Alejandro Fernandez, Ximena Sariñana, Bad Bunny and Alessia Cara will hit the stage during the upcoming 20th Annual Latin GRAMMY Awards, the Latin Recording Academy has announced.

Pop singer Sebastián Yatra, trap/reggaeton artist Sech, singer/songwriter Draco Rosa, singer/songwriter Paula Arenas, as well as GRAMMY-winning singers Natalia Jiménez and Olga Tañón, are also set to perform at the MGM Grand in Las Vegas on Nov. 14. But that's not all; a second round of performers will be announced as the show approaches. 

GRAMMY-nominated Mexican regional/pop singer Fernandez will perform alongside his father, legendary ranchera singer Vicente Fernandez and his son Alex Fernandez for the first time.  

"Ready to celebrate #20YearsOf Excellence in the biggest night in Latin music," Alejandro tweeted. 

Stay tuned to GRAMMY.com, as well as @RecordingAcad and @LatinGRAMMYs on Twitter the week of the show to catch the biggest wins and onstage magic.

Ricky Martin To Host The Biggest Night In Latin Music 19 Years After Performing At Inaugural Show

Los Angeles' legendary Conga Room is closing its doors, but will not go quietly into the night.

The 25-year-old venue has been home to countless Latin music performances and celebrations — including the 2001 Latin GRAMMYs — and will host its final event on March 27. The official, invitation-only closing celebration will feature a performance by Puerto Rican salsa star Gilberto Santa Rosa and the Conga Kids, as well appearances from Jimmy Smits and Paul Rodriguez, both of whom were investors in the space. 

First opened in 1999 on Wilshire Boulevard by real estate entrepreneur and Latin music lover Brad Gluckstein, the Conga Room drew investors like Jennifer Lopez and Sheila E — all of whom were committed to the venue’s vision of being an upscale nightclub devoted to live Latin music and dancing. In both its Miracle Mile location and its later space at L.A. Live, the club attracted an absolutely staggering lineup of talent, including Celia Cruz, Buena Vista Social Club, Tito Puente, Carlos Santana, Alejandro Fernández, Fito Paez, Jerry Rivera, Bad Bunny, and Maluma. The venue also hosted performances from non-Latinx artists like Prince, Ed Sheeran, Lenny Kravitz, Kendrick Lamar, Stevie Wonder, Chaka Khan, and Avicii.

"I saw Prince perform in venues the world over, but his very first performance at the Conga Room was magical," says talk show host Tavis Smiley. "Of all the times I witnessed my friend on stage, from Madison Square Garden to Montreux, the Conga Room remains my favorite Prince performance."

Gluckstein says that the Conga Room was able to draw such great talent not just because it was one of the only major venues that leaned into Latin music in the United States, but because there was a mutual respect between the artists and the venue. 

"We couldn’t compete financially with [Goldenvoice or AEG], but we were able to bring an incredible amount of talent to the venue," he tells GRAMMY.com. "I was talking to Jerry Rivera’s agent the other day and I said, ‘Jerry just played in front of 10,000 people in Venezuela. Help me understand why playing in front of 1,000 people at the Conga room was so important.’ He went on for 10 minutes about what the room meant to these artists and the way we respected them, the sound system, and the way they were treated. The fan engagement, too, plus the fact that there was never really a comparable room anywhere else, even in New York."

"We provided a stage and a voice for acts that didn’t have a way of getting to their audience here in L.A., because no radio stations were playing their kind of music," says Marcella Cuonzo, the venue’s publicist. "For reggaeton, for example, the Conga Room was a pioneer in the movement around 2010. Radio wasn’t playing that music, but the Conga Room took a gamble on the sound because they saw its vision." 

The Conga Room was also the first venue in Los Angeles to host a wide-range of Cuban musical talent starting in the mid- to late ‘90s. "We had probably 50 shows," says Gluckstein. "We got everything from Bebo Valdés to [Diego] El Cigala to Pablo Milanés, who played his first show ever in the U.S. at our venue. He’s the Bob Dylan of Cuba. We brought Los Van Van, who’s probably the most famous salsa or timba group in the history of Cuba. They couldn’t play in Miami, because Miami wouldn’t allow Cuban music, so the GRAMMYs gave them their trophy [for Best Salsa Performance] at the Conga Room."  

The Latin GRAMMY Awards moved from L.A. from Miami in 2001, and the ceremony was set to take place at the Shrine Auditorium on Sept. 11. That telecast was understandably canceled following the tragic events of that day in New York, and rather than rescheduling the whole event, winners were announced at a press conference on Oct. 30 at the Conga Room. Alejandro Sanz came away with four awards, including Album Of The Year, and Juanes took home three Latin GRAMMYs, including Best New Artist.

"I remember Celia Cruz giving a beautiful speech that night in Spanish, thanking the firefighters and policemen and saying ‘this is for you, but also a little bit for us," says Gluckstein. "In later years, once we were at L.A. Live, we hosted the Latin GRAMMY nominations several times. I have footage of Andy Garcia doing them on-stage with Jimmy Smits." 

The Conga Room is closing now because, Gluckstein says, it just seems like the right time. "The pandemic, of course, played a role," he explains. "And I think the enormity of AEG and Live Nation, with how fierce the competition is, all of that has made buying talent much more expensive and has made talent more selective in terms of what's the best economic opportunity for them." 

There’s also the rising success of Conga Kids, the venue’s non-profit arm, to consider. A county-wide organization with about 100 employees, Conga Kids reaches roughly 50,000 elementary-aged kids in largely under-resourced communities every year, using dance and music from the Afro-Diaspora like salsa, merengue, cumbia, reggaeton, Charleston, and hip-hop to promote social and emotional well-being, as well as diversity, equity, and inclusivity. 

Though fans and artists will undoubtedly miss the space, energy, and community the Conga Room provided, Gluckstein says the venue’s closure doesn’t have to be sad. Instead, he says, it can be celebratory. 

"We accomplished so much," he says. "Now, the venue will just have to live on in the hearts and minds of people, instead of as a brick and mortar space." 

GRAMMY Hall Of Fame 2024 Inductees Announced: Recordings By Lauryn Hill, Guns N' Roses, Donna Summer, De La Soul & More

The 2023 Latin GRAMMYs may have occurred months ago and thousands of miles away, but the leading lights in Latin music also shined at the 66th GRAMMY Awards. From historic wins and meaningful nominations, to electric performances and interesting installations, Latin music excellence was everywhere. 

In anticipation of the 25th anniversary of the Latin GRAMMYs in 2024, the exclusive GRAMMY House — the site of multiple GRAMMY Week events — included a significant installation dedicated to the Biggest Night In Latin Music.

The cylindrical display showcased some of the biggest moments in Latin GRAMMY history, including images, facts, and even a real Latin GRAMMY award. 

The celebration of Latin music continued throughout GRAMMY Week, with several Latin GRAMMY-winning artists also winning on the GRAMMY stage. Among the major moments at the 2024 GRAMMYs, Karol G won her first golden gramophone for her 2023 LP Mañana Será Bonito. "This is my first time at GRAMMYs, and this is my first time holding my own GRAMMY," the Colombian songstress exclaimed during her acceptance speech. 

Música Mexicana star Peso Pluma also took home his first GRAMMY; his album GÉNESIS won in the Best Música Mexicana Album (Including Tejano) Category.

Premiere Ceremony presenter Natalia Lafourcade — whose Todas Las Flores won big at the 2023 Latin GRAMMYs — also took home the GRAMMY Award for Best Latin Rock or Alternative Album. She tied in the Category with Juanes. 

Premiere Ceremony performer Gabby Moreno also took home a GRAMMY Award for Best Latin Pop Album for her album X Mí (Vol. 1). 

Beyond the stage, Latin artists graced the red carpet and the nominations list. For example, producer and songwriter Edgar Barrera was the only Latino nominated in the Songwriter Of The Year, Non-Classical Category.

10 Must-See Moments From The 2024 GRAMMYs: Taylor Swift Makes History, Billy Joel & Tracy Chapman Return, Boygenius Manifest Childhood Dreams

For Karol G, 2023 was a watershed year. Her fourth album, Mañana Será Bonito, peaked at No. 1 on the Billboard Hot 200 and took home the golden gramophone for Album Of The Year at the Latin GRAMMYs. Her many milestones also included a Rolling Stone cover, and signing with Interscope. At the 2024 GRAMMYs, Mañana Será Bonito is nominated for Best Música Urbana Album. 

The Colombian singer and songwriter was suddenly everywhere in 2023, but this moment is the culmination of a long, steady rise. Karol G has been on the scene for some time, and changing it for the better just by being who she is: an extremely talented woman making waves in a genre still dominated by men.  

Karol G has been a pivotal figure in the world of urbano since 2017, when she collaborated with Bad Bunny on the Latin trap single "Ahora Me Llama." It was a transformative moment for both artists, whose careers took off precipitously after its release. The track led Ms. G’s aptly titled debut album, Unstoppable, which went multi-platinum and peaked at No. 2 on both the U.S. Top Latin Albums and U.S. Latin Rhythm Albums charts. At the 2018 Latin GRAMMYs, Karol was awarded Best New Artist. 

Although she came out of the gate in an unstoppable fashion, Karol G's chart-topping debut was the result of years of touring and recording. The artist born Carolina Giraldo Navarro was no overnight success.

She started singing as a teenager growing up in Medellín and, after signing to Colombia's Flamingo Records, chose the name Karol G and began releasing music. Early on, she flew to Miami for a meeting with Universal Records, but they chose not to sign her on the basis that a woman would not be successful making reggaeton — a severe miscalculation, that belies female pioneers and a blossoming roster of contemporary acts. 

Thankfully, she ignored them. A year after "Ahora Me Llama" and Unstoppable, Karol G won her first Latin GRAMMY. 

The star’s determination makes her a role model, but Karol G's career has also been defined by an inspiring integrity around her principles and artistic vision. By now, it is a well-known anecdote that she turned down the song "Sin Pijama" because it references marijuana use. Karol does not smoke, so the lyrics would not have been authentic to her as a person, or as an artist. 

This authenticity has doubtless been key to Karol G's success. Rather than try to fit an established mold, she brings a uniquely sunny swagger and sporty style to reggaeton. She projects a powerful and feminine energy, and her music often expresses a healthy sense of sexual independence and self-empowerment. This is an intentional part of her message, especially to her female fans.

"They teach us it’s wrong to celebrate ourselves for something we have," she told Rolling Stone of her musical messaging. "And it’s not. We have to be the first ones to give ourselves credit."

Like early collaborator Bad Bunny, Karol G is able to reach a global audience without having to change the language she sings in, her genre of choice, or her messages. Case in point: One of her 2023 accomplishments was becoming the first Latina to headline a global stadium tour, and the highest-grossing Latin touring artist of the year.

She also became the first Latina to headline Lollapalooza and, in between record-breaking tour dates, saw her song "WATATI" featured on Barbie The Album. (The soundtrack is nominated for Best Compilation Soundtrack For Visual Media at the 66th GRAMMY Awards.)

In November, she closed out her big year with a sweep of the Latin GRAMMYs: Mañana Será Bonito received the award for Best Música Urbana Album and Album Of The Year; her Shakira collab "TQG" took home the golden gramophone for Best Urban Fusion/Performance. When she accepted her award for Best Música Urbana Album, Karol exclaimed, "How cool is it for a woman to win this?" 

Karol G’s wins made up a large part of an awards ceremony where women won big:  Shakira won Song Of The Year for her collaboration with Bizzarap, while Natalia Lafourcade won Record Of The Year and Joaquina took home Best New Artist. This was the first year that women won in all the general categories — something that suggests progress for the Latin music industry. The last time a woman won the Latin GRAMMY for Best Música Urbana Album was in 2013, when Spanish rapper Mala Rodríguez took home the award for Bruja. 

Watching the Latin GRAMMYs this year, it was easy to forget that women still have a long way to go to achieve parity with their male counterparts in the music industry. If you lost sight of that, the year-end Latin charts would bring you back to reality: Of the top 50 tracks on the Hot Latin Songs chart, 11 primarily featured women, but six of those tracks belonged to Karol G. Karol’s presence matters and she knows it. 

Karol G brings a powerful feminine energy to reggaeton and Latin trap, but also an unapologetic feminism. While this is explicit in her music, it's also clear in the creative partnerships she makes. She’s had many high profile collaborations with male artists, but just as many with a diverse roster of female artists from reggaeton OG Ivy Queen ("Leyendas") to Latin fusion pop singer Kali Uchis ("Me Tengo Que Ir," "Labios Mordidos"). In an arena so dominated by male artists, each collaboration with another woman is meaningful, but her collaborations with rising artists, such as Young Miko — who appears on the song "Dispo" from Karol’s Bichota Season — truly make a difference. 

Artists like Karol G increase the range of possibilities for artists in their wake, and for anyone in the music industry who flouts narrow expectations. Karol G knows that her victories have larger implications, and this eye toward the future has helped her reach unprecedented heights. "I understand how hard it is [for women to break through] because of how hard it was for me,"she recently told Billboard.

It wasn't easy for Karol G to get where she is today, but she has been opening doors for others — women, artists in reggaeton, artists in urbano and others —  every step of the way. From here on, the title of her album is ringing more and more prescient, and that’s mas bonito.  

2024 GRAMMY Nominations: See The Full Nominees List

The life of producer and songwriter Edgar Barrera was shaped by cultural dichotomy. Born in McAllen, Texas, and raised between the Lone Star state and the Mexican border town of Miguel Alemán, Barrera spent his days connecting cultures and languages, making a space for himself.

"I was born on the border. I'm always trying to adapt to Mexican or American culture, growing up in the middle of those two worlds," Barrera tells GRAMMY.com. "This is what I always end up doing in the songs and with the artists I work with, I adapt to them, I adapt to their world, I learn [from them]."

This duality and his innate code-switching ability defined his essence as a musician. In the music industry, Barrera is known among artists as a great bridge-builder between stars. He forges unexpected collaborations and blends genres in effortless ways.

For example, "Un x100to", the smasher collaboration between Grupo Frontera and Bad Bunny, became one of the biggest Latin songs of 2023. It won the Latin GRAMMY Award for Best Regional Mexican Song, climbed to the top of Spotify's global chart, and made its way to Billboard’s Hot 100’s Top 10.

The single is one of nine songs that has earned Barrera a nomination for Songwriter Of The Year, Non-Classical at the 2024 GRAMMYs. He is the only Latino in this group and has been nominated for all Spanish-language songs. "It means that Latinos are breaking those barriers and that Latin music is important to the industry," Barrera says of the nomination. "To be considered in that category is already a victory. I feel I am paving the way for a Latin songwriter to be in future nominations."

The nod came days before he received the inaugural Latin GRAMMY for Songwriter Of The Year. At the 2023 Latin GRAMMYs, Barrera received 13 nominations and won three awards, including Producer Of The Year, and was featured in a collaborative performance with Camilo, Manuel Carrasco, and IZA.

Ahead of the 66th GRAMMY Awards, Barrera discusses how his upbringing shaped his career and creative process, as well as the importance of recognition for Latinos in the music industry. 

 This interview has been edited for length and clarity.

2023 has been an excellent year for you. What are you the most grateful for?

It has been a great year in my career. I have to be thankful for life and to God. I’m grateful to say that I make a living from this.

 This is the only thing I know how to do; I am not good at anything other than making music. It is a blessing that people connect with the songs you create. What gives me the most satisfaction is knowing that people are enjoying, connecting, and experiencing the songs [I've worked on].

What did it mean to win the inaugural Songwriter Of The Year award at the Latin GRAMMYs?

I didn't think much about whether I was going to win or not. I was feeling happier and more excited because the Latin GRAMMYs were creating a category for those behind [the songs].

I said it that day they gave me the award; sometimes, the songwriter is the one who suffers the most in the entire music pyramid of how the industry is structured. The songwriter is the last one who gets paid and often doesn't get as much credit. For me, everything starts with a song. Without a good song, the artist is unknown; without a good song, the producer is unknown.

Music starts with a good song you can sing with just a guitar. That's what I like to do. I write the song, have it on guitar and vocals, and see what genre fits the best. That's why I always switch genres; I don't like to limit myself by saying that I only make urban, pop, or Mexican music. I'm not following trends but doing what feels right for the song.

What was your reaction upon discovering that you are the only nominee for Producer Of The Year, Non-Classical one competing with Spanish songs at the 2024 GRAMMYs?

I was in Madrid, and even though I knew the GRAMMY nominations were coming up, I wasn’t on top of it because it is usually tough to be nominated for those categories. I didn't expect it.

We had a Zoom with all the composers nominated in that category to get to know each other, and I kept thinking, what am I doing in this Zoom with all these people who write songs in English, country songs, rap songs, or pop songs? Here I am with my songs in Spanish.

I am happy with [the nomination] because it means that Latinos are breaking those barriers and that Latin music is important to the industry. It has become the elephant in the room that you can no longer ignore.

To be considered in that category is already a victory. I feel I am paving the way for a Latin songwriter to be in future nominations. I feel I have some responsibility; I am representing Latinos at an important moment in the industry.

Coming from Miguel Alemán, Tamaulipas, a town with 20,000 residents with no songwriters or producers, the fact that I can make music and dedicate myself to it is already a victory. Everything is a blessing and feels surreal.

You have been nominated for your work in nine songs. Is there a specific song that has brought you the most satisfaction?

They have all fulfilled something specific. For example, Karol G is a Selena [Quintanilla] fan, and she wanted to make a song in cumbia ["Mi Ex Tenía Razón"], a genre I grew up with. [The song] is like that tribute to my roots. Having an artist as big as Karol G on that song is very special.

In songs like "Un x100to," [a collaboration between] Bad Bunny, and a band like Grupo Frontera from my hometown, [it feels special because] we have many friends and grew up with the same cultural background. Returning to McAllen, Tamaulipas, to support a local group and having one of the biggest songs of the year with one of the biggest artists of the moment is also very special to me. It shows the newcomers that it is possible to reach those places — even coming from the same place we did. I would never have thought that the song would be No. 1 worldwide.

When did you first realize that you had a talent for songwriting?

It has always been my plan. I didn't go to school; I've never had a plan B. I've always been very stubborn in what I do. 

I discovered I could write songs and liked writing songs when I was 15. I moved to Miami and started working from the bottom, lifting cables in a studio. I had to serve coffee. I went through the entire process to enjoy what is happening now. It didn't happen overnight. 

I've never let it get to my head. I have no recognition, paintings, or awards if you go to my studio. I mean nothing; there is none of that. I don't like to think about that. I'm in my house right now, and you don't see anything on the walls; they're blank. I want to work as I have since day 1.

You have won 21 Latin GRAMMYs. Where do you keep the awards?

Those awards are at my parents' house. I send everything there. I don't have any awards at my house. My wife also tells me that our home is a place to disconnect, not to continue thinking about work. That helps me to stay rooted.

To know that the day before, I could have been with the biggest artist in the world, I could be with Shakira, Karol G or Benito, whoever I am currently working with, but when I come home, I feel that I am an ordinary person who has the blessing of working with the greatest artists of the moment. Realizing that also resets you, it keeps me grounded.

Did maintaining a lower profile help you in your career as a songwriter?

I am very quiet and shy. I express myself better by writing than by speaking. I like that people gradually discover who is behind the songs. I like that some people find that I wrote a song, and they make the connection, like the movie's endings, when you start connecting all the dots. I don't like telling people I did this or that.

When working with an artist, I am very clear that I am an instrument; I work for them. I don't have any ego. When working with artists, I listen to them and help them translate what they want to say in the songs. That is my job, and I try to be a tool for them; I don't want to be the protagonist.

You are known for your ability to make unexpected connections between artists and topliners; where did this talent come from?

It comes very naturally to me; I do it unconsciously. For example, in the collaboration between Carin León and Maluma, ["Según Quién"], I ended up being the person who connected them. In their case, I sent the song to Carin's team and introduced them about a week later. We organized a meal, and I made them get to know each other before recording the song.

In ["De Vuelta Pa' La Vuelta"] by Daddy Yankee with Marc Anthony, I was with Yankee in the studio. Yankee told me he wanted to do something different, and I showed him this salsa song. He likes it and tells me he wants to record it and do it in salsa. I connected Yankee with Marc — two legends who know each other, but I will gladly make that [musical] connection if I can.

That is part of why I created my record label, Border Kid Records, which is like a border that connects [two places], like the bridge between the United States and Mexico; I am a bridge between the artists.

You are a big fan of the Swedish producer and songwriter Max Martin. What have you learned from his career?

I am Max Martin's No. 1 fan. To me, he is the greatest of all time, and what I like about him is that he is not bragging about his achievements.

It felt like such a great discovery when I found out how he was. I told my friends you like this song because this songwriter made it, so you are not a fan of the artist; you are a fan of the songwriter.

I dreamed that one day, my songs would have a similar effect in Latin music and the way people would discover me. He has always kept a shallow profile. I'm not comparing myself to him at all, but something that he has and that I also do unconsciously is constantly collaborating with people; we are always nourishing ourselves with new songwriters and producers.

I always check Max Martin's credits and see him working with new people. And that's all about not believing that you know everything but learning and always listening to new people that has something new to say.

What advice can you give to songwriters or singers starting their careers?

Always be authentic and do not follow trends. I differentiated myself from the songwriters and producers when I started because I didn't use many bad words [in my songs]. I always wanted to avoid jumping on that bandwagon, following a trend.

It is about doing things differently and creating your own trends. I am one of those who make a bachata or a merengue; when a merengue is not even trending, you make it a trend by [picking] the right artist and song.

What is Edgar Barrera's mark in music?

My lyrics are simple, honest, straightforward, and up-to-date; that's my trademark. Production-wise, if you hear a real instrument or a musician playing live, guitars, or things like that, that's always my mark.

 2024 GRAMMY Nominations: See The Full Nominees List