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Latin GRAMMYs Snubs we can’t get over
Each November, the Latin Grammys celebrate the best and brightest in Latin music. But as the industry evolves and genres collide, the ceremony has also sparked heated debate, especially when some of the most beloved and impactful artists walk away empty-handed. Over the years, the Latin Recording Academy has faced criticism for overlooking reggaetón pioneers, música mexicana icons, and even global superstars. From Romeo Santos’ heartbreak in 2014 to Fuerza Regida’s shocking omission this year, here’s a look back at the most surprising snubs in Latin Grammy history.
2014: Romeo Santos and Shakira
In 2014, Romeo Santos’ Formula, Vol. 2 was the top-selling Latin album of the year, a global phenomenon that packed arenas worldwide, including two historic nights at Yankee Stadium. Yet, the Dominican bachata superstar received zero nominations. Santos later referenced the sting of that year’s snub in his song “Si Me Muero.”
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Meanwhile, Shakira was also noticeably absent from the album categories. Her self-titled record leaned heavily toward English-language tracks, falling short of the Academy’s rule that 51% of an album must be in Spanish. Still, the omission of global anthems like “La La La,” the official World Cup song, left many wondering whether the Academy’s definition of Latinidad had become too narrow.
2016: Nicky Jam
With chart-topping tracks like “Hasta el Amanecer,” Nicky Jam dominated the airwaves in 2016. The Puerto Rican reggaetón star’s absence from key categories, particularly Best Urban Song, shocked fans and critics alike. In hindsight, his exclusion reflects a broader pattern of the Academy’s complicated relationship with urbano music, one it would continue to face for years.
2017: Ozuna
By 2017, Ozuna was rewriting the rules of Latin pop. With 11 songs simultaneously on Billboard’s Hot Latin Songs chart, he should have been a lock for Best New Artist. Instead, he was completely shut out. The snub underscored a growing disconnect between the Latin Grammys and the explosive rise of digital-first, genre-bending artists redefining Latin mainstream success.
2019: Maluma and J Balvin
The 2019 nominations sparked a rebellion. Maluma, despite releasing the globally acclaimed 11:11, found himself excluded from the major categories, a snub that reignited long-standing tensions between the Latin Recording Academy and the reggaetón community.
In solidarity, J Balvin, Daddy Yankee, Natti Natasha, Nicky Jam, and others protested under the viral slogan: “Sin reggaetón, no hay Latin Grammys.” Balvin called out the Academy’s use of urbano artists for ratings while failing to honor them with awards. “We drive the masses,” he said, “but we don’t get the respect.” The movement ultimately pushed the Academy to create new distinctions for reggaetón, rap, and trap, but not before highlighting years of institutional bias.
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2021: J Balvin, again
Two years later, Balvin again voiced his frustration, tweeting: “The Grammys don’t value us, but they need us.” Though nominated, he called for a boycott, saying urbano artists were “used for ratings” and not recognized for their innovation. The statement, polarizing yet powerful, reaffirmed reggaetón’s ongoing battle for recognition, even as it dominated global charts.
2022: Eslabón Armado and the Overlooked Rise of Música Mexicana
In 2022, regional Mexican music reached new heights, but the Grammys didn’t seem to notice. Eslabón Armado’s Nostalgia, a historic Billboard Top 10 album and a milestone for young Mexican-American artists, was ignored across all categories, including Best Regional Mexican Album.
Adding salt to the wound, one of the year’s biggest hits, Becky G and Karol G’s “MAMIII,” was nominated only for Best Urban Song, despite its cultural ubiquity and global chart dominance. The oversight highlighted how música mexicana and female collaborations were still struggling for equal footing in the Academy’s top-tier categories.
2023: Peso Pluma and Regional Mexican Rejection
No snub stung more in 2023 than Peso Pluma’s. The breakout corridos tumbados star dominated streaming platforms, with Génesis peaking at No. 3 on the Billboard 200, the highest debut ever for a regional Mexican album. Yet, Peso received zero Latin Grammy nominations.
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Even more shocking? Not a single música mexicana album appeared in the Album of the Year category. While eligibility timing affected some projects, others like Desvelado (Eslabón Armado) and Colmillo de Leche (Carín León) met all requirements. It was a missed opportunity to honor the genre’s global moment.
2024: Shakira
After seven years, Shakira’s comeback album Las Mujeres Ya No Lloran was expected to sweep. Home to smashes like “TQG,” “Te Felicito,” and her viral Bizarrap session, it was both a commercial juggernaut and a cultural statement. Yet, despite being nominated for Album of the Year, it lost to Juan Luis Guerra’s Radio Güira, a decision that reignited debate about generational and stylistic bias. Shakira skipped the ceremony entirely.
2025: Fuerza Regida and Xavi
This year, two major acts defined the snub conversation. Fuerza Regida made history when 111XPANTIA debuted at No. 2 on the Billboard 200, the highest-charting Spanish-language album ever by a regional Mexican group. Critics and fans alike predicted multiple nominations. Instead, the band was completely absent from the general and regional categories, earning just one minor nod for Best Regional Song for “Me Jalo” with Grupo Frontera.
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Meanwhile, Xavi, one of música mexicana’s brightest young voices, was snubbed for the second year in a row despite his breakout success. With NEXT and hits like “La Diabla” and “La Víctima,” the 21-year-old proved himself a generational talent. His absence in both Best New Artist and Song of the Year stunned many, especially after he won Songwriter of the Year at the 2025 ASCAP Latin Music Awards.
From bachata and pop to reggaetón and corridos tumbados, the Latin Grammys have long been both a mirror and a battleground for the evolving definition of Latin music. Every snub tells a story about changing tastes, cultural politics, and what it means to represent an entire region’s musical identity.
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