For Latin music, 2024 was yet another year of significant expansion — both on the commercial front, and in the stylistic detours and avant-garde tendencies favored by artists across the Americas.

Música mexicana continued gaining new fans around the world, and the field of neo-reggaetón — and urbano music in general — realized that stepping out of the box was the only possible path to remaining vital. Niche genres like salsa, bachata, rock and electronica stayed relevant by basking in the beauty of their roots.

What’s especially gratifying is the undeniable fact that Latin music’s relevance in the streaming charts is accompanied by a wave of radical creativity. Experimenting wildly, mixing established genres and creating new ones are not only accepted, but also encouraged.

De Los reporters Cerys Davies and Andrea Flores, along with contributing writer Ernesto Lechner, put together this list of 30 Latin songs from 2024 that showcase the enviable state of grace that this music is experiencing. Even better: Most of these tracks are great for dancing, too.

Cerys Davies, reporter

Ca7riel & Paco Amoroso, “El Único”

As soon as Ca7riel, in a vest made of red plush hearts, and Paco Amoroso, in an oversized, blue furry hat, sat down for NPR’s Tiny Desk, the Argentine hip-hop duo captured the hearts of many. With their own respective solo careers, this year they released their first, full-length collaborative album, “Baño Maria,” — a witty, experimental take on Latin hip-hop and electronic. With some moments of pure trap and others of melodic pop, “El Único” reflects the toned-down intersection between an ambient house beat, slowed trap drums and playful lyrics about unknowingly having sex with the same person.

Floyymenor and Cris MJ, “Gata Only”

As TikTok’s top song worldwide in 2024 and the only Latin single in Spotify Wrapped’s top 10 most streamed songs (No. 4), “Gata Only” broke barriers for Chilean reggaeton. As people across the globe participate in various dance trends and create memes, the duo successfully crafted one of the catchiest and most danceable earworms of the year. Following a lust-filled affair over a classic reggaeton beat, the breakout hit is off the 19-year-old Floyymenor’s debut EP, “El Comienzo.”

Natanael Cano and Oscar Maydon, “Madonna”

Credited as the creator of corridos tumbados, Natanael Cano has paved the way for many of música Mexicana’s biggest names. Amid a vast discography of trap corridos about drugs, life’s struggles and women, Cano puts a new spin on his love life with “Madonna.” Teaming up with Oscar Maydon of “Tu Boda” fame, the pair croons about showering their lover with gifts, money and designer brands. Singing “Mi güerita flow rock star” over intricate layers of strings and horns, the Rancho Humilde-signed artists remind listeners about the simple pleasures of a feel-good corrido.

Humbe, “Kintsugi”
Using the Japanese art of fixing broken pottery as a metaphor for a transformative love, 24-year-old experimental pop star Humbe brings a new kind of sensuality to his sound. On the lead single off Monterrey-born musician’s album, “Armagedon,” he proves he can comfortably walk the line between alternative and R&B while experimenting with the more electronic qualities of pop music.

Omar Apollo, “Empty”

In this lullaby-leaning ballad, Omar Apollo confronts who he is after a decimated romance. Off his second album “God Says No,” this is one of the few true heartbreak ballads as the Indiana-born singer decided to explore a more synth electronic sound in his solemn landscape of queer love stories. In this particular song, Apollo sings, “Cantando en otro lenguaje pa’ que no me entiendes / No quiero que sepas cuánto me duele.” Sharing this kind of explanation, pulls back the curtain on Apollo as an artist and adds a new layer of intimacy that only makes this trance-like song sting a bit more.

Latin Mafia, “Siento Que Merezco Mas”

The high-pitched sounds of Mexico City’s organ grinders and the hum of a chatty crowd open Latin Mafia’s debut album, “Todos los dias todo el dia.” Putting their listeners on the streets of their hometown, the Latin Grammy nominated De La Rosa brothers — Mike, Emilio and Milton — flex their ability to bend distorted vocals, forceful percussion and vulnerable lyricism in their garage-leaning production style. As they yearn for a deeper connection or lament deserving better treatment from a lover, the unified feeling among its stark switchups of a distant cheering crowd, an angered electronic track and a sorrowful ballad in the 2 minute and 45 second track is what takes this song from inventive to groundbreaking.

Ivan Cornejo, “Sale Para Ser Feliz”

One thing about Ivan Cornejo is that he sings his lyrics with his chest. As the first song on the Riverside-born musician’s third album, “Mirada,” “Sale Para Ser Feliz” captures the inescapable essence of a heartbreak over striking acoustic guitar. In this woeful outpour, he mourns the ending of a relationship and comes to terms with the fact that people can change. Cornejo completely exhibits his knack for tamed romantic angst and gives the listener a taste of the dejected world of “Mirada.”

Fuerza Regida, “Nel”

As the influence of Jersey beats infiltrated hip-hop, Fuerza Regida’s frontman Jesus Ortiz Paz ensured that música Mexicana wasn’t too far behind. On the five-piece band’s most recent album, “Pero No Te Enamores,” they explore how electronic dance music can exist in the world of trap corridos. The album’s frontrunner, “Nel,” is a lust-driven blend of JOP’s coarse vocals, a pulsating, club-like bass and a reggaeton-leaning drumline.

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

If someone was going to bring out Peso Pluma’s soft-hearted side, it only makes sense that it would be Colombian powerhouse Kali Uchis. Capable of seamless language switches, a genre-bending sound and quick-witted lyricism, “Igual Que Un Ángel” is Uchis’ synth-heavy take on finding the perfect lover. As one of the standout tracks on her 2024 album, “Orquídeas,” Uchis’ airy vocals add a new layer of dimension to Pluma’s recognizable rasp in this unexpected, but not shockingly catchy earworm.

The Marias, “Sienna”

Talk about being able to hear a heart break. As the final track on the Marias’ sophomore album “Submarine,” “Sienna” ends the band’s esteemed breakup album on its heaviest note. Complete with a soft percussion, cinematic chimes and heart-wrenching lyricism, listening to this track feels like waking up from a melancholic dream. “Sienna” is the pinnacle of the Marias’ signature style: sad, sexy and somewhat groovy.

Andrea Flores, reporter

Julieta Venegas, “A Donde Va El Viento”

Shockingly, despite its nostalgia-riddled synthesizer, “A Donde Va El Viento” is not an ’80s or ’90s tune. Julieta Venegas adds this soft-rock ditty to her long list of memorable songs, a standout for its imaginative lyrics that evoke teenage wonder. If the track sounds like it should be part of a TV soundtrack, that’s because it is. The signature tune was specifically created for Amazon Prime’s limited series “Nadie nos va a extrañar,” about a group of misfit high schoolers in 1990s Mexico City that run a forged assignments business (also a beautiful watch).

Rauw Alejandro, “Cosa Nuestra”

Five albums deep into his artistry, “Cosa Nuestra” marks Rauw Alejandro’s ascent to ultimate greatness. In it, the Puerto Rican singer pays homage to the infectious Caribbean rhythms, teetering between his bad-boy image and sensual energy. The opening namesake track kicks off this new era of “Raúl “ with a simmering bolero colored with jazzy trumpets and tantalizing conga drumming.

Karol G, “Si Antes Te Hubiera Conocido”

Dreamy is the theme of Karol G’s 2024 hit “Si Antes Te Hubiera Conocido,” which is not a far stretch from the energy she delivers in her 2023 albums, “Mañana Será Bonito” and “Bichota Season.” Co-produced with Edgar Barrera and Sky Rompiendo, the song toils with the wistfulness of what never came to be, and the hope of what could become. The Colombian singer released the merengue smash hit at the height of the summer, and it peaked at No. 32 on the Billboard Hot 100. Its chart-topping potency is a sign that Karol G is coming for more in 2025.

Danny Ocean, “Amor”

All Danny Ocean longs for is love. Since his 2016 hit, “Me Rehuso,” the Venezuelan singer has been belting sweet notes that yearn for his “Babylon girl.” His latest album, “Reflexa,” is no different with extra raspy vocals that seek connection and added electric beats that hover over his traditional dembow rhythm. The standout track, “Amor,” is a simple tune with a catchy backbeat and lyrics that cease to complicate concepts of love. Because, in the eyes of Danny Ocean, loving someone is as straightforward as 1+1=2. The song reached No. 1 on the Billboard Latin Airplay earlier this year and has garnered over 5 million YouTube views.

Cris MJ, “Si No Es Contigo”

It’s been a whirlwind couple of years for singer Cris MJ, whose breakthrough song, “Una Noche en Medellín,” debuted on the Billboard Hot 100 chart in 2022 and caught the attention of Karol G for a refashioned version featuring Ryan Castro on her “Bichota Season” album. The 23-year-old sustains his popularity this year with fellow Chilean singer FloyyMenor on “Gata Only,” the only Spanish track to earn a spot on Spotify’s most-streamed songs globally. But finishing hot on the Latin charts is also “Si No Es Contigo,” where Cris MJ riffs his breathy voice over a sultry urban beat. The remix with Kali Uchis and Jhayco alone is proof that Cris MJ is not a one- or two-hit wonder.

Becky G, “Otro Capitulo”

Becky G is ready for her next chapter. The homegrown singer shed her skin this year with the release of her fourth studio album, “Encuentros,” a collection of música Mexicana melodies with heart-wrenching lyrics. But between the aching pain illustrated in the fiery “Como Diablos” or soft “Muchas Gracias,” there is a glimmer of joy and hope in “Otro Capitulo.” The Selena-inspired cumbia track, which includes nods to La Factoria’s chorus in “Perdóname,” signals that Becky G is ready to slash the past in exchange for a new beginning.


Manuel Turizo and Kapo, “Qué Pecao”

Deep baritone heartthrob Manuel Turizo wires back into the bachata genre with “Qué Pecao,” two years after his megahit “La Bachata” topped the global charts. Featured on his latest album “201,” the gentle love ballad is elevated with the poetic additions of Colombian singer-rapper Kapo, whose soft-spoken interludes heat up the track. The duo, both a product of La Industria, Inc., blends the Caribbean beat with earworm guitar strumming, a sure repeat for the holiday festivities or any dance party.

Grupo Frontera featuring Maluma, “Por Que Sera”

A year after their debut album, “El Comienzo,” Grupo Frontera released their sophomore LP “Jugando a Que No Pasa Nada.” The Texas borderland band delves further into the música Mexicana genre this time, experimenting with tribal, corridos tumbados, sad sirreño and a bit of southern honky-tonk. Standing out in the collection is “Por Que Sera,” a collaboration with Colombian singer Maluma, whose tender tenor vocal contrasts lead singer Payo Solis’ deep register.

Bad Bunny, “El Clúb”

Leave it to Bad Bunny to fool us all into thinking this is one song, not three. The slow build lures listeners into a catchy electric dance hook that is simply irresistible to groove to. Then there are the lyrics themselves, an admission of ruminating thoughts about an ex-flame and what they might be up to — a universal experience for those stuck in their head after a breakup. The nightclub vibes eventually trickle off into a slow tempo beat reminiscent of his 2022 “Un Verano Sin Ti” album, which features more tropical vibes.

Kid Cudi, “Electrowavebaby”

Kid Cudi is soaring up in space and doesn’t seem to be coming down. This year was a doozy for the rapper-singer who released two studio albums, “Insano” and “Insano (Into Mega),” along with three singles for his comic book debut of “Moon Man.” Among the insane collection (pun intended), “Electrowavebaby” was a standout electric trap melody with a memorable beat. Though it clearly samples Ace of Base’s 1992 “All That She Wants,” adding an intriguing allure, Kid Cudi still found a way to make it his own with his signature humming and a tasteful amount of “oohs.”

Nathy Peluso, “La Presa”

A passionate hyperpop diva, Nathy Peluso is equally at home with the defiance of hip-hop and the theatrical drama of progressive salsa. “La Presa” is not the first tropical scorcher that the Argentina native has given us — but it is possibly her best. Joined by the backup vocalists of venerable Puerto Rican orchestra El Gran Combo, Peluso channels the precise moment in time (the tail end of the ’70s) when salsa became operatic and symphonic. A superb vocalist, she replicates the heights of female Afro-Caribbean icons like La Lupe and Yolanda Rivera.

Carín León, “El Curioso”

Hailing from Hermosillo, Carín León arrived on the Latin scene like an unstoppable force of nature, blending his música Mexicana roots with intriguing shades of country and classic rock. Even those accustomed to his prolific ethos were surprised by his 2024 output: a stellar Latin Grammy-winning album in May — “Boca Chueca, Vol. 1” — and his now traditional “surprise” December LP, “Palabra de To’s.” A highlight from his latest session, “El Curioso” shimmers with the bouncy vibe of cumbia norteña, anchored to León’s killer melodic instincts.

Young Miko, “Wiggy”

Like many other MCs in recent years, Puerto Rico’s Young Miko gained global traction when she guested in one of Argentine producer Bizarrap’s infamous YouTube sessions. Three months later, she dropped “att.,” a debut album that oozes charisma and confirmed the arrival of a new star. Miko showcases her flow —fresh, agile, irresistible — on “Wiggy,” an ode to old-school hip-hop with references to early 2000s novelty smash “Aserejé” and a bass line that thumps restlessly as she waxes poetic about clubbing and her lust for another woman.

Rafa Pabön, “Aiwo”

“Aiwo” was created spontaneously one night in Puerto Rico, when urbano genius Pabön enlisted friends Daymé Arocena and producer Mr. NaisGai for a late-night recording session. An homage to the Boricua rapper’s African roots, it’s constructed around his quirky flow and a deep, soulful atmosphere that transcends decades. Pabön’s 2023 “Galería” album was a game changer, and this short but unforgettable single hints at more wondrous sounds to come.

Becky G, “Última Vez”

Released last year, “Esquinas” found Becky G connecting with the essence of música Mexicana — a tribute to her abuelitos. The experience was so emotionally fulfilling that the singer from Inglewood decided to repeat the experiment with “Encuentros.” This lilting ballad transports us back to Mexico’s golden era of stately heartbreak songs, amplified by Becky’s astute production choices, which combine a retro melodic sensibility with the benefits of digital wizardry. Punctuated by languid guitar lines, this sadder-than-sad gem creates the perfect backdrop for her gorgeous voice to shine through.

Gepe, “Desastre”

Gepe saw “Desastre” as an opportunity to delve into the big, cinematic chords of favorite songs of his like Paul McCartney’s “Golden Slumbers” and Queen’s “Innuendo.” The most soul shattering moment of his extraordinary tenth album — the ironically titled “Undesastre” — the track benefits from an epic orchestral backing and a series of disruptive, eccentric sound effects (the emulation of a disaster, as things fall apart). At 43, the Santiago de Chile native is riding a sublime wave of inspiration.

Spanish Harlem Orchestra, “Llegó El Caballero”

Even though traditional salsa is now a thing of the past, Los Angeles-based keyboardist Oscar Hernández cultivates its rugged sound with the kind of vitality and dedication to the craft that could single-handedly keep the genre alive. Hernández got his start as a teenager, playing the piano with La Conquistadora, Ray Barretto and Celia Cruz, and the band’s ninth album, “Swing Forever,” brims with electricity and gunpowder. “Llegó El Caballero” underscores the bandleader’s gift for intricate arrangements, with majestic combinations of brass and elegant piano lines. The raucous soneos of guest vocalist Gilberto Santa Rosa — a Puerto Rican legend — are the cherry on the pie.

Cimafunk featuring Monsieur Periné, “Catalina”

So far, the 2020’s have been something of a golden era for tropically inflected pop. This joyous duet between Cuban trendsetter Cimafunk and Colombian gypsy jazz outfit Monsieur Periné — culled from Cima’s third album, “Pa’Tu Cuerpa” — is the perfect Latin summer anthem. The production is crystal clear, with rumbling bass, percolating syncopation and lovely acoustic guitars in the bridge. But the stars of the show are Cimafunk and Periné singer Catalina García, whose overwhelmingly sensuality is playful — and effortless.

Girl Ultra, “Blu”

On “Bombay,” a track off her 2022 album “El Sur,” Mexican songstress Girl Ultra had demonstrated her penchant for flirting within the confines of decadent, EDM-flavored pop. This summer, she released an EP, “blush,” loaded with sonic candy. Opening track “blu” finds her multitracking her own voice, creating a hypnotic, mantra-like mood by chanting syllables to the march of a grimy dance machine. Girl Ultra has found her own slice of heaven in the sonic playground of the recording studio.

Trueno, “Tranky Funky”

At 22, Argentine rapper Trueno employs hip-hop as a source of light, a communal language with the power to heal the world. Drawing from the canon of vintage rap, “Tranky Funky” gallops forward to the sound of congas, chunky piano chords, wah-wah guitars and a nod to Mobb Deep. A close cousin to Trueno’s breakthrough hit “Dance Crip” (2022), it summons you to the dance floor while declaring its undying love to hip-hop — a cultural force of unity for the past 50 years.