Even in a virus, the 21st annual Latin Grammys didn’t stint on spectacle. On Thursday evening, the most persistently over-the-top American track awards point to stayed that manner, with luxuriant model, bustling dance routines, a corpulent salsa huge band, enviornment-scale smoke and lights and mostly accurate-time performances that reached for emotional peaks.
Yes, there were some a ways away and low-fi acceptance speeches, and the musical numbers from a ways-flung locations — Madrid, Buenos Aires, Guadalajara, Rio de Janeiro, Puerto Rico — weren’t necessarily are residing. There became no visible viewers for the occasion, broadcast by Univision, however at the American Airways Enviornment in Miami, the put most of the point to took put, enthusiastic onlookers equipped some applause. The Miami stage became immense enough for social distancing among the musicians in the house band, although dancers and musical collaborators didn’t continuously apply it.
Nevertheless unlike at the Nation Tune Affiliation Awards, which had been held remaining week in Nashville, there became no pretense that the pandemic didn’t exist. Early in the point to, Raquel Sofía performed her song “Amor en Cuarantena” (“Fancy in Quarantine”), a nominee for most efficient pop song. Later, Pitbull (with a dance troupe) rapped his coronavirus-know-how tough-rock motivational song, “I Imagine That We Will Snatch (World Anthem),” backed by a band of firefighters, police officers and clinical staff, making sure to listing their names. Musicians who mute awards in Miami had been glimpsed in masks before their speeches.
Nevertheless the three-hour point to also had many other priorities: gain songs and lust songs, kinetic rhythms and enthusiastic voices to boot to pan-Latin cohesion. Latin track is surging in reputation worldwide, because the like a flash beat and blunt lyrics of reggaeton thrive across streaming companies and products. Though most fundamental awards largely bypassed reggaeton performers — “Contigo” by the ballad singer Alejandro Sanz became named file of the year, and Natalia Lafourcade’s traditionalist “Un Canto Por México, Vol. 1” obtained for album — the Latin Grammys gave young hitmakers splashy productions.
Karol G sang “Tusa,” about a lady on the rebound, in a simulation of its video with purple in every single put and a band of female musicians. J Balvin recast “Rojo,” from his album “Colores” (which obtained most efficient metropolis track album), as a song about overcoming danger. He sang it below a massive pair of praying fingers, in a white suit with a bleeding heart on his chest; a gospel choir joined him and the video backdrop showed words cherish “Justice,” “Switch” and in the raze “Hope.” Execrable Bunny’s segment, from Puerto Rico, became a track-video manufacturing; he belted the lascivious “Bichiyal” from a captivating vehicle.
The lineup encompassed stylistic and regional variations however also optimistic continuities. No longer just like the forced, awkward collaborations of the Grammy Awards point to, the Latin Grammys showcase what number of musicians are in actual fact steeped in the track of their elders. The point to started with a tribute to Héctor Lavoe, the important however disquieted salsa singer who died in 1993. Victor Manuelle, Jesús Navarro, Ricardo Montaner, Ivy Queen and Rauw Alejandro shared Lavoe’s hit “El Cantante” (“The Singer”), about a performer’s internal most struggles; Alejandro sang about “novel blood” and Manuelle gestured to the different singers as he added a line about how songs can gross generations.
The Mexican singer and songwriter Lupita Infante introduced sultry elegance to “Amorcito Corazón,” a song by her grandfather Pedro Infante, backed by the glittering El Mariachi Sol de México de José Hernández. The Argentine songwriter Nathy Peluso, nominated as most efficient novel artist, shared a segment with the exuberant 57-year-mature Argentine rocker Fito Páez; her observe “Buenos Aires,” nominated for most efficient different song, is shut to neo-soul, however her performance added a bandoneon, the accordion at the center of traditional Argentine tango.
Los Tigres del Norte, the Mexican-American group founded in 1968, pointedly sang about immigration, performing “Tres Veces Mojados” (“Three Times Wet”) about migrants from El Salvador. Residente, whose “Rene” became named song of the year, inclined his acceptance speech to scurry musicians to position art before exchange.
Within the intervening time, romance ruled the evening’s track. Husky-voiced singers — Ricky Martin, José Luis Perales, Marc Anthony — proclaimed gain and desire in passionate crescendos. From Mexico, Alejandro Fernández and Christian Nodal sang mariachi heartache songs. And younger hitmakers — Camilo, Kany García, Sebastian Yatra, Pedro Capó — sang and rapped by arrangement of flirtations.
Shut to the tip of the point to, the Puerto Rican urbano singer and rapper Anuel AA opened his segment with the brooding “Estrés Postraumático,” which quotes “El Cantante,” before praising a lover’s talents in “El Handbook,” flanked by dancers and topped with confetti. Within the raze at the Latin Grammys, earnestness makes manner for celebration.