The eligibility window for the 2025 Latin Grammys may have closed, but Latin music hasn’t slowed down. Since the May 31 cutoff, a new wave of releases has arrived, with artists doubling down on their craft or boldly venturing into new territory. From Mexico’s corrido renaissance to Brazil’s poetic reinventions, this stretch of albums keeps expanding what the Latin music landscape can hold.
These five projects, all released after the deadline, stand out as early contenders for the 2026 Latin Grammys. Each captures a distinct corner of the soundscape: regional roots, futuristic pop, experimental alt, Caribbean fusion, and Brazilian soul. What unites them is a shared instinct to evolve tradition rather than repeat it.
Together, they map the next chapter of Latin music—one that’s ever-shifting, emotionally charged, and innovatively unpredictable. These albums have already caught our attention as early standouts, the kind of projects that deserve to stay in conversation heading into next year’s Latin Grammys.
Chino Pacas, 'Cristian'
Chino Pacas stands among regional Mexican music’s youngest hitmakers, part of a generation redefining what Música Mexicana can carry. With Cristian, he steps beyond the corridos that first made him a viral name, exploring banda, rap, and new textures that stretch the genre’s frame through the lens of digital adolescence. The album reflects a more deliberate artist, one intent on freedom over formula. Pacas’ collaborations with Santa Fe Klan, La Santa Grifa, and Netón Vega reveal both curiosity and range, while his writing captures a grounded honesty rare in such rapid ascent. He has become a bridge between tradition and modernity, showing that corridos can thrive in a genre-blurring world without losing their heart.
Lucrecia Dalt, 'A Danger to Ourselves'
Colombian artist Lucrecia Dalt has built a reputation for abstraction and alchemy, dissolving the lines between sound, science, and storytelling. A former geotechnical engineer turned avant-garde producer, she’s long been one of Latin music’s most conceptually daring figures. Written alongside her partner, British art-rocker David Sylvian, A Danger to Ourselves trades her cosmic narratives for the charged intimacy of human desire. The album unfolds like a fever dream, anchored by marimbas, flexatones, and glass bottles transmuted into something tactile and alive. After years spent embodying spirits and ideas, Dalt now channels emotion through frequency, inhabiting herself fully and revealing vulnerability as its own form of radical reinvention.
Meme del Real, 'La Montaña Encendida'
After three decades shaping Mexican alternative music with Café Tacvba, Meme del Real reclaims his own voice on La Montaña Encendida, a debut born from stillness, instinct, and a new rhythm of living. Written and recorded in solitude just outside Mexico City, the album captures an artist rediscovering his creative language without the structure of a band, treating reinvention as discipline. Del Real leans into a sonic playfulness that feels both intimate and expansive, blending bolero, bachata, ambient textures, and orchestral flourishes under Gustavo Santaolalla’s guidance. More than a side project, it plays like a mirror held up to a career that has always danced between experimentation and feeling—a meditation on creative endurance, suggesting that the boldest evolution often begins in quiet self-trust.
MULA, 'Eterna'
From the Dominican Republic’s vibrant underground, MULA has spent nearly a decade redefining what Caribbean futurism sounds like in the digital age. Their latest album, Eterna, finds the trio at their sharpest, turning electronic production into a manifesto of queer joy, power, and play. The songs blur darkwave club rhythms, merengue típico, and electro-pop intimacy into something that feels both ancestral and hypermodern. Woven through the record are collaborations with Javiera Mena, Niña Dioz, and Jessy Bulbo, carrying their island ethos across borders with radiant intent. In a year crowded with formulaic pop, Eterna pulses with conviction and joy alike—proof that experimentation and accessibility can dance in the same breath, and that the future of pop is often born on the dance floor.
Zé Ibarra, 'AFIM'
Zé Ibarra first gained recognition as a member of Bala Desejo, one of Brazil’s most exciting collectives reviving and reshaping MPB. On his solo debut, AFIM steps into his own orbit, channeling the elegance of classic songwriting through a distinctly modern sensitivity. Across eight tracks, Ibarra blends self-penned songs and collaborations with contemporaries like Dora Morelenbaum, weaving orchestration and intimacy into balance. The arrangements feel rich but uncluttered, built from strings, piano, and quiet urgency that glow with understated ambition. His voice carries the patience of someone attuned to the weight of every word, tracing where the past ends and his own sound begins. While AFIM shares the melodic warmth that made Bala Desejo a touchstone for Brazil’s new wave, it also opens darker corners, revealing an artist stretching beyond nostalgia to distill Brazil’s musical lineage into something deeply personal.
Bonus: Mawiza, 'ÜI'
From Chile’s Mapuche territory, Mawiza makes music that feels like both resistance and rebirth. On Ül, the band reimagines metal through the ancestral rhythms and language of Mapuzugun, reclaiming space in a genre—and potentially an awards ecosystem—that rarely recognizes Indigenous voices. Every track carries the weight of lineage, channeled through distortion and earth-deep rhythms that transform sonic rebellion into a loud, ceremonial expression of cultural identity in the modern world. It’s a record that feels less like genre experimentation and more like cultural renewal —the kind of album that redefines visibility itself and challenges how far recognition is willing to go.
