De Los Picks: 10 best albums by Latino artists in 2025

Throughout 2025, De Los played a key role in helping Latino artists break out of their specific music genres and gain international recognition. Artists like Bad Bunny, who will headline the 2026 Super Bowl halftime show, and the popular group Fuerza Regida achieved even greater success this year, while newer artists such as Silvana Estrada, Ela Minus, and Netón Vega experimented with fresh and innovative sounds.

The De Los team recently met to choose our favorite music releases of 2025. This isn’t just a typical Latin music list – it’s a collection of our top picks from artists across Latin America and the Latin diaspora.

Cazzu’s album, “Latinaje,” is a vibrant response to both personal heartbreak and a disappointing previous release. The Argentine trap artist blends a wide range of Latin American sounds—from salsa and cumbia to folk and electro-pop—creating a rich and energetic musical journey. Coming from Jujuy province, far removed from the often-critical music scene of Buenos Aires, Cazzu authentically embraces a diverse pan-Latin style that’s incredibly appealing. Standout tracks like the viral hit “Dolce,” a luxurious corrido tumbado about a red dress, and “Inti,” a touching ode to her daughter inspired by Andean music, form the emotional heart of an album that prioritizes inclusivity and positivity over bitterness. Many felt it was a significant oversight that this album wasn’t recognized in the major categories at this year’s Latin Grammys. —Ernesto Lechner

Netón Vega, a highly sought-after songwriter in the world of Mexican music, has penned hits for major artists like Xavi and Peso Pluma. Now, he’s releasing his own full-length album, “Mi Vida Mi Muerte.” The album builds on the current sound of corridos tumbados, taking it in exciting new directions with the help of the artists he’s previously collaborated with. Vega’s versatility as a songwriter allows him to blend different musical styles into Mexican music, incorporating elements of Californian G-funk, boom bap, and even Caribbean reggaeton across the album’s 21 tracks. He sounds just as comfortable on potential radio hits like “Loco” as he does playing the bajo sexto, demonstrating that he’s pushing the boundaries of corridos and expanding its possibilities for the future. —Reanna Cruz

Juana Aguirre’s album, “Anónimo,” showcases a remarkable talent that could easily translate to filmmaking. This starkly beautiful digital work is a masterpiece of atmosphere. Aguirre carefully crafts her music, possessing a keen eye for beauty and relentlessly refining her ideas. The resulting sound is often simple and evocative, reminiscent of childhood melodies, as heard in tracks like “La Noche” and “Lo_Divino.” Meanwhile, the raw emotion of “Volvieron” is both striking and timeless. The album’s range is incredibly broad, moving from subtle electronic folk and hidden industrial sounds to the peaceful vastness of “Un Nombre Propio” and the ceremonial piano work in “Las Ramas.” Before “Anónimo,” the Argentine avant-garde hadn’t felt so powerfully sensual. —E.L.

Adrian Quesada’s “Boleros Psicodélicos II” builds on the success of his first album, a tribute to Latin American psychedelic ballads from the 60s and 70s. While the first album was created remotely during the pandemic, this installment was recorded with collaborators in the same room, bringing a noticeable energy to the music. Quesada describes the new album as having “more life” and that vibrancy shines through in tracks like “Bravo,” featuring a powerful performance by iLe, and the instrumental “Primos,” a collaboration with Hermanos Gutiérrez. The album was released to critical acclaim in 2024, and listeners are hoping for another installment in the series in a few years. —Fidel Martinez

Nick León’s album, “A Tropical Entropy,” is making waves in the electronic music scene. Hailing from Fort Lauderdale, Florida, León brings a unique, distinctly Floridian perspective to his production. The album, inspired by a phrase from Joan Didion’s book about Miami, creates a moody, atmospheric sound—what one critic calls “beach noir.” León blends energetic dembow, dancehall, and other Afro-Caribbean rhythms with a dreamy, oceanic feel. Featuring vocal contributions from artists like Ela Minus, Erika De Casier, and Esty, the album is perfect for those who love club music and the feeling of watching the sunrise over the ocean. – Suzy Exposito

María Zardoya, the lead singer of the band the Marías, released her solo album, “Melt,” in October. She wrote and recorded the 10 songs during a reflective winter break in the Catskills, and they are her most personal yet. The album blends dreamy chamber pop sounds, reminiscent of artists like Beach House, Broadcast, and the Carpenters, creating a captivating and detailed soundscape. Tracks like “Puddles” combine warm organ tones with icy chimes, while “Swan” features a restless energy. Zardoya powerfully expresses her longing for a lost love, especially in the heart-wrenching piano ballad “Back to You.” Even in her saddest moments, there’s a hint of magic and otherworldly beauty.

Isabella Lovestory’s 2022 album, “Amor Hardcore,” cemented her status as a leading figure in the neoperreo scene – a modern equivalent to artists like Ivy Queen. Her latest album, “Vanity,” however, takes a new direction, moving away from explicit themes towards a more playful and emotionally open style. Lovestory is a natural storyteller, crafting lyrics inspired by dreamlike memories and often presenting contradictory images of herself. She uses striking metaphors – like describing herself as a foam perfume bottle or a metal strawberry – to create a seemingly sweet world that she herself calls a “poisonous lollipop.” The album’s sound, which blends elements of RedOne’s productions with the deeper cuts from Plan B, results in a hazy, dystopian pop landscape that feels both nostalgic and futuristic. —R.C.

Fuerza Regida’s new album, “111XPantia,” proves the band hasn’t abandoned the traditional música mexicana sound that made them famous, despite frontman Jesús Ortiz Paz’s recent experimentation with genres like Jersey club and drill. While staying true to his word, the album fully embraces the charchetas and tololoche instruments. However, this ninth studio album isn’t just a repeat of past work. Fuerza Regida continues to push boundaries, incorporating unexpected elements like a banjo in “Peliculeando” and sampling from Nino Rota’s “Godfather” theme in the song of the same name—with lyrics leaning more towards the extravagant lifestyle of Tony Montana than the more complex character of Michael Corleone. This year, Fuerza Regida has set a new standard for the genre and become arguably the biggest band in the world, notably being the only group act to make Spotify’s top global artist list at the end of the year.

Silvana Estrada’s album, “Vendrán Suaves Lluvias,” is a beautiful and calming work born from a difficult time. The Latin Grammy winner channeled her grief – including a painful breakup and the loss of a friend – into these songs. While rooted in traditional folk ballads, originally written on the cuatro, the album expands with lush orchestral arrangements, giving Estrada’s voice a powerful and hopeful quality. On the song “Dime,” she sings with a smoky, jazzy tone, questioning a hesitant lover who is intimidated by her strength and honesty: “What was the point of throwing yourself into the void without letting yourself fall? What a desolate way to love.” This album showcases Estrada’s resilience and her ability to find peace even in the face of heartbreak and loss.

Bad Bunny’s album, “Debí Tirar Mas Fotós,” has been a major talking point all year, topping charts upon its release and fueling a hugely popular tour. While much has been written about it, the album is essentially a powerful and joyful tribute to Puerto Rican strength and heritage, while also addressing the ongoing challenges facing the island. It feels like a collection of vivid musical moments: you can almost hear the traditional singer from the mountains in “Lo Que Le Pasó A Hawaii,” feel the energy of nights out in Miami and Puerto Rico on tracks like “Voy a LLevarte Pa PR” and “Eoo,” and experience deeply personal moments like a loved one’s final embrace in “DTMF.” The album is clearly made for Latino listeners, connecting those on the island with those who have left. With Bad Bunny’s upcoming Super Bowl performance, “Debí Tirar Mas Fotós” is expected to continue its success well into the future, solidifying his status as a king of pop, reggaeton, and dembow.

Honorable mentions:

I stumbled upon Corridos Ketamina’s self-titled EP, and it instantly hit me. There’s this specific feeling you get in LA as autumn starts, a kind of lonely chill, and the first track, “V-Neno,” brought me right back to it – those 3 AM walks when you’re just feeling down. The whole 14-minute EP feels like a mix of Lil Peep and Lil Tracy taking a trip to Sinaloa. It’s got these hazy, echoing vocals over slow guitar loops, like everything’s struggling to surface from a dream. They’re technically making narcocorridos – they even said they wanted to make a corrido about K – but there’s something surprisingly comforting about these songs. Maybe it’s the blend of emo, rap, shoegaze, and traditional corridos, or maybe it’s just that this record feels uniquely LA – born from late nights driving on empty freeways and hanging out in rough places. It really resonated with me.

Ernesto recommends Amor Elefante’s album, “Amigas.” It’s a fantastic return for this Buenos Aires-based band, starting with the upbeat and dreamy synth-pop track, “Hipnótico.” Amor Elefante blends sunshine pop and dream rock, with hints of The Police on the reggae-infused “Universal Hit” and a Cocteau Twins-like atmosphere on “La Vuelta.” The album really showcases the band’s talent for creating catchy songs. Drummer Rocío Fernández adds a funky touch to the folk-inspired “La Vuelta,” and keyboardist Inés Copertino shines with a disco vibe on the outro of “Foto de una Coreografía.” Plus, Amor Elefante features Rocío Bernardiner, who has one of the most beautiful voices in South America.

Ela Minus, the electronic artist and producer Gabriela Jimeno, creates a captivating soundscape in her album “Día.” Originally from Bogotá, Colombia and now living in Brooklyn, Jimeno’s musical roots lie in the energetic world of punk rock drumming. This intensity shines through in “Día,” an album born from the experience of displacement during the COVID-19 pandemic and a period of personal transformation. The album features both deeply personal tracks like “I Want to Be Better,” which she calls her only love song, and bolder, more critical pieces. For example, “QQQQ” is a club track nominated for a Latin Grammy that surprisingly calls for the end of the world, and “Idols” challenges the idea of celebrity worship with the repeated refrain, “Chasing after phantoms.” It’s a refreshingly honest and thought-provoking album. —S.E.

Cuco, a local artist from Hawthorne (born Omar Banos), created something special with his album “Ridin’.” He drew inspiration from the classic soul and R&B music often heard in Southern California’s lowrider scene, resulting in a standout neo-Chicano soul album. Songs like “My 45” and “ICNBYH” (“I Could Never Break Your Heart”) are ideal for cruising down streets like Whittier Boulevard, while “Para Ti,” the album’s only Spanish track, evokes the feel of a classic bolero record your grandfather might have owned. —F.M.

2025-12-17 01:32

Honorable mentions:

Read More