Diddy was arrested in New York on Monday night (Sept. 16) after being indicted by a grand jury, Billboard has confirmed.

At the time, it was unknown what the charges were, but the indictment was unsealed Tuesday morning, revealing that Combs has been charged with federal sex trafficking and racketeering, the Associated Press reported. The music mogul had “engaged in a persistent and pervasive pattern of abuse toward women and other individuals,” according to the AP, citing the documents.

In a statement sent to Billboard on Monday night, Marc Agnifilo, attorney for Diddy (real name: Sean Combs), said: “We are disappointed with the decision to pursue what we believe is an unjust prosecution of Mr. Combs by the U.S. Attorney’s Office. Sean ‘Diddy’ Combs is a music icon, self-made entrepreneur, loving family man, and proven philanthropist who has spent the last 30 years building an empire, adoring his children, and working to uplift the Black community.”

The statement continued: “He is an imperfect person but he is not a criminal. To his credit Mr. Combs has been nothing but cooperative with this investigation and he voluntarily relocated to New York last week in anticipation of these charges. Please reserve your judgment until you have all the facts. These are the acts of an innocent man with nothing to hide, and he looks forward to clearing his name in court.”

According to TMZ, Combs was taken into federal custody at the FBI’s Manhattan field office on Monday.

The rap mogul has been hit with at least eight civil lawsuits alleging sexual abuse over the past year, including the suit that started it all from ex-girlfriend Cassie Ventura that was later followed by a video showing him assaulting her. Even before the video emerged, that suit was privately settled in under 24 hours. Combs is also facing an apparent federal criminal investigation after authorities raided his homes in March.

The most recent lawsuit against him comes from Danity Kane’s Dawn Richard, who filed a complaint last week in Manhattan federal court saying Diddy “manipulated” her into thinking that “abuse and exploitation were required for female artists to succeed in the music industry.” Richard claims she witnessed Combs abuse Ventura on multiple occasions – and that recent lawsuits from Cassie and others sparked her to speak out.

“As more women courageously come forward, plaintiff has been empowered by this collective strength and now adds her voice to the growing chorus of victims bravely sharing their harrowing stories,” lawyers for Richard write. “Together, they seek justice and stand in solidarity, as the latest victims of the # MeToo movement in the music industry.”

In a statement issued in response to Richard’s claim on Wednesday, Combs’ attorney Erica Wolff said her client was “shocked and disappointed” by the new allegations.

Kevin Liles has announced his exit as chairman and CEO of 300 Entertainment, the Warner Music label he co-founded alongside Lyor Cohen, Todd Moscowitz and Roger Gold.

In an internal note to staff obtained by Billboard, Liles said he would be stepping down at the end of the month but staying on as a consultant through the year. Warner Music Group CEO Robert Kyncl called Liles an “extraordinary brand-builder, artist advocate, and champion of creative expression” in a memo, adding that the role would not be filled once Liles steps down.

Liles, Cohen, Moscowitz and Gold launched 300 in 2015 and quickly gained recognition for signing and developing future superstars including Megan Thee Stallion, Gunna, Migos, Fetty Wap and Young Thug, among others. In 2021, the label was acquired by Warner Music Group, which later incorporated it into the Atlantic Music Group through merging it with Elektra.

The changes at 300 follow the departure of longtime Atlantic leader Julie Greenwald and the announcement that Elliot Grainge will be taking over as CEO of the new-look label at the end of this month. Sources have told Billboard that other executive departures may also be in the works during this leadership transition as well.

“The cultural impact we created in 10 years when starting from scratch is simply unmatched in the modern era,” said Liles. “We transformed our value proposition – ‘mindset of independent, muscle of a major’ – into a model for the rest of the industry to chase in this new era of music. But if there’s one consistent in music and culture, it’s that change is inevitable.”

Read Liles’ full memo to staff:

A Celebration of Who We Are
 
Team, 
From the start, 300 was centered around the idea that when you intensely focus on servicing artists and the culture, good things happen. When we combined that intention with our fearlessness, creativity, and passion, it unlocked greatness and delivered impact.  Next month, 300 will be celebrating its tenth anniversary of greatness and impact. I wanted to take a moment to express my gratitude to our team and share some news.

A Decade of Influence
Throughout the past decade, we stayed true to our original vision and values. As we created the first ever label ecosystem in the industry, we celebrated Trap Queens, we Dripped Too Hard as a Lifestyle, and it was always a Hot Girl Summer, even on our Skis. We have leaders like the Bad and Boujee Rayna Bass who can switch between Pushin P and being Savage with No Promises other than excellence. Then there’s the Awwsome Selim Bouab who is Hot regardless of whether in Japan, The London, or From The D To The A. Our whole team is One of Wun. Our Bread & Butter was saying less and doing more – when others talked, we didn’t stop to ask Fukumean, we just said Good Morning Gorgeous and proved Boy’s A Liar. Whether Lydia, Kehlani, or 679 of Your Friends, we made fans evangelists. We Mixed Personalities, put in work like it’s First Day Out, and ran up Digits that made everyone Pick Up The Phone. 

Then when we became part of the WMG family and joined forces with Gregg Nadel and other brilliant minds and artists across Elektra Music Group, we continued to deliver Religiously and Right On Time. As 3EE, we had The Craving to always make it Bigger Than The Song, whether it felt like we were on Holiday or between a Rock And A Hard Place. 

The cultural impact we created in 10 years when starting from scratch is simply unmatched in the modern era. We transformed our value proposition – “mindset of independent, muscle of a major” – into a model for the rest of the industry to chase in this new era of music. But if there’s one consistent in music and culture, it’s that change is inevitable.  

As committed servants of the culture, we know growing and empowering the next generation of leaders is a responsibility, and when the time is right, we pass the torch. As I mentioned above, at 300 we have two of the most talented, home-grown young leaders in the entire music industry, Rayna Bass and Selim Bouab. On this tenth anniversary of 300, it’s their turn to lead our 300 team into the next decade of excellence. At the end of this month, I’ll be stepping aside and departing WMG, although to ensure a successful transition, I’ll continue to consult with the team through the end of the year.  

300 has never been about one person or one artist. It’s a movement united in belief in our culture and community. Personally, I’m looking forward to my next chapter where I will continue to Listen, Learn, Lead, and Love. Specifically, I will be continuing the fight to end the criminalization of hip-hop lyrics exemplified by the unjust prosecution of Jeffery Williams. And in the short-term, I’ll be dedicating all my other time to making history by electing Kamala Harris as the first African-American female President, as well as holding the Senate and winning back the House to make Hakeem Jeffries the first African-American Speaker. This chapter may be closing, but always remember: #jobnotdone.

I have full faith in the leadership of Rayna, Selim, and Gregg, and I want to extend a sincere thank you to Len and the senior leaders at WMG who have empowered our success, particularly Robert, Max, and Julie. 

Thank You and God Bless, 
Kevin

A decade ago, Midland’s Mark Wystrach, Jess Carson and Cameron Duddy holed up at the iconic Sonic Ranch studios in Tornillo, Texas, and made their initial recordings as a trio. They refined their simultaneously modern and retro sound, fused by their contrapuntal harmonies, in a process that was later highlighted with the release of their 2021 project The Sonic Ranch (and its corresponding documentary). That same year, Sturgill Simpson released his seminal, Dave Cobb-produced album Metamodern Sounds in Country Music.

“We were referencing a lot of stuff from the ‘70s and ‘80s,” Midland’s lead singer/guitarist Wystrach tells Billboard. “When we heard [Simpson’s] album, we felt like it was exactly, in so many ways, like what we were trying to capture to pay homage to the music we love, but in a modern and contemporary way.”

From that point, Cobb, also known for his work with Chris Stapleton and Jason Isbell, became an aspirational producer for the trio. They realize that ambition with their new, eight-song project Barely Blue, out Sept. 20 on Big Machine Records.

Though the two projects were recorded approximately 1,600 miles apart (Barely Blue was recorded Cobb’s Georgia Mae Studios in Savannah, Ga.) and are separated by 10 years of touring and recording, two top 5 Billboard Country Airplay chart hits in “Drinkin’ Problem” and “Burn Out,” and an ACM Award win for new vocal duo/group of the year, there are distinct similarities between the two projects.

“It completes a full circle back to our first album, where it was a fully immersive, experiential recording process, as opposed to going in with a set list of songs that we had to cut,” Wystrach says, adding, “I think he was probably the most fun we’ve ever had in the studio. Getting to work with Dave was one of the best musical experiences, I think collectively, of our lives.”

As much as Midland’s top-flight musicianship itself, the aura of Savannah is baked into the grooves of Barely Blue.

“It’s important for Dave to get you into the spirit and set the table,” bassist/vocalist Duddy says. “Because we were in his hometown, the first thing he did was we got in the car, and he drove us around the neighborhood. He’s very proud of Savannah and the culture. He was a great tour guide and historian for the city, so you feel like you’re part of the surroundings.”

“I don’t think it’s a coincidence that Johnny Mercer grew up right there and wrote [the lyrics to] ‘Moon River’ about that area,” adds lead guitarist/vocalist Carson. “It’s so storybook and picturesque, I think it comes through on the album, too.”

Far removed from the daily workhorse vibe of Nashville, the trio found a free-flowing creative spirit at Cobb’s studio. There, a process marked by recording time, followed by dinner, wine, relaxed conversations and more recording late into the evening, sparked what Duddy describes as “freedom to experiment, because there’s no ticking clock.”

The trio entered the studio with nearly 20 songs they were considering for the project, eventually trimming the slate to Barely Blue’s succinct set, constructing and deconstructing each song until it fit with the album’s overall vibe.

“It’s a way we’ve always wanted to record because when we read stories of how some of our favorite albums were made, like the Rolling Stones in France making Exile [on Main St.], they’re in this sort of live-in space and they have time on their hands to tinker with things. ‘Lucky Sometimes’ is a song that we recorded, listened back to, and went back and tore down to the studs. The original version of it had drums and it was just a very different-sounding song.”

“Dave was pretty opinionated when it came to the songs that he felt worked together,” Duddy recalls. “There’s a dark art to picking songs that work together, and sometimes you’re too close to the material to know what’s best for it. Dave was very instrumental in finding and threading those songs together.”

The members of the group contributed writing to seven of the album’s eight songs, including the slow-rolling romance of “Baby It’s You,” the tumbling harmonies of “Old Fashioned Feeling,” the languid swagger of “Lucky Sometimes” and the Carson solo write “Halfway to Heaven.”

The lone outside cut is “Vegas,” written by Ryan Beaver, Jeff Hyde, Jeremy Spillman and Ryan Tyndell. The song is the first the trio has recorded from outside writers, other than recording occasional cover songs.

“The work tape we had [for “Vegas,”] we really blew that up and made it something that felt like it fit into this puzzle we were constructing,” Wystrach says of the song that hinges on revamping the long-standing phrase “What happens in Vegas stays in Vegas.” “You can almost smell the heartbreak on that song, and the longing and nostalgia to it. It does really sound like a firsthand experience, and I think all of us have collectively kind of lived the story of that song — and it’s such a classic turn of a phrase that’s been part of the pop culture vernacular for so long.”

Wystrach, Duddy and Carson were joined in the studio by Cobb, keyboardist Philip Towns, percussionist Chris Powell, and multi-instrumentalist Leroy Powell for a recorded effort they feel captures the energy of their live shows for the first time in a long time, while still sounding radio ready.

“I think the three of us collectively feel the last three albums didn’t really reflect what we sound like live. I think all of our favorite albums sound kind of like the live show, and that’s something we wanted to pursue and incorporate in this album,” Wystrach said. “What people are hearing is a live-tracked album that is imperfect, human, it’s got a rawness to it.”

The UTA-booked group will take the new songs on the road when their The Get Lucky Tour launches Sept. 19 including stops at Red Rocks Amphitheater and at ACL Live. They’ll also return to Indio, California’s Stagecoach Festival in 2025.

In a world that is filled with over-saturation in so many facets, Midland adheres to the ethos of “keep people wanting more.”

“We certainly did that when it came to building our live show,” Duddy says. “We never tried to jump ahead and play into a venue that might’ve been bigger. We specifically tailored our live show to where it’s going to sell out. Not everybody can just walk up at the door and there might be some empty seats.

“That’s kind of way this album is — we wanted to really be able to spotlight each of those songs because we believed in them,” he continues. “We do feel like those eight songs are able to tell such a story and have such a landscape both through us and Dave.”

Two new Whitney Houston projects are coming soon — both marking the 30^th anniversary of three concerts the Grammy Award winner performed in South Africa in 1994.  Arriving first: the limited worldwide theatrical release of Whitney Houston – The Concert for a New South Africa (Durban) set for Oct. 23 and 27. Coming Nov. 8: an accompanying live album, The Concert for a New South Africa (Durban), featuring the previously unreleased track “Love Is.”

Trafalgar Releasing and Sony Music Entertainment, in partnership with The Estate of Whitney E. Houston, The Whitney E. Houston Legacy Foundation and Primary Wave Music, are helming the release of the fully remastered concert film. It will appear in nearly 900 cinemas in more than 25 countries on Oct. 23 and 27. Legacy Recordings, Sony Music Entertainment’s catalog division, is issuing the live album.

In a release announcing the news, Trafalgar Releasing CEO Marc Allenby stated, “We are pleased to continue our partnership with Sony Music and bring Whitney Houston’s legendary never-before-seen concert to audiences worldwide. The message of hope and unity from the Durban, South Africa performance is still as relevant today as it was 30 years ago, and fans are going to be blown away by how powerful this is on the big screen.” 

Watch the trailer:

The projects stem from a trio of Houston performances in South Africa in November 1994, which made her one of the first major U.S. stars to perform in the post-apartheid nation following Nelson Mandela’s history-making election to president. The three shows took place in Durban at Kings Park Stadium (Nov. 8), in Johannesburg at Ellis Park Stadium (also known as Emirates Airline Park) (Nov. 12) and in Cape Town at Green Point Stadium (Nov. 19), drawing a combined 200,000-plus attendees. At the time, a portion of the proceeds from the three shows benefited various local South African children’s charities through Houston’s foundation.

“I know that Whitney would have been filled with joy to know that this concert film will be released around the world to her fans,” commented Pat Houston, the film’s executive producer and executor of The Estate of Whitney E. Houston. “She loved South Africa; she loved the people and she loved Nelson Mandela. This concert is one of the most consequential concerts of her career. We’re thrilled that we can release this film not only to her fans, but to the people of South Africa and its new generation. More importantly, Whitney would be happy to know that her foundation continues to support one of the organizations she helped to provide financial support to 30 years ago.”

Whitney Houston — The Concert for a New South Africa (Durban), a production of Cream Cheese films and distributed by Sony Music Vision, was directed and produced by Marty Callner. “Whitney was a dream to work with; I really loved her,” said Callner. “I directed her several times, but the Durban show was pure magic and the best performance I have ever witnessed. So thrilled the world finally gets to experience that special, special night.”

In addition to the previously unreleased “Love Is,” the live album also features memorable hits by the six-time Grammy winner including “I Wanna Dance with Somebody (Who Loves Me),” “How Will I Know,” “I Have Nothing,” “Greatest Love of All” and “I Will Always Love You.” Rounding out the selections are classics such as “Amazing Grace” and “Home.” The album is  available for preorder on both CD and vinyl here.

Emmy Award winner Rickey Minor, Houston’s musical director for 25 years, noted, “Performing in Durban with Whitney was an amazing experience. It was my first time in South Africa, and I don’t think that I was truly prepared for how this trip would change me forever. The energy was electric, and the audience was incredible as we celebrated the end of apartheid. Whitney shared her love and shined her light.” 

For the second year in a row, Edgar Barrera leads the list of nominees for the Latin Grammy Awards. On Tuesday morning (Sep. 17), the Mexican hitmaker received nine nominations for the 2024 annual ceremony, including songwriter of the year and producer of the year.

He appears in the main categories of album of the year, as a songwriter on Carín León’s Boca Chueca, Vol. 1; record of the year, as Karol G’s “Mi Ex Tenía Razón” co-producer; and song of the year as co-writer of three hits — Karol G’s “Mi Ex Tenía Razón,” Shakira and Grupo Frontera’s “(Entre Paréntesis),” and Maluma and Carín León’s “Según Quién.” He also has two nods for best regional song as a songwriter.

Barrera is followed by superstars Karol G and Bad Bunny, who got eight nominations each. Benito also competes for record of the year, with “Monaco,” while Karol is also nominated to album of the year for Mañana Será Bonito (Bichota Season), the follow up to her Latin Grammy winning set of 2023 Mañana Será Bonito.

On its 25th anniversary, the Latin Grammy Awards are incorporating a new field of electronic music, and two new categories: best Latin electronic music performance, and best contemporary Mexican music album. Nominees for the former include Ale Acosta, Valeria Castro, Vikina, Deorro, Bizarrap and Shakira, among other. For the latter, the contenders are an impressive group of artists and creators who have contributed to the rise of the genre: Natanael Cano, DannyLux, Grupo Frontera, Carín León, Michelle Maciel and Peso Pluma.

The nominees for the coveted best new artist prize are Agris, Kevin Aguilar, Darumas, Nicolle Horbath, Latin Mafia, Cacá Magalhães, Os Garotin, Iñigo Quintero, Sofi Saar y Ela Taubert.

“As we approach the 25th edition of the Latin Grammys our awards process is more robust than ever, with our membership evaluating over 23,000 entries this year,” says Manuel Abud, CEO of The Latin Recording Academy, in a press release. “The Latin Grammys have grown in an amazing way to become a fundamental platform for music and culture. We are proud to share this year’s nominees, an international and diverse group of creators representing the richness and vastness of today’s Latin music.” 

Other big contenders this year: Keityn, with six nods; Juan Luis Guerra with five; and Feid, Kany García, Carín León and Kali Uchis with four each. Among those with three nominations are Camilo, Jorge Drexler, Fonseca, Mon Laferte, Nathy Peluso, Residente, Peso Pluma, Shakira and Elena Rose. While with two are Pepe Aguilar, Anitta, Marc Anthony, Rubén Blades, Mau y Ricky, Danny Ocean, Nicole Zignago and more.

The 25th annual Latin Grammy Awards will air live from Miami on Thursday, Nov. 14 beginning at 8 p.m. ET/PT (7 p.m. Central) on Univision, Galavisión and ViX. Preceding the telecast will be the Latin Grammy Premiere, where the winners in most categories will be announced.

Check out the complete list of nominees for the 2024 Latin Grammys below.

General Field

Record of the year

“Mil Veces,” Anitta

“Monaco,” Bad Bunny

“Una Vida Pasada,” Camilo & Carín León

“Catalina,” Cimafunk & Monsieur Periné

“Derrumbe,” Jorge Drexler

“Con Dinero y Sin Dinero,” Fonseca & Grupo Niche

“Mi Ex Tenía Razón,” Karol G

“Mambo 23,” Juan Luis Guerra y 4.40

“Tenochtitlán,” Mon Laferte

“Igual Que Un Ángel,” Kali Uchis & Peso Pluma

Album of the year

Bolero, Ángela Aguilar

Cuatro, Camilo

Xande Canta Caetano, Xande De Pilares

Mañana Será Bonito (Bichota Season), Karol G

García, Kany García

Radio Güira, Juan Luis Guerra 4.40

Autopoiética, Mon Laferte

Boca Chueca, Vol. 1, Carín León

Las Letras Ya No Importan, Residente

Las Mujeres Ya No Lloran, Shakira

Song of the year

“A Fuego Lento,” Daymé Arocena & Vicente García, songwriters (Daymé Arocena & Vicente García)

“A La Mitad” (Banda Sonora Original De La Serie “Zorro”), Julio Reyes Copello & Mariana Vega, songwriters (Maura Nava)

“Caracas En El 2000,” Marvin Hawkins Rodriguez, Jerry Di, La Pichu, Danny Ocean & Elena Rose, songwriters (Elena Rose, Danny Ocean & Jerry Di)

“Derrumbe,” Jorge Drexler, songwriters (Jorge Drexler)

“(Entre Paréntesis),” Edgar Barrera, Kevyn Mauricio Cruz, Manuel Lorente Freire, Lenin Yorney Palacios & Shakira, songwriters (Shakira, Grupo Frontera)

“Mi Ex Tenía Razón,” Edgar Barrera, Andres Jael Correa Rios, Kevyn Mauricio Cruz Moreno, Karol G & MAG, songwriters (Karol G)

“Según Quién,” Edgar Barrera, Kevyn Mauricio Cruz, Luís Miguel Gómez Castaño, Maluma, Lenin Yorney Palacios & Juan Camilo Vargas, songwriters (Maluma & Carín León)

“Te Lo Agradezco,” Rafa Arcaute, Kany García, Carín León & Richi López, songwriters (Kany García & Carín León)

“313,” Leo Genovese, Residente & Silvia Pérez Cruz, songwriters (Residente, Silvia Pérez Cruz & Penélope Cruz)

Best new artist

Agris

Kevin Aguilar

Darumas

Nicolle Horbath

Latin Mafia

Cacá Magalhães

Os Garotin

Iñigo Quintero

Sofi Saar

Ela Taubert

Field 1: Pop

Best pop vocal album

Tofu, Caloncho

.mp3, Emilia

El Viaje, Luis Fonsi

Hotel Caracas, Mau y Ricky

Orquídeas (AOP), Kali Uchis

Escrita, Nicole Zignago

Best traditional pop vocal album

Obras Maestras, Diego El Cigala

García, Kany García

Mar Adentro, Juliana

Aún Me Sigo Encontrando, Gian Marco

Almas Paralelas, Laura Pausini

Best pop song

“A La Mitad” (Banda Sonora Original De La Serie “Zorro”), Julio Reyes Copello & Mariana Vega, songwriters (Maura Nava)

“A Las 3,” Paty Cantú, Ángela Dávalos, León Leiden & Saibu, songwriters (Paty Cantú & León Leiden)

“Ahora,” David Bisbal, Pablo Preciado & Carlos Rivera, songwriters (David Bisbal & Carlos Rivera)

“Amor,” José Andrés Benitez, Christian Bermudez, Richard Bermudez, Rodney Kumbirayi Hwingwiri, Juan Diego Linares, Luis Alejandro Márquez, Anibal Morin Diaz, Danny Ocean & Rafael Salcedo, songwriters (Danny Ocean)

“Dime Quién,” Lagos, songwriters (Lagos)

“Feriado,” Rawayana, songwriters (Rawayana)

“Igual Que Un Ángel,” Carter Lang, Manuel Lorente Freire, Kali Uchis & Dylan Wiggins, songwriters (Kali Uchis & Peso Pluma)

Field 2: Electronic

Best Latin electronic music performance

“La Ceniza,” Ale Acosta, Valeria Castro

“Drum Machine,” Alok

“Pedju Kunumigwe,” Alok, Guarani Nhandewa

“Bzrp Music Sessions, Vol. 53 (Tiësto Remix),” Bizarrap, Shakira

“BAMBOLE,” Vikina Featuring Deorro

Field 3: Urban

Best urban/fusion performance

“Nadie Sabe,” Bad Bunny

“Corazon Vacío,” Maria Becerra

“Young Miko: Bzrp Music Sessions, Vol. 58,” Bizarrap Featuring Young Miko

“S91,” Karol G

“Tranky Funky,” Trueno

Best reggaeton performance

“Perro Negro,” Bad Bunny Featuring Feid

“Un Preview,” Bad Bunny

“Triple S,” J Balvin Featuring Jowell & Randy & De La Ghetto

“Byak,” Alvaro Diaz Featuring Rauw Alejandro

“Qlona,” Karol G Featuring Peso Pluma

“Labios Mordidos,” Kali Uchis Featuring Karol G

Best urban music album

Nadie Sabe Lo Que Va A Pasar Mañana, Bad Bunny

Sol María, Eladio Carrión

Sayonara, Álvaro Díaz

Ferxxocalipsis, Feid

Mañana Será Bonito (Bichota Season), Karol G

El Último Baile, Trueno

Best rap/hip hop song

“Aprender A Amar”, Pablo Drexler, Alberto Escámez López & Nathy Peluso, compositores (Nathy Peluso)

“Bendecido”, Eladio Carrión, compositor (Eladio Carrión)

“Blam Blam”, Al2 El Aldeano & Vico C, compositores (Vico C Featuring Al2 El Aldeano)

“La Sabia Escuela”, Akapellah, Leonardo Daniel Díaz, Jose Gonzalez Ollarves, Marlon Luis Morales Santana, Luis Jacinto Muñoz Hernandez & Pedro Elias Querales, compositores (Akapellah Featuring Canserbero & Lil Supa)

“Teléfono Nuevo”, Bad Bunny & Luar La L, songwriters (Bad Bunny Featuring Luar La L)

“Thunder y Lightning”, Bad Bunny & Eladio Carrión, compositores (Bad Bunny Featuring Eladio Carrión)

Best urban song

“Bonita”, Daddy Yankee, compositor (Daddy Yankee)

“Columbia”, Quevedo, compositor (Quevedo)

“El Cielo”, Feid, Nicolás Jaña Galleguillos, Gabriel Mora Quintero, Andres David Restrepo Echavarria, Sky Rompiendo & Myke Towers, compositores (Sky Rompiendo, Feid, Myke Towers)

“La Falda”, Julio Emmanuel Batista Santos, Carlos Alberto Butter Aguila, Orlando J. Cepeda Matos, Ralph Jemar Milln Calderon, Jose Reyes, Myke Towers & Siggy Vazquez Rodriguez, compositores (Myke Towers)

“Luna”, Feid, compositor (Feid Featuring Atl Jacob)

Qlona, Karol G, Daniel Esteban Gutiérrez, Ovy On The Drums & Peso Pluma, compositores (Karol G Featuring Peso Pluma)

Field 4: Rock

Best rock album

El Dorado (En Vivo), Aterciopelados

Diáspora Live Vol. 1, La Vida Bohème

Herencia Lebón, David Lebón

Alicia En El Metalverso, Mägo De Oz

Mi Mejor Enemigo, Viniloversus

Best rock song

“Algo Bueno Tenía Que Tener (Bogotá)”, Diamante Eléctrico & Andrés Kenguan, compositores (Diamante Eléctrico)

“Animal Temporal”, Viniloversus, compositores (Viniloversus)

“Camaleónica”, Ali Stone, compositora (Ali Stone)

“No Me Preguntes (Live)”, Jesús Quintero & Draco Rosa, compositores (Draco Rosa)

“Qué Más Quieres”, Anton Curtis Delost, Shaun Lopez, Kathryn Ostenberg, Monica Velez & The Warning, compositores (The Warning)

Best pop/rock album

Cuando Ella Me Besó Probé A Dios, Bruses

Jet Love, Conociendo Rusia

Jay De La Cueva, Jay De La Cueva

Reflejos De Lo Eterno, Draco Rosa

Adentro, Francisca Valenzuela

Best pop/rock song

“Acapulco,” Emmanuel Horvilleur, Siddhartha & Rul Velázquez, songwriters (Siddhartha Featuring Emmanuel Horvilleur)

“Afilá,” Ali Stone, songwriter (Ali Stone)

“Blanco y Negro,” Christian Mauricio Aloisio Zavala, Lagos & Elena Rose, songwriters (Lagos Featuring Elena Rose)

“5 Horas Menos,” Conociendo Rusia & Natalia Lafourcade, songwriters (Conociendo Rusia Featuring Natalia Lafourcade)

“Diciembre,” Los Mesoneros, songwriters (Los Mesoneros)

Field 5: Alternative

Best alternative music album

Por Cesárea, Dillom

Híper, Hello Seahorse!

Nica, Nicole Horts

Autopoiética, Mon Laferte

Pandora, Ali Stone

DESCARTABLE, WOS

Best alternative song

“Cabecear”, J Noa, Jeffrey Peñalva “Trooko” & Skai, songwriters (J Noa)

“Déjalo Ir,” Francisco Rojas & Francisca Valenzuela, songwriters (Francisca Valenzuela)

“El Día Que Perdí Mi Juventud,” Devonté Hynes & Nathy Peluso, songwriters (Nathy Peluso)

“Insomnia,” Goyo, Illmind, Omar Isaiah Lupuku, Don Mills, Carlos Santander & Telly, songwriters (Goyo)

“Lloro,” Nicole Horts, Camilo Velez & Maria Vertiz, songwriters (Nicole Horts)

Field 6: Tropical

Best salsa album

Yo Deluxe, Christian Alicea

Muevense, Marc Anthony

Siembra: 45° Aniversario (En Vivo en el Coliseo de Puerto Rico, 14 de Mayo 2022), Rubén Blades and Roberto Delgado & Orquesta

Joyas Que Bailan, Ronald Borjas

Coexistencia, Luis Figueroa

Best cumbia/vallenato album

‘Ta Malo, Silvestre Dangond

De La Uno A La 1000 (Primera Temporada), Omar Geles

Se Agradece, Los Ángeles Azules

Vallenatos Pa Enamorar, Osmar Pérez & Geño Gamez

La Sociedad De La Cumbia (Big Band Live), Puerto Candelaria

Best merengue/bachata album

Radio Güira, Juan Luis Guerra 4.40

Agradecido Live!, Eddy Herrera

Superhéroe Merengue, Magic Juan

Lo Tengo Todo, Oscarito

Llamada Perdida, Prince Royce

Best traditional tropical album

Rodando Por El Mundo, José Alberto “El Canario”

Tengo Algo Que Decirte, Luis Fernando Borjas

Voces De Mi Familia, Alex Cuba

Los Mismos Negros, Yelsy Heredia

A Mis Ancestros, Yeisy Rojas

Best contemporary tropical album

Epílogo: La Clave Del Tiempo, Jeremy Bosch

Cuatro, Camilo

Tropicalia, Fonseca

Monte Adentro, Gusi

La Fiesta, Ilegales

Best tropical song

“Baila y Goza”, Renesito Avich & Rafael “Pollo” Brito, compositores (Renesito Avich Featuring Rafael “Pollo” Brito)

“Con Dinero y Sin Dinero”, Jorge Luis Chacín, Fonseca & Miguel Yadam González Cárdenas, compositores (Fonseca & Grupo Niche)

“Hasta Que Aguante El Cuerpo”, Jorge Luis Piloto, compositor (Dayhan Díaz & Pupy Santiago)

“Llorar Bonito”, Luis Figueroa & Yoel Henríquez, compositores (Luis Figueroa)

“Mambo 23”, Juan Luis Guerra, compositor (Juan Luis Guerra 4.40)

Field 7: Singer-Songwriter

Best singer-songwriter album

Compita Del Destino, El David Aguilar

Scratch De Versos, El Riqué

Pausa, Leonel García

De Magia Imperfecta, Nicolle Horbath

El Abrazo, Rozalén

Best singer-songwriter song

“Antes Que O Mundo Acabe,” Tiago Iorc, songwriter (Tiago Iorc)

“Derrumbe,” Jorge Drexler, songwriter (Jorge Drexler)

“Entonces,” Rozalén, songwriter (Rozalén)

“García,” Kany García, songwriter (Kany García)

“Luz De Cabeza,” El David Aguilar, songwriter (El David Aguilar)

Field 8: Regional-Mexican

Best ranchero/mariachi album

Mariachi y Tequila (Deluxe), Majo Aguilar

Que Llueva Tequila, Pepe Aguilar

Te Llevo En La Sangre, Alejandro Fernández

Romances Eternos, Mariachi Sol de México de José Hernández

Best banda album

Presente, Julión Álvarez y Su Norteño Banda

Yo Te Extrañaré, Luis Angel “El Flaco”

Diamantes, Chiquis

Best Tejano album

Imperfecto, El Plan

Siempre Gabriella, Gabriella

Ganas (Deluxe), Vilax

Best Norteño album

El Comienzo, Grupo Frontera

Modus Operandi, Intocable

LNDT, Los Nietos de Terán

Te Amaré, Pesado

Terca, Sofi Saar

Best contemporary Mexican music album

Nata Montana, Natanael Cano

Evoluxion, DannyLux

Jugando A Que No Pasa Nada, Grupo Frontera

Boca Chueca, Vol. 1, Carín León

Trastornado, Michelle Maciel

Génesis, Peso Pluma

Best regional song

“Aquí Mando Yo,” Héctor Guerrero, songwriter (Los Tigres Del Norte)

“Canción Para Olvidarte,” Mango, Nabález, Chris Zadley & Nicole Zignago, songwriters (Majo Aguilar)

“El Amor De Su Vida,” Edgar Barrera & Kevyn Mauricio Cruz, songwriters (Grupo Frontera, Grupo Firme)

“Por El Contrario,” Edgar Barrera, Kevyn Mauricio Cruz & Elena Rose, songwriters (Becky G Featuring Angela Aguilar & Leonardo Aguilar)

“Tienes Que Ser Tú,” Salvador Aponte & Yoel Henríquez, songwriters (La Energía Norteña)

Field 9: Instrumental

Best instrumental album

Impronta, Omar Acosta

Claude Bolling Goes Latin – Suite For Flute And Latin Music Ensemble, Carlomagno Araya, Jose Valentino & The Latin Music Ensemble

Capriccio Latino, Alexis Cárdenas

Encontro Das Águas, Yamandu Costa & Armandinho Macêdo

Tembla, Hamilton De Holanda & C4 Trío

Field 10: Traditional

Best folk album

Canto y Río, Martina Camargo

C4 Suena a Navidad, C4 Trío

Raíz Nunca Me Fui, Lila Downs, Niña Pastori, Soledad

Paisajes, Ciro Hurtado

Bullerengue y Tonada, Tonada

Best tango album

El Cantor de Tangos, Guillermo Fernández Featuring Cristian Zarate

Tangos Cruzados, Franco Luciani, Fabrizio Mocata

¿Y El Fin Del Amor?, Mariana Mazú

Apiazolado, Diego Schissi Quinteto

Ya Está En El Aire, Ullmann Cuarteto

Best flamenco album

Andenes del Tiempo, Vicente Amigo

Rumberas, Las Migas

Historias De Un Flamenco, Antonio Rey

Field 11: Jazz

Best Latin jazz/jazz album

Collab, Hamilton De Holanda & Gonzalo Rubalcaba

Searching For A Memory (Busco Tu Recuerdo), Sammy Figueroa Featuring Gonzalo Rubalcaba & Aymée Nuviola

My Heart Speaks, Ivan Lins

Pra Você, Ilza, Hermeto Pascoal & Grupo

El Arte Del Bolero, Vol. 2, Miguel Zenón & Luis Perdomo

Field 12: Christian

Best Christian album (Spanish language)

Necesito De Ti, Jesús Israel

No Yo, Sino Cristo, Majo y Dan

Maverick, Redimi2

Kintsugi, Un Corazón

Tu Iglesia, Marcos Witt

Best Portuguese language Christian album

Ele É Jesus – Ao Vivo, Bruna Karla

Deixa Vir – Vol II (Ao Vivo), Thalles Roberto

In Concert (Ao Vivo), Rosa de Saron

Vida (Ao Vivo), Eli Soares

Temporal, Vocal Livre

Field 13: Portuguese Language

Best Portuguese language contemporary pop album

Afrodhit, Iza

Super, Jão

Amaríssima, Melly

Os Garotin De São Gonçalo, Os Garotin

Escândalo Íntimo, Luísa Sonza

Best Portuguese language rock or alternative album

Erasmo Esteves, Erasmo Carlos

No Rastro de Catarina, Cátia de França

Me Chama de Gato Que Eu Sou Sua, Ana Frango Elétrico

Ontem Eu Tinha Certeza (Hoje Eu Tenho Mais), Jovem Dionisio

Lagum Ao Vivo, Lagum

Best Portuguese language urban performance

“Joga Pra Lua,” Anitta Featuring Dennis & Pedro Sampaio

“Cachimbo da Paz 2,” Gabriel O Pensador, Lulu Santos, Xamã

“Da Braba,” Gloria Groove Featuring Ludmilla & Mc Gw

“Carta Aberta,” Mc Cabelinho

“Fé nas Maluca,” Mc Carol, Iza

“La Noche,” Yago Oproprio Featuring Patricio Sid

Best samba/pagode album

Alcione 50 Anos (Ao Vivo), Alcione

Xande Canta Caetano, Xande De Pilares

Iboru, Marcelo D2

Tardezinha Pela Vida Inteira (Ao Vivo), Thiaguinho

Subúrbio (Ao Vivo), Tiee

Best MPB (Musica Popular Brasileira)/MAPB (Música Afro Portuguesa Brasileira) album

D Ao Vivo Maceió, Djavan

Se o Meu Peito Fosse o Mundo, Jota.Pê

Portas (Ao Vivo), Marisa Monte

Outros Cantos, Milton Nascimento, Chitãozinho & Xororó

No Tempo da Intolerância, Elza Soares

Best Sertaneja music album

Boiadeira Internacional (Ao Vivo), Ana Castela

Paraíso Particular (Ao Vivo), Gusttavo Lima

Cintilante (Ao Vivo), Simone Mendes

Raiz Goiânia (Ao Vivo), Lauana Prado

Luan City 2.0 (Ao Vivo), Luan Santana

Best Portuguese language roots album

Mariana e Mestrinho, Mariana Aydar, Mestrinho

Aguidavi do Jêje, Aguidavi Do Jêje, Luizinho Do Jêje

De Norte a Sul, João Gomes

Night Clube Forró Latino (Volume I), Marcelo Jeneci

Faróis do Sertão, Gabriel Sater

Best Portuguese language song

“Alinhamento Milenar,” Jão, Pedro Tófani & Zebu, songwriters (Jão)

“Ata-me,” Junio Barreto, songwriter (Alaíde Costa)

“Chico,” Bruno Caliman, Carolzinha, Douglas Moda, Jenni Mosello & Luísa Sonza, songwriters (Luísa Sonza)

“Esperança,” Criolo, Dino D’Santiago, Amaro Freitas & Nave, songwriters (Criolo, Dino D’Santiago, Amaro Freitas)

“Ouro Marrom,” Jota.Pê, songwriter (Jota.Pê)

Field 14: Children’s

Best Latin children’s album

Navidad de Norte a Sur: Cantoalegre Big Band (En vivo), Cantoalegre, Orquesta La Pascasia

Cantemos Juntos, Claraluna

¡A Cantar!, Danilo & Chapis

Dun Dun Dara, Payasitas Nifu Nifa

Todos Podemos Cantar 2024, Todos Podemos Cantar

Field 15: Classical

Best classical album

Aire, Aire… No Puedo Respirar, Ricardo Jaramillo, director; Ricardo Jaramillo, Jefferson Rosas & Marcela Zorro, productores

Credo For Orchestra, Choir And Five Soloists, Iván Cardozo, Fernando Escalona, Claudio González, Jhoxiris Medina & Grace Terán; Christian Vásquez, director; Maria Beatriz Cárdenas, Eugenio Carreño & Eduardo Martínez Planas, productores (Orquesta Sinfónica Simón Bolívar de Venezuela, Coro Nacional Simón Bolívar)

Fandango, Anne Akiko Meyers & Gustavo Castillo; Gustavo Dudamel, director; Dmitry Lipay, productores (Los Angeles Philharmonic)

Fantasies of Buenos Aires, Lincoln Trio; Daniel Binelli & Ted Viviani, productores

The Latin Rites, Josep Vicent, director; Fernando Arias, productor (Adda Simfònica Alicante)

Best classical contemporary composition

“Caribbean Berceuse,” Paquito D’Rivera, composer (Barcelona Clarinet Players, Paquito D’Rivera, North Texas Wind Symphony, Eugene Migliaro Corporon (director))

“Fandango,” Arturo Márquez, composer (Los Angeles Philharmonic, Gustavo Dudamel, Anne Akiko Meyers)

“La Minerva – III. Himno A La Mujer,” Juan Pablo Contreras, composer (Juan Pablo Contreras, Orquesta Latino Mexicana, Angélica Olivo)

“Meditation No.1,” Julien Labro, composer (Takács Quartet, Julien Labro)

“Sueño Austral,” Daniel Freiberg, composer (Barcelona Clarinet Players, Freiburger Blasorchester, Miguel Etchegoncelay & Daniel Freiberg)

Field 16: Arranging

Best arrangement

“Sueño Austral,” Daniel Freiberg, arranger (Barcelona Clarinet Players, Freiburger Blasorchester, Miguel Etchegoncelay & Daniel Freiberg)

“Night In Tunisia,” Hilario Durán, arranger (Hilario Durán And His Latin Jazz Big Band Featuring Paquito D’Rivera)

“Fuego De Noche, Nieve De Día,” Julio Reyes Copello, arranger (Ricky Martin, Christian Nodal)

“Linha de Passe,” Nailor Proveta, arranger (Orquestra Jazz De Matosinhos, Gabi Guedes, Kiko Freitas)

“Rapsodia Aérea,” Andrés Soto, arranger (Andrés Soto, Orquesta Sinfónica Nacional de Costa Rica, Carl St. Clair)

Field 17: Recording Package

Best recording package

En Vivo – 100 Años de Azúcar, Nelson Albareda, Sebastian Aristizabal, Kemelly Figueroa-Mouriz, Omer Pardillo-Cid & Albertico Rodríguez, art directors (Celia Cruz)

Figurantes, Boa Mistura, art director (Vetusta Morla)

Karma, Carlos Ortiz, art director (Diana Burco)

Realismo Mágico, Carlos Sadness, art director (Carlos Sadness)

Tekoá, Leonardo Macias, art director (Jair Oliveira)

Field 18: Songwriter

Songwriter of the year

Edgar Barrera

Yoel Henríquez

Manuel Lorente Freire

Horacio Palencia

Pablo Preciado

Field 19: Production

Best engineered album

Analu, Tó Brandileone, engineers; Daniel Musy, mixer; André Dias, mastering engineer (Analu Sampaio)

Era Uma Vez, Pedro Peixoto & Matheus Stiirmer, engineers; Pedro Peixoto, mixer; Fili Filizzola, mastering engineer (Mobi Colombo)

Os Garotin De São Gonçalo, Uiliam Pimenta, Julio Raposo & Pepê Santos, engineers; Bernardo Martins, mixer; Felipe Tichauer, mastering engineer (Os Garotin)

Quem É Ela?, Túlio Airold, Alex Dos Reis Silva & Gianlucca Pernechele Azevedo, engineers; João Milliet, mixer; Fili Filizzola, mastering engineer (Mariana Nolasco)

Se o Meu Peito Fosse o Mundo, Thiago Baggio, Will Bone, Leonardo Emocija, Rodrigo Lemos & Felipe Vassão, engineers; João Milliet, mixer; Felipe Tichauer, mastering engineer (Jota.Pê)

Producer of the year

Edgar Barrera

Eduardo Cabra

Nico Cotton

Juan Luis Guerra, Janina Rosado

Julio Reyes Copello

Field 20: Music Video

Best short form music video

“Ale Ale,” Marc Anthony; Carlos Pérez, director; Joanna Egozcue, producer

“Baticano,” Bad Bunny; Stillz, director

“Oliveira Dos Cen Anos,” C. Tangana; C. Tangana, director

“Sálvanos,” Leonel García; Nuno Gomes, director; Nuno Gomes, producer

“Glock,” Mau y Ricky; Daniel Duran, director; Alegna Espinoza & Maricel Zambrano, producers

“313,” Residente Featuring Penélope Cruz & Silvia Pérez Cruz; Residente, director; Carolina Wolf, producer

Best long form music video

Beautiful Humans Vol 1. Documental, Alemor; Wismer Jimenez, director; Alemor & Wismer Jimenez, producers

Meu Karma, Jovem Mk; Kaique Alves, Gabriel Avelar & Beto Galloni, directors; Rodrigo Castello, Mariê Nunes & Eduardo Saraiva, producers

Hotel Caracas, Mau y Ricky; Daniel Duran, director; Alegna Espinoza & Maricel Zambrano, producers

Grasa (Album Long Form), Nathy Peluso; Agustín Puente, director

Nacimos Llorando, Rubio; Fernando Cattori, director; Luis Betances, Fernando Cattori, Josep Pardo, Jaume Rigual, Ana Laura Solis, Aura Solis & Joe Solis, producers