms. Soares, who became known for visiting bar owners to implore them not to serve her husband. But her efforts proved futile; Garrincha died of cirrhosis in 1983.When their son died in a car accident in 1986 at age 9, Ms. Soares was devastated and left Brazil. She spent several years in Los Angeles, trying in vain to launch an international career.She credited the Brazilian singer-songwriter Caetano Veloso with helping her return to music when she was ready to give up, by featuring her on his 1984 album, “Velo.”But her output was spotty throughout the 1980s and ’90s, and it wasn’t until 2002 that she regained her stride, connecting with composers and producers from São Paulo’s samba sujo (“dirty samba”) scene to record the album “Do Cóccix Até o Pescoço” (“From the Tailbone to the Neck”), which was nominated for a Latin Grammy Award.In 2016, her “A Mulher do Fim do Mundo” (“The Woman at the End of the World”) won a Latin Grammy for best Brazilian popular music album.Ms. Soares is survived by her children, Joao Carlos, Gerson, Dilma and Sara, and by numerous grandchildren and great-grandchildren. Her son Dilson died in 2015.She continued to find success with younger audiences in the new century, working tirelessly as she approached 90, exploring musical styles including electronic dance music, punk rock and free jazz, and recording albums that fearlessly addressed social issues.The title of her album “Planeta Fome” (“Planet Hunger”), released in 2019, referred directly to how her career got its start on the radio talent show that would forever change not only her life but the course of Brazilian music. More

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      Vicente Fernández, the King of Machos and Heartbreak

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      The singer’s brand of machismo may have frayed, but for many, he was the ideal of what it means to be hard-working, hard-loving Mexican man.The singer Vicente Fernández was “El Ídolo” and “El Rey” — the idol of Mexico and the king of ranchera music. These lofty titles reinforced his profound cultural influence, which spanned decades and countries far beyond Mexico.Fernández, who died on Sunday at 81, long represented the ideal of the Mexican man, proud of his roots and himself. His music often centered on love and loss, though also with a high degree of confidence and attitude. His iconic rendition of the song “Volver Volver” propelled him to fame, but it’s in another major hit, “Por Tu Maldito Amor,” that his agony and longing are on full display.In 2016, Fernández, known as Chente, recorded “Un Azteca en el Azteca,” a live album featuring some of his biggest hits, at the Estadio Azteca in Mexico City, the largest venue in the country, which holds over 87,000. It was billed as his farewell concert, and it also turned out to be the last before he experienced a series of health problems.During his performance of “Por Tu Maldito Amor” (“Because of Your Damn Love”), the sea of fans sing the chorus back to him.Por tu maldito amorNo puedo terminar con tantas penasQuisiera reventarme hasta las venasPor tu maldito amorIt’s become a musical standard at any special occasion hosted by someone of Mexican descent — everyone knows the lyrics. The night doesn’t begin to end until someone starts pouring tequila, plays this song, and belts out a grito in their best Chente voice — operatic and soaring with a tinge of melancholy.Despite the subject matter of his music, it was always tempered by his manly persona — he dressed in full charro regalia, took swigs from fans’ bottles and performed atop his horses. Fernández’s brand was this: a brawny, mustachioed man gallantly fighting for the woman he loves.And his persona was not unlike the idols that preceded him, Pedro Infante and Jorge Negrete, Mexico’s earliest ranchera stars who rose to fame in the 1930s with their interpretations of love songs. And like them, he parlayed his music career into acting roles. Fernández starred in more than 30 films with titles like “El Macho” and “Todo Un Hombre,” in which he plays hard-living rancheros who romance beautiful women.To be sure, after so many decades of influence, Fernández and his work will remain beloved. His music will endure in the Mexican songbook. But his brand of machismo has frayed — at least for a younger generation less interested in a narrow view of what it means to be a man.In 2019, Fernández gave an interview to “De Primera Mano,” a Mexican entertainment news show, where he described receiving a cancer diagnosis in 2012 after doctors found a tumor on his liver. He said they suggested he get a liver transplant, which he rejected, saying: “I’m not going to sleep next to my woman with the organ of another man, not knowing if he was a homosexual or a drug addict.”There was an outcry on social media over the homophobic remarks, and even his son, Vicente Fernández Jr., tried to walk back his father’s interview, asserting that his father’s music was for everyone.Regardless of Fernández’s views on sexuality — though they seem to be pretty apparent — Vicente Jr. might be right. After decades in the spotlight, Chente’s music no longer belongs just to him — it belongs to the people. His musical influence extends far beyond Mexico, permeating much of Latin America and the United States. Fernández’s popularity hasn’t waned, as demonstrated by the memorials and outpouring of condolences on Sunday, ranging from the likes of President Biden to that other “king,” the country singer George Strait.Fernández wasn’t one to shy away from politics. In Mexico, he was a known supporter of the Institutional Revolutionary Party, which long held power in the country. And his influence extended into U.S. politics. He performed at the 2000 Republican National Convention, where George W. Bush secured the nomination. But more recently he supported Democratic candidates in the U.S., even writing a corrido for Hillary Clinton during her 2016 presidential run.Though he is emblematic of a type of dated machismo, many people will still choose to listen to his music and belt out his songs at karaoke or at a cousin’s wedding. Perhaps another one of his memorable songs, “El Rey,” explains this dichotomy.You might say you never loved meBut you will be very sadAnd that’s why you will have to stayWith money and without moneyI always do what I wantAnd my word is the lawI don’t have a throne nor a queenNor anyone who understands meBut I’m still the kingYou probably don’t remember the first time you heard one of his songs because they were always a part of the soundscape, imprinted in your mind. His music is imbued in the fabric of American Latino culture, much like in the rest of Latin America. More

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      Vicente Fernández, ‘El Rey’ of Mexican Ranchera Music, Is Dead at 81

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      A beloved Mexican singer, Mr. Fernández was known for his powerful operatic range and marathon performances, delivered in a signature charro outfit and intricately embroidered sombrero.Vicente Fernández, the powerful tenor whose songs of love, loss and patriotism inspired by life in rural Mexico endeared him to generations of fans as “El Rey,” the king of traditional ranchera music, died on Sunday morning. He was 81.His death was announced in a post on his official Instagram account, which did not give a cause or say where he died. He had been hospitalized for months after a spinal injury he sustained in August, according to previous posts from the account.Accompanied by his mariachi band, Mr. Fernández brought ranchera music, which emerged from the ranches of Mexico in the 19th century, to the rest of Latin America and beyond. In his signature charro outfit and intricately embroidered sombrero, a celebration of the genre’s countryside origins, he performed at some of the largest venues in the world.He recorded dozens of albums and hundreds of songs over a career that spanned six decades. His enduring popularity was reflected in a series of industry accolades, including a place in the Billboard Latin Music Hall of Fame, a star on the Hollywood Walk of Fame, three Grammy Awards and eight Latin Grammy Awards. He sold tens of millions of copies of his albums and starred in dozens of movies.He was known for giving epic, hourslong concerts, communing directly with his fans and taking swigs from bottles of alcohol that were offered to him. Known fondly as “Chente,” he would tell his audiences that “as long as you keep applauding, your ‘Chente’ won’t stop singing.”Reviewing a 1995 performance at Radio City Music Hall for The New York Times, Jon Pareles wrote that Mr. Fernández “sang with operatic power and melodrama,” flexing his “ardent tenor” to “prodigious crescendos and a vibrato that could register on the Richter scale.”He continued to give marathon performances well into his 70s. At a 2008 concert at Madison Square Garden, Mr. Fernández held court for three hours. A lingering note, delivered in his “lively, if slightly weathered tenor,” could render the audience silent, Jon Caramanica wrote in his review in The Times.Vicente Fernández was born on Feb. 17, 1940, in Huentitán El Alto, in the state of Jalisco in western central Mexico. His father, Ramón Fernández, was a rancher and his mother, Paula Gómez de Fernández, stayed at home to raise their son.He grew up watching matinee movies featuring the Mexican ranchera singer Pedro Infante, an early influence. When he was 8, he received his first guitar and began studying folk music. He left school in the fifth grade and later moved with his family to Tijuana after their cattle business collapsed. He told The Los Angeles Times in 1999 that he took whatever work he could, laying bricks and shining shoes, and even washing dishes.“I’ve always said I got to where I am not by being a great singer, but by being stubborn, by being tenacious, by being pigheaded,” Mr. Fernández said. He gravitated to a public square in Guadalajara called Mariachi Plaza, where he performed for tips, he told The Los Angeles Times. His career took off after he won a competition called La Calandria Musical when he was 19, he said in a 2010 interview with KENS 5 of San Antonio. He moved to Mexico City where he sang at a restaurant and at weddings, and unsuccessfully pitched himself to local record labels.The labels came calling soon after the death in 1966 of Javier Solís, one of the most popular Mexican singers who specialized in bolero and ranchera music. Mr. Fernández then recorded his first albums, including hits like “Volver, Volver,” which elevated him to a level of fame that he had never envisioned, he told KENS 5. Other hits, including “El Rey” and “Lástima que seas ajena,” would follow.“When I started my career, I always had the confidence that I would one day make it, but I never imagined that I would reach the heights at which the public has placed me,” Mr. Fernández said.His public statements occasionally got him into trouble in his later years, such as when he said in a 2019 interview that he had refused a liver transplant because he feared that the donated organ might have come from a gay person or a drug addict. Earlier this year, he apologized after he was seen in a video touching a female fan’s breast without her consent while they posed for a photo.Mr. Fernández married María del Refugio Abarca Villaseñor in 1963. She survives him, as do the couple’s children, Vicente, Gerardo, Alejandra and Alejandro, a Grammy-nominated ranchera performer.Asked if a routine or exercise was a key to his longevity as a performer, Mr. Fernández told KENS that he walked every day for an hour and rode horses when he was home on his ranch. But when he was on tour, he said, “I don’t leave the hotels.”“Still, that keeps me healthy,” he said. “My voice is well rested. When I hear the public’s applause, I don’t know where the voice comes from, but it does for three hours. You’ll have to ask God to find out how he blesses me every time.” More

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      Latin Grammys 2021 Winners: Complete List of Awards

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      Camilo and Juan Luis Guerra both won four awards at the 22nd annual ceremony.The 22nd annual Latin Grammy Awards were held in Las Vegas at the MGM Grand Garden Arena on Thursday night. The ceremony honored Latin music released between June 1, 2020 and May 31, 2021.Roselyn Sánchez, Ana Brenda Contreras and Carlos Rivera hosted; Gloria Estefan, Christina Aguilera, Bad Bunny, Ozuna, Rubén Blades and C. Tangana were among the many performers.Many winners were announced at a preshow ceremony. The full list of winners is below.Record of the Year“Talvez,” Caetano Veloso and Tom VelosoAlbum of the Year“Salswing!,” Rubén Blades y Roberto Delgado & OrquestaSong of the Year“Patria y Vida,” Descemer Bueno, El Funky, Gente De Zona, Yadam González, Beatriz Luengo, Maykel Osorbo and Yotuel, songwriters (Yotuel, Gente De Zona, Descemer Bueno, Maykel Osorbo, El Funky)Best New ArtistJuliana VelásquezBest Pop Vocal Album“Mis Manos,” CamiloBest Traditional Pop Vocal Album“Privé,” Juan Luis GuerraBest Pop Song“Vida De Rico,” Édgar Barrera and Camilo, songwriters (Camilo)Best Urban Fusion/Performance“Tattoo (Remix),” Rauw Alejandro and CamiloBest Reggaeton Performance“Bichota,” Karol GBest Urban Music Album“El Último Tour Del Mundo,” Bad BunnyBest Rap/Hip Hop Song“Booker T,” Bad Bunny and Marco Daniel Borrero, songwriters (Bad Bunny)Best Urban Song“Patria Y Vida,” Descemer Bueno, El Funky, Gente De Zona, Yadam González, Beatriz Luengo, Maykel Osorbo and Yotuel, songwriters (Yotuel, Gente De Zona, Descemer Bueno, Maykel Osorbo and El Funky).css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c strong{font-weight:600;}.css-3btd0c em{font-style:italic;}.css-1kpebx{margin:0 auto;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:700;font-size:1.375rem;line-height:1.625rem;}@media (min-width:740px){#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-1kpebx{font-size:1.25rem;line-height:1.4375rem;}}.css-1gtxqqv{margin-bottom:0;}.css-1g3vlj0{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-1g3vlj0{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-1g3vlj0 strong{font-weight:600;}.css-1g3vlj0 em{font-style:italic;}.css-1g3vlj0{margin-bottom:0;margin-top:0.25rem;}.css-19zsuqr{display:block;margin-bottom:0.9375rem;}.css-12vbvwq{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-12vbvwq{padding:20px;width:100%;}}.css-12vbvwq:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-12vbvwq{border:none;padding:10px 0 0;border-top:2px solid #121212;}.css-12vbvwq[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-12vbvwq[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-12vbvwq[data-truncated] .css-5gimkt:after{content:’See more’;}.css-12vbvwq[data-truncated] .css-6mllg9{opacity:1;}.css-qjk116{margin:0 auto;overflow:hidden;}.css-qjk116 strong{font-weight:700;}.css-qjk116 em{font-style:italic;}.css-qjk116 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:visited{color:#326891;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:hover{-webkit-text-decoration:none;text-decoration:none;}Best Rock Album“El Pozo Brillante,” VicenticoBest Rock Song“Ahora 1,” Vicentico, songwriter (Vicentico)Best Pop/Rock Album“Origen,” JuanesBest Pop/Rock Song“Hong Kong,” Alizzz, Andrés Calamaro, Jorge Drexler, Víctor Martínez and C. Tangana, songwriters (C. Tangana and Andrés Calamaro)Best Alternative Music Album“Calambre,” Nathy PelusoBest Alternative Song“Nominao,” Alizzz, Jorge Drexler and C. Tangana, songwriters (C. Tangana and Jorge Drexler)Best Salsa Album“Salsa Plus!,” Rubén Blades y Roberto Delgado and OrquestaBest Cumbia/Vallento Album“Las Locuras Mías,” Silvestre DangondBest Merengue/Bachata Album“Es Merengue ¿Algún Problema?,” Sergio VargasBest Traditional Tropical Album“Cha Cha Chá: Homenaje A Lo Tradicional,” Alain Pérez, Issac Delgado y Orquesta AragónBest Contemporary Tropical Album“Brazil305,” Gloria EstefanBest Tropical Song“Dios Así Lo Quiso,” Camilo, David Julca, Jonathan Julca, Yasmil Marrufo and Ricardo Montaner, songwriters (Ricardo Montaner and Juan Luis Guerra)Best Singer-Songwriter Album“Seis,” Mon LaferteBest Ranchero/Mariachi Album“A Mis 80’s,” Vicente FernándezBest Banda Album“Nos Divertimos Logrando Lo Imposible,” Grupo FirmeBest Tejano Album“Pa’ la Pista y Pa’l Pisto, Vol. 2,” El PlanBest Norteño Album“Al Estilo Rancherón,” Los Dos Carnales“Volando Alto,” PalomoBest Regional Song“Aquí Abajo,” Edgar Barrera, René Humberto Lau Ibarra and Christian Nodal, songwriters (Christian Nodal)Best Instrumental Album“Toquinho e Yamandu Costa – Bachianinha – (Live at Rio Montreux Jazz Festival),” Toquinho and Yamandu CostaBest Folk Album“Ancestras,” Petrona MartinezBest Tango Album“Tinto Tango Plays Piazzolla,” Tinto TangoBest Flamenco Album“Un Nuevo Universo,” Pepe De LucíaBest Latin Jazz/Jazz Album“Voyager,” Iván Melon LewisBest Christian Album (Spanish Language)“Ya Me Vi,” AroddyBest Portuguese Language Christian Album“Seguir Teu Coração,” Anderson FreireBest Portuguese Language Contemporary Pop Album“Cor,” AnavitóriaBest Portuguese Language Rock or Alternative Album“Álbum Rosa,” A Cor Do SomBest Samba/Pagode Album“Sempre Se Pode Sonhar,” Paulinho Da ViolaBest MPB (Musica Popular Brasileira) Album“Canções d’Além Mar,” Zeca BaleiroBest Sertaneja Music Album“Tempo de Romance,” Chitãozinho e XororóBest Portuguese Language Roots Album“Arraiá Da Veveta,” Ivete SangaloBest Portuguese Language Song“Lisboa,” Ana Caetano & Paulo Novaes, songwriters (Anavitória e Lenine)Best Latin Children’s Album“Tu Rockcito Filarmónico,” Tu Rockcito y Orquesta Filarmónica De MedellínBest Classical Album“Latin American Classics,” Kristhyan Benitez; Jon Feidner, album producerBest Classical Contemporary Composition“Music From Cuba And Spain, Sierra: Sonata Para Guitarra,” Roberto Sierra, composer (Manuel Barrueco)Best Arrangement“Ojalá Que Llueva Café (Versión Privé),” Juan Luis Guerra, arranger (Juan Luis Guerra)Best Recording Package“Colegas,” Ana Gonzalez, art director (Gilberto Santa Rosa)“El Madrileño,” Orlando Aispuro Meneses, Daniel Alanís, Alizzz, Rafa Arcaute, Josdán Luis Cohimbra Acosta, Miguel De La Vega, Máximo Espinosa Rosell, Alex Ferrer, Luis Garcié, Billy Garedella, Patrick Liotard, Ed Maverick, Beto Mendonça, Jaime Navarro, Alberto Pérez, Nathan Phillips, Harto Rodríguez, Jason Staniulis and Federico Vindver, engineers; Delbert Bowers, Alex Ferrer, Jaycen Joshua, Nineteen85, Lewis Pickett, Alex Psaroudakis and Raül Refree, mixers; Chris Athens, mastering engineer (C. Tangana)Producer of the YearEdgar BarreraBest Short Form Music Video“Un Amor Eterno,” Marc AnthonyBest Long Form Music Video“Entre Mar Y Palmeras,” Juan Luis Guerra More

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      Premios Grammy Latinos 2021: lista completa de ganadores

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      Estos son los galardonados de la vigésimo segunda edición de la ceremonia de premiación.Esta noche se está celebrando la vigésimo segunda edición de los Grammy Latinos. El espectáculo tiene lugar en el MGM Grand Garden Arena de Las Vegas y rinde homenaje a la música lanzada entre el 1 de junio de 2020 y el 31 de mayo de 2021. La ceremonia se transmite en directo por Univision y por la aplicación de Univision.[Grammy Latinos 2021: Haz clic aquí para ver la cobertura en vivo.]Roselyn Sánchez, Ana Brenda Contreras y Carlos Rivera conducen el espectáculo de esta noche. Se espera que actúen Gloria Estefan, Christina Aguilera, Bad Bunny, Ozuna, Rubén Blades y C. Tangana, entre otros artistas.Muchos de los ganadores se dieron a conocer en una ceremonia previa. A continuación está la lista completa de ganadores.Mejor canción pop“Vida de rico”, Édgar Barrera y Camilo, compositores (Camilo)Mejor fusión/interpretación urbana“Tattoo (Remix)”, Rauw Alejandro y CamiloMejor canción de rap/hip hop“Booker T”, Bad Bunny y Marco Daniel Borrero, compositores (Bad Bunny)Mejor canción urbana“Patria y vida”, Descemer Bueno, El Funky, Gente De Zona, Yadam González, Beatriz Luengo, Maykel Osorbo y Yotuel, compositores (Yotuel, Gente De Zona, Descemer Bueno, Maykel Osorbo, El Funky)Mejor álbum de rockEl pozo brillante, VicenticoMejor canción de rock“Ahora 1”, Vicentico, compositor (Vicentico)Mejor álbum pop/rockOrigen, JuanesMejor canción pop/rock“Hong Kong”, Alizzz, Andrés Calamaro, Jorge Drexler, Víctor Martínez y C. Tangana, compositores (C. Tangana y Andrés Calamaro)Mejor álbum de música alternativaCalambre, Nathy PelusoMejor canción alternativa“Nominao”, Alizzz, Jorge Drexler y C. Tangana, compositores (C. Tangana y Jorge Drexler)Mejor álbum de salsaSalsa Plus!, Rubén Blades y Roberto Delgado & OrquestaMejor álbum de cumbia/vallenatoLas locuras mías, Silvestre DangondMejor álbum de merengue y/o bachataEs merengue. ¿Algún problema?”, Sergio VargasMejor álbum tropical tradicionalCha cha chá: Homenaje a lo tradicional, Alain Pérez, Issac Delgado y la Orquesta AragónMejor álbum tropical contemporáneoBrazil305, Gloria EstefanMejor canción tropical“Dios así lo quiso”, Camilo, David Julca, Jonathan Julca, Yasmil Marrufo y Ricardo Montaner, compositores (Ricardo Montaner y Juan Luis Guerra)Mejor álbum cantautorSeis, Mon LaferteMejor álbum de música ranchera/mariachiA mis 80’s, Vicente FernándezMejor álbum de música bandaNos divertimos logrando lo imposible, Grupo FirmeMejor álbum de música tejanaPa’ la pista y pa’l pisto, vol. 2, El PlanMejor canción regional mexicana“Aquí abajo”, Edgar Barrera, René Humberto Lau Ibarra y Christian Nodal, compositores (Christian Nodal)Mejor álbum instrumentalToquinho e Yamandu Costa – Bachianinha – (Live At Rio Montreux Jazz Festival), Toquinho y Yamandu CostaMejor álbum folclóricoAncestras, Petrona MartinezMejor álbum de tangoTinto Tango Plays Piazzolla, Tinto TangoMejor álbum de música flamencaUn nuevo universo, Pepe de LucíaMejor álbum de jazz latino/jazzVoyager, Iván Melon LewisMejor álbum cristiano (en español)Ya me vi, AroddyMejor álbum cristiano (en portugués)Seguir teu coração, Anderson FreireMejor álbum de pop contemporáneo en lengua portuguesaCor, AnavitóriaMejor álbum de rock o música alternativa en lengua portuguesaÁlbum rosa, A Cor Do SomMejor álbum de samba/pagodeSempre se pode sonhar, Paulinho da ViolaMejor álbum de música popular brasileñaCanções d’além mar, Zeca BaleiroMejor álbum de música sertanejaTempo de romance, Chitãozinho e XororóMejor álbum de música de raíces en lengua portuguesaArraiá da veveta, Ivete SangaloMejor canción en lengua portuguesa“Lisboa”, Ana Caetano y Paulo Novaes, compositores (Anavitória y Lenine)Mejor álbum de música latina para niñosTu Rockcito filarmónico, Tu Rockcito y la Orquesta Filarmónica de MedellínMejor álbum de música clásicaLatin American Classics, Kristhyan Benitez; Jon Feidner, productorMejor obra/composición clásica contemporánea“Music From Cuba And Spain, Sierra: sonata para guitarra”, Roberto Sierra, compositor (Manuel Barrueco)Mejor arreglo“Ojalá que llueva café (versión privé)”, Juan Luis Guerra, arreglista (Juan Luis Guerra)Mejor diseño de empaqueColegas, Ana Gonzalez, directora de arte (Gilberto Santa Rosa)Mejor ingeniería de grabación para un álbumEl madrileño, Orlando Aispuro Meneses, Daniel Alanís, Alizzz, Rafa Arcaute, Josdán Luis Cohimbra Acosta, Miguel de la Vega, Máximo Espinosa Rosell, Alex Ferrer, Luis Garcié, Billy Garedella, Patrick Liotard, Ed Maverick, Beto Mendonça, Jaime Navarro, Alberto Pérez, Nathan Phillips, Harto Rodríguez, Jason Staniulis y Federico Vindver, ingenieros; Delbert Bowers, Alex Ferrer, Jaycen Joshua, Nineteen85, Lewis Pickett, Alex Psaroudakis y Raül Refree, mezcla; Chris Athens, ingeniero de masterización (C. Tangana)Productor del añoEdgar BarreraMejor video musical versión corta“Un amor eterno”, Marc AnthonyMejor video musical versión larga“Entre mar y palmeras”, Juan Luis Guerra More

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      Grammy Latinos 2021: lista completa de nominados

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      Aquí tienes a los contendientes para la vigésima segunda edición de los premios.La 22.ª entrega anual de los Grammy Latinos tendrá lugar el jueves en Las Vegas en el MGM Grand Garden Arena. La ceremonia, que homenajea a la música latina lanzada entre el 1 de junio de 2020 y el 31 de mayo de 2021, se transmitirá en vivo por Univision a partir de las 8 p.m., hora del este. (Muchos premios se entregarán a partir de las 4 p. m. en un evento separado que será transmitido por los canales de Facebook Live y YouTube de los Grammy Latinos).Roselyn Sánchez, Ana Brenda Contreras y Carlos Rivera están programados para conducir el espectáculo principal. Está previsto que actúen Gloria Estefan, Christina Aguilera, Bad Bunny, Ozuna, Rubén Blades y C. Tangana.El cantante colombiano Camilo lidera con diez nominaciones, incluidas las de disco del año, álbum del año y canción del año.Puedes ver la lista completa de nominados a continuación.Grabación del año“Si hubieras querido”, Pablo Alborán“Todo de ti”, Rauw Alejandro“Un amor eterno (Versión Balada)”, Marc Anthony“A tu lado”, Paula Arenas“Bohemio”, Andrés Calamaro y Julio Iglesias“Vida de rico”, Camilo“Suéltame, Bogotá”, Diamante Eléctrico“Amén”, Ricardo Montaner, Mau y Ricky, Camilo, Evaluna Montaner“Dios así lo quiso”, Ricardo Montaner y Juan Luis Guerra“Te olvidaste”, C. Tangana y Omar Apollo“Talvez”, Caetano Veloso y Tom VelosoÁlbum del añoVértigo, Pablo AlboránMis amores, Paula ArenasEl último tour del mundo, Bad BunnySalswing!, Rubén Blades y Roberto Delgado & OrquestaMis manos, CamiloNana, Tom, Vinicius, Nana CaymmiPrivé, Juan Luis GuerraOrigen, JuanesUn canto por México, Vol. II, Natalia LafourcadeEl madrileño, C. TanganaCanción del año“A tu lado”, Paula Arenas y Maria Elisa Ayerbe, compositoras (Paula Arenas)“A veces”, Diamante Eléctrico, compositores (Diamante Eléctrico)“Agua”, J Balvin, Alejandro Borrero, Jhay Cortez, Kevyn Mauricio Cruz Moreno, Derek Drymon, Mark Harrison, Stephen Hillenburg, Alejandro Ramirez, Ivanni Rodríguez, Blaise Smith, Tainy y Juan Camilo Vargas, compositores (Tainy y J Balvin)“Canción bonita”, Rafa Arcaute, Ricky Martin, Mauricio Rengifo, Andrés Torres & Carlos Vives, compositores (Carlos Vives y Ricky Martin)“Dios así lo quiso”, Camilo, David Julca, Jonathan Julca, Yasmil Jesús Marrufo y Ricardo Montaner, compositores (Ricardo Montaner y Juan Luis Guerra)“Hawái”, Édgar Barrera, René Cano, Kevyn Cruz, Johan Espinosa, Kevin Jiménez, Miky La Sensa, Bryan Lezcano, Maluma, Andrés Uribe y Juan Camilo Vargas, compositores (Maluma)“Mi guitarra”, Javier Limón, compositores (Javier Limón, Juan Luis Guerra y Nella)“Patria y vida”, Descemer Bueno, El Funky, Gente De Zona, Yadam González, Beatriz Luengo, Maykel Osorbo & Yotuel, compositores (Yotuel, Gente De Zona, Descemer Bueno, Maykel Osorbo, El Funky)“Que se sepa nuestro amor”, El David Aguilar y Mon Laferte, compositores (Mon Laferte y Alejandro Fernández)“Si hubieras querido”, Pablo Alborán, Nicolás “Na’vi” De La Espriella, Diana Fuentes y Julio Reyes Copello, compositores (Pablo Alborán)“Todo de ti”, Rauw Alejandro, José M. Collazo, Luis J. González, Rafael E. Pabón Navedo y Eric Pérez Rovira, compositores (Rauw Alejandro)“Vida de rico”, Édgar Barrera y Camilo, compositores (Camilo)Mejor nuevo artistaGiulia BeMaría BecerraBizarrapBozaZoe GotussoHumbeRita IndianaLassoPaloma MamiMarco MaresJuliana VelásquezMejor álbum vocal popDios los cría, Andrés CalamaroMis manos, CamiloMunay, Pedro CapóK.O., Danna PaolaDe México, ReikMejor álbum vocal pop tradicionalVértigo, Pablo AlboránMis amores, Paula ArenasPrivé, Juan Luis GuerraDoce margaritas, NellaAtlántico a pie, Diego TorresMejor canción pop“Adiós”, David Julca, Jonathan Julca, Pablo López y Sebastián Yatra, compositores (Sebastián Yatra)“Ahí”, Javier Limón, compositor (Nella)“Canción bonita”, Rafa Arcaute, Ricky Martin, Mauricio Rengifo, Andrés Torres y Carlos Vives, compositores (Carlos Vives y Ricky Martin)”La mujer”, Mon Laferte, compositora (Mon Laferte y Gloria Trevi)“Vida de rico”, Édgar Barrera y Camilo, compositores (Camilo)Mejor fusión/interpretación urbana“El amor es una moda”, Alcover, Juan Magan y Don Omar“Tattoo (Remix)”, Rauw Alejandro y Camilo“Nathy Peluso: BZRP music sessions, Vol.36”, Bizarrap y Nathy Peluso“Diplomatico”, Major Lazer con Guaynaa“Hawái (Remix)”, Maluma y The WeekndMejor interpretación reguetón“Tu veneno”, J. Balvin“La tóxica”, Farruko“Bichota”, Karol G“Caramelo”, Ozuna“La curiosidad”, Jay Wheeler, DJ Nelson y Myke TowersMejor álbum de música urbanaGoldo Funky, AkapellahEl último tour del mundo, Bad BunnyMonarca, Eladio CarriónEnoc, OzunaLyke Mike, Myke TowersMejor canción de rap/hip hop“Booker T”, Bad Bunny y Marco Daniel Borrero, compositores (Bad Bunny)“Condenados”, Akapellah y Pedro Querales, compositores (Akapellah)“La vendedora de placer”, Lito MC Cassidy, compositor (Lito MC Cassidy)“Sana Sana”, Rafa Arcaute, Gino Borri, Illmind, Ángel López, Nathy Peluso y Federico Vindver, compositores (Nathy Peluso)“Snow Tha Product: Bzrp Music Sessions, Vol.39”, Bizarrap y Snow Tha Product, compositores (Bizarrap, Snow Tha Product)Mejor canción urbana“A fuego”, Farina, Joshua Javier Méndez, Sech, Jonathan Emmanuel Tobar y Jorge Valdés Vásquez, compositores (Farina)“Agua”, J Balvin, Alejandro Borrero, Jhay Cortez, Kevyn Mauricio Cruz Moreno, Derek Drymon, Mark Harrison, Stephen Hillenburg, Alejandro Ramírez, Ivanni Rodríguez, Blaise Smith, Tainy & Juan Camilo Vargas, compositores (Tainy y J Balvin)“Dákiti”, Bad Bunny, Jhay Cortez, Nydia Laner, Gabriel Mora, Egbert Rosa y Tainy, compositores (Bad Bunny y Jhay Cortez)“La curiosidad”, Myke Towers y Jay Wheeler, compositores (Jay Wheeler, DJ Nelson y Myke Towers)“Patria y vida”, Descemer Bueno, El Funky, Gente De Zona, Yadam González, Beatriz Luengo, Maykel Osorbo y Yotuel, compositores (Yotuel, Gente De Zona, Descemer Bueno, Maykel Osorbo, El Funky)Mejor álbum de rockCurso de levitación intensivo, BunburyControl, Caramelos de CianuroLos Mesoneros live desde Pangea, Los MesonerosLuz, No Te Va GustarEl pozo brillante, VicenticoMejor canción de rock“Ahora 1”, Vicentico, compositor (Vicentico)“Distintos”, Andrés Giménez y Andreas Kisser, compositores (De La Tierra)“El Sur”, Santi Balmes y Julián Saldarriaga, compositores (Love Of Lesbian con Bunbury)“Hice todo mal”, Anabella Cartolano, compositores (Las Ligas Menores)“Venganza”, Emiliano Brancciari y Nicki Nicole, compositores (No Te Va Gustar y Nicki Nicole)Mejor álbum pop/rockMira lo que me hiciste hacer, Diamante EléctricoMis grandes éxitos, Adan Jodorowsky & The French KissOrigen, JuanesV. E. H. N., Love of LesbianEl reflejo, Rayos LáserMejor canción pop/rock“A veces”, Diamante Eléctrico, compositores (Diamante Eléctrico)“Cosmos (Antisistema Solar)”, Santi Balmes y Julián Saldarriaga, compositores (Love of Lesbian)“El duelo”, Sergio Eduardo Acosta y León Larregui, compositores (Zoé)“Ganas”, Zoe Gotusso, Nicolás Landa y Diego Mema, compositores (Zoe Gotusso)“Hong Kong”, Alizzz, Andrés Calamaro, Jorge Drexler, Víctor Martínez y C. Tangana, compositores (C. Tangana y Andrés Calamaro)Mejor álbum de música alternativaKiCk I, ArcaTropiplop, AterciopeladosCabra, CabraUn segundo MTV Unplugged, Café TacvbaCalambre, Nathy PelusoMejor canción alternativa“Agarrate”, Rafa Arcaute, Pedro Campos y Nathy Peluso, compositores (Nathy Peluso)“Antidiva”, Andrea Echeverri, compositora (Aterciopelados)“Confía”, Gepe, compositor (Gepe y Vicentico)“Nominao”, Alizzz, Jorge Drexler y C. Tangana, compositores (C. Tangana y Jorge Drexler)“Te olvidaste”, Omar Apollo, Rafa Arcaute, C. Tangana & Federico Vindver, compositores (C. Tangana y Omar Apollo)Mejor álbum de salsaSalsa Plus!, Rubén Blades y Roberto Delgado & OrquestaEn cuarentena, El Gran Combo De Puerto RicoEl día es hoy, Willy GarcíaColegas, Gilberto Santa RosaEn Barranquilla me quedo, el disco homenaje a Joe Arroyo, Varios artitas, José Gaviria y Milton Salcedo, productoresMejor álbum de cumbia/vallenatoLas locuras mías, Silvestre DangondPa’ que se esmigajen los parlantes, Diego Daza y Carlos RuedaDe Buenos Aires para el mundo, Los Ángeles AzulesEsencia, Felipe PeláezNoche de serenata, Osmar Pérez y Geño GamezMejor álbum de merengue y/o bachataBachata queen, AlexandraLove dance merengue, Manny CruzEl papá de la bachata, su legado (Añoñado I, II, III, IV)”, Luis SeguraEs merengue. ¿Algún problema?”, Sergio VargasInsensatez, Fernando VillalonaMejor álbum tropical tradicionalGente con alma, José Aguirre Cali Big BandChabuco en La Habana, ChabucoCha cha chá: Homenaje a lo tradicional, Alain Pérez, Issac Delgado y la Orquesta AragónSolos, Jon Secada y Gonzalo RubalcabaAlma cubana, Leoni TorresMejor álbum tropical contemporáneoLegendarios, BillosRío abajo, Diana BurcoBrazil305, Gloria EstefanAcertijos, Pedrito MartínezLa música del carnaval – XX aniversario, Juventino Ojito y su Son MocanáMejor canción tropical“Bolero a la vida”, Santiago Larramendi y Gaby Moreno, compositores (Omara Portuondo con Gaby Moreno)“Dios así lo quiso”, Camilo, David Julca, Jonathan Julca, Yasmil Marrufo y Ricardo Montaner, compositores (Ricardo Montaner y Juan Luis Guerra)Mas feliz que ayer, Alfredo Nodarse, compositor (Chabuco)Pambiche de novia, Juan Luis Guerra, compositor (Juan Luis Guerra)Un sueño increíble (Homenaje a Jairo Varela), Jorge Luis Piloto, compositor (Dayhan Díaz y Charlie Cardona)Mejor álbum cantautorAlemorología, AleMorMendó, Alex CubaSeis, Mon LaferteMañana te escribo otra canción, Covi QuintanaEl árbol y el bosque, RozalénMejor álbum de música ranchera/mariachiCuando te enamores, El BebetoA mis 80’s, Vicente Fernández#Charramillennial – Lady, Nora GonzálezAyayay! (Súper Deluxe), Christian NodalSoy México, Pike RomeroMejor álbum de música bandaConcierto Mundial Digital Live, Banda El Recodo De Cruz LizárragaVivir la vida, Banda Los RecoditosSin miedo al éxito, Banda Los SebastianesLlegando al rancho, Joss FavelaNos divertimos logrando lo imposible, Grupo FirmeMejor álbum de música tejanaPa’ la pista y pa’l pisto, vol. 2, El PlanBack on track, Ram HerreraHistórico, La FiebreIncomparable, SolidoUn Beso es suficiente, VilaxMejor álbum de música norteñaVamos bien, Calibre 50De vieja escuela, Gera DemaraDiez, La Energía NorteñaAl estilo rancherón, Los Dos CarnalesRecordando a una leyenda, Los Plebes del Rancho de Ariel Camacho y Christian NodalVolando alto, PalomoMejor canción regional mexicana“Aquí abajo”, Edgar Barrera, René Humberto Lau Ibarra y Christian Nodal, compositores (Christian Nodal)“Cicatrices”, Pepe Portilla, compositor (Nora González con Lupita Infante)“40 y 21”, Erika Vidrio, compositora (Beto Zapata)“Que se sepa nuestro amor”, El David Aguilar y Mon Laferte, compositores (Mon Laferte y Alejandro Fernández)“Tuyo y mío”, Édgar Barrera, Camilo y Alfonso de Jesús Quezada Mancha, compositores (Camilo y Los Dos Carnales)Mejor álbum instrumentalEntretiempo y tiempo, Omar Acosta y Sergio MenemCristóvão Bastos e Rogério Caetano, Cristovão Bastos y Rogério CaetanoCanto da praya – Ao vivo, Hamilton De Holanda y MestrinhoLe Petit Garage (Live), Ara MalikianToquinho e Yamandu Costa – Bachianinha – (Live At Rio Montreux Jazz Festival), Toquinho y Yamandu CostaMejor álbum folclóricoAmor pasado, Leonel GarcíaJemas, Tato MarencoAncestras, Petrona MartinezRenacer, Nahuel PennisiVocal, Alejandro ZavalaMejor álbum de tangoTango of the Americas, Pan American Symphony Orchestra348, Federico Pereiro100 años, Quinteto RevolucionarioTanghetto Plays Piazzolla, TanghettoTinto Tango Plays Piazzolla, Tinto TangoMejor álbum de música flamencaAlma de pura raza, Paco CandelaUn nuevo universo, Pepe de LucíaAmor, Israel Fernández y Diego del MoraoHerencia, Rafael RiqueniEl rey, María ToledoMejor álbum de jazz latino/jazzBruma: Celebrating Milton Nascimento, Antonio AdolfoOntology, Roxana AmedFamily, Edmar CastanedaVoyager, Iván Melon LewisEl arte del bolero, Miguel Zenón y Luis PerdomoMejor álbum cristiano (en español)Hora dorada, AnagraceYa me vi, AroddyRedención, Aline BarrosVida encontré, Majo y DanMilagro de amar, William PerdomoMejor álbum cristiano (en portugués)Catarse: Lado B, Daniela AraújoSarah Farias (Ao vivo), Sarah FariasSeguir teu coração, Anderson FreireSentido, Leonardo GonçalvesElis Soares 10 anos, Eli SoaresMejor álbum de pop contemporáneo en lengua portuguesaCor, AnavitóriaA bolha, Vitor KleyDuda Beat y Nando Reis, Nando Reis y Duda BeatSerá que você vai acreditar?, Fernanda TakaiChegamos sozinhos em casa, vol.1, TuyoMejor álbum de rock o música alternativa en lengua portuguesaÁlbum rosa, A Cor Do SomEmidoinã, André AbujamraOxeaxeexu, BaianaSystemAssim tocam meus tambores, Marcelo D2Fôlego, ScaleneO bar me chama, Velhas VirgensMejor álbum de samba/pagodeRio: só vendo a vista, Martinho da VilaSempre se pode sonhar, Paulinho da ViolaNei Lopes, Projeto Coisa Fina e Guga Stroeter No Pagode Black Tie, Nei Lopes, Projeto Coisa Fina y Guga StroeterSamba de verão, Diogo NogueiraOnze (Músicas inéditas de Adoniran Barbosa), varios artistasMejor álbum de música popular brasileñaCanções d’além mar, Zeca BaleiroH.O.J.E, Delia FischerTempo de viver, Thiago HolandaBom mesmo é estar debaixo d’água, Luedji LunaDo meu coração nu, Zé ManoelMejor álbum de música sertanejaTempo de romance, Chitãozinho e XororóDaniel em casa, DanielPatroas, Marília Mendonça, Maiara y MaraísaConquistas, Os Barões da PisadinhaPra ouvir no fone, Michel TelóMejor álbum de música de raíces en lengua portuguesaSambadeiras, Luiz CaldasDo coração, Sara CorreiaOrin a língua dos anjos, Orquestra AfrosinfônicaEu e vocês, Elba RamalhoArraiá da veveta, Ivete SangaloMejor canción en lengua portuguesa“A cidade”, Francisco Ribeiro Eller y Lucas Veneu Videla, compositores (Chico Chico y João Mantuano)“Amores e flores”, Diogo Melim y Rodrigo Melim, compositores (Melim)“Espera a primavera”, Nando Reis, compositor (Nando Reis)“Lágrimas de alegria”, Tales De Polli y Deko, compositores (Maneva y Natiruts)“Lisboa”, Ana Caetano y Paulo Novaes, compositores (Anavitória y Lenine)“Mulheres não têm que chorar”, Tiê Castro, Emicida y Guga Fernandes, compositores (Ivete Sangalo y Emicida)Mejor álbum de música latina para niñosOtra vuelta al sol, Edith Derdyk, Daniel Escobar, Luis Fernando Franco, Jesús David Garcés, Fito Hernández, Paulo Tatit y José Julián Villa, productoresDanilo & Chapis, vol. 1, Danilo y ChapisCanciones de Cuna, Mi Casa Es Tu CasaNanas consentidoras, Victoria SurTu Rockcito filarmónico, Tu Rockcito y la Orquesta Filarmónica de MedellínMejor álbum de música clásicaBeethoven: révolution, symphonies 1 à 5, Jordi Savall y Le Concert des Nations; Jordi Savall, director de orquesta; Manuel Mohino, productorClaudio Santoro: a obra integral para violoncelo e piano, Ney Fialkow y Hugo Pilger; Maria de Fátima Nunes Pilger y Hugo Pilger, productoresLatin American Classics, Kristhyan Benitez; Jon Feidner, productorMusic From Cuba And Spain, Sierra: Sonata para guitarra, Manuel Barrueco; Asgerdur Sigurdardottir, productorTres historias concertantes, Héctor Infanzón; Konstantin Dobroykov, conductor; Héctor Infanzón, productorMejor obra/composición clásica contemporánea“Concierto para violín y orquesta-remembranzas”, Héctor Infanzón, compositor (Héctor Infanzón y William Harvey)“Cuatro”, Orlando Jacinto García, compositor (Orlando Jacinto García con Amernet String Quartet)“Desde la tierra que habito”, Eddie Mora, compositor (Ensamble Contemporáneo Universitario (ECU) y Banda de Conciertos de Cartago (BCC))“Falling Out Of Time”, Osvaldo Golijov, compositor (Osvaldo Golijov)“Music From Cuba And Spain, Sierra: sonata para guitarra”, Roberto Sierra, compositor (Manuel Barrueco)Mejor arreglo“Blue In Green (Sky And Sea)”, Kendall Moore, arreglista (Roxana Amed)“Tierra mestiza”, César Orozco, arreglista (America Viva Band)“Adiós Nonino”, Jorge Calandrelli, arreglista (Jorge Calandrelli)“Um beijo”, Vince Mendoza, arreglista (Melody Gardot)“Ojalá que llueva café (versión privé)”, Juan Luis Guerra, arreglista (Juan Luis Guerra)Mejor diseño de empaqueColegas, Ana Gonzalez, directora de arte (Gilberto Santa Rosa)Lo que me dé la gana, Boa Mistura, directores de arte (Dani Martín)Madrid nuclear, Emilio Lorente, director de arte (Leiva)Puta, Emilio Lorente, director de arte (Zahara)Tragas o escupes, Marc Donés, director de arte (Jarabe De Palo)Mejor ingeniería de grabación para un álbumBpm, Nelson Carvalho, ingeniero; Leo Aldrey y Rafael Giner, mezcladores; Tiago De Sousa, ingeniero de masterización (Salvador Sobral)Bruma: Celebrating Milton Nascimento, Roger Freret, ingeniero; Claudio Spiewak, mezcla; André Dias, ingeniero de masterización (Antonio Adolfo)El madrileño, Orlando Aispuro Meneses, Daniel Alanís, Alizzz, Rafa Arcaute, Josdán Luis Cohimbra Acosta, Miguel de la Vega, Máximo Espinosa Rosell, Alex Ferrer, Luis Garcié, Billy Garedella, Patrick Liotard, Ed Maverick, Beto Mendonça, Jaime Navarro, Alberto Pérez, Nathan Phillips, Harto Rodríguez, Jason Staniulis y Federico Vindver, ingenieros; Delbert Bowers, Alex Ferrer, Jaycen Joshua, Nineteen85, Lewis Pickett, Alex Psaroudakis y Raül Refree, mezcla; Chris Athens, ingeniero de masterización (C. Tangana)Iceberg, Mauro Araújo, Tó Brandileone, Kassin, Luciano Scalercio y Alê Siqueira, ingenieros; Kassin y Arthur Luna, mezcla; Carlos de Freitas, ingeniero de masterización (Priscila Tossan)Un canto por México, Vol. II, Pepe Aguilar, Rodrigo Cuevas, José Luis Fernández, Camilo Froideval, Edson R. Heredia, Manu Jalil, Rubén López Arista, Nacho Molino, David Montuy, Lucas Nunes, Alan Ortiz Grande y Alan Saucedo, ingenieros; Rubén López Arista, mezcla; Michael Fuller, ingeniero de masterización (Natalia Lafourcade)Productor del añoAlizzzEdgar BarreraMarcos SánchezBizarrapDan WarnerMejor video musical versión corta“Un amor eterno”, Marc Anthony“Reza forte”, BaianaSystem con BNegão“Mi huella”, Fuel Fandango con Maria Jose Llergo“Visceral”, Fran, Carlos Do Complexo y Bibi Caetano“De una vez”, Selena GomezMejor video musical versión larga“Un segundo MTV Unplugged”, Café Tacvba“Mulher”, Carolina Deslandes“Entre mar y palmeras”, Juan Luis Guerra“Origen (Documental)”, Juanes“Quien me tañe escucha mis voces (Documental)”, Gastón Lafourcade More