The 50 Best Spanish-Language Albums of 2022

The eighth album from Mendoza indie rock luminaries, who have been in the game for 15 years, kicks off with the breezy and endlessly hummable “Un Par de Árboles,” a laid-back, introspective ditty about the existential search for things we already have. Song by song, Isla de Oro unravels as a charming exercise in restraint; carefully layered guitar, bass, synth, and drum arrangements swirl across mellow tracks like “Olimpica” and “Impecable.” At the center stands frontman Mariano di Cesare, who writes emotional epics about running from inevitability (“La Araña”) and how all that constant movement can lead you anywhere, or nowhere at all (“Mapa”). —R.V.

After pioneering the emerging corridos tumbados genre, Mexican star Natanael Cano went into beast mode and churned out NataKong. On the LP, he leans heavily into the genre’s trap sound and pairs up with global acts like Lil Mosey, who joins him for the glow-up anthem “Gracias a Dios,” and Steve Aoki, adding his production to the Spanish tech-house banger “NataAoki.” Still he doesn’t lose the swag and flow that have made him the most beloved troublemaker and disruptor in regional Mexican music: His soulful style still makes it onto corridos like “Brillo” and “Madrid.” —L.V.

Over the past decade, Trillones has developed a distinct production style largely rooted in techno and ambient. But on Música Para Estadios de Tercera División, Trillones — the alter ego of Mexicali producer Polo Vega — finds fresh inspiration while narrowing the gap between traditional Mexican sounds and avant-pop with humor and earnestness. Songs like “Maribel Vanguardia” and “La Nueva Despedida” explore cumbia and tribal guarachero, while “Bien Librado” and “La Troca Tronada” deliver hybrids of banda sinaloense and hyperpop at breakneck speeds. There are also moments of romance and heartbreak: He recounts spending time with a sweetheart on the bouncy swoon-fest “Disparas Oro” and pokes fun at being left on-read on “Apago Mi Radar.” —R.V.

Since 2017, Colombia’s Margarita Siempre Viva have stomped through the worlds of punk, garage, and shoegaze, but on Un Lugar Más Cierto, their swirling rock influences coalesced into a richer, more experimental sound. A fleet of newly added synthesizers boost singer Cristian Camilo Sánchez’s deadpan vocals and establish the record’s emotionally overcast atmosphere. Over 19 blistering tracks, Un Lugar Más Cierto ponders the complexities of human connection, whether that’s fleeting afternoons spent curled up with a lover on “Depresión Post Paisaje” or examining what it means to become a friend’s refuge on “Canto de Abrigo.” —R.V.

Sofía Reyes has been making huge hits over the past four years, including the 2018 chart-topper “1, 2, 3” with Jason Derulo and De La Ghetto, and the 2019 earworm “R.I.P” with Anitta and Rita Ora. On Mal de Amores, she takes the best of her sound and branches out even farther, adding experimental new tracks that take on new styles and genres. She dives into bachata on “La Bachata,” explores cumbia on the feminist anthem “Mujer,” and incorporates accordions from her native Monterrey on “Gallina.” The 17-song project, with its rainbow cover and Mexican iconography, served as a maximalist, all-encompassing portrait of Reyes and who she’s become. —T.M.

Snow tha Product was asked to deliver a straightforward EP with To Anywhere, but instead, she gave her fans an eclectic, wide-ranging 16-song project, stacked with dembow, R&B, and her signature rapid-fire rap verses. She shows off her skills on the infectious “Sola” with Ceky Viciny, drags an ex on the playful “Not Today” with Juicy J, and builds a flirty, unapologetically queer anthem with Lauren Jauregui on the standout “Piña.” The whole time, she spotlights the maturity she’s found in her lyrics, telling Rolling Stone that the music was a chance to show everything she was going through in her personal life. —T.M.

The experimental renegades from Combo Chimbita didn’t just expand their sound on IRE; they went deeper into everything they’ve been doing for the past several years. The group has been exploring and blending tons of genres into powerful fusions throughout their last LPs, and they find new strength on IRE’s songs about spirituality and resilience after the pandemic. Breathtaking moments come on tracks like “Oya,” “Mujer Jaguar,” “Babalawo,” and “Me Fui,” which see the band soul-searching through electric guitars and Caribbean rhythms, packing the album with transcendental visions and ideas of hope, rebirth, and renewal. —M.H.

Across the Latin music industry, the Puerto Rican multi-hyphenate Mora has been a secret weapon as a producer: His credits were all over Bad Bunny’s YHLQMDLG and El Último Tour del Mundo. But he’s stepped into his own after his 2020 debut album, Primer Dia De Classes, and his playful sophomore effort, Microdosis, took him to a new level. Without dampening his razor-sharp rhyming ability, he experimented freely, offering tracks such as the up-tempo dancefloor banger “badtrip :(“ and the woozy breakup ballad “Tus Lagrimas.” The album was a preview of Mora’s interest in electronic sounds; he followed the LP up with Paraíso, inspired by nights in Ibiza. —J.L.

With Enfiestados y Amanecidos, Grupo Firme raised a collective middle finger to critics who dubbed them a “cover band.” The project was central to the group’s stadium tour and Coachella appearance this year, glowing with upbeat songs about partying — including the boozy “De Trago en Trago” — and lost loves, like on the tender “Te Miré Llorar” and “Efectos Del Alcohol.” Frontman Eduin Caz uses his mighty vocals to power the group’s full banda sound across each track, leaving fans of the Tijuana-formed outfit excited and eager for more. —T.M.

Dharma felt like Sebastián Yatra solidifying his position as Latin pop’s next heartthrob, following the well-polished footsteps of Ricky Martin and Enrique Iglesias. Like those early aughts superstars, Yatra is great at pulling off bright, upbeat chart-toppers, but the LP was also a statement about how versatile the Colombian singer can be. He introduces new hues into his sonic palette with the sweeping “Pareja del Año,” where he blends reggaeton and symphonic arrangements inspired by Bach. Later, he infuses the love song “Tacones Rojos” with a bit of rock, and taps into his angsty side for the moody “Melancólicos Anónimos.” —L.V.

On Mi Vida en un Cigarro 2, Junior H cements his place as Mexican music’s resident sad boy, weaving melancholic sierreño ballads about weed, family, love, and el barrio. The album is anchored by “Los Botones Azules,” his massive hit with rising star Luis R. Conriquez — and though it’s full of traditional lyricism and requinto and bass guitar sounds, Junior H also updates his tracks with modern urban references. Songs like “Como Jordan” feel fresh and new while still tying his music back to classic roots. —T.M.

The Puerto Rican rapper Ankhal, one of Carbon Fiber Music’s most promising breakout artists, puts all his might behind Ankhalino, an album that serves as a powerful comeback since he fell victim to gun violence earlier this year. Throughout the project, he shows that he’s willing to push the envelope and experiment with different sounds, descriptive verses, and unique beat selections. Standout tracks such as “Lovid 19” and “Planeta Sin Sol” are alt-rap fusions led by guitar strings, while “Pastel” is a modern merengue de calle that shows he thrives when he’s experimenting. —J.M.

On Nostalgia, Eslabon Armado imbues delicate Mexican sierreño music with a dark, emo edge, creating melancholy anthems for a new generation of listeners. The group picks a smart roster of collaborators for the project, enlisting other alternative-leaning acts such as viral wunderkind Ivan Cornejo, a bright spot on the moody love song “Hasta La Muerte,” and newcomer DannyLux, whose smooth vocals add extra emotion to the haunting track “Si Supieras.” Nostalgia was such a revelation that it went on to make history, becoming the first regional Mexican music album to appear in the Top 10 of the Billboard 200 chart. —L.V.

Kiko El Crazy has stood out as one of the Dominican Republic’s most creative figures, a boldly dressed chaos agent who brings spiky, off-the-wall energy to his signature dembow tracks. His album Llegó el Domi was another unpredictable turn for him: Bright and lithe, the LP feels like Kiko El Crazy painting with every color at his disposal, lighting up the project’s sonic palette with reggaeton, electro-pop, and even Juan Luis Guerra-inspired guitars. Whether he’s riffing with old-school reggaeton pioneers like Ñengo Flow on “Chukiteo” or trading verses with fellow Dominican artist Kaly Ocho on “Mi Loca,” he always sounds uniquely himself. —J.L.

The Venezuelan rapper Akapellah turned heads as one of the most talented emcees in the Latin American freestyle circuit, and he’s only continued to draw attention as a brilliant lyricist and hard-hitting spitter. His album Respira, which was nominated for a Latin Grammy this year, does more than put his skills on display: It’s a personal and spiritual album that mixes sounds and genres while offering intimate messages to listeners. On the track “Am0R,” produced by the late Xtassy, Akapellah declares his belief that love is an infinite and necessary source of warmth needed for human survival. —J.M.

After finding success with singles like “Baby Blue” and “San Lucas,” the Mexican singer-songwriter Kevin Kaarl felt stuck. He couldn’t get inspired — until he watched the 1984 film Paris, Texas, starring Harry Dean Stanton, and instantly related to the central character’s struggle to rediscover himself. He began writing rich, bountiful songs that capture an intimate inner journey and toggle from restless to introspective to carefree. “The album is a story of someone who lost interest in himself and then reconnects with themselves,” he told Rolling Stone earlier this year. “It makes you feel more human to know that someone who was lost was able to find themselves again.” —J.L.

Bachata innovator Romeo Santos is beloved for bringing the sensuality found in contemporary R&B to his genre and taking it wildly global. Throughout his 20-plus year career, he’s also made waves for coming up with groundbreaking crossover collaborations and jaw-dropping experiments that have taken his music to another level. Formula, Vol. 3 is no exception. Nostalgic production takes listeners back with tracks like the classic merengue “15,500” alongside Dominican trailblazers Toño Rosario, Ruby Perez, and Fernandito Villalon. He also offers the kind of startling surprises fans expect from him when he brings Christian Nodal on for the ranchera-infused “Me Extraño.” —J.M.

As a teen in New York City, Oscar Hernández played the piano with Celia Cruz and Ray Barretto, then came of age as Rubén Blades’ musical director. In 2002, he released the Spanish Harlem Orchestra debut, honoring the essence of old-school salsa. Even though the tradition can often feel like part of the past, these jams pulsate with vitality, anchored on arrangements where the clave-infused vocals, funky trombone riffs, and hypnotic piano tumbaos interact joyfully. —E.L.

Relax “Piña” Buay, Darnelt “Mango” Lan, and DCQ (also known as “Coco”) are the producers/singers/songwriters who make up Flavor Colectivo, the group that has spent the past year making some of the world’s most exciting Spanish-language Afrobeat and dancehall music. They started attracting attention with singles such as “Fendi y Moschino,” and they’re at their most carefree on their debut album, Horas Doradas. The LP finds the guys fusing their sound with bossa nova, flamenco, and R&B, creating songs like “Flow Natty” and “Demasia’ Caro” that are bright, mellow, and wonderfully catchy. —J.M.

On Esquemas, Becky G pushed pop to new frontiers by creating refreshing fusions inspired by her bicultural heritage. The singer, who has never been afraid to dive into daring corners of urbano music, thinks outside the box and plays with disco-pop, ballads, and even doo-wop. The album sounds precise and intentional, like Becky G has found exactly what works for her — and it quickly generated some of the year’s big hits. The upbeat dance jam “Bailé Con Mi Ex” was ubiquitous this summer, while the kiss-off anthem “Mamiii,” featuring Karol G, broke barriers and topped the charts. —L.V.

During a year when Argentine women broke through the gates of rock and rap, avant-folklorist Feli Colina created her own fantasy realm. Her third studio album, El Valle Encantado, takes its name from the otherworldly landscapes of her home in Salta, providing an intriguing backdrop for dreamlike storytelling. She feverishly prays to the muses for divine inspiration on the opening track, while the wordless chants of “Osana (En Las Alturas)” plunge the listener deeper into Colina’s magical forest. Her poetry shapes the backbone of the standout “Chakatrunka,” a raging, rousing feminist statement with Valentina Brishantina. —R.V.

At one point in the late Sixties, balada went bonkers: Harpsichord flourishes, serpentine melodies, and lyrics drowned in telenovela pathos were the new norm. Black Pumas leader Adrian Quesada became a balada psicodélica addict after listening to Los Pasteles Verdes’ “Esclavo y Amo” on his car radio. This madly-in-love tribute of retro originals sounds like an album of 007 themes en español. iLe, Gaby Moreno, and Girl Ultra are some of the guests in this intoxicating session of baroque pop about sad-eyed boys and sentimental clowns. —E.L.

Carla Morrison is known for her light, gauzy sound, but she embraced sounds that are vibrant, upbeat, and full of new life on El Renacimiento. The album is her first in five years following a period of difficulty: She almost left music at one point, but she found her way back by letting go and rediscovering her craft. And while pop pivots are notoriously hard to pull off, Morrison never comes off unnatural or strained. Instead, she makes her journey something listeners want to be a part of: “Volví, volví a mí,” she sings on the gleaming opener “Hacia Dentro.” “Volví a existir.” —J.L.

As an architecture student in Spain, Guitarricadelafuente would sit at home recording music with a PlayStation microphone. He was always interested in mixing past traditions with future-leaning sounds and eventually, he teamed up with the Spanish producer Raül Refree — known for working with Rosalía and C. Tangana early in their careers — to make his first album. The resulting debut, titled La Cantera, is a sumptuous collection of songs like “Mil Y Una Noches” that never go where you’re expecting them to, establishing just how promising Guitarricadelafuente’s career is. —J.L.

Chilean troubadour Fernando Milagros used pandemic isolation as an opportunity to explore new facets of his artistic vision, stepping out from behind his trusty acoustic guitar and taking on the producer’s seat. Ethereal pan flutes and organic drum loops provide the backbone for songs like “Déjame Soltarte,” while an unexpected R&B flow creeps onto the sensual “En Libertad.” Chilean production legends Matanza pop up on “Pelo Negro,” a mystical tale of seduction made for dancing barefoot in the sand. Milagros actually relocated to the picturesque beach town of Viña del Mar during lockdown and also brings heightened environmental awareness to the record on songs like “Aguasanta.” —R.V.

The Dominican Republic’s indie scene has been flourishing over the past few years, and the rebel-minded producer Mediopicky has been one of the most compelling figures at the center of it all, creating mutinous, left-of-center sounds that are entirely his own. His self-titled album collects all of the wild sounds sprouting in his brain and smashes them together, blurring elements of dembow, house, and electronica into one. A major highlight comes when he teams up with the equally brilliant producer Diego Raposo for “Dios Nos Esta Viendo,” a melodic experiment with a face-melting metal touch. —J.L.

Eblis Álvarez has always been ambitious, but he outdid himself with his latest release: The prolific Colombian musician ​​who often records under different alter egos and names — including Meridian Brothers — dreams up a collaboration with a fictional band called El Grupo Renacimiento for an album that respectfully retraces salsa’s roots while also moving the genre into the future. It’s full of wild stories and unexpected turns, giving listeners brilliant and hilarious anthems like “Metamorfosis,” “Triste Son,” and “Poema Del Salsero Resentido.” The project came with a playful mockumentary, and also became the first release on the cult label Ansonia in 30 years. —M.H.

Having already established herself as a leader in Mexico’s growing R&B scene, Girl Ultra decided to launch herself into multiple new directions and test out new sounds on El Sur. She rages on “Punk,” a melodic rock banger with Little Jesus, tries out house-influenced production on the energetic “Bombay,” and shines on the garage-tinged “Para Q te Acuerdes de Mi.” No matter what she’s doing, the project shows that her vocals and charisma can’t be contained to a single genre — and that she’s at her strongest when she gets to do it all. —M.H.

At first, it seemed like this was going to be a tough year for Feid. The album he’d spent months working on got leaked to the public in the fall, messing up the careful rollout he’d originally planned for December. But instead of getting upset, Feid dropped the album ahead of schedule, playfully titling it Feliz Cumpleaños Ferxxo te Pirateamos el Álbum. His go-with-the-flow attitude — and the music, helmed by Sky Rompiendo and Icon Music — endeared him even more to fans, who loved the way the LP celebrated the best of Medellín’s music scene. In the end, Feid ended up one of the biggest breakout stars of 2022. —L.V.

On Amor Hardcore, the Honduran artist Isabella Lovestory time-warps listeners back to reggaeton’s heyday, taking inspiration from the genre’s raunchiest and most uninhibited peaks while also forecasting where it can go next. The result is a bold, forward-looking album that’s unapologetically daring and truly original, filled with songs that thrive on sex and desire. Lovestory’s larger-than-life personality is central to tracks like “Cherry Bomb” and “Fashion Freak,” but she’s also good at sharing the stage, inviting the recklessly fun rapper Chucky73 and the like-minded neo-perreo legend Ms Nina to the party, easily delivering some of the catchiest songs of the year. —M.H.

i/O bends the garage-punk of Mexico’s Mengers into unpredictable new forms that embrace packed, claustrophobic production and intense guitar blowouts. Made up of brothers Carlos and Pablo Calderón as well as bassist Mauricio Suárez, the band combines loud micro-genres into tight, weighty songs, delivering angular mosh-pit starters such as “RAM” and “Días En Línea.” “Replica” offers one example of how airtight the group’s arrangements are, while the title track demands a closer listen as it builds and builds, delivering a big payoff at the end. —M.H.

Los Tigres Del Norte’s classics are timeless, and on La Reunión, they tap into the same poignant, relatable storytelling that have made them música Mexicana heavyweights since the Seventies. On the moving track “La Carta,” they sing about delivering the letter of an undocumented fan to his mother in Mexico. They also draw from the dance-driven energy of their 2004 hit “La Manzanita” on “La Rutina,” which celebrates the daily pleasures of just sipping coffee and enjoying life. On the standout title track, the band details the grueling reunion of estranged siblings after years of absence, proving once again the power of Los Tigres’ narrative and lyrical skills. —T.M.

Always an incisive artist, iLe uses this ambitious third album as an opportunity to dig even deeper into her cinematic brand of open-spaced nueva canción and plena-infused swing. She finds spiritual allies in the likes of Mon Laferte, Ivy Queen, even precocious Argentine rapper Trueno. Songs like the tender synth-rock “(Escapándome) de Mí” and the bohemian meta-bolero “Traguito” are spectacular, but iLe’s voice — the inflections, its magnetism and flow — is gorgeous beyond imagination. —E.L.

The rap prodigy Trueno made a name for himself on Argentina’s freestyle scene, winning major competitions and battles, but he showed the full force of his abilities with Bien O Mal. While embracing the sound of Nineties hip-hop, the 20-year-old artist also celebrated the culture of his country. In the empowering “Tierra Zanta,” he embeds a sample of “Sulky” by Soda Stereo’s Gustavo Cerati while incorporating folk artists Victor Heredia and La Charo into the mix. In the booming “Argentina,” he shouts out his country’s 23 provinces alongside Nathy Peluso —and still makes time to party on the perreo-ready “Jungle” alongside Bizarrap and Randy. —L.V.

Beyond her dazzling vocals, classically trained piano, and lively stage persona (in concert, she evokes the frisky music-hall vibe of a Chilean Kate Bush), Francisca Valenzuela’s greatest strength is her vision. She’s also ballsy enough to turn her fifth album into art-rock revival with upbeat pop sensibilities. Vida tan Bonita lands as a carefree meditation on freedom and self-love that even tackles the occasional bout of imposter syndrome. The electro-cumbia funk of “Último Baile” is exhilarating, while the nocturnal reflections on “Detener el Tiempo” are a reminder to enjoy what’s in front of us. —E.L.

Since stepping onto the local dembow scene in the early 2000s, El Alfa has helped the genre reach new heights with eclectic crossover hits and impressive fusions. After the success of his past albums Disciplina, El Hombre, and El Androide, the dembow star released Sabiduria, a genre-bashing project that claims space and visibility for the Dominican dembow movement beyond Latin America. He fearlessly dabs into more commercial pop, exploring upbeat instrumentals on songs like “Probadita,” featuring the Cuban artist Lenier. But he also stays true to his essence on tracks like “Panamá,” featuring Dominican lyricist T.Y.S, and “Bendecido,” alongside Colombian rapera Farina. —J.M.

Rauw Alejandro took reggaeton to new, otherworldly heights on his third album, Saturno, which looks to the genre’s past as it builds a stellar future. Rauw reaches out to old-school pioneers like Baby Rasta, who helps revive a Nineties classic on “Punto 40,” and DJ Playero, who lends production skills to multiple tracks, including “De Carolina,” Rauw’s rave-ready ode to his hometown. Elsewhere, Rauw layers on dance genres, bringing Latin freestyle rhythms to the booming “Verde Mente” and electronica to the freaky “Lokera.” —L.V.

Divino Niño’s latest album, Last Spa on Earth, is a masterclass on the joys of free, unprejudiced music craft. Sonic chimeras appear at every turn, from the opening title track’s splicing of ambient and reggaeton to album closer “I Am Nobody,” which shifts from contemplative psych-pop into hallucinogenic techno. The Chicago ensemble drew from neoperreo’s brazen digital reggaeton revolution, a catalyst behind one of the album’s strongest blocks: “Tu Tonto,” “XO,” and “Toy Premiado.” Divino Niño are most interested in liberation, and they deliver a jubilant ode to letting go of self-doubt on “Nos Soltamos,” and a hilarious embrace of quirky hedonism on “Miami.” —R.V.

After helping globalize reggaeton music, Daddy Yankee decided to retire with style and give fans one last album, aptly titled Legendaddy. Throughout the anticipated LP, the Puerto Rican pioneer lives up to his G.O.A.T. status while pushing reggaeton to new places: He gives the genre an electronic update on “X Última Vez,” featuring Bad Bunny. Then, on the pulsating “Pasatiempo” with Myke Towers, he works in a sample of Robin S.’s “Show Me Love,” and even manages to embrace funk music on the alluring “Agua,” which credits Nile Rodgers alongside Rauw Alejandro. Each song shows how he’s continued to impact reggaeton even while putting down his mic. —L.V.

A stalwart of Mexican pop-rock for nearly three decades, Julieta Venegas’ resplendent LP Tu Historia finds Venegas at arguably her most playful and explorative. The architect behind the album’s prismatic retro sound is none other than Chilean wunderkind Alex Anwandter, who accompanies Venegas through moody Seventies funk on “Mismo Amor,” rattling synth-pop on “En tu Orilla,” and Hounds of Love-esque orchestral melodrama on “Brillaremos.” But Venegas’ star quality also shines brightly on its own, particularly on the album’s apex, “Caminar Sola,” which unfolds as a haunting meditation on the many evils that prey on women in the night. —R.V.

As part of the Colombian outfit ChocQuibTown, Goyo had already gained recognition as a performer, lyricist, and advocate fighting for Black visibility in music. But with En Letra de Otro, the Colombian singer-songwriter reintroduces herself as a solo act. The project, which was released alongside a documentary on HBO Latino, is a chance for her to reinterpret the classics that made her the artist she is today. She smoothly reimagines songs such as Carlos Vives’ “Pa’ Mayté” and Shakira’s “Antología.” On “Lo Conoce,” she honors Black artists such as Tego Calderon, nodding to his iconic song “Pa’ Que Retozen.” —J.M.

Over the past few years, Mabe Fratti — an experimental cellist and singer from Guatemala now based in Mexico — has made a name for herself by writing spare songs that pack in emotion and reveal the boundless possibilities of improvisation. She goes even farther on her spellbinding album Se ve Desde Aquí, where she combines her daring spirit, masterful command of electronic sounds, and unexpected cello arrangements to deliver devastating and eerily beautiful tracks, such as “Cada Músculo,” “Algo Grandioso,” and “No Se Ve Desde Acá.” The music is tense and mesmerizing, and sounds like nothing else out there. —M.H.

Puerto Rican rap star Villano Antillano had one mission in 2022: Win. That’s exactly what she did with her debut album, La Sustancia X, an end-of-year victory lap featuring raunchy, unbridled cuts like “Cáscara de Coco” and “Hedonismo,” which quickly anointed the trans Boricua bombshell as reggaeton’s newest ringleader. The significance of Villano’s rise this year cannot be understated, especially as she thrives within genres in which women and queer people have been overwhelmingly underrepresented. The album’s powerful, iLe-assisted mission statement comes on “Mujer,” a searing indictment of historic violence against their cis and trans sisters. —R.V.

After years spent cherishing the classic Latin American songbook, Natalia Lafourcade pined for a return to her own secret garden. When the moment came, she poured a new level of maturity and restraint onto this stunning collection of songs about death and love. Recorded live in the studio with guitarist Marc Ribot and other luminaries, De Todas las Flores sounds like a long-lost masterpiece from the analog era. The tropi-surf delight “Canta La Arena” sums up Lafourcade’s rebirth: wiser, a little wounded, ever so hopeful. —E.L.

One of the most groundbreaking releases out of Cali, where Black artists have been expanding the limits of R&B, came from siblings Dawer X Damper. Their long-awaited debut album, Donde Machi, was a celebration of Afro-futurism, loaded with an ambitious palette of afrobeats, baile funk, and dembow. The cumbia-inflected “Suave” calls out drug tourism and police brutality that runs rampant against Black Colombians, while “Quilo” exquisitely pairs ancestral rhythmic traditions from Colombia’s Pacific Coast with avant-garde visuals shot in the embattled district of Aguablanca. The entire album, in fact, was given the visual treatment, playing out as a compelling exploration of classism, gang violence, queerness, and resilience in el barrio. —R.V.

On Tinta y Tiempo, Jorge Drexler turned a creative crisis into one of the most masterful albums of the year. The Uruguayan singer-songwriter started working on the project at the height of the pandemic and found himself stuck as lockdown hit, unable to collaborate and play ideas for friends as he’d done in the past. Luckily, he found ways to finish the music, enlisting help from artists such as Panamanian legend Rubén Blades, who helps him toast to life and love on the bustling “El Plan Maestro.” Drexer also tapped C. Tangana for “Tocarte,” a highlight that won this year’s Latin Grammy for Song of the Year. —L.V.

Lucrecia Dalt’s newest album is an unexpected blend of mysterious and melodic progressions, but the biggest surprise is how the Colombian artist — who is based in Berlin — is able to take classic influences and create timeless songs that feel like they were made centuries ago. She’s a meticulous thinker, and she’s restrained and measured as she crafts bolero-, son-, and jazz-influenced torch songs that are bubbling with experimental production and sonic flourishes just below the surface. The final result feels like raw emotion transformed into sound. —M.H.

A 25-year-old singer-songwriter from Veracruz, Silvana Estrada has chiseled an album that feels almost supernatural in its ability to reconcile sadness with resilience. She sounds like a folk troubadour on the whimsical “Carta,” but her emotional landscape is broader. Framed by a somber string section, the title track “Marchita” debates romantic longing with the bitterness of a ranchera. Estrada’s musical cosmo-vision may be Mexican at heart, but the exquisite colors in her voice are universal. —E.L.

Rosalía spent three years pouring everything into Motomami, a bewildering and brilliant album that became a clear testament of her uncompromising artistic ethos — and her extraordinary ability to execute. The LP is a crash collision of dembow, free jazz, bachata, flamenco, industrial noise, salsa, and so much more, melding each facet of a musician who has proven to be unpredictable yet thrilling. As she mixes songs that feel equal parts art-minded and debaucherous, she reaffirms her place as one of music’s most multifaceted and forward-thinking visionaries. —M.H.

Bad Bunny’s fourth studio album, Un Verano Sin Ti, defined 2022. The 23-song collection delivered a genre-bending exploration of Caribbean rhythms and quickly broke records while making history: It was the album that spent the most time at Number One on the Billboard 200 chart this year, returning to that position again and again over the past several months, even as the world’s biggest-selling artists — Taylor Swift, Beyoncé, and Harry Styles among them — released career-defining material. Later, it became the first Spanish-language record nominated for Album of the Year at the Grammys — all while Bad Bunny broke his own Spotify record and was named the most streamed artist on the planet for the third year in a row.

The beauty of Un Verano sin Ti is that it was inspired by summers Benito spent growing up in Puerto Rico before he skyrocketed into superstardom. The album is an emotional amalgamation of scenes that are both playful and intimate — the tias asking about las novias, the impromptu chinchorreo after a day at the beach, the realization that staying in the archipelago you call home is no longer an option — and it encompasses the euphoria and pain of being a 20-something-year-old in 2022. It’s safe to say there won’t be a summer quite like the summer of Un Verano sin Ti — unless Bad Bunny decides to outdo himself once again in the future. —F.S.S.