The 2025 Latin Grammy nominations are out, and as usual, they arrive with celebrations, controversies, and some glaring omissions. Among the names left off the list, two stand out not only for the weight of their recent work but for their authenticity and courage to carve their own path: Cazzu and Paty Cantú.
Take Cazzu, for instance. The Argentine artist, who in recent years has become one of the most original voices in Latin urban music, delivered Latinaje this past April, an album that goes far beyond trap and reggaetón.
Here, Cazzu revisits genres that shaped the continent’s identity, from cumbia to folkloric sounds, while maintaining her urban edge. The result is a daring, plural body of work that speaks of belonging and cultural resistance. Its lead single, “La cueva,”exploded on streaming platforms, reaching global trending charts. But it’s not just about numbers, this is a project that breaks boundaries and redefines what it means to be a Latin artist in 2025. And yet, the Latin Grammy chose to turn a blind eye.
Then there’s Paty Cantú, a veteran of Mexican pop, who released Sagitario in March, arguably the most intimate album of her career. Blending pop with touches of regional Mexican music, Cantú opened up space for lyrics about vulnerability, self-discovery, and rebirth. Tracks like “A la de Lu” feel like a letter to her younger self, a rare act of honesty in an industry that often prioritizes gloss over depth. The record was warmly received by fans and is fueling an international tour, and still, it found no recognition from the Academy.
These omissions are not simple oversights: they expose a structural contradiction at the heart of the Latin Grammy. The award, created to celebrate the diversity of Latin music, often reinforces a narrow scope, privileging already-established stars or names that align more directly with market trends. Bold works that challenge formulas frequently get sidelined.
And that’s precisely the issue. If Cazzu’s Latinaje is a cultural statement and Paty Cantú’s Sagitario a deeply personal dive, excluding them sends a clear message: the Latin Grammy still hesitates to recognize authenticity unless it comes neatly packaged with lobbying power, global visibility, and commercial convenience.
Maybe the problem isn’t just the Academy’s choices, but how we define cultural relevance in the Latin music industry. Awards should be a space for legitimizing artists who dare to reinvent the narrative, not just a stage for the already anointed. By snubbing Paty Cantú and Cazzu, the Latin Grammy lost the chance to stay relevant, to celebrate voices that don’t just ride the wave but redirect it.
At the end of the day, the question lingers: what’s the point of celebrating Latin music if you won’t honor the very artists who expand, challenge, and redefine it?
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