The commercial success of Latin music has become a double-edged sword.
On one side are industry boosters chattering about constant growth and revenue exceeding $1 billion; on the other, critics predicting that the bottom has to fall out sooner or later.
And this year in particular, Latin music pushed through expected forms and showed that it’s at its best and most exciting when acts keep reinventing themselves and moving away from predictable patterns.
This happened both on mainstream records, as well as in alt-circles across Latin America and the diaspora.
Other artists, from Angélica Garcia to Daymé Arocena, gobsmacked listeners with surprising sonic pivots and forays into new genres.
Latin music’s commercial success has two sides. Critics predict that the bottom must eventually fall out, while industry supporters talk about steady growth and revenue that exceeds $1 billion. Even if it does, we can be sure that creative artists from all over the world will continue to thrive, regardless of business talk. Particularly this year, Latin music defied convention and demonstrated that it is most vibrant and successful when performers continue to reinvent themselves and break from cliched styles.
In addition to mainstream records, this also occurred in alternative circles throughout Latin America and the diaspora. There was Sayonara by Álvaro Diaz, which gave us a post-genre interpretation of rap and reggaeton that seemed like a long-held dream come true. Argentine rapper Dillom transformed from troublemaker to trailblazer with the unwavering and unafraid effort Por Cesárea, while the Mexican indie trio Latin Mafia combined their melancholy child ruminations with authentic off-the-beaten-path production to deliver the airtight and utterly impressive debut Todos Los Días Todo El Día. Angélica Garcia and Daymé Arocena were among the other artists who stunned audiences with unexpected sonic shifts and genre-bending.
