The 25 Best Latin Albums of 2025: Staff Picks

He may be one of the lesser-known names on this list, but Wampi’s compelling musicianship is set to make him an international star in 2026. The Cuban artist born Dasiel Mustelier Oruña is spearheading a new wave of Reparto artists — the genre deriving from the barrios (or repartos) of Cuba that fuses reggaeton and hip-hop with traditional music such as son and timba, and where la clave is the essential instrument. On his self-proclaimed, 13-track debut album, El Rey de La Habana, Wampi navigates different musical styles without losing the core of his sound. “Veni” flirts with Brazilian funk; “2000s” is a sensual R&B; “Chacha,” in collaboration with Los Van Van, is a soft, salsa-cha-cha-cha fusion; and the Cimafunk-assisted “Que Bola” is a groovy funk. Earlier this year, Wampi signed a global agreement with Virgin Music Group leading to the release of El Rey de La Habana. — JESSICA ROIZ

On Lo Que Me Falta Por Llorar, Grupo Frontera delivers riveting tales of love, loss and resilience while staying true to its origins and pushing its sound forward. Recorded in the group’s hometown of McAllen, Texas, the album, produced by Edgar Barrera, drips with raw emotion and finely tuned craftsmanship. Its signature accordion-driven cumbia unspools beautifully on tracks like the aching “Monterrey,” yet the group proves deft at Tex-Mex experimentation. “Si Me Quiere” tightens into a polka pulse, while collaborations elevate the sound: Ozuna and Myke Towers inject urbano flair into “No Lo Ves” and “Triste Pero Bien C*brón,” respectively, and Los Dareyes de la Sierra’s norteño edge cuts deep on “Mi Droga.” Frontera evolves without losing its identity, weaving ambition and emotion into an experience that sounds timeless and fresh. — ISABELA RAYGOZA

On Island Boyz, Myke Towers continues to be a global force in Latin urban music, albeit one willing to change his style. Tracks like “Soleao” with Quevedo, which peaked at No. 4 on Billboard’s Latin Pop Airplay and Latin Rhythm Airplay charts‚ and “No Hay Break” with Omah Lay, incorporate Afrobeats, while “No Quiere Flores,” featuring Gabito Ballesteros, has a reggaetón sound laced with corridos and regional Mexican music. The 23-track set also flirts with dancehall, dembow and Latin R&B. The list of collaborators, which include De La Ghetto, Manuel Turizo, Ludmilla, DFZM and Izaak, is not based on strict rules, but rather on a strong sense of artistic friendship that makes the album shine. — INGRID FAJARDO

Lamento en Baile marks Daddy Yankee’s first album since his conversion to faith-based music. Musically, the Puerto Rican artist doesn’t lose his personal touch, fusing reggaetón with other Latin rhythms such as Cuba’s growing reparto. Sonically, he alternates between melodic singing and rap bars, singing about his relationship with God today and embracing his faith. Inspired by proverbs and biblical messages, Lamento en Baile includes notable songs “Jezabel y Judas,” deploying an intense metaphor about betrayal and evil in disguise, using those two infamous biblical figures; “Jardín Rojo,” serving as a message to those who suffer in silence; and the optimistic “Toy Hermoso.”

The set is also home to the feel-good “Sonríele,” which peaked at No. 1 on the Billboard Latin Airplay chart earlier this year. “I never imagined it would have the huge impact it has had because music is different now,” he said at the 2025 Billboard Latin Music Week. “Seeing it reach people’s hearts fills me with joy because that purpose is being seen. This song is medicine… it’s celebrating life. That’s the true No. 1.” — J.R.

Born from the pain and uncertainty of a loved one’s illness, KM0 showcased a more mature and determined Pablo Alborán, with lyrics profoundly personal and renewed artistic freedom. Here, the musician took on the songwriting of all the songs and, for the first time, produced and arranged most of them, experimenting with rhythms like country/folk (“Vámonos de Aquí,” with Indiara Sfair), salsa music (“La Vida Que Nos Espera”) and merengue (“Si Te Quedas”). On the pop track “Clickbait” he critized the superficiality and fake news of social media, and on the emotional title track he sang about facing a new start after going through a very difficult period in his life. With collaborations also including with Luan Santana (“Qué Tal Te Va”), Ana Belén (“Inciso”), Vicente Amigo (“Planta 7”), and Japanese artist Lilas Ikuta (“Perfectos imperfectos”), KM0 was, in true Alborán style, a sublime and thoroughly enjoyable work, full of heart and musicality. — SIGAL RATNER-ARIAS

Listening to this beautifully designed album with calming harmonies feels like a cleansing of the soul. Yocahú in taino means “God of yuca and fertility,” and the album delves deep into Caribbean traditions, including García’s root genres — mambo, bachata, and merengue — but explored in different ways. It opens with a piano intro to the song that gives the album its name, “Puñito de Yocahú,” followed by “El Huracán,” in which García transforms the feared hurricanes into a powerful metaphor for turbulent love. Another notable track is the merengue ripiado “Voy en Coche,” which describes his journey to see a lover, from Santiago de los Caballeros to San Francisco de Macorís in the Dominican Republic. Puñito de Yocahú, where García again worked on production with Eduardo Cabra (of Calle 13) won the Latin Grammy for best contemporary tropical album. — I.F.

For her anticipated debut LP — following a 2023 Latin Grammy win for best new artist — Joaquina presented a project filled with nostalgia, featuring 14 songs that speak directly to the heart. From singles like “Quise Quererte,” “Escapar de Mí,” “Desahogo” and “Pesimista,” to “Carta a Mí,” “Capricho,” an alternative version of “El Alquimista” and “Gracias Por Estar Aquí,” the Venezuelan singer-songwriter offered a fusion of poetic folk-pop and classic rock. The work was brilliantly co-produced, for the most part, by the artist herself, alongside renowned Colombian musician Julio Reyes Copello. With her ever-heartbreakingly honest lyrics, Al Romper La Burbuja represented a pivotal moment in Joaquina’s artistic and emotional evolution, with a mature, authentic and reflective approach that earned her four nominations to the 2025 Latin Grammys, including in the coveted album of the year category. — S.R.A.

Fans had been asking for it for so long, that the pressure could have led to a rushed, half-hearted collaboration. But Romeo Santos and Prince Royce took their time to create something truly special, and the result is pure synergy. Better Late Than Never is infused with the essence of both Santos and Royce, but it also offers fresh sounds for both artists. There are classic and modern bachatas, and mostly romantic lyrics, and the fusion of their recognizable voices is captivating from the opening title track. Standouts include “Dardos” and “Jezebel,” the latter displaying strong R&B influences, as well as “Ay San Miguel,” a Dominican palo, and “Menor,” a surprising first collaboration for Santos with an emerging talent, Dalvin La Melodía. Appropriately titled Better Late Than Never, the 13-track LP debuted at No. 1 and No. 2 on the Tropical Albums and Top Latin Albums charts, respectively, further proving that the wait was worthwhile. — S.R.A.

Colombia’s vibrant musical traditions and Venezuelan coastal energy blend well in ASTROPICAL, a flavorful exploration of Caribbean pop. The collaborative project united members of Bomba Estéreo and Rawayana, creating a fusion of sounds recorded between Miami and Santa Marta. Released in May, the 12 astrology-themed project met with widespread acclaim and served as a moment of cultural harmony between regions. The mix of champeta, Afrobeats-inspired percussion and gaita flutes became a groundbreaking moment for both groups. It earned Rawayana its first entry on a Billboard albums chart, debuting at No. 14 on the Top Latin Pop Albums tally. For Bomba Estéreo, it marked a fresh achievement under the ASTROPICAL banner, adding to their previous top 10 albums Amanecer (No. 7, 2015) and Ayo (No. 8, 2017).  — PAMELA BUSTIOS

Sanz’s album, whose title translates to “Now What?” is as existential as it is hit-driven, navigating intensely personal fare with humor and unexpected turns. Sanz’s first album on Sony Music Latin, the EP (later reissued in an expanded version titled ¿Y ahora qué +? ) won album of the year at the Latin Grammy, a nod to material that is both commercial (witness “Bésame,” an uptepo Shakira collab or “Hoy no me siento bien,” a salsa with Mexico’s Grupo Frontera) and intensely personal, as Sanz displays in first single “Palmeras en el jardían,” which recounts a much talked about romantic breakup. More importantly, ¿Y ahora qué? signals a veteran artist’s willingness to expand creative horizons with good taste, while staying true to self. — LEILA COBO

It took six years — since his breakout track “Loco” in 2019 — for Beéle to unleash his debut studio album, Borondo. However, the timing couldn’t be more perfect as the Colombian artist has really honed in on his sound over the years. Now, with his Latin Afrobeats, Caribbean house and pop dancehall fusions, he delivers 26 sensual tracks, including “Mi Refe,” “No Tiene Sentido,” “Frente Al Mar,” “Sobelove,” and “Si Te Pillara” — all of which have gone viral on social media. Borondo — which includes notable collaborations with Marc Anthony and Carla Morrison — debuted at No. 10 on Top Latin Albums and No. 4 on Top Latin Rhythm Albums on the lists dated May 31. — J.R.

Cazzu’s Latinaje takes listeners on a journey through 14 songs that range from cumbia to ballads to tumbado to funk and ultimately showcasing the rich culture of Latin America. The album feels like a book that conveys heartbreak through its lyrics while also drawing on common sounds of Latin American music, like drums, violins and acoustic guitars, as you can hear in “Me Tocó Perder.” It continues with “Dolce,” a corrido tumbado that also explores betrayal, with smooth guitar riffs that help convey the pain. There is also a touching song dedicated to her daughter, Inti, who brings her hope during hard times: “Inti, don’t cry anymore,” she sings, which could also serve as a reminder to the artist to be stronghearted. — I.F.

Milo J bridges past and present in his third studio album, where he resurrects Latin folk legends Mercedes Sosa, Violeta Parra and Tránsito Cocomarola. Marking his first release under Sony Music Latin, the 18-year-old effortlessly creates a space where chacareras, zambas, chamamés and tangos coexist, showcasing a maturity beyond his years. The album made waves with twelve tracks landing on the Billboard Argentina Hot 100, including “Jangadero” with Sosa (No. 71) and “Niño” with Cocomarola (No. 7). Highlighting icons like Parra, Silvio Rodríguez, Cuti y Roberto Carbajal and Fito Páez as one of composers, the project is a sonic journey along the Paraná River — from its Brazilian source to the Río de la Plata — beautifully capturing Latin America’s rich folk traditions. — P.B.

Blurring the lines between tradition and genre-experimentation, Mi Vida Mi Muerte feels like a declaration of intent from one of música mexicana’s fastest-rising talents. Rooted in his meteoric rise fueled by high-profile collaborations and chart-topping singles, Vega’s debut has made a major splash, peaking at No. 1 on Regional Mexican Albums, No. 2 on Top Latin Albums, and cracking the Top Streaming Albums (No. 17) and all-genre Billboard 200 (No. 19). Across 21 tracks, the La Paz artist stacks a guest list with heavyweights like Peso Pluma (the smoky “Morena”), Tito Double P (the accordion-driven “Chiquita”), Luis R Conriquez (the brass-blaring “CDN” and “El Plumas”), and Gabito Ballesteros (“Pegaso”) while deftly mixing corridos tumbados with reggaetón and rap fusions. Even in packed collabs, Vega’s solo songs, like “Chrome Corazón” and the vulnerable title track, cut deep, making his voice impossible to ignore. It’s a thrilling ride into the future of Mexican music. — I.R.

Following their viral NPR Tiny Desk Concert, which ultimately put them on a wider scale in 2024, Ca7riel & Paco Amoroso released their album Papota this spring. Named after the slang term “papota,” which describes gym supplements, the nine-track set combines new songs “Impostor,” “#TETAS,” “Re Forro,” and “El Día del Amigo,” with five others from the NPR live recording (part of their 2024 Baño María album). In Papota, which metaphorically describes the exaggeration in the music industry, the Argentine pair is daring, humorous and witty all while blending funk, jazz, pop, soul and hip-hop in an eclectic, novel mix that has no parallel in the current musical landscape. The album also helped the duo nab five Latin Grammys this year, including best alternative music album, best alternative song and best pop song.  — J.R.

Everything about Elena Rose’s debut album best represents who she is as an artist: the wings, the heartfelt messages, and a mantra as the intro. Beyond that, Bendito Verano is powered by spiritual messages that have connected her with her audience, reminding them that everything will be alright and that life has a purpose. She is joined by Eladio Carrión in “Roulin,” Young Miko in “Gyoza” and Rawayana’s Beto Montenegro for the dreamy ballad “Luna de Miel, ”among other guests. Also of note is the interlude, recited by musician and composer SpreadLof, in which he describes the difference between Elena the artist and the person, Andrea (her real name) — and how one motivates the other to stay strong in times of duress. — I.F.

Carín León’s fifth studio album Palabra de To’s serves as a heartfelt tribute to the people and contributors shaping and elevating regional Mexican music. Returning to his roots and his hometown of Hermosillo, León recorded the 16-track project under the curation of Latin Grammy winner Edgar Barrera alongside producers Antonio Zepeda and Alberto Medina. Deeply rooted in tradition, the album artfully incorporates the essence of Azteca rhythms, paying homage to the 28 songwriters featured, and the warriors and soldiers who have defined the genre. The set earned León his third consecutive top 10 on Billboard’s Regional Mexican Albums chart, and a top 20 start on the overall Top Latin Albums tally. Plus, it delivered two No. 1 hits on the Regional Mexican Airplay chart: “El Amor de Mi Herida” and “Ahí Estabas Tú.” — P.B.

The 14-track Cosa Nuestra: Capítulo 0 is the prequel to Rauw Alejandro’s Cosa Nuestra released last fall. While the latter is elegant, glamorous, and inspired by New York in the ’70s, Capítulo 0 is all about the Caribbean, offering bomba, plena (“Carita Linda,” “Caribeño”), his first-ever bachata produced by Romeo Santos (“Silencio”) and three salsa tunes, including the sultry “Callejón de los Secretos” with Mon Laferte. “I’m going to continue to bring my roots to the world,” he previously told Billboard of the set, which also includes his signature perreo and R&B sound. “Nowadays I feel so connected with my people and am very proud of where I come from. I don’t have to look outside when I have everything here.” Cosa Nuestra: Capítulo 0 debuted at No. 3 on the Top Latin Albums and Latin Rhythm Albums charts in October. — J.R.

Danny Ocean’s Babylon Club creates a world where freedom, desire, love and celebration are the main focus, offering a lively mix of sounds and team-ups with other artists. Listening to it is like tasting musical styles from the Caribbean and Venezuela: there’s merengue, his first salsa, and a love letter to Venezuela. During Billboard Latin Music Week 2025, Ocean said that he writes about Venezuela as if it were a woman he loves. The best examples are “Crayola,” a merenguetón for “Margarita” that perfectly shows the bittersweet mix of closeness and romantic uncertainty, and “Corazón,” where he describes the connection of two people who started with no plan and fell in love. — I.F.

Kapo’s first global and viral hits “Ohnana” and “UWAIE” made way for what would become his sophomore album, Por Si Alguien Nos Escucha (In case someone hears us). Packed with the Afrobeats, dancehall, reggae sounds and feel-good lyrics that made him a household name, the 15-track production is a contrast to his debut album Tu OG Favorito (2023), which is more reggaetón-heavy. “The most personal songs are the ones that work for me,” the Colombian artist told Billboard of finding his sound. “I began giving my music more meaning and to what truly made me feel most unique.” On Por Si Alguien Nos Escucha — which debuted at No. 1 on Top Latin Pop Albums in July — Kapo has collaborations with Myke Towers, Yandel, Manuel Turizo, Ryan Castro, Rels B, Lion Fiah and Feid. — J.R.

Few albums capture the essence of a place quite like Sendé, Ryan Castro’s sun-soaked love letter to Curaçao and the Caribbean. The Colombian-born star peels back layers of his identity to showcase the island that shaped his artistry during his formative years, moving away from “El Cantante del Ghetto” and embracing something more vulnerable, romantic and personal. The 18-track LP, named after the Papiamento word for “feel good vibes,” is rooted in the island’s music and culture, merging riddims like dancehall, kizomba and reggae with Castro’s Medellín urban grit. Collaborations amplify the record’s borderless ambition: The Prodigiez add playful charm on the risqué “Aynome:(,” Shaggy energizes the proceedings on “Exclusiva,” and Curaçaoan local artist Dongo delivers dance floor flirtation on “Sanka,” a bilingual track in Spanish and Papiamento. Overall, Sendé invites listeners into Castro’s past — his sacrifices, dreams, and the island that shaped him — while showcasing Curaçao as a muse, and possibly a rising force in Latin music. — I.R.

Karol’s Tropicoqueta is a genre-blending journey through vallenato, dembow, reggaetón, ranchera, Brazilian funk, bachata and cumbia villera, which reimagines old-school classics with a modern edge. The album stormed in at No. 1 on Billboard’s Top Latin Albums chart and at No. 3 on the overall Billboard 200, achieving the largest streaming week for a Latin album by a woman in 2025. Karol also shattered chart records by landing 20 simultaneous songs on the Hot Latin Songs chart. 

Standout collaborations on the set, such as one with Marco Antonio Solís, connected with the Spanish adult contemporary audience, while Manu Chao added a refreshing feel, and clever use of samples —George Michael’s “Careless Whisper” and The Beatles’ “And I Love Her” — brought a nostalgic undertone. Although the album stumbled with a few songs that didn’t quite fit within the overall mood, Karol’s ability to fuse genres and balance vintage influences with modern sounds made this one of the year’s most noteworthy releases. — P.B.

Fuerza Regida is reframing what it means to dream big — and manifest it. On 111XPANTIA, the San Bernadino juggernauts’ ninth studio album, they turn ambition into art, delivering a genre-defying project that cements their place at the forefront of música mexicana’s evolution. Titled after the Náhuatl word for “to manifest,” the record feels prophetic, debuting as the highest-charting Spanish-language album by a duo or group in Billboard history. The album not only landed at No. 2 on the Billboard 200 but also topped the Top Regional Mexican Albums chart, a victory for both the band and the culture it represents. 
 
Free of collaborations for the first time, 111XPANTIA showcases Fuerza Regida at its most fearless. The group weaves between gritty anthems like the opener “GodFather” and inventive risks like the corrido-synth laden “Nocturno” or the banjo-laden “Peliculiando,” challenging expectations of what regional Mexican music sounds like. Nostalgia permeates the hardhitting corridos of “Marlboro Rojo” à la Chalino Sánchez, but the band also expands its boundaries, introducing fans to unexpected moments, like Ellie Goulding’s hypnotic vocals sampled on “Tu Sancho,” and the haunting loop of Vicente Fernández’s iconic “Acá Entre Nos” on “Ansiedad.” Overall, 111XPANTIA serves as a bold proclamation of their vision to not just make music, but to carve out space in music history. And if this album proves anything, it’s that Fuerza Regida’s journey is far from over. — I.R.

Recorded with the London Symphony Orchestra, LUX is an ambitious, complex, sprawling orchestral and operatic collection, performed in 13 different languages, where Rosalía pushes her vocal prowess into untested waters. The opening sets the tone with a piano intro that evokes a classical piano etude – a cross between Bach and Chopin — then gives way to Rosalía’s vocals, set to a sustained acoustic bass line that finally crashes into choruses and a full string orchestra. The track ebbs and flows in its rhythm, pacing and BPM, full of rubattos and crescendos, sounding every bit like a live classical music — except it quite isn’t. The opening line (“Quién pudiera vivir entre los dos, primero amaré el mundo y luego amaré a Dios) establishes the foundation of an album and an artist tied to the terrestrial, but aspiring to the spiritual and sublime, and actually reaching them more than once.

Does Lux follow the rules of classical composition? It doesn’t mean to, and sometimes, it runs all over the place. But Rosalía’s voice is irresistible, capable of going through pianissimos to forte with ease and support, and you keep listening, rivetted, until the very end. While there are ostensibly commercial nuggets here — like the diss track “La Perla,” performed with Mexican trio Yahrtiza y su Esencia, this is an album that defies every convention. Challenging but exquisite, we hope it forces others to delve deeper into their art, and make us wait just a little bit more, if it means making us listen again and again. — L.C.

By his own telling, Bad Bunny’s seminal DeBÍ TiRAR Más FOToS was conceived from and for Puerto Rico, an emotional, deeply personal love letter to his island with “zero” commercial expectations beyond it.  Instead, buoyed by a historic 30-day residency and stunning chart success — it spent four weeks at No. 1 on the Billboard 200, with three songs making the top 10 of the Hot 100 — the all-Spanish album is a phenomenon, a unifier of cultures, an ambassador of dance, an enraptured call for love and celebration and a wake-up call to social and economic ills and patriotism through music.

Now, after landing a Grammy nomination for album of the year, and as he preps to headline the Super Bowl halftime show, Bunny has a real shot at making Grammy history as the first artist in history to win Album of the year for an album recorded entirely in Spanish. Beyond those lofty milestones, DeBÍ TiRAR Más FOToS is an extraordinary example of how the most local of iterations can become universal.

Eschewing the simplistic direct-to-the-jugular approach of reggaetón and trap, DeBÍ is nuanced and often complex, yet brilliantly manages to marry commercial appeal with cultural depth, from the very first song. “Nuevayol,” Bunny’s take on El Gran Combo De Puerto Rico’s iconic 1975 salsa hit “Un Verano en Nueva York,” with its quickening of the tempo and its dissolve into dembow, is masterful (shoutout to producer MAG). But so is the way Bunny integrates a plethora of Puerto Rican rhythms — from plena and bomba to boleros (“Turista” is particularly poignant) —  throughout the entire album, spotlighting up-and-coming artists like Los Pleneros de la Cresta, who are infusing tradition with innovation.

Beyond the beats and the calls to dance, however, lies the lyrical depth of 17 songs that tell the story of Puerto Ricans–rooted and uprooted — and of Puerto Rico itself — yet manages to touch the core of every one of us. — L.C.