Los Angeles-born left-field rapper/singer Duckwrth (born Jared Lee) has been making waves since he released his debut solo mixtape, I'M UUGLY, in 2016. Showcasing his expansive musical taste, playful lyrics and his mailable vocals and flow, the successful project led to a record deal with Republic Records, an opening spot for Anderson .Paak and a loyal, ever-growing fan base. An XTRA UGGLY Mixtape followed in 2017, with several tracks getting TV and film placement, including the ecstatic "MICHUUL.," which was featured on "Insecure" and "All American."

In May 2019, the "Bernal Heights" artist dropped THE FALLING MAN EP and now, this month, he'll be releasing his highly anticipated debut studio album, SuperGood. As he recently told us, the album has been a long time coming and now the timing is just right.

"I actually had the name for this album since 2013 and just the feeling of it, I've had it since 2013 but I never was in a right space with myself mentally and energy-wise to be able to present an album that felt like a celebration."

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GRAMMY.com continues their Up Close & Personal interview series (from home, via Zoom) with Duckwrth. Watch the full conversation above to hear him share more about SuperGood and its lead singles "Coming Closer" and "Find A Way," as well as his love of Issa Rae and "Insecure" and some of his dream collaborators (Rosalía is on the list!).

The "Crush" artist also talks about his vision for creating more Black animations (watch the music video for "Find A Way" below) and how the entertainment industry can better support Black artists.

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"I think musically, [what's needed] is just respect for Black artistry and being able to be placed in different places, like more Black artists in pop. That would be major. For me, I'm not heavy on pop, listening to pop all the time, but I do understand the importance of seeing a Lizzo in pop.

"That's important, and [so is] seeing more Black faces in pop music because that opens up the door for other artists to come after them and it becomes a norm. It doesn't have to be this conversation of, 'Oh, you can't put them there because they're Black.' It's that plus just circulating dollars in the Black community and helping them grow," Duckwrth added.

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Fans first got to know Lil Yachty for his catchy, sing-songy tunes like "One Night" and "Minnesota," rap songs that sound like the rapper's once-signature red braids: bright and attention-getting. But as the man who once dubbed himself the "king of the teens" has now become a father in his (gasp!) mid-20s, his musical horizons have expanded. 

While Lil Boat is still making catchy tracks  (see his minute-and-a-half long earworm "Poland," released last fall), his latest album is something else entirely. Inspired by big statement LPs like Pink Floyd's 1973 classic Dark Side of the Moon, Lil Yachty's Let's Start Here is a psychedelic record created with members of Chairlift and MGMT, as well as Mac DeMarco, Alex G and a handful of other out-of-the-norm collaborators. While the style change may have been unexpected for many, it came out exactly as Yachty envisioned it.

"It felt future-forward, it felt different, it felt original, it felt fresh, it felt strong," he says. "I'm grateful for the response. It's nice to have people resonate with a body of work that you've worked so hard on and you care so deeply about."

Yachty's most recent release, a four-song single pack featuring the swirling "TESLA," brings him back to a more traditional hip-hop style — by Lil Boat standards, anyway. But even with the four new tracks sprinkled throughout the set list, he's still determined to share the sound and vibe of Let's Start Here with his listeners. 

The Field Trip Tour, which Lil Yachty kicked off in Washington, D.C. on Sept. 21, brings the album's trippy vision to the stage. The rapper recruited an all-women band for his latest trek, which includes Lea Grace Swinson and Romana R. Saintil on vocals, Monica Carter on drums, Téja Veal on bass, Quenequia Graves on guitar, and Kennedy Avery Smith on keys.

"My life is surrounded by women," Yachty explains. "I feel like they are the most important aspect to this world and that they don't get enough credit or shine — especially Black women."

GRAMMY.com caught up with Yachty as he was on his way to rehearsal to chat about the tour, the album, and what he learned from four old British guys.

You made your band auditions public by announcing them on social media, which is not the usual way of going about these things. When you had the auditions, what was it like? How many people showed up?

Hundreds of women came from all over. People sent in auditions online. It was so fun to hear so much music and see talent and meet so many different personalities. I felt like Simon Cowell.

Other than musical ability, what were you looking for?

It was nothing more than talent. There would be multiple people with extreme talent, so then it became your own creative spunk: what did you do that made me say, "Oh, okay. I like this. I like this"? I wanted a badass group.

What was behind the decision to put the call out for women only? 

My life is surrounded by women — my two assistants, my mother as a manager, a lot of my friends are women. Women really help me throughout my day. 

I just think that women are so powerful. I feel like they rule the world. They are the most important aspect to this world and they don't get enough credit or shine, especially black women. So that was my aura behind it. I just wanted to showcase that women can shred just as good as men. 

Is the band going to be performing on your older rap material as well, in addition to the album cuts? 

No. I'm not a big fan of rendition rap songs. I think the feeling is in the beat, the feeling is in the instrumentation. When you have to reconstruct it, the bounce gets lost a bit.

Tell me about the rehearsal process once you selected the band members. What was that like? 

They're all so talented, so they all learned it very quick. I gave [the music] to them early, and gave them the stems. When it was day one, they all knew the songs. Even my new guitarist that came in later than everyone, she came in knowing the music. 

The rehearsal project for this tour was a little different, because I'm reconstructing the whole album. I'm moving everything around and changing all the transitions and trying to make it trippy. So it's a process of me figuring out how I want to do things. But they're so talented and so smart, all I have to do is tell them what I want, and they'll do it instantly. 

Like yesterday, I wanted a solo on the end of a song called "The Alchemist." Because at the end of [the album version] is this [singer Brittany] Fousheé breakdown and she's singing in a falsetto. But I took her vocals off and I wanted a solo. And [a band member] was working through it yesterday and it wasn't quite there. But I'm on the way to rehearsal now, and I know when I walk in this room, it'll be done. It'll be crazy. So they all take it very serious and they care, and I love them so much. 

The festival shows you've done so far have had everyone in Bantu knot hairstyles, sometimes with face paint. Is that going to be the look for this tour? 

No, I don't think so.

What was the thinking behind that look? 

I was getting really deep into the world of '70s bands, '60s bands. Just unison: moving as one, looking like one, feeling like one. A family, a group, a team. You see us, we're all together. 

When you play rap shows, so much of what you're doing is keeping a high-energy mood—getting the crowd going, starting mosh pits. With the new songs, it's about a diversity of feelings. What was that like for you as a band leader? 

I'll tell you, it was not easy. I've been in this industry for seven years, and my shows have been high-energy for seven years. So the first time I went on a stage and performed Let's Start Here, I felt like, "Oh wow, they hate me. Do they hate this?" Plus I have in-ears, so I can't hear the crowd cheering. I don't perform with in-ears when I do rap shows. 

It took me some time to get used to the switch. Tyler, the Creator once had a talk with me and explained to me that, it's not that they don't f— with you, it's that they're taking it in. They're comprehending you. They're processing and enjoying it. That clicked in me and I got a better understanding of what's going on.

What is it like in the same show to go from the Let's Start Here material to the rap stuff? 

It's a relief, because that's going to my world. It's super easy for me. It's like flipping the switch and taking it to the moon.

Now that it's been the better part of a year since Let's Start Here came out, how are you feeling about it? What sense do you have of the reaction to it?

Since before it came out, when I was making it, I always felt so strongly because it was something that I felt inside. It felt future-forward, it felt different, it felt original, it felt fresh, it felt strong. 

I'm grateful for the response. It's nice. It's not what you do it for, but it is extra credit. It's nice to get that love and to have people resonate with a body of work that you've worked so hard on and you care so deeply about.

Have you felt peoples' reactions change over the past few months? 

Well, this is the first time when people are like, "Man, that album changed my life" or "It took me to a different place." People love my music — always have — but this reaction is, "Man, this album, man, it really took me there." 

It did what it was supposed to do, which was transcend people. If you are on that side of the world and you're into that type of stuff, it did its job, its course — the same course as Dark Side of the Moon, which is to take you on a journey, an experience. 

What was it about Dark Side that grabbed you? 

Everything. The cover, the sounds, the transitions, the vocals, the lyrics, the age of Pink Floyd when they made it. I could go on. I got into deep fascination. It was so many things. It's just pure talent.

I've read that you studied Pink Floyd quite a bit, watching interviews and documentaries. What were some of the things you learned from that process and brought to Let's Start Here?

So many things. The most important element was that I wanted to create a body of work that felt cohesive and that transcended people, and that was a fun experience that could take you away from life.

I was curious about the song ":(failure:(," where you give a speech about failing. What were your inspirations for that?

"Facebook Story" by Frank Ocean, which is about a girl who thought he was cheating on her because he wouldn't accept her on Facebook. It inspired me to talk about something. 

At first I wanted [":(failure:("] to be a poem, and I wanted my friend to say it. We tried it out, but his voice was so f—ing deep. And his poem was so dark — it was about death and s—. I was like, Damn, n—, lighten up. But then I was just like, you know what, I'll do it, and I'll speak about something very near and dear to me, which was failure. I felt like it would resonate with people more.

The idea of time shows up on the album a lot, which is something it has in common with Dark Side of the Moon. You talk about running out of time. What are you running out of time to do? 

Sometimes I feel like I'm growing so fast and getting so old, and maturing and evolving so quickly, and so many opportunities come into my life. You go on tour, and then you start working on an album, and you run out of time to do certain things. It's like, "Are we going to be together? If not, I have other things to do." 

I think that's where it comes from. I don't have all day to play around. Too many things to do. Then it transpires to feel like I'm running out of time.

I love "drive ME crazy!" I was wondering if there are any particular male/female duets that you looked at as a model when designing that song. 

Fleetwood Mac. Again, with all the inspirations for these songs, I still did my twist on them. So I don't want people to go and be like, "Oh, that sounds nothing like a Fleetwood Mac song." I wasn't trying to copy a Fleetwood Mac song. It just inspired me to make a song in that feeling, in that world.

When you began your career, you were the "king of the teens." Now you're a father in your mid-twenties. Who's your audience these days? Is it the people who were teens when you started your career, who are now in their 20s like you, or is it a new crop of teenagers? 

I think now it's from the 12-year-olds to the 40-year-olds. My last festival, I had 50-year-olds in my show. That was so amazing. In the front row, there was an 11-year-old asking for my sneakers, and then in the back, it was 50- and 60-year-olds. It was crazy. The age demographic is insane.

Whenever I'm leaving somewhere, I like to have the window down and see people. [At my last festival] these 60-year-olds were leaving. They're like, "Man, your album, we love it. That show was so great." And that's awesome, because I love [that my music can] touch everyone. 

You've been opening your recent shows with "the BLACK seminole." What does that phrase mean to you? How does it relate to the sound of the song and the rest of the lyrics?

It's saying, "I'm a warrior, I am a king, I am a sex symbol, I am everything good and bad with man, and I'm Black, unapologetically." That's what it's about. 

Any final thoughts about the tour? 

Just that it's an experience. You're not walking into a rinky-dink [show with] some DJ. This is going to be a show. 

I feel like it's the start of my career. I just want people to come in with an open mindset. Not expecting anything, ready for everything. 

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Four years into his career, Teddy Swims made a promise to himself to be more honest. With that in mind, he decided to be unflinchingly real with his debut album title: I've Tried Everything But Therapy.

While the title may be true for now, Swims is incredibly vulnerable. Across 10 tracks, he divulges the raw emotions of heartbreak, from reeling over what could've been in opener "Some Things I'll Never Know" to leaning into new love — while still in repair — on closer "Evergreen."

"It's the most honest I've ever let myself be," Swims, born Jaten Dimsdale, says of the album. "I'm proud of it, and I'm proud of myself. And it's a f—ing relief to just get it off my shoulders."

For someone who bares his soul in his music, both lyrically and vocally, it's rather surprising to think that he wouldn't be the type for therapy. But now that the album is out, his next step is seeking professional help — another promise he made to himself upon choosing the candid title.

In the meantime, Swims is already seeing the impact of being more and more open in his music. "Lose Control," the album's lead single, has earned Swims his first entry on the Billboard Hot 100 and first solo radio hit (in 2022, his Meghan Trainor collab "Bad For Me" reached No. 15 on Billboard's Adult Pop Airplay chart). But perhaps more notably, his powerful vocal runs on the song's dynamic chorus are stopping listeners in their tracks. As one YouTube commenter put it, "Man has a voice that speaks to the core of your soul."

Just before the album's arrival, Swims talked with GRAMMY.com about how I've Tried Everything But Therapy has helped him understand the impact of wearing his insecurities on his sleeve — and how his bewitchingly soulful voice ties it all together. 

How does this album feel different from what you've put out before this, whether it's lyrically or sonically, or even how you feel mentally based around the process?

I feel like this is maturity. I can listen to these songs and I feel proud of them. 

Everybody kinda doesn't like their own voice, you know? But I feel like I belong on those songs, and nobody could say what I needed to say the way I could say it. I feel like I'm saying something that I need to say and get off my chest in an entirely different way than I ever have. 

I'm kind of an emotional toddler. I'm getting more of a grasp on what I want to say and how to say it, how to talk about my feelings more. I feel like the more I do it, the longer I do it, the more honest I become, the more I get out of the way of things. I'm learning to get out of the way and let the creative flow just be what it is now.

Going into writing this album, like, what were you going through? And did you have a goal in mind about what you wanted the album to be?

I really didn't know at the time. In the last four years, I've written maybe four or five hundred songs. I didn't write it knowing that it was an album, or write it knowing that this was going to be the album; but more so, when it started coming together, it just felt like things fell into place. 

I realized that I've been circling around the same feelings and emotions for a very long time. It's always about — I was in a very toxic relationship, and I have been a lot in my life. This is me kind of learning that I can be loved, and that I am beautiful, and I deserve love. That's kind of what the struggle is and always has been.

The album title is interesting to me, because so many artists compare songwriting to therapy. But has songwriting always felt like therapy for you? 

Songwriting can be therapeutic if you have a feeling that you need to get out, and you write that feeling down, and you get it out. But what I tend to do a lot in my life, I'll write it down into a song, and then I'll write it into another song from a different perspective. And I'll write it down 100 different ways, in 100 different perspectives, to the point that it ends up that that small problem has now turned into the biggest problem in my life, because I've thought about so many different ways. 

Instead of being more therapeutic, [songwriting has] been more of a way of highlighting what I'm going through, sometimes way too much.

The title itself was kind of a promise to myself that I would go to therapy when the album comes out. I think it's something that everyone can benefit from, especially me. But there's still something about me — maybe it's a generational mindset, like, I'm not crazy, I don't need that, or maybe there's answers to questions I don't really want to ask that I'm gonna get. 

I like my coping mechanisms. I like how I am and who I am when I do cope. So there's a part of me that's afraid that I'll have to change.

But I made a promise to myself, put a deadline on myself where I'll go and I'll seek help, and I'll try. It's also me being honest and open about that, to you and to everyone, that I'm like, "I need help, that's okay." I'm gonna ask for help, and that's a liberating and equally terrifying thing.

The nice thing is, there has been a lot more public acceptance of mental health in recent years. How have you felt that change since you started releasing music, and how has it impacted your songwriting?

I think what's so great about our industry these days is that I'm not held to the same standard as, like, Stevie Wonder or Michael Jackson, where I have to be such a star, and you don't know anything about me. These days, as an artist, I get to be absolutely insecure and absolutely terrified, and it's what makes my artistry beautiful. And people that feel the way I feel can look at me and say, "That guy's so insecure, and he's so scared. But he's doing it, and we want him to win." 

I don't want to swallow my insecurities. I don't have to wait until I feel like I'm worthy of love to put myself out there. Every bit of insecurity, and everything that's going on in my life, I'm allowed to just wear it and put it on for everybody to see. That has helped me in more ways than me trying to be anything I'm not.

You've said that for a long time, you worried about giving too much of yourself in your music, but seeing people connect to the music has made you realize it's actually making a difference. When did you start realizing that? 

I am very lucky — every show we do, I have a meet and greet where I can talk to 100 people, and they tell me things that have changed their life, ways that I've affected them, and the ways that I've touched their lives. 

I also want them to know that I'm just that fat kid from Rockdale County, Georgia, and still feels like that. And they make me be able to be honest and have an outlet to turn my trauma into something positive in me. 

I feel like I learn it more and more every day that I am in a safe space, and I've created a safe space for people, and I become safer in that all the time. And I'm becoming more honest with myself, with them, in the safe space. It's just sacred, you know?

Was there a song of yours that kind of opened that up for you, because of the way that people connected to it? 

I've had a few like that, but "Simple Things" that I released on one of my EPs is still a song I sing all the time. I thought the verses were only specific to my life and what I was going through — that was the first time I was honest, and I wrote from only what I was going through specifically to my life, and that connected and did more for people than anything I did [previously]. 

You've said that you're insecure, but would you consider yourself an introvert?

I think the more that I do this, the more I become one. I used to be the biggest extrovert in the world, but the more I do this job, the more I have to be social, I feel myself becoming more of an introvert. 

Well, I brought that up because so many artists consider themselves introverts, when you are pouring your heart out in music that is then heard by thousands, if not millions, of people. Has that dichotomy ever crossed your mind? 

Yeah, but that's kind of why I think I've become more introverted, because I gotta figure out what's still mine or if there should be anything that I should hold to myself. That is the question: What is still for me, or should there still be anything just for me?

That's so interesting to think about — I've never really thought about the battle that an artist can have when they share so much. Because it's like, at that point, you're so exposed, how are you even supposed to function as a private person in any regard? 

Yeah. You figure it out, you let me know. [Laughs.]

It's cool that you're feeling so proud of this album, though, because I'd say that means that you haven't gone too far. 

It's the most honest I've ever let myself be. And I don't feel exposed — I just feel like I said what I needed to say.

I've heard that I've Tried Everything But Therapy is coming in multiple parts and this is just part one. Is that true?

Yeah, we're planning on part two, but I don't know what that looks like yet. But I want to put out more music. And I think I want to come from a different place of what I've learned from how I've healed. I just don't feel like this story's done yet. 

But you said you're going to start therapy after this album releases — so you're going to release a part two of I've Tried Everything But Therapy after you've been in therapy?

Yeah, I guess that doesn't make sense. But it will!

It would be kind of interesting to have part two be the response to therapy after you have done it.

Yeah, exactly. That's the vibe. Maybe we just go straight to part three and skip part two altogether. 

Before you even released part one, people were going crazy over "Lose Control" because of how soulful you sound on it. When did you realize you had such a captivating voice?

It wasn't really a realization — I was bad for a long time. But I love this, and I wanted this, so I worked hard to become good at it. I wanted to be the best I could at it, because using my voice means everything to me, and I want to know how to do everything I can with it. 

Well, you're doing something right, because people are exclaiming about it left and right. I saw a comment on one of your Instagram posts that said, "I just threw my shoe across my damn office, you better sing!" Do you feel the power of your own music?

I know, technically and dynamically, I am a good singer. When I listen to myself, I can't say I can't sing, because it's all there. Any singer or vocal coach could tell "That kid knows what he's doing. He can sing his ass off." 

But also, there's part of me that still doesn't like my voice, too, just like anyone else. And I think that might be why I became so good at it. Because I want to hear it and be like, "Well, you can't tell yourself you ain't good, 'cause that was f—ing — that takes skill." I've learned enough to know that I can't tell myself I'm bad. [Laughs.]

And I have to say, I've been impressed with all of the people you've posted singing their own versions of "Lose Control."

People can sing! And people have been writing verses to it too. The love on it has been so rewarding.

I feel very justified [that the music] is connecting. I feel like it's already helping. I feel very humbled, appreciated and loved.

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The Latin Recording Academy has just announced the nominees for the 2023 Latin GRAMMYs, which air Thursday, Nov. 16, from Sevilla's Conference and Exhibition Centre (FIBES), marking the first-ever international telecast in the history of the organization and awards. This year, 11 performing artists and producers have a chance at one of the night's top awards: Record Of The Year. Christina Aguilera, Pablo Alborán, Paula Arenas with Jesús Navarro, Bizarrap with Shakira, Fonseca with Juan Luis Guerra, Karol G, Natalia Lafourcade, Lasso, Maluma with Marc Anthony, Rosalía, and Alejandro Sanz with Danny Ocean have been nominated in the category this year. 

Below, get to know all of the 2023 Latin GRAMMYs Record of the Year nominees. Then, be sure to tune into the 24th Latin GRAMMY Awards on Univision at 8 p.m. ET/PT (7 p.m. CT) to see who wins!

Read More: 2023 Latin GRAMMYs: See The Complete Nominations List

"No Es Que Te Extrañe" – Christina Aguilera

Christina Aguilera rounded out her self-titled Latin album last fall with "No Es Que Te Extrañe," one of her most personal songs. The pop icon highlighted her Latina heritage by embracing the music stylings of pasillo, a popular genre in Ecuador. 

Aguilera's powerhouse voice soars as she sings about finding healing and closure from a traumatic childhood experience. The song builds from a vulnerable ballad to a moment of flamenco-infused catharsis. 

"Carretera y Manta" – Pablo Alborán

Musical worlds collide in Pablo Alborán's "Carretera y Manta," in which the Spanish singer/songwriter blends '80s-inspired pop with elements of contemporary Latin urbano beats. 

The standout single from his La Cuarta Hoja album, Alborán sings about not worrying about the destination, but instead enjoying the journey to get there. Alborán is known for big ballads and with this carpe diem anthem, he shows off a more upbeat and danceable side to his artistry. 

"Déjame Llorarte" – Paula Arenas Feat. Jesús Navarro

Colombian singer/songwriter Paula Arenas explores the emotional depth of Latin pop music in "Déjame Llorarte," teaming up with Jesús Navarro, the powerhouse voice behind Mexican group Reik. 

The heartfelt ballad is centered by Arenas and Navarro's sweet shared harmonies, which detail moving on from a breakup. Backed by piano and strings, the soulful collaboration was included on Arenas' A Ciegas album.

"Shakira: Bzrp Music Sessions, Vol. 53" – Bizarrap Feat. Shakira

Shakira turned a difficult time in her personal life into a global moment of empowerment. The Colombian pop icon teamed up with Argentinian producer Bizarrap for "Shakira: Bzrp Music Sessions, Vol. 53." 

Bizarrap seamlessly blends elements of EDM and Latin urbano music, as Shakira unleashes her inner "She Wolf" once again. In her Bzrp session, Shakira gave women wronged by an ex a kiss-off anthem that is packed with plenty of punchlines. "Women no longer cry, women get paid," she sings in Spanish. 

"Si Tú Me Quieres" – Fonseca & Juan Luis Guerra

Two giants in Latin music joined forces on the romantic "Si Tú Me Quieres." Colombia's Fonseca teamed up with Juan Luis Guerra, who hails from the Dominican Republic. The traditional vallenato sound of Fonseca's country is beautifully blended with the tropical music that Guerra is known for. 

The dreamy duo serenade listeners around the world, trading verses about the power of love behind a kiss. 

"Mientras Me Curo Del Cora" – Karol G

In addition to scoring further reggaetón hits from Mañana Será Bonito, Karol G also showed versatility to her artistry on her latest album. 

The Colombian superstar sampled the feel-good classic "Don’t Worry, Be Happy" by Bobby McFerrin in "Mientras Me Curo Del Cora." With a bit of reggaetón in the mix, she turns a dark moment in her life into Latin pop positivity and allows listeners get to know Carolina Giraldo Navarro — the woman behind Karol G. 

"De Todas Las Flores" – Natalia Lafourcade

After paying homage to the music of Mexico and Latin America in her past few releases, Natalia Lafourcade returned last year with De Todas Las Flores, an album of all original music. 

On the hypnotic title track, Lafourcade shows why she is one of Mexico's most exciting and innovative alternative acts. Lafourcade masterfully melds the sound of her guitar, folkloric Latin music, and jazz in the song where she mourns the memories of a past romance. 

"Ojos Marrones" – Lasso

Last year, Lasso scored one of the biggest global hits that was outside the Latin urbano genre. The Venezuelan singer/songwriter channeled the spirit of '70s soft rock in "Ojos Marrones, citing Fleetwood Mac as one of his inspirations for the alluring love song.

With his raspy voice, Lasso sings about getting lost in his partner's brown eyes. Lasso continued to put a refreshing spin on the music of pop past throughout his album Eva. 

"La Fórmula" – Maluma & Marc Anthony

To tap into the sound of salsa music, Maluma teamed up with one of the genre's giants. In "La Fórmula," the Colombian superstar joined forces with Nuyorican icon Marc Anthony for a charming duet. 

The colorful and sweeping song was included on Maluma's Don Juan album. Backed by a full band and tropical beats, Maluma and Anthony sing about wanting to reignite the romance with an old flame. 

"Despechá" – Rosalía

Rosalía continued to push Latin music to new places in the deluxe version Motomami, last year's Latin GRAMMY Album Of The Year winner. 

This year, the Spanish pop star blended elements of merengue, pop, and house music in "Despechá." Instead of being bogged down by a breakup, Rosalía gets the mambo dance line started while singing about cutting loose with her close friends. The genre-bending track was Rosalía's fierce remedy for channeling spiteful feelings into a cathartic club experience. 

"Correcaminos" – Alejandro Sanz Featuring Danny Ocean

Spanish pop icon Alejandro Sanz teamed up with rising Venezuelan star Danny Ocean for "Correcaminos." The sultry collaboration combines the alternative reggaetón sound of Ocean with flamenco influences from Sanz's home country.

Sanz and Ocean sing from the heart about winning over the women of their dreams. Whether that happens in this lifetime or the next, both singers are determined to make that happen in this magical duet.

Latin GRAMMYs 2023: Song Of The Year Nominees — Read Them Here

We’re officially gearing up for the Biggest Night in Latin Music, and the Latin Recording Academy has announced the nominations for the 2023 Latin GRAMMYs live from Seville, Spain.

If you missed the nominations livestream, you can rewatch the full nominations livestream below and watch as Rosalía, Shakira, Jorge Drexler, Christian Nodal, Mon Laferte, and more of the biggest artists in Latin music reveal the nominations for the 2023 Latin GRAMMYs.

Read More: 2023 Latin GRAMMYs: See The Complete Nominations List

The Latin GRAMMYs will return to our eyes and ears on Thursday, Nov. 16, from the Conference and Exhibition Centre (FIBES), in Seville, Spain. Officially known as the 24th Annual Latin GRAMMY Awards, the 2023 Latin GRAMMYs mark the first-ever international telecast in the history of the organization and awards.

The 2023 Latin GRAMMYs will debut several new Latin GRAMMY Award categories and a new field, including Best Songwriter Of The Year, Best Singer-Songwriter Song and Best Portuguese-Language Urban Performance.

Enjoy rewatching the nominations livestream announcement above, and keep checking GRAMMY.com for more information about the 2023 Latin GRAMMYs. We’ll see you on Nov. 16!

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