Annual ceremony in Las Vegas anoints new stars, recognizes popular groups and proves the power of Latin Music in the United States and beyond.
Unlike last year’s ceremony, the 19th Annual Latin Grammys lacked a powerhouse like uber-hit “Despacito” or deliberate rebukes of the Trump administration. Instead, the ceremony took on a celebratory tone — one focused on the depth of quality within its diverse genres. Latin trap got its moment in the sun alongside iconic salsa stars of yesteryear; the new blood of traditional Mexican pop proved their worth; and Spanish “It Girl” Rosalía turned her showcase into a coronation. These (and more) make up the best, worst and most WTF moments of this year’s Latin Grammys.
Good Joy Ride: Jorge Drexler Wins Big
El David Aguilar, from left, Mon Laferte, Jorge Drexler and Natalia Lafourcade perform ‘Telefonia’
Chris Pizzello/Invision/AP/REX Shutterstock
This year’s Latin Grammys served as a well-earned victory lap for Jorge Drexler, with the venerable Uruguayan singer’s “Telefonía” scoring big wins for Song of the Year and Record of the Year. Drexler also scored an early slot in the telecast, performing the track with young superstar singer-songwriters Natalia Lafourcade, Mon Laferte and El David Aguilar. The low-key, acoustic performance was an encapsulation of Drexler’s singular songcraft: sweet, no frills, instantly timeless melodies that can’t help but leave you smiling. He’s already halfway to an EGOT — let’s hope we get to see him finish it out someday.
Bad Pop Showcase: Marc Anthony, Will Smith, Bad Bunny Perform “Está Rico”
Bad Bunny, from left, Marc Anthony and Will Smith perform ‘Esta Rico’
Chris Pizzello/Invision/AP/REX Shutterstock
Marc Anthony, Will Smith and Bad Bunny open the ceremony with a whimper — the Recording Academy busted out the big guns to start the show with…mixed results. The producers were right that the alchemy of salsa icon Marc Anthony, Latin trap king Bad Bunny, and all-around superstar Will Smith would generate attention, and the MGM Grand audience definitely ate it up. On TV, however, this was a mess. Anthony and Bad Bunny were clearly squeezed out by Smith’s presence — as if the Latin Grammys is the time and place for a U.S.-centric pop showcase — which led to a flat performance. Ultimately, the opener lacked the spark that Residente provided to last year’s show, with his heartfelt ode to hurricane-recovering Puerto Rico.
Good Tribute to American Migrant Workers: Calibre 50 Performs “Corrido de Juanito”
Calibre 50 performs during the 19th Annual Latin Grammy Awards ceremony at the MGM Grand Garden Arena in Las Vegas.
Mike Nelson/EPA-EFE//REX Shutterstock
In the night’s only serious commentary on the U.S. government’s current immigration policy, the Mexican norteño group Calibre 50 delivered a moving rendition of their “Corrido de Juanito.” The story of a middle-aged migrant worker living in constant fear of deportation while raising American child oblivious to their Mexican heritage draws serious comparisons to Los Tigres del Norte’s “La Jaula de Oro.” In the current political climate, however, it’s almost harrowing. The performance was also well-served by clever staging in the form of a dreamy southwestern landscape, with storm clouds gradually rising and falling, suffocating any light threatening to pass through. It was the perfect backdrop for a tale of ICE-induced paranoia (“No han sentido miedo, aquel que no ha visto, una camioneta, de migración, o una deportación”). If that sounds bleak, that’s the point. Especially within a celebration of music and celebrity, it was important that someone brought it back down to Earth.
(Excerpt) Read More at: RollingStone.com