For your consideration: Indie artists who deserve Latin Grammys in 2025

Juan Luis Guerra, Natalia Lafourcade, Jorge Drexler, Caetano Veloso, and Shakira – these artists have consistently shown their ability to create stunning albums that leave Latin Grammy voters in awe. Time and again, they’ve proven their exceptional taste when it comes to recognizing talent.

In a period where Latin music is thriving, not just commercially but creatively as well, it’s expected that the forthcoming nominations will feature many significant contenders who released new music between June 1, 2024 and May 30, 2025. However, we must also consider the artists and musicians who are innovating the genre without the backing of a strong record label or extensive marketing campaigns.

The 2024-25 season might see some groundbreaking, trailblazing records from Latin artists that could potentially be overlooked by the Latin Academy. To acknowledge their talent, we’ve curated a list of six exceptional Latin artists who are worthy of acclaim. Some of them may make it to the nominees on Sept. 17; however, each one truly deserves a Latin Grammy.

Juana Aguirre

In an ideal scenario, “Anónimo,” the second album by Argentine digital enchantress Juana Aguirre, would be a strong contender for album of the year. While numerous artists have explored avant-garde reconstructions of songwriting, artists like Juana Molina spring to mind. What sets Aguirre apart is not just her raw vulnerability during creation – she records at home in a lo-fi environment, pushing herself to the limit by repeatedly editing and splicing until the discordant sounds coalesce into a harmonious whole – but also the ethereal elegance of the final product. Aguirre’s past as a global wanderer, having lived in New Zealand and Bolivia before returning to Buenos Aires’ neighborhood of San Isidro, may explain the assured, cosmopolitan ambiance of tracks such as the folktronica lullaby “Lo Divino” and the ghostly, Erik Satie-inspired piano piece “Las Ramas.” As a graphic designer and musician with an extraordinary imagination, she certainly deserves recognition.

Gepe

One of Chile’s finest singer-songwriters, Gepe, has made a significant impact across the Americas, and his 2024 album “Undesastre” could potentially earn him a nomination. If that happens, congratulations, LARAS! However, it’s crucial to avoid categorizing his unique blend of South American folk heritage and innovative electronic rhythms as merely Alternative. This album seamlessly transitions from catchy, relaxed love songs like “Playaplaya” to impressive collaborations with artists such as Mon Laferte, Monsieur Periné, and Café Tacvba’s Rubén Albarrán, making it a strong contender for Album of the Year. The poignant orchestral ballad “Desastre,” with its powerful, shiver-inducing intensity and intriguing sound effects reminiscent of The Beatles, would be an ideal choice for both Song and Record of the Year.

Mabe Fratti

Mabe Fratti is humorous and modest during conversations, sharing amusing anecdotes and expressing joyful pride in her music development without seeming to notice her prominent place within the Latin American avant-garde. At 33 years old, this multi-talented artist, who plays the cello, composes music, and sings ethereally, was born in Guatemala and relocated to Mexico City in 2015. The tracks on her groundbreaking fourth album are both fluid and sparkling, with a fascination for discovering beauty in distant realms. “Sentir Que No Sabes” has been praised as a masterwork by critics globally, from Pitchfork to the Guardian. The intelligent fusion of jazz, classical, post-rock, and dreamy synthesizers might alarm the most traditional Latin Grammy voters – and that would be a significant oversight.

Cheo

As a member of Venezuela’s millennial party band Los Amigos Invisibles, guitarist and composer Cheo (José Luis Pardo) experienced the joy of winning a Latin Grammy and multiple nominations. Regrettably, since embarking on a solo career in 2014, he has chosen to maintain a less prominent public presence. Despite this, his creative prowess as a composer and arranger continues to shine brightly. In fact, his album “Música Para Verse Bien” was one of the standout releases of 2023, featuring the stunning duet “Agujas en el Pecho” with Monsieur Periné singer Catalina García.

For this year’s event eligibility, he launched three distinct EPs within the “Refresco” series, each honoring the musical styles that influence him: tropical, funk, and Brazilian. The track “Si Estuvieras Aquí” showcases Cheo’s fondness for upbeat Latin lounge, featuring electric piano embellishments and vocal stylings similar to Henry Mancini. Among these releases, “Vol. 3: Cheo Goes Brazil” is arguably the most poignant, with reworked versions of two iconic Amigos Invisibles bossa novas: “Playa Azul,” now sung by Cheo himself, and “Las Lycras del Avila,” capturing the bohemian charm of Rio de Janeiro in the ’60s through a wistful electric guitar melody, much like Antonio Carlos Jobim’s snippets.

Girl Ultra

In 2022, Mariana de Miguel transformed a mini-album consisting of seven songs titled “El Sur,” which explored life in Mexico City, into a vibrant feast of darkly tinted dance-pop for late-night enjoyment. This year, the artist commonly known as Girl Ultra becomes eligible for the Latin Grammy due to the release of “Blush,” a tender EP featuring brief, moody snapshots of EDM elegance. The structures are more polished on tracks like the mesmerizing “Blu” and the sassy “Rimel.” However, it is Girl Ultra’s emotional depth that makes “Blush” an indelible musical journey.

Initially, these tunes might appear to be perfect backdrops for fleeting romances. But delving deeper, the yearning in her voice hints at a romantic soul hidden beneath. The high-quality production and Girl Ultra’s unique fusion of digital flavors in “Blu” are so captivating that it could easily earn a Record of the Year nomination. I’m all in on this track!

Marilina Bertoldi

Looking for a hint of brilliance? Check out the 1:30 point in the song “Autoestima.” Here, the music momentarily pauses, and the grandiose organ chords infuse a dash of madness into this composition that explores the gloominess prevalent in everyday life within Buenos Aires.

As a devoted cinephile of music, I’ve come to admire Marilina Bertoldi as the stormy queen of Argentine rock since her solo debut in 2012. Her unique blend of corrosive humor, catchy pop-punk tunes, and an abundance of attitude is truly captivating. But what sets her apart is her album “Para Quien Trabajas Vol. 1”. It’s a delightful ride, a mischievous tribute to the robotic drumbeats and ornate synth lines that characterized the ’80s South American rock movement – from the iconic albums of genre pioneer Charly García to the rebellious spirit of Sumo, and the melancholic, angular melodies of cult favorite Metrópoli.

Thankfully, you don’t need to understand every reference to find Bertoldi’s “ball-of-fire songbook” inspiring. Tracks like “El Gordo,” with its elegant decay, and the vulnerable “Por Siempre Es Un Lugar” are deeply rooted in the present. Despite being nominated three times before, the rock and alternative genres may be too limited and short-sighted to fully appreciate this bold, self-produced masterpiece.

2025-08-01 16:46