The below article is an excerpt from the 2022 Latin GRAMMYs program book, which you can read in full here.

Some of the biggest names in Latin music have also given us some of the biggest songs of the year — and many of them are being honored at the 2022 Latin GRAMMYs in the coveted Song Of The Year category.

Can't remember which songs those are? Never fear, GRAMMY.com has a full rundown of all 12 tracks ahead of the Nov. 17 broadcast.

Below, find out more about the Song Of The Year nominees and take a listen to each of them. Then, be sure to tune into the 23rd Latin GRAMMY Awards on Univision at 8 p.m. ET/PT (7 p.m. CT) to see which song wins!

The 2022 Latin GRAMMYs will also air on cable channel TNT at 19.00 (MEX) / 20.00 (PAN-COL) / 21.00 (VEN) / 22.00 (ARG/CHI/BRAZIL), and on Televisa Channel 5. The show will also be available on HBO Max in Spanish only.

"A Veces Bien Y A Veces Mal"

Pedro Capó, Ignacio Cibrián, Ricky Martin, Pablo Preciado, Julio Ramírez, Mauricio Rengifo & Andrés Torres, songwriters (Ricky Martin featuring Reik)

"A Veces Bien Y A Veces Mal" is a power ballad between Latin GRAMMY-winning powerhouses: Puerto Rican superstar Ricky Martin and Mexican trio Reik. It's the final track on Martin's 2022 EP PLAY, and the first time he has worked with Reik. On the emotive down-tempo song, Martin and Reik frontman Jesús Navarro sing of a lover they haven't talked to in 10 days, letting them know that sometimes they're good, sometimes they're bad. The song gave the pop star his first U.S. Latin Pop Airplay No. 1 hit in six years. Martin reminds us he's still capable of piercing our corazones with his rich voice. — Ana Monroy Yglesias

"Agua"

Rauw Alejandro, Emmanuel Anene, Daddy Yankee, David Alberto Macías, Nile Rodgers, Juan Salinas & Oscar Salinas, songwriters (Daddy Yankee, Rauw Alejandro & Nile Rodgers)

After globalizing the sound of reggaeton music nearly two decades ago, Daddy Yankee has decided to gracefully bow out and retire with a final album in 2022. On the album's standout cut, the alluring "Agua," he looks to the future of the genre. The reggaeton pioneer teams up with Puerto Rican superstar Rauw Alejandro while bringing in an unexpected collaborator, Chic legend Nile Rodgers. Daddy Yankee and Alejandro take turns sweetly serenading their lovers while showering them with slick rhymes. "You're like water, transparent/But what you have behind and in front isn't invisible," Daddy Yankee sings. Their hydrated wordplay with a naughty flow is accentuated by Rodgers' electric guitar. "Agua" is a refreshing musical detour for Daddy Yankee. — Lucas Villa

"Algo Es Mejor"

Mon Laferte, songwriter (Mon Laferte)

In 2021, Chilean singer/songwriter Mon Laferte moved to Los Angeles to begin fertility treatment. Seis was awaiting a release date, and a new album didn't even register as a thought. That all changed after a drive along the Southern California coastline inspired the chameleonic Latin GRAMMY-winning songstress to write "Algo es mejor." "I came to Los Angeles hoping to get pregnant, and I left with a baby and an album," she told Rolling Stone.com. Steeped in optimism, the track evokes the unbridled freedom of the open road. The airy syncopation of acoustic guitars punctuated by retro surf-guitar underscores the song's breezy, mid-tempo delivery and throwback vibes, while lyrics such as "Dance at the wheel/Dance/Dance, I'll follow you wherever you go" promise possibilities beyond the horizon. — Lissette Corsa

"Baloncito Viejo"

Camilo, Jorge Luis Chacín, Andrés Leal, Martín Velilla & Carlos Vives, songwriters (Carlos Vives & Camilo)

Two of Colombia's greats come together to bring us this melodious and modern folk song riding on a vallenato accordion.

With tender diminutives and good vibe, the celebrated voices of Carlos Vives and Camilo narrate the storyline: Men who, at the feet of their loved ones, beg for honesty from them when it comes to love. This piece employs soccer as the metaphor for the game of love, and they warn their beauties to play fair. The chorus then explains the men's fear of being discarded like an old ball, a "baloncito viejo." With 18 Latin GRAMMYs between them and the sum of all that talent, the duo offers this danceable and delicious song, and while they're at it, they display their roots with contrasting but compatible styles. — Ana Santiago

"Besos en la Frente"

Fonseca & Julio Reyes Copello, songwriters (Fonseca)

Fonseca's "Besos En La Frente" is an intensely personal work yet it conveys a universality in coping with tragedy with which almost anyone can empathize. This heartful ballad isn't a typical single for the venerable Colombian singer/songwriter and it contains the elegance that one would expect from a seasoned professional. With its grounded melody and instrumentation, it's a testament to the songwriting that the track doesn't fall into cliches or clumsy poetry, instead choosing simple and direct phrases to share its universal pathos. While it's more likely to tear you apart than bring the house down, "Besos En La Frente" is one of the more unique entries in Fonseca's 20-year career as a hitmaker. — Andrew Casillas

"Encontrarme"

Carla Morrison, Juan Alejandro Jiménez Pérez & Mario Demian Jiménez Pérez, songwriters (Carla Morrison)

The past five years marked a necessary interlude of searching, introspection and reflection for Mexican singer/ songwriter Carla Morrison. Part of that process led the Baja Californian to Paris, where she began to rediscover herself ... and to heal. From that time of change comes "Encontrarme", a sweet, piano-backed hymn to life that is an example of reinvigorated music. "I want to go back to me/The person I was/Find myself again," she sings on the track, which is part of her most recent album, El Renacimiento. That renaissance implies returning to her career with a new outlook, allowing herself to add pop touches to her acoustic style, expand her vocal skills and, above all, find herself. — Juan Carlos Pérez-Duthie

"HENTAI"

Larry Gold, Noah Goldstein, Chad Hugo, David Rodríguez, Rosalía, Jacob Sherman, Michael Uzowuru, Pilar Vila Tobella, Dylan Wiggins & Pharrell Williams, songwriters (Rosalía)

Smudging the line between risqué and raunchy in a way only irreverent Spanish superstar Rosalía can, "HENTAI," named after a triple-X manga, pays homage to female sexuality. "HENTAI" draws from numerous songwriting collaborators to craft a piano-driven ballad that builds on erotic tensions and dualities oscillating between vulnerable and empowering. Rosalía's seductively coy, smoldering vocals contrast with jarring electronic accouterments, such as machine gun shots, while a pulsating beat and lush strings create a theatrical ambiance. Love, lust and opulence intermingle as Rosalía coos about the object of her desire, her lover's "pistol," and likens its value to that of a diamond. — Lissette Corsa

"Índigo"

Édgar Barrera & Camilo, songwriters (Camilo & Evaluna Montaner)

Latin GRAMMY-winning Colombian hitmaker Camilo reflects life's milestones in his music. On "Vida De Rico," he declared his everlasting love for wife Evaluna Montaner while documenting their home remodel on video. They announced their pregnancy to the world in a tender duet titled "Índigo," named after their firstborn. The accompanying video juxtaposes home footage of celebrating the news against shots of them frolicking in an open field. Buoyed by rollicking rhythms, they hew a mellifluous melody in harmonization and vocal interplay, while lyrics brimming with notions of ideal love, co-written by Édgar Barrera, Camilo's frequent partner, spell out the couple's goals: "How is it that you dream of someone you haven't even met." Once again, Camilo melds the personal and the universal in an intimate space where his life, music and fandom seem to effortlessly orbit each other. — Lissette Corsa

"Pa Mis Muchachas"

Christina Aguilera, Becky G, Jorge Luis Chacín, Kat Dahlia, Yoel Henríquez, Yasmil Marrufo, Nicki Nicole & Nathy Peluso, songwriters (Christina Aguilera, Nicki Nicole, Becky G featuring Nathy Peluso)

A masterclass on female empowerment, "Pa' Mis Muchachas" recognizes oomph. Ultimately, it's a celebration of Latina resilience, and Christina Aguilera is our mesmerizing ringleader dressed in shiny black leather. She embraces the next generation of Latina singers: "I'm not just a pretty face/I have strength, fire and dynamite," sings Chicana chanteuse Becky G in Spanish against a guaracha-trap backdrop. Meanwhile, femme fatale Nathy Peluso spellbinds with perilous wordplay, and Argentine rapper Nicki Nicole brings her chill braggadocio to the table. Buoyed by sass, sensuality and eye-popping provocation, Aguilera just may have recaptured the rousing yet riveting girl power of "Lady Marmalade" 20 years later. — Isabela Raygoza

"Provenza"

Kevyn Mauricio Cruz Moreno, Karol G & Ovy On The Drums, songwriters (Karol G)

"PROVENZA," a breezy summer bop about craving another romp with an ex from Karol G from her upcoming fourth album Carolina, is the result of a winning team. The star, born Carolina Giraldo Navarro, wrote it with regular collaborator and fellow Colombian powerhouse Ovy On The Drums, along with Kevyn Mauricio Cruz Moreno. The Colombian trio also worked on another of the reggaetonera's hits, "Tusa." "PROVENZA" is driven by an Afro-house-style beat produced by Ovy and showcases Navarro's malleability and skill as vocalist and songwriter. Altogether, the 2018 Best New Artist winner earned three nominations this year. As Navarro seduces a former love, we fall in love with her for the millionth time, ever captivated by her confident, playful and evolving songs. — Ana Monroy Yglesias

"Tacones Rojos"

Juan Jo, Manuel Lara, Manuel Lorente, Pablo & Sebastián Yatra, songwriters (Sebastián Yatra)

Sebastián Yatra is one of the most charismatic Latinx pop stars of this era, and perhaps no track exemplifies this better than "Tacones Rojos." Infectious from the first guitar chord, it's the rare pop song that's as likely to be heard at the club as it is at a backyard barbecue. There are no deep insights or hidden meanings behind "Tacones Rojos," and it doesn't need any. It glides on Yatra's energy, fully reveling in its playfulness. After all, how many love songs proudly boast "I only came in to get drunk/I didn't expect to fall in love with you"? It's that confidence that makes the song work, and the result is a slice of pop ecstasy. — Andrew Casillas

"Tocarte"

Jorge Drexler, Pablo Drexler, Víctor Martínez & C. Tangana, songwriters (Jorge Drexler & C. Tangana)

Jorge Drexler and C. Tangana make this song whisper in your ear and bounce off the walls at the same time. Street hot but intimate, minimalist and full of lust, this piece grabs you, and the authors remind us that after months of social distancing due to the global pandemic, we are willing to risk it all for that very human need: "Tocarte" (touching you). C. Tangana explains that during the quarantine, everyday actions like hugging and kissing "suddenly became risky acts," and the artistic result is this song. The chosen vocabulary is audacious and sensual, wrapped in a derived candombe and carioca funk sound. It is sexy to the beat of a carnival. It is shared anxiety taken to the limits of desire. — Ana Santiago

2022 Latin GRAMMYs Nominees Announced: See The Complete List

Flamenco is undergoing a sweeping transformation. Propelled not by a single artist, but by a wave of creative talents, a new generation of artists are injecting fresh life into this storied genre. 

Six years after Rosalía's 2018 release, El Mal Querer, catalyzed a wider renaissance in the flamenco world with an approach inspired by the legendary Romani flamenco singer Camarón de la Isla a new wave of artists are rushing in to redefine the landmark Latin sound.  

A new generation of Spanish musicians draw deep inspiration from flamenco's rich traditions while redefining its contemporary form. Rooted in the flamenco traditions cherished by their ancestors, today's artists are innovating this heritage with a new set of sensibilities. Flamenco itself, with its diverse array of styles or palos, offers a unique medium of expression, characterized by distinctive rhythmic patterns, melody and emotional intensity. 

Discover the vibrant future of flamenco through the innovative works of trailblazers like La Plazuela, Queralt Lahoz, Mëstiza, C. Tangana, Maka, and María José Llergo. From Maka's trap-fueled infusions of reggaeton to Lahoz's innovations on traditional guitar-playing techniques, each of these artists, with their unique contemporary take on traditional styles, is reimagining flamenco and captivating audiences around the world. 

La Plazuela

La Plazuela duo Manuel Hidalgo and Luis Abril are both from Albaicín in the Andalusian city of Granada. It's a district infused with rich cultural history, where steep, winding streets are bursting with art and the sounds of flamenco. 

La Plazuela soaks the rhythms of flamenco in a distinctively sunny sound, forgoing the woeful connotations of the genre to explore new, optimistic possibilities. On their new song "Alegrías De La Ragua" the pair teamed up with flamenco singer David de Jacoba and electro producer Texture. The track is an ode to the sugar cane fields of Andalusia, highlighting the region’s agricultural importance and intrinsic relationship with the land — distinctly Granada both in sound and story.

Queralt Lahoz

Born in Barcelona to an Anducian family, Queralt Lahoz was raised on the sounds of flamenco at home where her Granada-born grandmother immersed her in the musical traditions of southern Spain. 

While her soulful, urban style deeply resonates with flamenco, Lahoz has stressed that she is not a purist of the genre and enjoys experimenting with different styles. Stripped back, brutally honest and direct, tracks like "De La Cueva a Los Olivos" is a multifaceted track that opens with rasgueado (percussive guitar technique integral to flamenco) that evolves into a brassy, jazzy chorus, and even includes a rap verse. She cites late flamenco great La Niña de los Peines alongside Wu-Tang Clan among her influences — a testament to her love of musical diversity. 

Mëstiza

Mëstiza envisioned flamenco for the nightclub: The DJ duo Pitty Bernad and Belah were already hot names in the Spanish club scene before they combined forces.  

Pitty hails from the southern region Castilla-La Mancha, and Belah from neighboring Andalucia. The two met in the Madrid DJ scene and shared a love for electronic music steeped in folkloric tradition. They are behind legendary Spanish club night Sacro, an immersive audiovisual experience rooted in ritualistic Spanish folklore. The duo has plans to bring their unique Sacro sound across the globe soon with to-be-announced performances planned for Europe, Asia, and the United States. 

C. Tangana

C. Tangana (full name Antón Álvarez) co-wrote eight songs on former flame Rosalía's El Mal Querer and demonstrates his dexterity and vision in the sounds of flamenco on his 2020 release, El Madrileño. The album explores regional sounds from across Spain and Latin America, employing the finest artists from these genres as collaborators. 

The album's first single, "Tú Me Dejaste De Querer" features flamenco stars Niño de Elche and La Húngara singing in the chorus between Álvarez’s rapped verses. Alvaréz’s tour of the album was based on a typical Spanish sobremesa (post-dinner conversation), with bottles of wine placed on a long table set with tapas, elbow-to-elbow with fellow musicians who clap palmas flamencas, play guitar, and provide backing vocals. El Madrileño earned three Latin GRAMMYs in 2021 and The Tiny Desk performance of the album is among the series’ most-watched concerts. 

Maka

Granada-born Maka has been a pioneer in viewing flamenco through an urban lens. A versatile artist, he is both a skilled rapper and prolific singer/songwriter. In his 2014 release, Pna, Maka combined flamenco singing (canté) over hip-hop beats ("La Dirty Flamenca") and reversed the formula to rap over flamenco rhythms ("Vividor").  

Maka returned to flex his mastery in flamenco in his 2021 album, Detrás de Esta Pinta Hay un Flamenco, which pays homage to the melodic pop-flamenco bands of the 1980s and 1990s with a throwback feel. His latest 2024 single "Amor Ciego'' combines a reggaeton beat with flamenco vocal embellishments, calling back to many of his early reggaeton and trap-fueled releases. 

María José Llergo 

María José Llergo released her debut album Ultrabelleza last October to critical acclaim, sparking an upcoming U.S. tour. As a trained flamenco vocalist, she graduated from the prestigious Escuela Superior de Música de Cataluña (Rosalía is a fellow alum.)

Llergo grew up in the small town of Pozoblanco, on the outskirts of the Andalusian city, Cordoba. Her grandfather, a vegetable farmer, taught Llergo flamenco from a young age, singing with her as he worked the land. 

Llergo’s music combines flamenco with the sounds of nature, reimagined synthetically through electronic experimentation that results in lush, immersive soundscapes. "I turn like the moon in the sky... If I stop moving, I’ll die", she sings in Spanish on the track "Rueda, Rueda," contemplating the rhythm of life. Her lyrics are deeply poetic and metaphorical, tying place to emotion, and nature to feeling. 

María José Llergo On Her Debut Album 'Ultrabelleza,' Her Upcoming US Tour & Flamenco As A Cultural Bridge

When Mañana Será Bonito, the fourth studio album by Karol G, came out in February 2023, its release had been preceded by two momentous hit singles that changed the face of Latin music. 

Panoramic in scope, slick and airy, but also imbued with an intense and lyrical emotional depth, the songs "Provenza" and "Cairo" combined pop, reggaetón and an alternative edge with panache, and confirmed the Colombian singer/songwriter as one of the biggest pop stars in the planet. Mañana Será Bonito would go on to win Latin GRAMMYs for Album Of The Year and Best Urban Music Album, as well as her first-ever GRAMMY for Best Música Urbana Album in 2024.

Karol G wasn’t alone in these accomplishments. Most of the songs on the album were helmed by her longtime producer, Ovy on the Drums. Like Karol herself, 33 year-old Daniel Echavarría Oviedo hails from Medellín. The pair started working together at the very beginning of their careers, and Ovy was behind the haute couture sonics of "Tusa," the 2019 collaboration with Nicki Minaj that first established Karol as a major contender in Latin pop.

"There is a chemistry when we work together that I cannot quite describe with words,"  Ovy says over Zoom from his home in Florida. It’s a weekday morning, and he sits by his keyboard producing station; from time to time, he will play imaginary chords as he searches for the right words for an answer. His attitude remains humble throughout the conversation — even after significant success and a triumphant world tour, where he accompanied Karol on most concert dates.

"I still remember the specific moment when I asked her if she would let me do production work with her," he tells GRAMMY.com. "We keep talking whenever we’re in the studio. She is very clear in her direction; ‘I want this song to sound like that,’ or, ‘Give it another spin and see if we can make it better.’"

Ovy has since been inspired to branch out into different challenges. The latest one is Cassette 01,  a six-song EP with Puerto Rican A-list rapper Myke Towers. The EP is the first in a series of cassette-themed mixtapes that will include a different collaborator on each new installment. "The concept of releasing cassette-themed EPs in the year 2024 is really exciting to me," Ovy says. "It’s linked to the history of pop music, and the way we consume songs."

Known for high-voltage, sexed-up urbano anthems like "La Playa" (2020) and "LALA" (2023), Towers adds his imprint to the songs, but Ovy’s futuristic aesthetic is all over the EP. "It’s true that the loop in the beginning has my personal touch," Ovy says with a laugh when I point out that the intro to "AMOR NARCÓTICO" is trademark Ovy. "Sometimes people tell me that a song has that unique touch of mine, and it really seems unbelievable to me when I hear it."

On "BELLAQUERÍA," he mixes synth patches with real riffs performed by his longtime guitar player; the contrast between organic and digitized is prevalent in his stylistic panoply. And his trademark battle call — the almost dub-like cry of "O-O-O-vy on the Drumsss" is the seal of distinction that pops up in every single production.

Ovy on the Drums and Myke Towers┃SEBA

Musically speaking, Colombia sits on a highly strategic place: next door to the fertile Caribbean islands where reggae, salsa, merengue and calypso originated — but also close enough to the airwaves of mainstream American pop. Growing up, Ovy listened to a bit of everything, and gravitated naturally to lush records with majestic grooves.

"I loved Bob Marley as a kid," he says. "At home, of course, they would play a lot of salsa at parties, and hits of the time like 'Mayonesa' [a tropi-pop smash by Uruguayan band Chocolate.] I was also crazy about Modern Talking’s ‘Brother Louie’ and the Pet Shop Boys’ ‘Go West.’ Those are the songs that defined my childhood."

In the meantime, he continues employing FL Studio — the same producing software that he used at the very beginning of his journey.

"I’ll never stop using it," he promises. "I just can’t see myself on another platform. I used to dream about meeting the software creators, and now they follow me on Instagram and gave me every available plug-in. I’ve been producing music for the past 11 years, and I think I only know a good half of everything there is to learn on FL."

Collaborating with other high-profile artists and finishing up a promised solo album are high on Ovy's priority list.

"At the beginning, I was trying to turn my solo project into a conceptual work — but that’s easier said than done," he admits. "In the end, I realized that I just wanted to make some good music with a well chosen set of guest artists, and let the beats speak for themselves. I’d say my solo album is about 50 percent done at this point."

Karol G recently released "CONTIGO," a Euro-leaning, pop-EDM single with Tiësto. It remains to be seen if the diva will rely as tightly on her usual partner in crime as she begins work on her upcoming fifth album.

"When she had some free time off touring, I happened to be busy with the CASSETTE project," Ovy says. "Since then, we connected again and have been recording a bunch of songs. But I can’t really tell what will happen on the next album. And I think it’s good that Karol is collaborating with other producers and composers, searching for different avenues and sounds. We’re definitely on the same page in allowing things to happen the way they are supposed to."

He pauses for a moment, then adds with an extra wave of enthusiasm:

"I will always be there for her. Our common objective hasn’t really changed. We must always work hard, and come up with cool new songs." 

Mañana Y Siempre: How Karol G Has Made The World Mas Bonito

At the 2024 Oscars on March 10, rapping and singing firebrand Becky G performed a blazing version of "The Fire Inside," from the 2023 comedy drama "Flamin’ Hot,’ the directorial debut of Eva Longoria. The song was written by GRAMMY winner and 15-time nominee Diane Warren. (A clip of the song will be added to this article shortly.)

At the ceremony, G didn’t disappoint, turning in a scorching rendition of the song, with apt digital flames billowing behind her and her accompanists.

“Nothing can hold you back/ No one can kill your vibe/ When you got the fire inside,“ G sang with authority and aplomb. “And oh, you're gonna own this life/ Cause you got the fire inside/ 'Cause you got the fire, you got the fire.“

At song’s end, Warren hollered her approval. What it must have been like to see your creation transpire on the 2024 Oscars stage, whether for the first time or after many.

Billie Eilish and FINNEAS won the Oscar for Original Song for "What Was I Made For?" [From The Motion Picture *Barbie*] at the 2024 Academy Awards.

Keep checking this space for more updates on the 2024 Oscars — including GRAMMY winners and nominees who are featured during the big night!

Becky G's 'Esquemas' Is A Celebration Of Biculturalism And The Woman She Is Today: "I'm Actually Living Life For The First Time"

Puerto Rican rapper Residente wants to embark on new adventures.  

The artist born René Pérez Joglar has dreams of directing movies and acting, writing books, and making for pleasure — not to pay the bills. These goals reflect a new attitude, one resulting from time spent reflecting on the passage of time and the presence of death.

Residente's sophomore album, Las Letras Ya No Importan (Lyrics No Longer Matter), echoes this transitory period. An extensive body of work, featuring 23 tracks, with several songs surpassing the five-minute mark. Las Letras is an act of deeply intimate rebellion.

"It’s a very personal album, and I sought to connect with myself in many moments throughout," Residente tells GRAMMY.com. 

While Las Letras explores topics already a hallmark of his music — the music industry, political systems, Puerto Rico — it's also exceedingly vulnerable. The 28-time Latin GRAMMY and four-time GRAMMY winner opens up about depression and personal relationships, and confronts mortality.

Lead single "313" is inspired by Residente's late friend Valentina, whose voice appears in the first interlude. As Residente recounted to El País of Spain and GQ Spain, Valentina was a violist, and the last messages they exchanged on WhatsApp were at 3:13.

The song begins with a French verse, fulfilling Valentina’s wish, expressed in the first interlude, to do something in that language. "Les paroles n'ont pas d'importance," (words no longer matter), a female voice whispers, followed by a spectacular string arrangement.

Residente revisited older works during this period of creative transition, and the record features previously released tracks  "René," "This Is America," and "Quiero Ser Baladista."

 Las Letras Ya No Importan features many collaborations, with actress Penélope Cruz, Spanish singer Silvia Pérez Cruz, Rauw Alejandro, Ricky Martin, Christian Nodal, Arcángel, Jessie Reyez and others making appearances. Hip-hop icon Busta Rhymes is featured on "Cerebro," while Big Daddy Kane makes an appearance on "Estilo Libre" with Vico C.

GRAMMY.com spoke with Residente via Zoom about the process that led him to his second album, the symbolism behind "313" and the artistic connection to Spain.  

This interview has been edited for length and clarity.

What inspired you to create Las Letras Ya No Importan?

It’s an album that marks a musical transition for what’s coming for me. It feels diverse; it also has songs with which I may not feel as connected [to] now because several years have passed since I made them. There are newer songs with which I do connect, which have a bit more to do with the way I want to start working on my music in the future.

"René" is part of this album, even though it came out four years ago. This is an album I was going to release during the pandemic. 

We have "René," which is very personal; we have "313," which I also feel is personal; then "Ron en el piso," [a song about the passage] of time, the collaboration with Nodal ("Pólvora de Ayer") also touches on the theme of time, of enjoying everything.

You confront death in several songs. In "René," you sang about losing a friend; in "Ron en el piso," you see your funeral; and in "313," you draw inspiration from your late friend Valentina. What is it about death that inspires you?

It’s something I’ve been going through in recent years. I lost many people I love, and it made me much more reflective when it comes to understanding time, the things I want to do, and the things I’ve stopped doing.

That’s why I’m also transitioning to cinema. I’ve always wanted to make films, directing, being behind the scenes, not being on stage.  I’m crazy about dedicating myself entirely to that.

I discovered acting now in a movie I starred in [In the Summers] that won the Jury Award at Sundance. When I saw it, I didn’t know I was the protagonist until I watched it. [The film] encouraged me to follow that too, and I’m going to want to act, direct; I want to dedicate myself to that for a while fully.

The album has a lot of life, and even though the lyrics no longer matter, you still have much to tell. You already said the album is very personal, but how would you describe it?

I can describe it in two years, not right now. It’s transitional. That’s what happened with Calle 13; everything was a musical and lyrical change from the second album onwards.

Residente represented a fusion of world music and rap. Now, in this one, I’m using a lot of strings, cellos, and double bass. I’m going to experiment a lot with different instruments in different ways. I’m going to be creative without the need to balance the album.

What’s coming next doesn’t have that artistic pressure. The only artistic pressure I want to have is to do the highest I can, which happens organically, not feeling pressured but naturally.

I want to do art as I did in college [at Savannah College of Art and Design]. I was never thinking about people or trying to convince anyone, and I was completely free, and that’s what happened with "313." I had the freedom I always wanted to have.

There’s substantial symbolism in "313," from the faceless dancers, the color pink. What was your vision with the visuals?

The dancers represent time. Penélope [Cruz] can represent many things, from life to Valentina, my friend, who inspired me to make the song. Penélope controls me, holds me, flies me, brings me back, and then I decide to control my life and time. That’s why I raise my hands, and everyone raises them, and time is running out, and then you see a sunset.

Sunset marks the end of something. The colors of the costumes also have some dusk elements. You can see at the end when I’m disappearing; it fades and blends with the end of the sunset.

These are decisions I make that are both aesthetic and technical. I put masks on the dancers because I liked it aesthetically. It also helped me speed up the process with makeup. I had to find creative ways to maintain the video’s aesthetics and make everything more agile because in filming, everything is time, and I had little of it.

What’s the idea behind the song "Las Letras Ya No Importan?"The arrangement is magical, with a numerical sequence from one to eight in different languages and a voice spelling of the alphabet.

That was the initial track. Before "313," I had this idea that I dreamed of with some basic notes, and it turned into something big.

There’s a voiceover of Penélope [Cruz] that says that we were eight [people in the studio], we are on an 8th street in New York, in studio B, which, if you look at it, it resembles the number 8. Everything connected with eight and [that number] also at a time level can mark infinity. So, I connected all that with the immensity of letters and languages. That piece’s runtime is five minutes. I think it’s pleasurable. I like that music, which resembles what I want to do.

Leo Genovese, an excellent musician and musical genius, made the arrangements. I greatly respect him.

In "Cerebro," you showcase your skill and vocal speed; what was it like collaborating with Busta Rhymes, whose own flow is iconic?

We met, and he loved the concept of what I was working on. He was a very humble, good person to me. After we met in person and talked for a while, he went to write after I sent him everything I had written in English.

I created ["Cerebro"] a while ago…. That’s why I tell you that the album has several concepts that I had to let go of because it was too much, and a lot of time had passed. I had a previous concept when I released the song "René" [in 2020], which is why it’s on the album. [At that time] I was working with the brain waves of different animals and people, and I made music with those brain waves.

This song ["Cerebro"] is part of that, and that’s why it’s called "Cerebro." The album was originally going to go that route. Then I didn’t do it; maybe I’ll connect to it in the future because I loved that idea.

What has Spain meant to you? The country has been so prominent in the trailers you’ve released and in the collaborations in your latest songs.

I've been making frequent trips to Madrid. This past year, I was there a lot; I was more in Madrid than at home. I traveled, wrote, and filmed videos like "Problema cabrón" and "313."

 I grew up with Spanish cinema by Almodovar and a bunch of directors I admire, and I wanted to collaborate with the actors I grew up watching in movies.

This album has many personal elements, and cinema is very intimate for me. I saw [Penelope Cruz] in [the movie] Abre los ojos when I was a kid; working with her now is a dream. The same goes with Javier Cámara and Najwa (Nimri) [who is in the film] Lovers of the Arctic Circle by Julio Medem. I saw all these people, and now being able to collaborate with them, be friends with them, talk to them is a dream. Everything is very connected to my life.

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