In 2022, Spanish-language music comprised a big chunk of what was being streamed beyond just Spanish-speaking countries and households. This year, Latin – which is defined as music predominantly sung in Spanish – saw a continued steady growth in the U.S. market and across the globe.
Latin’s big year was led by Bad Bunny’s game-changing release Un Verano Sin Ti, which is (of course) included in our 25 favorite Latin albums of this year. The 23-track genre-hopping set became the first all-Spanish album to be ranked No. 1 on the Billboard 200 year-end albums chart, and it also earned the first-ever Grammy nomination for album of the year for an all-Spanish release.
Genre-blurring albums were a trend this year. Perhaps the most experimental was Rosalía’s Motomami, which is impossible to box into one particular style or genre. Instead, the 16-track set, which won album of the year at the Latin Grammys, was an invitation into the Spaniard’s global-spanning inspiration. She isn’t afraid to go on an exploratory journey where jazz and reggaeton can coexist in one song.
That experimental nature was also found in Mexican music albums such as Eslabon Armado’s history-making Nostalgia and Ivan Cornejo’s Dañado. The faces of a new generation of regional Mexican acts, these artists may be labeled as sierreño artists but, at their core, they’re fusing their songs with the sounds (rock, alternative, pop) that inspired them growing up as a Mexican-American kid in the U.S. There was also Natalia Lafourcade’s masterpiece De Todas Las Flores, Romeo Santos’ third installment of his La Formula series and Jorge Drexler’s poignant Tinta y Tiempo.
Here are our 25 favorite Latin albums from this year, in alphabetical order.
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Adrian Quesada, Boleros Psicodélicos
There’s something bewitching about a classic bolero, the heart-rending Latin American art form that rose to global prominence during the ‘70s. Yet somehow, the Texas-based producer, composer and multi-instrumentalist Adrian Quesada managed to breathe new life into it for the 21st century. Boleros Psicodélicos is a brilliant, star-studded offering that elevates the storied Latin American song with an excitingly forward-thinking approach. Complete with vintage instrumentation, analog production and otherworldly voices, the 12 tracks highlight 12 renowned singers (Natalia Clavier, Gaby Moreno, iLe, Girl Ultra to name a few), who deliver dazzling odes of love and loss in their ultimate forms of expression. — ISABELA RAYGOZA
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Arcangel, Sr. Santos
Beyond marking his highly-awaited return to trap music following his very commercial 2021 set Los Favoritos 2.5, Arcángel (real name: Austin Agustín Santos) dedicates his 18-track Sr. Santos to his late brother Justin, who died in a car accident last year at the age of 21. With collaborations from Bad Bunny, De La Ghetto, Myke Towers, Bizarrap, and more, the song selection was based on titles that Arca’s brother liked and constantly encouraged him to publish. From the self-motivational opener “JS4E” (Justin Santos Forever) to the rawness of La Isla del Encanto in “La Ruta” with newcomer YOVNGCHIMI, Sr. Santos is also “100% street, it is dedicated to that public that exists, which is very large as well,” he previously told Billboard. — JESSICA ROIZ
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Bad Bunny, Un Verano Sin Ti
We will always remember 2022 as the year when Benito made history, breaking his own records and uniting the whole world in celebrating his eternal Verano. Regardless of the language, culture or generation, we all somehow connected over Bad Bunny’s Un Verano Sin Ti this summer, letting ourselves be carried away by his most visionary musical project. The set brilliantly demonstrated the global superstar’s capability and versatility through its ambitious 23-song tracklist – 22 of which hit the Hot 100 the week of its release – and debuted atop the Billboard 200, staying there for 13 nonconsecutive weeks, and later becoming the first Latin album to ever top the Year-End chart.
Verano, divided into “Lado A” & “Lado B,” was designed to bring you on an emotional roller coaster across its two halves, climbing to an early high with the furious mambo “Después de la Playa.” From there, it hurtles listeners through intense perreo (“Me Porto Bonito”), feel-good reggae (“Me Fui De Vacaciones,“) and dembow (“Tití Me Preguntó“) cuts, before decelerating with bossa nova (“Yo No Soy Celoso”) and smooth melodic soul (“Ojitos Lindos”). Each song on the album has its own purpose and each lyric and melody its own story, and the whole thing adds up to an album vivid and exciting enough to make the album the year’s biggest in America without a single stateside pop radio hit or English-language song. It’s Bad Bunny’s world, and we’re all just hopping around in it, pretending that summer isn’t over yet. (This blurb originally appeared on our staff’s Best Albums of 2022 list) — INGRID FAJARDO
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Becky G, Esquemas
Becky G’s best album to date is a wonderfully curated, chock-full-of-hits set that mines her versatility, from merengue in “Fulanito” with El Alfa, to the introspective “Dolores,” where the veteran star tackles mental health. While blockbuster “Mamiii” with Karol G may be the set’s linchpin — after all, fans have waited what feels like a lifetime for this collab — there’s also lots to relate to in songs like current single “Bailé con mi Ex” (I Danced With My Ex), a mid-tempo club track, and gratifying surprises like singer/songwriter Elena Rose being brought to the forefront in the wonderful, ’60s-inspired “Flashback.” Becky G owns each track, sentiment and vibe, proving that she can do it all. (This blurb originally appeared on our staff’s Best Albums of 2022 So Far list) — LEILA COBO
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Camilo, De Adentro Pa’ Afuera
On his third studio album, Camilo expands his light-hearted, tropical-infused pop into more daring musical material. He veers from the sparsely arranged “Nasa,” a heartache duet with Alejandro Sanz laced with electronic loops, to the raucous “Alaska,” an all-acoustic norteño cumbia with Grupo Firme. The essence remains Camilo’s endearing, highly hummable songs and clever, colloquial lyrics (most co-written with Edgar Barrera), which still connect with multiple generations of fans. And while the tunes may sound simple, they are anything but facile (check out “Indigo,” his lilting, poppy homage to his daughter, performed with wife Evlauna Montaner). This is a singer-songwriter with a long future of stories to tell. (This blurb originally appeared on our staff’s Best Albums of 2022 list) — L.C.
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Christina Aguilera, AGUILERA
Christina Aguilera honored her Latin roots in 2022 with AGUILERA, her first Spanish-language project in 22 years, comprised of the EPs La Fuerza (The Strength,) which she released in January, and La Tormenta (The Storm), which followed in May. The album pays tribute to the singer’s childhood and her Ecuadorian father; Aguilera has said she hopes it helps connect her own children with their Latin heritage. Filled with songs that deal with empowerment, vulnerability and healing — as well as a wide variety of rhythms, from pop to cumbia, tango, tropical music, ranchera and reggaeton — the album features powerful anthems like the female driven guaracha “Pa Mis Muchachas” with Becky G, Nicki Nicole and Nathy Peluso, and Mexican masterpieces like “Cuando Me Dé La Gana” with Christian Nodal and “La Reina,” Aguilera’s reply to the classic “El Rey.” With a voice like hers and writers and producers like Rafa Arcaute and Edgar Barrera, to name a few, AGUILERA is an instant classic, and the singer is the definite Queen. — SIGAL RATNER-ARIAS
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Christian Nodal, Forajido
An open letter about heartbreak and the deepest feelings of the sorrow of a love that is now lost, Nodal doesn’t hold his feelings back in this EP. With songs such as “Ya No Somos, Ni Seremos,” “Vivo en el 6” and “Limón y Sal,” the Mexican’s songwriting is as raw as ever, with emotions that are almost tangible. The six-track mariacheño-style production gave the 23-year-old Mexican his fourth top 10 on the Regional Mexican Albums chart after three earlier No. 1s, and his first debut there after two years. (This blurb originally appeared on our staff’s Best Latin Albums of 2022 (So Far) list) — I.F.
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Divino Niño, Last Spa On Earth
Buoyed by glitz, grime and jangle pop, the Chicago dwellers Divino Niño create a chaotic catharsis that’s as addicting as it is blissful on Last Spa on Earth. Comprised of Colombian vocalist/guitarist Camilo Medina and bassist Javier Forero, Puerto Rican-Venezuelan guitarist Guillermo Rodriguez-Torres, keyboardist Justin Vittori (a.k.a. JV) and Pierce Codina on drums, the mercurial five-piece claim liberty through reggaeton beats while never leaving their knack for trippy-lush configurations. Their 12 tracks are all stunners from start to finish, soaked in iridescent synths (“Nos Soltamos”), rebellious lyrics (“XO”), and plenty of exciting transitions (“Drive”), with doses of house and trap for good measure. Their first Spanish-language album made a grand entrance into the Latin pop canon, with plenty of exciting sonic contradictions that somehow seamlessly collide into an indie pop experience for the ages. — I.R.
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Elsa y Elmar, ya no somos los mismos
Elsa y Elmar is one of those artists who second-guesses herself often — but it’s then when she recuperates her power to create (as she once expressed on Instagram). The best result of her process is her third studio album ya no somos los mismos, home to 14 songs that are mature, reflective, and each sending its own powerful message. Staying true to her “spiritual pop” essence, and then some, the Colombian native sings about facing reality in love (“corazones negros”), valuable life lessons (“tal para cual” with Joe Arroyo), and moving on (“primavera”), among other subjects. Most notable on the album is “vuelve,” a mid-tempo, alt-pop highlight that perfectly demonstrates a smart decision made by two lovers who are no good for each other. Ya no somos los mismos nabbed three nominations at the 2022 Latin Grammys including the coveted album of the year. (This blurb originally appeared on our staff’s Best Latin Albums of 2022 So Far list) — J.R.
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Eslabon Armado, Nostalgia
For two years in a row, teenage quartet Eslabon Armado has delivered back-to-back sets that have not only topped Billboard’s Regional Mexican albums chart but have helped usher in a new era for the genre overall. A quintessential Eslabon album — meaning that it’s a heartbreak album through and through — Nostalgia not only cements the Mexican-American group as a leader in the acoustic guitar-powered sad sierreño subgenre, it breathes fresh air into the group’s core sound, as they subtly fold in instruments like the piano and ukulele for the first time. Notably, their experimental efforts made for chart history, as the 14-track set became the first top 10-charting regional Mexican album ever on the Billboard 200. (This blurb originally appeared on our staff’s Best Albums of 2022 list) — GRISELDA FLORES
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Feid, Feliz Cumpleaños Ferxxo: Te Pirateamos El Álbum
As they say: “El Ferxxo no se le dedicación a cualquiera MOR” (“You don’t dedicate [songs from] El Ferxxo to just anyone, love.”) The 15-track set, featuring Feid’s signature Medellín flow and hard-hitting reggaetón beats fused with guitar melodies (and an EDM beat for “Nieve”), brings together all the love-gone-wrong stories and deep breakups everyone has experienced at least once in their lifetime. True to form and to his Colombian “paisa” slang, Feid’s songwriting prowess and crisp lyricism give this album a different and unique magic; the earworm singles also connected with Gen Z through social media, resulting in many of 2022’s most powerful anthems. (This blurb originally appeared on our staff’s Best Albums of 2022 list) — I.F.
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Ivan Cornejo, Dañado
Labeling Ivan Cornejo’s album “regional Mexican” almost feels incorrect: if it wasn’t for the acoustic guitar that makes these songs fall under sierreño, Cornejo’s seven-track set Dañado could really be just about anything, from pop to alternative. That’s the beauty of Cornejo and his fellow teen sierreño acts (Eslabon, DannyLux, Yahritza Y Su Esencia, to name a few), who all focus more on the lyrics than anything else because, at the end of the day, a good song is a good song regardless of sound or genre. Cornejo’s Dañado — which scored him his first No. 1 on Regional Mexican Airplay chart — is a roller coaster of emotions that allow us to really get inside his experimental mind. From “J,” which starts off with a melancholic piano tune, to his cover of Jesse & Joy’s “Corre” and his only collab on the set “La Curiosidad” with Eslabon Armado, Dañado is just a preview of what Cornejo has to offer, and it leaves us wanting more. — G.F.
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Jorge Drexler, Tinta y Tiempo
Love is the common thread in Jorge Drexler’s Tinta y Tiempo. From the first song “El Plan Maestro” with Rubén Blades — about the invention of love from the moment cells started to reproduce — to the last one, “Duermevela,” dedicated to his late mother, the award-winning Uruguayan singer-songwriter works magic with his sophisticated music and lyrics that evoke his past as a scientist (Drexler was a doctor before dedicating himself fully to music). He also sings with love to the song itself on the single “Cinturón Blanco,” and talks about the desired physical contact in “Tocarte” with the Spanish rapper C. Tangana, created during the pandemic and winner of the Latin Grammy awards to record of the year and song of the year. With titles like “Corazón Impar”, “Amor al Arte “, “Bendito Desconcierto ” with Martín Buscaglia, “Oh, Algorithm!” with Noga Erez and the title track, Tinta y Tiempo is undoubtedly one of the strongest Spanish-language albums of 2022. — S.R.A
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Julieta Venegas, Tu Historia
Amid a burst of brilliant dance-pop and vulnerable ballads is a beautiful reconciliation of Julieta Venegas’ past. The beloved Tijuana native revisits her foundation and rediscovers herstory as reflected on her eighth studio album, Tu Historia. Produced by electro-pop maverick Alex Anwandter, the 10-track album comprises ten stories that explore the various facets of love, friendships, and heartbreak. Inspired by a poem from Chilean poet Raúl Zurita, the disco-tinged “En Tu Orilla” details the bittersweet vestiges of two ex-lovers, as does the insatiably catchy “Mismo Amor,” and “La Nostalgia” is introspective and sweet, with Venegas’ lilt sounding as gorgeous as ever. She continues to bring that spark with gripping accordion hooks throughout, and her songwriting is relatable enough to inspire us to relive our own memorable moments. — I.R.
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Kany García, El Amor Que Merecemos
It’s through the power of storytelling that Kany García thrives, which is why you should listen to her El Amor Que Merecemos set from top to bottom without skipping a song. A delightful fusion of romantic ballads, pop music melodies, tropical dance rhythms, and her first bachata ever, the album also offers an ode to unexpected romantic love in “Agüita e Coco” to “DPM,” which empowers a woman that maybe needs to be reminded of what it feels to be back to herself after a breakup. (This blurb originally appeared on our staff’s Best Latin Albums of 2022 So Far list) — I.F.
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Natalia Lafourcade, De Todas Las Flores
A genesis of sorts, Natalia Lafourcade’s De Todas Las Flores marks the beginning of a new musical era for Lafourcade, who spent the last few years recording albums that payed homage to folk songs of Latin America. This new album, her first set of all-original material since her 2015 project Hasta La Raíz, was born after a breakup and finds a wise Lafourcade placing her emotions on full display: sadness, grief but also optimism, liberation and hope. She starts off with the defiant “Vine Solita (I Came Alone),” a nearly seven-minute attitude-heavy song that kicks off with a somber cello and violin, and feels like a declaration of independence. Later, she gets philosophical about life, death, breakups, and events that shake our core. Accompanied by a guitar or a piano, with jazz arrangements or stripped-down, Lafourcade blossoms into the person she’s meant to be today, shaped by past events and lessons learned from those experiences. — G.F.
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Paulo Londra, Back to the Game
After a three-year hiatus, Paulo Londra made a triumphant comeback with the fittingly titled Back to the Game. Released under his new partnership with Warner Music Latin, the Argentine rapper not only blessed fans with his signature freestyle essence but also navigated to cheeky reggaeton, as heard on the Feid-assisted “A Veces”; to thrilling punk rock, on “Nublado” with Travis Barker; and to vibe-y R&B, on “Noche de Novela,” his second collaborative effort with Ed Sheeran. “I’m back,” he wrote on social media. “This is from Paulo to those who’ve always been there, since when I would go to the plaza in Joaco to crossing paths for the second time with Ed Sheeran. As long as one follows their passion, no one can stop you. If you ever felt empty but today you want the people around you to smile or have fun, welcome to the club.” — J.R.
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Pol Granch, Amor Escupido
Throughout the 16-track set, Spanish-French singer Pol Granch expresses strong feelings in the best way he knew: “My grandmother always told me that music is the words of the soul,” he previously told Billboard. Amor Escupido is a mix of elegant classic pop sounds, with electric guitar rhythms fused seamlessly with his soft vocals as he sings emotional lyrics throughout the songs. The singer-songwriter, who was up for best new artist at the Latin Grammys, will capture you with this introspective masterpiece, in which he explores themes of love and heartbreak. — I.F.
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Romeo Santos, Formula, Vol. 3
Romeo Santos rose to unfathomable heights by globalizing bachata on his own terms, a wickedly seductive formula that introduced the masses to the originally rural, century-old Dominican style. With his Formula trilogy, the Bronx native builds an empire where bachata reigns, and Vol. 3 continues to see the salacious singer embracing the genre’s essence. The heartbroken reverie of “Bebo” harkens back to bachata’s origins — an art form that was once called amargue (bitter music) for its often-lovelorn lyrics. He pairs up with Rosalía on “El Pañuleo,” bewitching listeners as their voices make sweet melodies. And on “15,500 Noches,” the King of Bachata brings unsung tropical heroes into the spotlight, like Toño Rosario, Rubby Pérez, Fernandito Villalona, and Ramón Orlando for a merengue celebration, honoring the Dominican genre’s history like only Santos would. (This blurb originally appeared on our staff’s Best Albums of 2022 list) — I.R.
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Rosalía, Motomami
Motomami is the product of a nonconforming, rule-breaking mami, who revels in vrooming motors, hyper-speeding and screeching brakes, while all clad in leather. On her third studio album, Rosalía further testifies that experimentalism and traditionalism — in all forms and sounds — can coexist, and rivetingly: Opener “Saoko” introduces reggaetón minimalism, before she splatters it with complex jazz melodies to create a contortion of sounds as she declares, “I transform.” On “La Fama,” she and duet partner The Weeknd dare to blend bachata with sultry electro-pop, as she embodies a fame-seeking siren that’s consumed by the dark pleasures of celebrity (“Fame is a bad mistress and will not really love you,” the Weeknd croons in Spanish.) But Rosalía never abandons her beloved flamenco, as evinced on the bewitching “Bulerías.” The Spanish provocateur continues to push the limits of modern Latin pop with an unflinching approach, while bringing excitement and seduction to the fore. (This blurb originally appeared on our staff’s Best Albums of 2022 list) — I.R.
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Sebastián Yatra, Dharma
With Dharma, Sebastian Yatra learns not to limit his creativity. He previously explained to Billboard how doing yoga and going to therapy made him adopt a new philosophy in life — and after this, he discovered a new way of writing and creating music, by going to the studio with a more open mind. As a result, this 17-song set is his most eclectic album yet, dabbling in punk rock, cumbia, vallenato and flamenco, reggaeton, and pop, and really representing who he is as an artist. He also peels back intimate layers of himself and fuses his velvety vocals fused with the angelic singing of Elena Rose on “Quererte Bonito,” which he calls the album’s “masterpiece.” (This blurb originally appeared on our staff’s Best Albums of 2022 So Far list) — I.F.
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Silvana Estrada, Marchita
With a background in jazz and folk, Silvana Estrada filled her sophomore album, Marchita (Withered) with evocative songs about solitude, nostalgia and love in all its iterations. Boasting poetic lyrics and an ethereal, yet powerful voice backed by traditional instruments like the Venezuelan cuatro (and nothing else), the set harks back to the venerable Latin American singer/songwriter tradition of great artists like Mercedes Sosa and Silvio Rodríguez, but with fresh new attitude. It enabled Estrada to win the Latin Grammy for best new artist in November, a victory that (happily) points to an appetite for greater variety in the Latin pop landscape. (This blurb originally appeared on our staff’s Best Albums of 2022 list) — L.C.
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Sofia Reyes, Mal de Amores
Five years after her debut set Louder!, Sofia Reyes dropped her sophomore album Mal de Amores, where she experiments with new musical approaches and flaunts her maturity over the years. She’s unapologetic, and the opening track “MUJER” is proof of that — a saucy cumbia with elegant violins where she simply says “I don’t regret being a woman.” It follows with the galactic reggaetón banger “Marte” performed in collaboration with Maria Becerra — a friendly reminder that women should never tolerate toxicity. The Mexican artist also navigates a variety of musical styles in Mal de Amores, ranging from norteño (“GALLINA”) to corridos (“Amigos” with Adriel Favela, Danny Felix) to her signature pop-urban sound. (This blurb originally appeared on our staff’s Best Latin Albums of 2022 So Far list) — J.R.
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Trueno, Bien o Mal
On his conceptual sophomore album, Trueno (real name: Mateo Palacios) passionately narrates his hardships and successes in a two-part disc: Bien o Mal (the good and the evil). The first part flaunts his hardcore rap sound and raw penmanship, as well as exposes how he sees the social and cultural reality of Latin America today. Following his “Manifesto Freestyle” — which easily demonstrates why he was the youngest champion in the history of the Red Bull Batalla de Los Gallos Argentina competition in 2019 — the album then transitions from “protest to celebration” for the remaining eight experimental tracks. In the second part, the Latin rapper incorporates ’90s hip-hop beats (“Dance Crip”), soulful R&B (“Feel Me?”), and perreo fusions as heard in his Randy and Bizarrap-assisted “Jungle.” — J.R.
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Yuridia, Pa' Luego Es Tarde
With her striking vocals and passionate delivery, Yuridia pays homage to her Sonora roots, delivering a well-rounded regional Mexican album that marked her grand return to the Billboard charts.. The 14-track set digs deep into love and heartbreak, and includes songs penned by Eden Muñoz, Horacio Palencia, José Luis Roma, among other renowned regional Mexican songwriters. Pa’ Luego Es Tarde, a title taken from a well-known norteño phrase, is the result of a beautiful and fruitful partnership between Yuridia on vocals and Muñoz’s musical direction. The album also includes empowering anthems such as “Y Tú, ¿Qué Ganas?,” “Con Qué Se Pega un Corazón,” “Me Hace Tanto Bien,” “Y Qué Tal Si Funciona?” — I.F.