Rosalía won the Latin GRAMMY for Album Of The Year for MOTOMAMI at the 2022 Latin GRAMMYs.

Christina Aguilera, Marc Anthony, Bad Bunny, Bomba Estéreo, Jorge Drexler, Elsa y Elmar, Fonseca, Alejandro Sanz and Sebastián Yatra were the other nominees in the prestigious category.

Rosalía became the first woman in Latin GRAMMY history to win Album Of The Year twice, after winning the category in 2019 for El Mal Querer.

This year, she was one of the most nominated artists at the 2022 GRAMMYs alongside Rauw Alejandro and Jorge Drexler. MOTOMAMI won in the Best Alternative Music Album and Best Recording Package categories, and Rosalía was also nominated for Song of the Year, Best Alternative Song, Best Short Form Music Video, and Record of the Year.

Rosalía took audiences on an experimental journey through MOTOMAMI at the ceremony, performing her hits "Hentai," "La Fama," and "Despecha.”

Check out the complete list of winners and nominees at the 2022 Latin GRAMMYs.

The 2024 Latin GRAMMYs will kick off in a major way on Thursday, Nov. 14. The Latin Recording Academy announced the performers and hosts for its annual Latin GRAMMY Premiere, which takes place just hours before the Latin GRAMMY Awards and where the majority of the awards will be presented.

Hosted by Latin GRAMMY nominees María Becerra, Juliana and Luísa Sonza, the Latin GRAMMY Premiere will feature performances by Ale Acosta and Valeria Castro (Best Latin Electronic Music Performance), Alok (Best Latin Electronic Music Performance), Fonseca (Record Of The Year, Best Contemporary Tropical Album & Best Tropical Song), Leonel García (Best Singer-Songwriter Album & Best Short Form Music Video), Grupo Niche (Record Of The Year), Draco Rosa (Best Rock Song & Best Pop/Rock Album), Rozalén (Best Singer-Songwriter Album & Best Singer-Songwriter Song), and Vikina and Deorro (Best Latin Electronic Music Performance).

The Latin GRAMMY Premiere will stream live from the Miami Beach Convention Center across all Latin Academy platforms (YouTube, TikTok, Facebook, X and Instagram) on Thursday, Nov. 14, beginning at 10 a.m. PT / 1 p.m. ET.

"I'm excited to kick off The Biggest Night in Latin Music with our Latin GRAMMY Premiere," said Manuel Abud, CEO of The Latin Recording Academy. "With an amazing lineup of performers, we will reveal the winners in 50 of 58 Latin GRAMMY categories, showcasing the diversity of our community of creators throughout Ibero-America."

Grecia Medina and Macarena Moreno will serve as co-executive producers of the event, working under the direction of The Latin Recording Academy's production team led by Ayleen Figueras. 

Read More: 2024 Latin GRAMMYs Performers Announced: Carlos Vives, Luis Fonsi, Alejandro Fernández, Juan Luis Guerra & More

Following the Latin GRAMMY Premiere, and prior to the telecast, guests will enjoy the Official Latin GRAMMY Party at 601 Terrace at the Kaseya Center, sponsored by Miami-Dade County and the Greater Miami Convention & Visitors Bureau, American Airlines, Junta de Andalucía, Bulova, Espolòn Tequila, Gary Nader Art Centre, Jack Daniel's Tennessee Whiskey, Mastercard, Rums of Puerto Rico, Tito's Handmade Vodka and Verizon Wireless.

The 2024 Latin GRAMMYs telecast will be produced by TelevisaUnivision, the leading Spanish language media and content company in the world, and will air live on Univision, UniMás, Galavisión and ViX beginning at 8 p.m. ET/PT (7 p.m. Central), preceded by a one-hour pre-show starting at 7 p.m. ET/PT.

For the latest news, visit the official Latin Recording Academy site at LatinGRAMMY.com.

Davis are big on connection — whether they’re meeting someone in real life, delivering a performance onstage, or meeting over Zoom. 

The collaborators first met in the early aughts, when Davis was acting in "Passing Strange" and Miranda was performing in "In the Heights," which he also wrote music and lyrics for. "We both did those journeys from Off-Broadway to Broadway around the same time," Miranda tells GRAMMY.com.

Their creative connection came quickly, he continues. "We were fans of each other's shows. Our casts were all friends, so we hung in New York playwright circles, the group of playwrights who were just like trying to make stuff for people of color as much as possible." 

Their knack for warm and engaging storytelling, as well as refusal to sacrifice play for space, quickly turned them into unavoidably dynamic artists. It’s not difficult to understand why they’ve earned a shelf-load of awards and shaped popular culture through their TV writing, songwriting, and performances on screen and stage. Miranda and Davis' collective energy translates into Warriors, their concept album inspired by the 1979 film The Warriors, out Oct. 18. 

Executive producer Nas and GRAMMY-winning producer Mike Elizondo assemble synths, evocative dembow, and soulful beats that bleed into the New York City streets. Suddenly, tracks veer into rock and punk territory, and these transitions come as a static shock, the equivalent of shuffling across the floor in warm socks and touching a doorknob.

In discussion with GRAMMY.com, Miranda is vivacious and curious, speaking at a rapid clip, pausing for Davis to chime in or laugh as though he’s filing away an idea to solve or a surprise to share with listeners later. Davis has the intellect and energy of someone approaching an apex of inspiration, gushing about her and Miranda’s shared musical influences as passionately as she does her New York City woes.

The pair delve into writing Warriors, their long-standing friendship, their collaborative practice, and, of course, the city that shaped them into the artists they are today. 

This interview has been edited and condensed for clarity.

What were your initial conversations like about what would become Warriors?

Lin-Manuel Miranda: We've been friends for a long time, and when my brain let me know that this Warriors movie that you saw when you were four is taking up outsized real estate, and you really should finally get around to adapting it, and maybe there's a way to do it. Eisa was my first and only call. 

Eisa Davis: We have an aesthetic kinship. You hear it in all of Lin's work. It's stuff that I've tried to do in my work, which is to bring in this kind of hybridity of genre, bring in things that you wouldn't expect, whether it's like a kind of musical way. 

I wrote a play called "Angela's Mixtape," which is a memoir, back in 2009, and the idea was to make sure that we had a narrative that proceeded like a mixtape. 

Miranda: That’s [structure] all she thinks about! 

Davis: The conversation for this album has been building up in this subterranean way over these many years, and then we actually got to do this together — create a work that we both really feel strongly about. 

What does the collaborative process look like for you?

Miranda: It's been in stages. I think the first year was, "What could this be?" [Editor's note: They've been working on Warriors for three years.] What was great was that we came from opposite sides when it came to the work itself. She had never seen the film but knew of the film's many hip-hop and cultural references. I have seen the film more than any other, so I already like the innovation to the structure she was bringing. 

We made each other a lot of playlists. When we did the first listening party of our demos,  I remember feeling really proud. [Those songs] were like everything from '70s funk acts and metal bands like Death, to more contemporary artists. I put some Lil Wayne stuff and some The Strokes on there, so we were trading musical sort of color swatches until we were writing the same thing. 

Davis: We got our genre and chased our vibes that way. I would free-write all of this character stuff and pass that over to Lin, and Lin would have all of these lyrical ideas again [that] had been just rambling around in his head. Then, we would go back and forth until it felt like it was indeed what we wanted to accomplish for these characters. I'd send him little voice memos with baselines on them or say, "Oh, here's a hook idea. Can we try that?"

It was this fantastic back and forth with us being open to whatever the other person was thinking and see if that works, and we'll use it. And if it doesn't, we'll just toss it and keep moving. 

Lauryn Hill and Marc Anthony are some of the luminaries featured in Warriors. But how did you choose the newer talents or those less known to listeners outside New York’s Theater District to highlight?

Miranda: We called all our friends to demo The Warriors, but we were already subconsciously casting the crew. I always knew Cowgirl was going to be Sasha Hutchings. We've been through "Hamilton" together as very close friends, and I knew that that chaotic energy was just right for Cowgirl. 

Our friends recorded our demos before we even had many instruments on it. Eisa and I looked at each other like they were the ones. "What f—ing pop star is gonna do better than what is happening in front of us?"

Davis: They should all be pop stars, and that's what we get to do! If you hear what it is that they're able to accomplish on this record, what it is that they can do as actors, what it is that they're doing vocally, you're just kind of like, Yeah, they should be on the top of the Billboard charts.

Miranda:  The writing took us down a journey of discovery. Eisa felt very strongly that our DJ, which Lynn Thigpen plays in the movie, should be Jamaican, to give a nod to the Jamaican roots of hip-hop. I loved that idea. That brought us into the world of Shenseea and made us fall in love with Shenseea’s music. Then we were like, "Well, can we get her?" Because she's such a superstar within her genre. It's been fun in both ways, like the people we know, who we knew could deliver on this album, and those we didn't even know existed before we started writing it

Including someone like Emmy winner and Academy Award nominee Colman Domingo — who isn’t just an extraordinary actor but an acclaimed playwright and director — feels like a statement. Did you write his songs with him in mind?

Davis: He was in "Passing Strange" with me. He’s like a brother to me. He’s my family. 

Miranda: That’s the homie. 

Davis: We actually weren't thinking of him. But then suddenly, the idea occurred to us: we have a great person, too, and we've been working with Riggs [Morales] [Executive Vice President, A&R at Def Jam Recordings]. In some ways, it was almost like Colman was already under our noses, and then Riggs was like, "What about this Colman dude?" We're like, "Oh my gosh, he's perfect!" This will be exciting for all the Colman fans because he is here, rapping on wax for the first time. 

Miranda: Theater fans know Colman from "Passing Strange" and "The Scottsboro Boys." He's got theater chops.  

What's wonderful is the rest of the world has caught on and finally discovered his brilliance!

Miranda: That’s how I feel about every artist on this album. 

Davis: There’s Joshua Henry. 

Miranda: He’s been in every show I’ve ever written. I even recorded his voice for one of the songs in "Bring It On [The Musical]." 

Davis: Again, this is someone known here in New York, and he does all of his own music on tours around the country and the world. But now, when people hear his vocals, they will say, "Okay, yes, is it like that? It's like that."

"Derailed" and "Luther Interlude" show some punk and rock influences. Briefly describe the genesis of integrating them into the album.

Miranda: When you go watch The Warriors, this Walter Hill classic this album is based on, it’s a rock score. Rock and synths and a very innovative soundtrack for its time. We also knew we were doing a love letter to the concept albums of the '70s: Jesus Christ Superstar, Genesis’ The Lamb Lies Down on Broadway [The Who’s] Tommy, so we knew there'd be a rock element because that's that part of what's going on in that time period. 

Our thesis statement for getting to journey all the way through New York, from Coney Island to the Bronx and back, is we get to play in every musical subculture happening in New York then. You have an ode to the queer subculture that's coming up at that time with [characters] The Hurricanes at 96th Street. I changed the Turnbull ACs from a group of skinheads on a school bus to the greatest Fania song I could possibly write; Fania was revolutionizing salsa, so that’s an opportunity to play in that sandbox. We really used New York as a terrain and a playground for us to play with all of the many New Yorks encapsulated in New York in the late '70s, not just the ones in [the original] movie. 

Davis: When you were talking about metal and wondering about Luther [sung by Kim Dracula], I was just like, "How can we get at this villainy in this really exciting, unexpected way, musically?" So I was like, "Lin, why don't you listen to this band that had someone that I know as an actress, Jessica Pimentel?" She had a band called Alekhine's Gun, and I was just like, "Maybe Luther is in this sound." 

Miranda: She played the track, and I could feel my abuelas in heaven crossing themselves on my behalf, being like, "Oh my God." And I was like, "This is exactly the energy, this dark but virtuosic energy." 

Were there specific lyrics that blew the other away?

Miranda: First and foremost, it's a love letter to the movie, so if you love this movie, your favorite quote will be there. And it's either a lyric or, in some cases, where I couldn't imagine adding music to it. Writing Mercy's song was surprising to me because Mercy is one of my favorite movie characters. Full stop. I love that she is the only woman on that block, but her gang seems f—ing terrified of her. She just has so much power. Even in the movie, she has so much power and writing that her kind of aria, when we first meet her, the whole sound and everything about it, surprised me. 

Davis: I think we were surprised by pretty much everything that wasn't something that we lifted directly from the film. Every time we would sit down and go through the song, you're discovering how to actually depict this silent scene in the film. So that was a surprise to see. "Okay, we're going to find a narrator." The DJ ends up being our narrator.  So again, as we were going, everything was a surprise. 

Miranda: The surprise is the point. We're the first audience, and when we surprise ourselves, it's good enough. 

This album is an amalgamation of sounds from New York City. What about this city is most magical to you?

Miranda: I'm so crazy about not just the city's diversity, but the economic diversity of this city. There's too many of us to be here, but we figure it out, and we take care of each other. I really feel that in our city and the best and the worst of times.

I keep finding New Yorks to write. I started in my neighborhood in "In The Heights."  I found two centuries underneath that for  "Hamilton." However, I was still writing about the same spots, like Burr lived on 162nd Street [in Washington Heights], and Hamilton lived on 145th Street. Then, with this [concept album], we get to go to 1979 and just play in all these different neighborhoods. Every time I turn a corner, I'm inspired here. 

Davis: The metaphor is that you can be totally unarmed, just like faced with the armies of the night, and still survive. That is New York in a nutshell. What is so magical about this place is that it is so difficult in so many ways to be here. You're just crushed up against each other. There's just no space. Everything stinks. 

Miranda: [Laughs.] Transferring from the A to the N/R [train line]!

Davis: But the thing is, we all come here together because of each other, like we all are in New York because of the people who are there, and that's what's magical about it. It comes through in our writing.

To celebrate 25 years of the Latin GRAMMY Awards, the Latin Recording Academy opened a new exhibit at the GRAMMY Museum in Los Angeles on Sept. 19. The entire second floor of the museum is dedicated to capturing the growth of Latin music that has gone hand-in-hand with the Latin GRAMMYs through awards, artifacts, outfits, and instruments from previous winners and nominees like Shakira, Karol G, Peso Pluma, Juan Luis Guerra, Celia Cruz, and many more.

"Today, Latin artists are crafting pop culture, influencing everything, and breaking all the charts," Latin Recording Academy CEO Manuel Abud tells GRAMMY.com. "For the Latin Recording Academy, it's been a privilege to be with them on this journey, and this exhibit tries to bring this journey closer to the people. For us, this is an attempt to bring this journey and this legacy closer to the audience." 

The newly opened exhibit at the GRAMMY Museum, officially named Latin GRAMMYs 25: A Legacy of Musical Excellence, is one of three that the Latin Recording Academy is presenting as part of the 25th anniversary of the Latin GRAMMYs celebration happening throughout this year, all of which will highlight the magic of the Latin GRAMMYs. The Paley Museum in New York City will host its exhibit, which opened Sept. 13, and runs through Nov. 3; the exhibit at Miami's Gary Nader Art Centre will open Sept. 26 and run through Dec. 20. The GRAMMY Museum's exhibit closes Dec. 18.

The series of multi-city exhibits leads up to the 2024 Latin GRAMMYs, which officially mark the 25th anniversary of the Latin GRAMMY Awards. Taking place Thursday, Nov. 14, in Miami, the 2024 Latin GRAMMYs will debut of a new field and two new categories: Best Latin Electronic Music Performance, housed within the new Electronic Music field, and Best Contemporary Mexican Music Album. Ahead of the 2024 Latin GRAMMYs, the Latin Recording Academy will host the official Latin GRAMMY Week 2024, which includes multiple events throughout Miami-Dade County including the 2024 Latin Recording Academy Person of the Year gala, which this year honors 18-time Latin GRAMMYs winner and two-time GRAMMY winner Carlos Vives, and the 2024 Special Awards Presentation.

Ahead of the GRAMMY Museum’s exhibit opening, Abud and Jasen Emmons, Chief Curator and Vice President of Curatorial Affairs of the GRAMMY Museum, took GRAMMY.com on a tour. Below, learn more about the GRAMMY Museum's monumental, history-filled display.

Learn more about the Latin Recording Academy and the GRAMMY Museum’s Latin GRAMMYs 25: A Legacy of Musical Excellence exhibit.

All photos by Rebecca Sapp.

A Timeline Of Latin GRAMMY Milestones

When entering the second floor of the GRAMMY Museum, one of the walls is covered with a giant timeline of major moments and milestones from the Latin GRAMMYs. The timeline starts with the 1st Annual ceremony in 2000, where Ricky Martin, Celia Cruz, and Gloria Estefan paid tribute to mambo legend Tito Puente, who had passed away a few months prior. 

From there, moments highlighted include Luis Fonsi's performance of "Despacito" in 2017 with Diplo, Bomba Estéreo and Victor Manuelle, and Bad Bunny's win for Best Urban Album in 2019 where he advocated for more respect for reggaeton music and its artists. Edgar Barrera, who won the first Songwriter Of The Year award at last year's ceremony, also has his history-making Latin GRAMMY on display. The timeline not only shows the growth of the awards, but its impact on Latin music going mainstream. 

"We created a platform for new artists to evolve and to present their craft, but also a way to celebrate established artists," Abud says as he looks at the timeline. "I think the beauty here is that we celebrate both at the same time that we are nurturing the next generation [or artists]. I love to see an artist like Karol G be Best New Artist in 2018 and winning Album Of The Year in 2023 and breaking all the records. It's the concept of how we bring it all full circle."

Read More: 2023 Latin GRAMMYs: Karol G Wins Album Of The Year For 'Mañana Será Bonito'

The Latin GRAMMY Awards By the Numbers

There's also a few more giant graphics on the other walls of the exhibit that are informational and educational. One graphic — which could be useful for either the GRAMMYs or Latin GRAMMY Awards — explains the difference between the Song Of The Year and Record Of The Year categories; another graphic shows the legacy of the Latin GRAMMYs by the numbers. The number 18 is shown next to Eduardo Cabra, who has the most wins for a producer, while his former Calle 13 associate, Residente, is highlighted for the most wins by a male artist with 28. Meanwhile, 2006 is shown next to Shakira's name for the ceremony where she made history as the first woman to win Record Of The Year, Song Of The Year, and Album Of The Year. 

"I would like for visitors to feel the emotions because music is all about the emotions," Abud says. "I would like for them to go through the journey and remember what they were doing in 2006 or 2016, for example. I hope this exhibit brings them memories and gets them excited about the future. It's a combination of celebrating our past, but also enjoying the present, and preparing for the future."

The Diversity Of Latin Music Through Instruments

Another way the GRAMMY Museum's Latin GRAMMYs exhibit is hoping to educate visitors is through the instruments on display. Mexican group Intocable loaned a series of instruments that highlight the sounds of música Mexicana, including the bajo sexto guitar, the accordion, and a Djembe drums. 

To highlight other genres in Latin music as well, Juan Luis Guerra loaned a güira, which is used in his merengue with "Punta Cana" written across it. The drums that Sheila E. played during her performance with Guerra at the 8th Annual Latin GRAMMYs are also present. The instruments exemplify not only different genres, but also different Latin cultures and countries. 

"We really wanted to show a number of different instruments that we used in Latin music, like timbales or bajo sexto because for many people they may have heard them, but they haven't seen them before," Emmons says. "It's fun for people to be able to go, 'Oh! That's what that looks like, so it's making that sound.' We're really always trying to have that educational element to what we do."

Iconic Performances Revisited

The history of career-defining performances at the Latin GRAMMYs is captured in the fashion at the exhibit.

The colorful spirit of Celia Cruz, who passed away in 2003, is captured in a white and blue wig at the exhibit. The Cuban legend wore the wig during the 2002 Latin GRAMMYs — her last televised performance. 

The outfits on display also further exemplify the diversity of Latin music. Mexican icon Pepe Aguilar's traditional charro suit is next to Peso Pluma's Givenchy and Alexander McQueen outfit from last year's ceremony that exemplifies his more urban approach to música Mexicana. Rauw Alejandro, who has gone from reggaeton hit-maker to global pop star, mixed both worlds with his red-hot Enfants Riches Déprimés look at last year's ceremony. Rosalía's white bodysuit from her flamenco-infused debut on the Latin GRAMMYs stage in 2018 is also on display. 

"It's fun to see the growth of both Latin music, but also the Latin GRAMMYs," Emmons says. "It's extraordinary when you think in just 25 years how massive it's become and incredibly exciting. It was really fun to go through that [legacy of the Latin GRAMMYs] and figure out what were those moments that helped expand awareness of this and celebrate it."

Red Carpet Fashion At The Latin GRAMMYs

The iconic fashion of the Latin GRAMMY Awards isn't only limited to the performances. On the red carpet, many nominees and winners have made statements with their outfits. 

One standout fashion moment in particular at the exhibit is Mon Laferte's purple suit at the 2021, where she proudly flaunted her pregnancy at the time. Karol G's metallic Balmain dress from last year's ceremony — where she later won Album Of The Year — is another stunning highlight among the outfits. 

Barrera's fashion-forward suit that he wore during his historic Songwriter Of The Year win in 2023 is also on display. Beatriz Luengo, who won Song Of The Year for the Cuban protest anthem "Patria o Vida" in 2021, paid tribute to Celia Cruz with a blue gown that had the late legend's face emblazoned on it. 

"The biggest thing I want is for visitors to go away saying, 'I want to listen to these artists,' if they haven't already," Emmons says. "Also, to have more appreciation for the artistry, and the showmanship because a lot of what we have on display are some of the performance outfits, red carpet outfits, and amazing style. At the heart of this exhibit is to inspire people to go discover artists that maybe they haven't listened to in awhile, or they never heard of before."

Song Of The Year represents one of the most coveted honors at the Latin GRAMMYs, alongside Album Of The Year, Record Of The Year and Best New Artist. Like the award ceremony itself — which celebrates its 25th anniversary this year — the 10 songs in competition for the title of Song Of The Year form a vibrant portrait of the state of Latin music in this moment.

Among the songs being recognized are several star-studded collaborations: Daymé Arocena & Vicente Garcia's "A Fuego Lento"; Gian Marco & Rubén Blades' "Aún Me Sigo Encontrando"; Elena Rose, Danny Ocean & Jerry Di's "Caracas En El 2000"; Shakira and Grupo Frontera's "(Entre Paréntesis)"; and Residente, Silvia Pérez Cruz & Penélope Cruz's "313." Two songs featuring Carin León made the list, too: his Maluma team-up "Según Quién" and his Kany García duet "Te Lo Agradezco."

The other three contenders are songs by both new and veteran stars. Rising Mexican singer Maura Nava's "A La Mitad (Banda Sonora Original De La Serie "Zorro")" earns a nomination, as well as Karol G's "Mi Ex Tenía Razón" and Jorge Drexler's "Derrumbe."

Of course, Song Of The Year is awarded to the songwriters, which means the nominees in this Category may not actually include the artists themselves. Below, learn more about the songs — and songwriters — that received a Song Of The Year nomination at the 2024 Latin GRAMMYs. Then be sure to tune into the 2024 Latin GRAMMYs, officially known as the 25th Latin GRAMMY Awards, on Thursday, Nov. 14, at 8 p.m. ET/PT (7 p.m. CT) on on Univision, Galavisión and ViX to see who wins.

Read More: 2024 Latin GRAMMYs: See The Full Nominations List

Daymé Arocena & Vicente García — "A Fuego Lento"

Daymé Arocena & Vicente García, songwriters

At 32 years old, with five solo albums and a long list of accolades attached to her name, Daymé Arocena is one of the leading lights of contemporary Afro-Cuban jazz. As a member of Jane Bunnett and Maqueque, the Havana-born-and-bred singer received a GRAMMY nomination in the Best Latin Jazz Album Category, for her 2016 album Oddara. Her 2024 album, Alkemi, brought her greater attention outside of jazz circles and her native Cuba. The album leans in a more accessible, tropical-pop direction than her previous releases, while still showcasing her astounding vocal range and dynamic singing abilities.

Her fifth solo album takes its name from the Yoruba word for alchemy — and, just as alchemy is concerned with spiritual and material transformation, the music on Alkemi marks a transformative moment for Arocena. She chose to record in Puerto Rico and produce the album with Eduardo Cabra of Calle 13 out of a desire to freely explore a range of Afro-Caribbean sounds. The finished work is a unique and beautiful mix of avant-R&B, funk, Latin sounds with African roots.

The Latin GRAMMY-nominated album single, "A Fuego Lento," is, as the title suggests, a soulful and passionate slow burner that features the vocals of Dominican musician (and four-time Latin GRAMMY winner) Vicente García. This is Arocena’s first Latin GRAMMY nomination.

Maura Nava — "A La Mitad"

Julio Reyes Copello & Mariana Vega, songwriters

Emerging Mexican artist Maura Nava is a classically trained vocalist who first gained the world's attention through a popular TikTok video in which her cat, Maximino, joins in as she hits the operatic high notes in the Enrique Granados tonadilla "El Majo Discreto" ("The Discreet Lover"). The singer is endearingly unable to keep a straight face after being interrupted by her feline friend, who warbles along with the 1910 composition. (Search "opera cat" and you'll find it.)

After the young singer posted the clip online, she was scouted by producer Julio Reyes Copello and invited to attend his pop finishing school, ArtHouse Academy. Shortly after completing the program, the talented newcomer, who is now based in Miami, landed a contract with Universal Music Latin on the basis of her viral break and crystalline soprano.

Nava's debut single is "A La Mitad," an eerily pretty vehicle for her stunning range and subtle vibrato, composed for the soundtrack to the Prime Video series "Zorro." If this is the first you are hearing of Nava, stay tuned — it won't be the last time you hear her voice.

Gian Marco & Rubén Blades — "Aún Me Sigo Encontrando"

Rubén Blades, Gian Marco & Julio Reyes Copello, songwriters

To earn his fourth nomination in the Song Of The Year Category, Peruvian singer/songwriter Gian Marco linked with none other than the legendary Panamanian salsero and songwriter Rubén Blades (who is now a three-time Song Of The Year nominee himself). Their moody ballad, "Aún Me Sigo Encontrando," is the title track from his 2023 album. In it, the two seasoned artists wax philosophical about the complexities of life and finding one's place in the world, backed by a rain of percussion. The unadorned nature of the song adds to its haunting quality.

Aún Me Sigo Encontrando is one of the more rootsy additions to Marco's vast discography. The majority of its tracks are built around Afro-Caribbean percussion and finger-picked, acoustic guitar. The relatively minimalist instrumentation lends itself to the album's pensive mood, and also for thoughtful appreciation of the many collaborations with heavyweight such as Blades and revered Cuban folk singer Silvio Rodriguez.

Marco is one of Peru's foremost musical ambassadors. He has won the Latin GRAMMY for the Best Singer-Songwriter Album three times, and now counts 18 nominations total as of press time.

Watch: Gian Marco Introduces The Instrument That Links Him To His Home Country Of Peru | It Goes To 11

Elena Rose, Danny Ocean & Jerry Di — "Caracas En El 2000"

Marvin Hawkins Rodriguez, Jerry Di, La Pichu, Danny Ocean & Elena Rose, songwriters

Having written hit songs for numerous stars in Latin music, Elena Rose is a driving force behind the scenes in the current wave of Latin pop and reggaeton. The beneficiaries of her lyrical prowess have included Bad Bunny ("Party"), Jennifer Lopez and Maluma jointly ("Pa' Ti"), Selena Gomez ("De Una Vez"), and, prolifically, both Becky G and TINI. (Rose was nominated in the Songwriter Of The Year Category at the 2023 Latin GRAMMYs.)

After debuting as an artist in her own right in 2020 with the single "Sandunga," the Venezuelan-American has increasingly focused on her career in front of the mic. Since then, she has released more than a dozen high-performing singles as a solo artist. One of those songs, 2023's "Caracas En El 2000" earned the singer/songwriter another hit and a nomination in the Song Of The Year Category for the 2024 Latin GRAMMYs. The song is a breezy earworm featuring fellow Venezuelan artists Danny Ocean and Jerry Di that joyfully celebrates the Caracas that each of the young artists knew as a child.

Including her three nominations this year (Song Of The Year, Best Pop/Rock Song for "Blanco y Negro" and Best Regional Song for "Por El Contrario"), Rose has nine Latin GRAMMY nominations to date. This marks her first in the Song Of The Year Category.

Jorge Drexler — "Derrumbe"

Jorge Drexler, songwriter

Singer/songwriter Jorge Drexler has risen to a position of international renown with tuneful folk pop that draws on the musical traditions of his native Uruguay. His work has garnered repeated recognition from the Latin Recording Academy, with 13 wins, including two awards for Song Of The Year. He is nominated in the Category again this year for his simple, but wrenching ballad "Derrumbe." The standalone single tells the story of a relationship's disintegration in poetic, metaphorical terms, characterizing it as a house of cards that crumbles when one partner removes a single card.

Accompanied only by guitar, the troubadour mourns the loss, lamenting "Nuestro amor cedió por las costuras" ("Our love gave way at the seams"). "Quedamos a la intemperie/ Sin un "tal vez" que nos resguardara," he sings. ("We are left out in the open/ Without a "maybe to protect us.") Though somber, the song reflects Drexler's prodigious skill in songcraft and economy of storytelling in song.

Watch: Jorge Drexler's Favorite Guitar Has A Special Story | It Goes To 11

Shakira & Grupo Frontera — "(Entre Paréntesis)"

Edgar Barrera, Kevyn Mauricio Cruz, Manuel Lorente Freire, Lenin Yorney Palacios & Shakira, songwriters

A few of the artists nominated in the Song Of The Year Category also had one of the year's biggest albums. Shakira, for one, is also up for Album Of The Year for her triumphant comeback album Las Mujeres Ya No Lloran (Women Don't Cry Anymore). In the category at hand, she received a nod for the 2024 album single with Mexican-American band Grupo Frontera.

The Colombian singer/songwriter and the regional Mexican group's joint effort, "(Entre Paréntesis)," is a reminder of Shakira's chameleon-like gift for expressing herself in seemingly any language or genre. An emotional cumbia with a distinctly Mexican flavor, the song is one of the most delightful collaborations on an album that saw her duet with Rauw Alejandro, Cardi B, Ozuna, Manuel Turizo, Fuerza Regida, and Karol G.

If Shakira takes home Song Of The Year at the 2024 Latin GRAMMYs, she will be a back-to-back winner in the Category. Her internet-breaking collab with Bizarrap, "Shakira: Bzrp Music Sessions, Vol. 53," won Song Of The Year at the 2023 Latin GRAMMYs.

Listen Now: Every Year Is The Year Of Shakira: 10 Songs That Prove She's Always Been A Superstar

Karol G — "Mi Ex Tenía Razón"

Edgar Barrera, Andres Jael Correa Rios, Kevyn Mauricio Cruz Moreno, Karol G & MAG, songwriters

Mexican and Mexican-American influences have been omnipresent in Latin music for the past two years. In that light, it comes as little surprise that Karol G's hat tip in this year's Song Of The Year Category is the Tex-Mex flavored pop-cumbia of "Mi Ex Tenía Razón" from Mañana Será Bonito (Bichota Season), the companion mixtape to her 2023 album, also titled Mañana Será Bonito.

Karol has shared that the song's sweet melody and regional accent were inspired by the music of Selena Quintanilla, one of the reggaeton superstar's all-time idols. Recording the mixtape allowed Karol G to try out new musical modes as she did with "Mi Ex Tenía Razón" and the dub reggae of "Me Tengo Que Ir," a collaboration with Kali Uchis.

After a huge night at the 2023 Latin GRAMMYs — where Karol G took home three awards, including Album Of The Year — the Colombian star could have an even bigger night at the 2024 Latin GRAMMYs. She tallies eight nominations this year, including Album Of The Year for Mañana Será Bonito (Bichota Season) and Record Of The Year for "Mi Ex Tenía Razón."

Watch: 2024 GRAMMYs: Karol G Wins The First GRAMMY Award Of Her Career For Best Música Urbana Album

Maluma & Carin León — "Según Quién"

Edgar Barrera, Kevyn Mauricio Cruz, Luís Miguel Gómez Castaño, Maluma, Lenin Yorney Palacios & Juan Camilo Vargas, songwriters

In recent years, música Mexicana has become the genre to watch, and dabble with, in the world of Latin music. Maluma could not resist its allure and tried his hand with "Según Quién," an irreverent norteño duet with Mexican regional music standard bearer — and sought after musical collaborator — Carin León. Both Maluma and León took the opportunity to let their respective devil-may-care, bad boy sides out to play on the invective-filled track, which winkingly suggests the Colombian urbano star has found his way to Mexico in order to drown his sorrows and forget a toxic relationship.

The single, which appears on Maluma's successful 2023 album, Don Juan, has been a significant hit for him, reaching No. 5 on Billboard's Hot Latin Songs chart. This is his sixth nomination in the Song Of The Year Category, and his 18th Latin GRAMMY nomination overall.

Learn More: Meet The First-Time GRAMMY Nominee: The Magnificent, Magnetic Maluma

Kany García & Carin León — "Te Lo Agradezco"

Rafa Arcaute, Kany García, Carin León & Richi López, songwriters

Kany García's ninth studio album, titled García, is a deeply felt meditation on a personal life and career well spent. Nominated in the Album Of The Year Category, García features more than one hit single for the Puerto Rican singer/songwriter. One of those, a collaboration with regional Mexican music star Carin León, is a candidate for Song Of The Year.

Eloquent and pugnacious, "Te Lo Agradezco" tells off a no-good ex with flourishes of flamenco and country. Opening with a jaunty tuba intro, the smash hit makes no bones about its Mexican influence. When the duo performed the song together live in Mexico, the more than enthusiastic crowd response made it clear that the ballad had connected with fans of both artists.

García has been a mainstay of the Latin GRAMMYs for more than a decade. She has won five Latin GRAMMYs since her first victories for Best New Artist and Best Female Pop Vocal Album (Cualquier Día) in 2008. This is her fifth Song Of The Year nomination, but could be her first win in the Category.

León is a two-time Latin GRAMMY winner himself. He earned a total of four nominations at the 2024 Latin GRAMMYs, including Song Of The Year, Record Of The Year ("Una Vida Pasada" with Camilo), Album Of The Year (Boca Chueca, Vol. 1), and Best Contemporary Mexican Music Album (Boca Chueca, Vol. 1).

Residente, Silvia Pérez Cruz & Penélope Cruz — "313"

Leo Genovese, Residente & Silvia Pérez Cruz, songwriters

The rollout for Residente's second solo album, Las Letras Ya No Importan, has been a lengthy one — so lengthy, in fact, that one single from the album, "René," has already received an award in the Song Of The Year Category, at the 2020 Latin GRAMMYs.

Four years later, Las Letras Ya No Importan earned the politically outspoken Puerto Rican rapper another Song Of The Year nomination, this time for "313." The album single features the voices of actress Penélope Cruz and Spanish singer Silvia Pérez Cruz. In it, the veteran rapper reflects deeply on the past and the experience of time. The riveting and surreal video for the song stars Penélope Cruz and vividly underscores the themes of the song. 

Residente has a significant past with the Latin GRAMMYs. As a member of the seminal hip-hop duo Calle 13, he won 22 awards, starting Best New Artist at the 2006 Latin GRAMMY Awards; since becoming a solo artist, he's added another six wins. With three more nominations at the 2024 Latin GRAMMYs (Song Of The Year, Album Of The Year and Best Short Form Music Video), Residente may have even more to celebrate this year.