TOKiMONSTA’s latest album, Eternal Reverie, is due March 7, but there was a moment when she thought it may never be released.

Over the last year, the producer, DJ, and Young Art Records labelhead born Jennifer Lee experienced extreme personal difficulties: Her cat died; she watched her hometown of Los Angeles ravaged by wildfire; in October, she lost her best friend, Regina, to triple-negative inflammatory breast cancer. Lee postponed the original release of Eternal Reverie and canceled her 30-date tour to provide care for Regina.

"There was a point when I thought I should just scrap this album and work on something new," Lee tells GRAMMY.com. "I felt like we were waiting so long to put it out that maybe I had creatively moved on, but also the association with the music and all the stuff that had happened — was it even worth it anymore?" 

The aptly titled Eternal Reverie became a living document of Lee and Regina's deep, loving friendship. Lee finished the album while Regina was going through chemotherapy — an expectedly difficult experience which inspired the pulsing dance track called "Feel It." 

"I would play the album for her; she would tell me which ones she liked. I'll tell her which ones were inspired by her going through her recovery," Lee says, adding that "Feel It" was made together. "It was trying to encourage her to think about more positive times when we're dancing at the club. Whatever could provide support."

Lee also wrote the somber and rhythmically intricate production, "For You," for Regina, who, unfortunately, never heard it. "During her last month, her cancer metastasized to her brain and affected her cognitive abilities. So we couldn't even talk to her anymore towards the end," Lee says.

But Lee knows that, wherever Regina is, she is loving the album, just as she loved all of her best friend’s music. "Her spirit and essence [is] very much a part of this album. Her physical body may not be here to hear it, but I do feel that she's passing on to something else that could be even better."

Read more: Behind The Board: TOKiMONSTA On Creativity And Finding Common Ground Through Music

That spirituality extends throughout the album, which weaves a sonic thread between Lee's current platform and younger self. The majority of the tracks adopt a house music feel, honoring her roots as a raver. TOKiMONSTA also revisited the alternative sound design she mastered on earlier hip-hop albums like Cosmic Intoxication and LA Series 8, which ultimately made her a key figure in L.A’.s beat scene.

True to her roots in the digital underground, TOKiMONSTA will tour Eternal Reverie at small venues like El Rey Theater in Los Angeles and The Independent in San Francisco. While the GRAMMY nominee could fill a bigger space — and certainly will during sets at EDC Vegas and Miami's Ultra Festival — these smaller stops were designed to create deeper connections with her audience. The kinds of connections are what help her persevere through difficult moments.

"I love this body of work. It means a lot to me," Lee says. "I need this album to exist to know that I made it through."

Read on about how providing end-of-life care for her best friend influenced Eternal Reverie and how music is a product of the deep connections in her life.

How did your friend Regina inspire this album?

She was very much [a part of] the making of it. Not actively as a participant or a musician, but she's my best friend. I got her feedback all the time on the music I was making. 

It's actually still difficult for me to process how tightly woven this album is with losing my best friend. Her illness didn't inspire the album. Her life inspired it. All my albums are inspired by living and experiencing, and she was so much of that. Experiencing her as a human being made this album. It's coupled very much with my own grieving, and it's going to be a long journey.

It’s brave to take on that perspective. When you were showing her the music, was there any moment, comment, or reaction that will stick with you?

At the time that I showed her the album, I didn't know she was going to die, and I don't think she did either. I showed her music all the time. She is someone with so much musical prowess. She can hear influences. She can tell BPMs. She knows obscure genres of music I'm not even familiar with. 

Just sitting in the car, going with her to chemo while playing the music, her vibing and being like, "Oh, this is fire." Honestly, though, the reason why I don't have anything specific is she says that about all my music. Truthfully, if the song was really bad, she would still say it's good because she's my friend.

It seems as though she represents the title of the album, "Reverie," being your fond memories of her, and "Eternal" representing that she will be with you forever.

This album, from its inception until now, has evolved so much in its meaning. There is a nostalgia that we all carry with us. But it's the life experience, and life experience is very much influenced by the people we're around. I talked to her way more than I talk to my mom. Even though she's not here with us anymore, I still talk to her more than I talk to my mom. 

I am a culmination of all my experiences and influences, and she's a major one, and I think recognizing and giving her her flowers in the way that I can feels only right. We had some really wild adventures. That livelihood that we shared together will be ever present in my music, and more thoughtfully so, moving forward.

Artists commonly talk about how releasing an album feels like lifting a weight off their shoulders because it’s such a long process. After going through that process along with all these difficult personal experiences, how does it feel to be releasing Eternal Reverie?

When I started making this album, I was in a good place. I was so excited. I decided to take a little time off to work on it. I'd usually concurrently worked on music while touring. Then so many life things happened that made it impossible to put out this album.

Many times on this journey, I didn't know if I could see this album come out. I didn't know if I had the heart and the resilience left in me because I had been pushed to my limits. Going through this amount of loss also harbored this new sort of depression. I've gone through a lot of difficult things in the past. But I still was able to keep a level head on my shoulders. This time I almost didn't know how to move forward. It was a new space for me to feel that loss. Not weak, but to feel lost and incapable, more incapable than I've ever been.

Here I am on the other side. I'm obviously still grieving. But with this album being out, I'm like Wow! It made it. Finally, after all that hardship I had to go through last year, there is still the strength to move forward and release this album.

Most of the songs on Eternal Reverie are built on dance beats. This is quite a shift from the alternative hip-hop of your earlier years. Why are you making music in this different style?

I grew up sneaking out of my house to go to raves, listening to house music and drum and bass. But at the same time, I really liked Wu-Tang Clan, DJ Shadow, and J Dilla. I found myself in this scene where we really loved experimental electronic music. But we hung out from 70 BPM to 105 BPM tops.

Weirdly, I started working in more dance BPMs during the pandemic, when no one could go out. It was this liberating experiment for me; I just really wanted to try something new, and new is scary and dangerous.

I sought a lot of inspiration from my early work. A lot of [Eternal Reverie] is me experimenting in a new time signature domain, but also looking back at 2008-2010 TOKiMONSTA. What was I thinking about when I was making music then? At that time it was just free creation. If you slowed down all the songs to 80 BPM, they would still sound like beats.

My ethos stays the same. Tomorrow is never guaranteed. Would I be happy with how I live today? I decided I'd be happy experimenting. I'd be happy letting go of people's perceptions of who I am as a musician and tapping into baby TOKiMONSTA.

Read more: 5 Women Essential To Electronic Music: TOKiMONSTA, Shygirl, Nina Kraviz & More

You’ve known and worked with some of the collaborators on the album, like Gavin Turek and Andeson .Paak, for many years. Others, like producer Kaelin Ellis, you met for the first time through this record. How would you compare working with old friends to working with someone new?

I've worked with Anderson and Gavin so many times. We're clowning during the session. We just have a good time. Drink some cocktails, work on a beat, and it's fun because it's familiar. You're making music with your friends. I see them socially as well. I see Gavin around all the time. I'll go get a drink or go get dinner with Anderson. I went to his birthday. Gavin is an angel, and when I work with Anderson, that's my boy.

On the flip side, you have new collaborators that you're working with. Sometimes it's like, I really like their music. I don't want to show them how weird I am as a person yet. But at the end of the day, my goal of working on music with collaborators is for them to be comfortable and not feel like they're in an uptight situation with a bunch of suits, hoping to make a Top 10. Let's just have a good time and make music. 

Everyone eventually finds comfort. I always have lots of snacks, and we have a good time. 

How do you feel about taking this album on the road with so much emotion behind it?

I've been touring nonstop since 2010. This whole last year, the first half was intentional; I was taking a break so I could finish the album. But in the latter half of the year, the lack of touring was not intentional. 

I had a giant tour set up in the fall of last year; like 30 dates. Myself and my team pivoted. Instead, it's fewer dates, fewer cities, and smaller shows. But in every city, I'm going to be doing multiple things. Something more experiential, a pop-up somewhere, and then two intimate shows. 

I just want to be with people again. This is my way of connecting with my audience after being so far away from them. That means I might get a little sweat on me. But we're going to be together, and I want to curate a really cool experience, bring a lot of cool production, and play music for them. Instead of going big room, big show, I’m going small room, big show.

R&B music wouldn't be the genre it is today without the heart and soul of its female stars. Early pioneers like Nina Simone, Aretha Franklin, Diana Ross, Patti LaBelle, Gladys Knight, and Roberta Flack laid the groundwork, while icons like Whitney Houston, Mariah Carey, and Janet Jackson brought pop sensibility — but there are countless more who played a pivotal role in the landscape.

While R&B's roots stem all the way back to the 1940s and reinvented itself numerous times, the '90s were arguably the first time it truly flourished. Acts like Aaliyah, Brandy, Monica, TLC, Mary J. Blige, Brownstone, En Vogue, Destiny's Child, Deborah Cox, Erykah Badu, and Toni Braxton helped the genre take over the mainstream like it had never before. Then, in the early 2000s, Alicia Keys and her magic piano added a touch of sophistication to R&B, whereas Ciara's "Crunk&B" hit "Goodies" and Amerie's go-go-influenced "1 Thing" kept the genre fresh and interesting. 

Circa 2011, Beyoncé's 4 album helped bring R&B back into the mainstream at a time when it seemed to be getting drowned out by hip-hop and electronic music. In 2014, Jhené Aiko's quintuple-platinum song "The Worst" hit No. 1 on the Mainstream R&B/Hip-Hop Airplay chart, making her the first woman to do so since Jazmine Sullivan in 2008. Ella Mai's sleeper hit "Boo'd Up" proved R&B's viability as it cracked the Top 5 on the Billboard Hot 100 in 2018. 

The genre's prominence has continued into the 2020s, with SZA achieving big feats on the all-genre Billboard 200 and Hot 100 and Victoria Monét winning Best New Artist at the 2024 GRAMMYs — the latter marking the first win for an R&B artist since John Legend in 2006. In fact, women are arguably leading the charge for R&B these days, thanks to the likes of Kehlani, Ari Lennox, Muni Long, and plenty more.

In honor of Women's History Month, GRAMMY.com highlights seven women in R&B music who brought their own flair to the genre and helped blaze a trail for its ever-blossoming future.

While Patti LaBelle is heralded as the "Godmother of Soul," Aretha Franklin's expressiveness, mastery of melisma (multiple notes sung over a single syllable), juggernaut singles, and lasting influence on female singers for generations to come made her the undisputed "Queen of Soul."

Born to a prominent preacher and gospel singer in Memphis, Tenn., Franklin grew up singing solos at New Bethel Baptist Church and learned to play piano by ear. She landed her first recording deal with J.V.B. Records at just 12 years old in 1954, before signing with Columbia six years later. Franklin's first nine albums birthed modest hits like "Won't Be Long" and "Rock-a-Bye Your Baby with a Dixie Melody," but it wasn't until she joined Atlantic that she found her voice and garnered commercial success.

In 1967, "I Never Loved a Man (The Way I Love You)" earned a then 25-year-old Franklin her first of 73 entries on the Hot 100 chart. Follow-up single "Respect" became her first No. 1 on the Hot 100, which simultaneously became the backdrop to the Civil Rights and women's rights movements in the 1960s. The feminist anthem also marked the beginning of Franklin's record-setting eight-year winning streak in the Best Female R&B Vocal Performance category at the GRAMMYs. "Respect" was inducted into Grammy Hall of Fame in 1987 and was added to the Library of Congress's National Recording Registry in 2002 for being "culturally, historically or aesthetically significant."

Boasting 100 entries on the Hot R&B/Hip-Hop Songs chart, Franklin's reign carried over into the '70s and well into the '80s, thanks to timeless tunes like "Spanish Harlem," "Rock Steady," "Freeway of Love," and her "I Knew You Were Waiting (For Me)" collaboration with George Michael, which stayed atop the Hot 100 for two weeks.

In 1991, the Recording Academy bestowed Franklin with a GRAMMY Living Legend Award and Lifetime Achievement Award three years later. She also made history as the first woman Rock and Roll Hall of Fame inductee in 1987. 

Throughout her illustrious career, Franklin earned 18 GRAMMYs with "Never Gonna Break My Faith," a duet with Mary J. Blige, marking Franklin's final win in 2008 for Best Gospel Performance. Even 17 years later (and 7 years after her passing), Franklin remains the third most GRAMMY-winning female artist.

Watch: How Aretha Franklin Ascended To Soul Royalty | Black Sounds Beautiful

Anita Baker's soothing and distinctive deep register has paved the way for the likes of Toni Braxton and Coco Jones. In fact, Braxton's debut single "Love Shoulda Brought You Home" and "Give U My Heart" duet with Babyface were both originally penned for "The Songstress." 

Alongside Sade, Baker's breakthrough album Rapture helped usher in the "quiet storm" genre in the mid-80s — R&B music laced with elements of jazz for a romantic, silky smooth sound. Earning Baker one of the first of eight GRAMMY wins, "Sweet Love" remains etched in the hearts of music lovers everywhere; the song peaked at No. 8 on the Hot 100 chart and even made a splash across the pond in Ireland and the UK. From 1989-1991, Baker held claim on the Best Female R&B Vocal Performance Category at the GRAMMYs.

Paired with her rich contralto voice, Baker's soulful catalog — which includes "Caught Up in the Rapture" and "Giving You the Best That I Got" — set her apart at a time when synth-heavy pop, glam metal and hip-hop dominated airwaves, especially during the golden age of MTV. Many of Baker's songs are either covered as a sort of litmus test or sampled by other artists, from Beyoncé to Lil' Wayne and Drake.

A true class act, Baker received a Lifetime Achievement Award at the 2018 BET Awards. She's still celebrating her legacy today, even embarking on The Songstress Tour in 2023 to commemorate her debut album's 40th anniversary.

Mary J. Blige's ability to seamlessly marry R&B and hip-hop in early hits like "Real Love" and "You Remind Me" earned her the title of "Queen of Hip-Hop Soul" early in her now three-decade career. Since Blige's 1992 debut, her experiences have been displayed front and center in her music, helping her connect with generations of Black women as they navigate life's ups and downs together — from the brokenhearted "Not Gon' Cry" and the resilient "No More Drama," to the self-loving "Just Fine" and "Good Morning Gorgeous."

Blige's 1994 set, My Life, remains the most perfect example of her masterful dichotomy of strength and vulnerability, as the GRAMMY-nominated album chronicled the then 23-year-old's battle with depression, drug addiction, alcoholism, an abusive relationship, childhood traumas, and suicidal thoughts.

"I was just in a vulnerable, horrible state of mind — depressed, ready to die. I just didn't know what to do with this pain; it just all became too big for me and I needed to put it somewhere," the nine-time GRAMMY winner recounted in a 2021 BuzzFeed interview. "So, it wasn't strategically planned that I'd get vulnerable with my fans, I was just trying to help and heal myself. And that's what happened — we created a movement based off of my health and wanting to be free."

In 2024, Blige's musical legacy was cemented with a Rock and Roll Hall of Fame induction.

Read More: Songbook: How Mary J. Blige Became The Queen of Hip-Hop Soul Through Empathy, Attitude And An Open Heart

TLC: The 'CrazySexyCool' Trio

It's hard to imagine a '90s playlist without several TLC songs. Upon the arrival of their 1992 debut album, Ooooooohhh... On the TLC Tip, Tionne "T-Boz" Watkins, Lisa "Left-Eye" Lopes, and Rozanda "Chilli" Thomas introduced a new blueprint for female groups by having two singers and a rapper in its lineup.

Blending R&B, hip-hop and funk to create a sound unlike anything else the music industry had heard before, TLC's Ooooooohhh... On the TLC Tip spawned three Top 10 hits: "Ain't 2 Proud 2 Beg," "Baby-Baby-Baby," and "What About Your Friends." But their CrazySexyCool and FanMail albums catapulted them to global success — selling a combined total of nearly 35 million copies worldwide and earning all four of their career GRAMMYs, including the twice-won Best R&B Album. And while amassing a long string of platinum hits and accolades, TLC shined a light on important issues like safe sex amid the height of the AIDS epidemic and gang violence ("Waterfalls"), body image ("Unpretty"), and female empowerment ("No Scrubs"). 

In addition to holding it down as America's best-selling female group of all time, the ladies of TLC also proved to be fashion icons with every era. In 1994, they graduated from baggy clothes-wearing newcomers to grown and sexy women who made silk pajamas look chic before transforming again in 1999 as they donned futuristic looks for the turn of the millennium.

T-Boz, Left Eye and Chilli's chemistry and cultural impact remains unmatched to this day — inspiring SWV, Total, Blaque, 3LW, 702, and Xscape, just to name a few. As TLC's longtime manager Bill Diggins said in 2023, "I remember LA Reid told me they were the closest thing to Rock-N-Roll that existed in Hip Hop and he was right. They are the definition of Rock-N-Roll." 

Read More: 10 Ways TLC Shaped The Future Of R&B

Rightfully nicknamed the "Vocal Bible," Brandy's distinctive tone, stunning legato and brilliant vocal layering helped define the 1990s' golden era of R&B. 

A 15-year-old Brandy burst onto the music scene in 1994 with her self-titled debut album, which produced Top 10 hits "I Wanna Be Down" and "Baby" before cementing her place in R&B with 1998's Never Say Never. The ballad-heavy album saw Brandy exploring more mature themes subsequent to her and Boyz II Men singer Wanya Morris' breakup. "Have You Ever?" and "Almost Doesn't Count" became instant classics; her GRAMMY-winning collaboration with Monica, "The Boy Is Mine," was the second best-selling single of 1998 and is the most successful female duet of all time. (Even the remix of Ariana Grande's reimagined iteration, which featured both Brandy and Monica, earned a GRAMMY nod 27 years later.)

Though her Y2K-era projects Full Moon and Afrodisiac were deemed commercially disappointing, both LPs are credited for helping to pioneer modern R&B à la SZA, Tyler, The Creator, Childish Gambino, and the Weeknd.

"Brandy is a goddess in R&B to a lot of people," Solange told NPR in praise of Afrodisiac. "Brandy is really the foundation of a lot of this very innovative, progressive, experimental R&B. Brandy really influenced a lot of that. Frank Ocean will say it. Miguel will say it."

Dubbed as the "first Black Disney princess" for her portrayal of Cinderella alongside Whitney Houston, Brandy's impact is undeniable in film and television as well. Amid back-to-back platinum hits, her top-rated TV show "Moesha" not only spawned two successful spin-offs "The Parkers" and "Girlfriends," it also opened doors for a cascade of young Black female leads, including Raven-Symoné, Keke Palmer and Zendaya.

In early 2001, a then 20-year-old Alicia Keys' masterpiece "Fallin,'" off her 2001 debut, Songs in A Minor, had music lovers and critics asking themselves, "Who is that?"

No one could forget Keys' name, especially after she swept the 2002 GRAMMYs with five wins, including Best New Artist and Song Of The Year for "Fallin'" — tying Lauryn Hill's record for the most GRAMMYs won in a single ceremony at the time. The next year, Keys followed up Songs in A Minor with The Diary of Alicia Keys, which produced the megahit "If I Ain't Got You" and three more GRAMMYs (including another for Best R&B Album) for the singer.

Throughout the years, Keys has churned out hit after hit, from 2007's "No One" (which stayed atop the Hot 100 chart for five consecutive weeks) to 2012's pulsating female empowerment anthem "Girl on Fire." Bringing an impeccable level of musicianship to the 21st century, Keys' majestic blend of classical piano and R&B has earned her 17 GRAMMYs, as well as respect among her peers and the legends who came before her. 

What's more, Keys' impact extends beyond music as the driving force behind Keep a Child Alive (an HIV/AIDS-focused non-profit organization) and the creator of the GRAMMY- and Tony-winning Broadway musical, "Hell's Kitchen." She also helms She Is The Music, an organization that empowers female songwriters, engineers, producers and other creators in the music industry. Her contributions to music and culture helped her become the first woman to receive the Dr. Dre Global Impact Award at the 2025 GRAMMYs.

Read More: GRAMMY Rewind: Watch A 'Humbled' Alicia Keys Win Song Of The Year For "Fallin'" In 2002

SZA: The Modern Hitmaker

SZA's commercial success and genre-blurring musicality have flipped R&B on its head and shattered the tired trope that "R&B is dead."

The five-time GRAMMY winner started out as an in-demand songwriter, penning Nicki Minaj and Beyoncé's "Feeling Myself" and Rihanna's "Consideration," which set the stage for SZA's debut album CTRL in 2017. The LP produced five multi-platinum-selling singles, including "Drew Barrymore," "Love Galore" and "The Weekend." 

On a larger scale, CTRL positioned the then 28-year-old as the leading voice of her generation thanks to her no-holds-barred storytelling and relatability. Through chronicling her relationship woes and struggles with insecurity, SZA humanized Black women, whose romantic experiences are often overlooked or presented through a hypersexual lens. That diaristic approach has influenced Summer Walker, Tink, Ari Lennox, and countless others.

"I think R&B is finally becoming loved and appreciated again, and I think SZA kind of pioneered that," Ari Lennox said. "She just blew the doors wide open and now all of us are just catching up."

SZA's career soared to new heights with the release of her sophomore album, 2022's SOS — which became the longest-running No. 1 album on the Top R&B/Hip-Hop Albums chart at 18 weeks, and still remains at No. 4 on the all-genre Billboard 200 after 117 weeks. Megahit "Kill Bill" spent 21 weeks atop the hot R&B/Hip-Hop Songs chart, while "Snooze" spent every week of 2023 on the Hot 100. What's more, SOS won three GRAMMYs at the 2024 GRAMMYs, where SZA had the most nominations of any artist; its deluxe edition helped SZA earn another golden gramophone at the 2025 GRAMMYs, where "Saturn" was awarded Best R&B Song.

Ahead of SZA's co-headlining stadium tour with Kendrick Lamar kicking off on April 19, she collected her third Hot 100 chart-topper as a featured artist on Lamar's "Luther" — which shows that her reign isn't letting up anytime soon.

We may only be in the middle of March, but the busy festival season is already well underway. Tempe's Innings Festival got the ball rolling in late February with a stellar lineup that included Beck, The Black Keys, and Gary Clark Jr. And Lauryn Hill, Toni Braxton, and recent GRAMMY winner Doechii are just a few of the names who graced the 18th annual Jazz in the Gardens at Miami Gardens' Hard Rock Stadium last weekend.

Famed for launching the careers of John Mayer, James Blunt and The Polyphonic Spree, the exhaustive array of conferences, workshops and showcases known as SXSW is also taking place in Austin, Texas right now. And the neighboring Sips and Sounds Music Festival and San Antonio's Sunset: The Festival at the Epsee have been and gone, too. 

Of course, as the days get longer, brighter and warmer, the festival circuit really kicks into gear. Although Pitchfork Music Festival, Faster Horses Festival and GoldenSky Country Music Fest are taking a break in 2025, there are still far too many musical celebrations to mention taking place across America and beyond over the next nine months. 

From hip-hop parties to heavy metal feasts, here's a look at 33 of the best and biggest festivals happening in 2025. 

Rolling Loud

Inglewood, California (Mar. 15-16); more cities and dates TBD

Having just celebrated its 10th year in birthplace Miami, the ever-expanding Rolling Loud will once again hit Inglewood's Hollywood Park for another star-studded bash of beats and rhymes. A$AP Rocky, Playboi Carti, YG, and Ken Carson will all showcase their lyrical flow at the two-day event. But perhaps the most intriguing name on the bill is Mexico's Peso Pluma, the corridos tumbados scene's leading figure and the first non-hip-hop artist ever to headline any iteration of the fest.

Rolling Loud is also expected to return to Miami Gardens' Hard Rock Stadium later this year. And following last year's debut in Austria and second visit to Thailand, Rolling Loud will no doubt continue making noise internationally, too. 

Ultra Music Festival

Miami, Florida (Mar. 28-30)

Ultra Music Festival's organizers will be hoping that this year's celebration of all things dance will run smoother than last year's. The 2024 event had to suspend all its late-night Saturday shows after a torrential downpour that nearly ruined superstar DJ Tiësto's set. The potentially adverse weather conditions hasn't deterred the cream of the EDM world from descending upon downtown Miami's Bayfront Park, though, with everyone from Afrojack to Zed's Dead taking to the decks for the event's 25th anniversary.

Tortuga

Fort Lauderdale, Florida (Apr. 4-6)

Hailed as the Festival of the Year by the Academy of Country Music, Tortuga will return to Florida's Fort Lauderdale Beach Park for its 12th annual celebration of country, rock and roots — and raising both awareness and support for ocean conservation.

Jelly Roll, Luke Combs and Keith Urban are confirmed to headline the event, which annually features some fun throwback acts, too; this year's dash of nostalgia will come courtesy of Ludacris, Gavin DeGraw and Ezra Ray Hart, the supergroup of Better Than Ezra's Kevin Griffin, Sugar Ray's Mark McGrath and Tonic's Emerson Hart. But those looking for the new big thing should head for a mainstay of the event since 2019, the Next From Nashville stage, which proudly showcases the best rising talent from the titular city.

Dreamville

Raleigh, North Carolina (Apr. 5-6)

"What a ride it's been," Dreamville co-founder J. Cole recently remarked amid the news that this year's festival would be its last. That's a fair assessment considering Hurricane Florence canceled its planned 2018 debut and then COVID-19 shuttered its 2020 sophomore year, before the 2022 feast of hip-hop and R&B became one of North Carolina's most attended musical events ever. It's not yet known which names will be gracing Dorothea Dix Park for its swansong, but it seems safe to assume that the "Middle Child" rapper will be involved somehow.

Coachella

Indio, California (Apr. 11-13/18-20)

Founded at the turn of the century, Coachella is still the hottest, and arguably most Instagram-friendly, festival on the Stateside calendar. More than 200,000 music lovers will be aiming to top up both their tans and their social media followers to the sounds of headliners Lady Gaga, Green Day, Post Malone, and Travis Scott. Missy Elliott, Charli XCX, and Megan Thee Stallion are just a few of the impressive names also appearing further down the Empire Polo Club bill — and, of course, festgoers can anticipate some exciting surprise guests.

New Orleans Jazz and Heritage Festival

New Orleans, Louisiana (Apr. 24-May 4)

Staged across eight days at the Fair Grounds Race Course, the New Orleans Jazz and Heritage Festival has expanded its remit to include everything from rock and roots to R&B. Indeed, while its inaugural 1970 event was populated by the likes of Fats Domino, Duke Ellington and Mahalia Jackson, this year's incarnation is welcoming acts as diverse as Pearl Jam, Harry Connick Jr., and Burna Boy. The festival will also witness a live debut for unlikely supergroup Lil Wayne and The Roots alongside a special Mexican showcase featuring Santana and Lila Downs. 

Stagecoach

Indio, California (Apr. 25-27)

Just a week after the Coachella crowds have packed up, Indio's Empire Polo Club will host another musical smorgasbord, this time focusing on the worlds of country, folk and bluegrass. Luke Combs, Zach Bryan and Jelly Roll are headlining, while Brothers Osborne, Shaboozey and Ashley McBryde will also take to the stage alongside less obvious names including Backstreet Boys, T-Pain and Nelly — the latter celebrating the 25th anniversary of his GRAMMY-nominated debut, Country Grammar. The most appetizing part of the lineup, however, is undoubtedly Guy Fieri's Smokehouse.

Sonic Temple

Columbus, Ohio (May 8-11)

A replacement for the equally head-banging Rock On The Range, Sonic Temple has fast become one of the most popular events on the metal calendar since debuting in 2019. This year's four-day event welcomes three bona fide giants to its stages, the rejuvenated Linkin Park, nu-metal heroes Korn, and thrash pioneers Metallica, with the latter performing no-repeat sets on Friday and Sunday. Shock rocker Alice Cooper, reunited sludge metalers Acid Bath, and alt-rock favorites Incubus will also help ramp up the decibel levels at Columbus' Historic Crew Stadium this spring. 

Just Like Heaven

Pasadena, California (May 10)

If you prefer your home comforts to camping out under the stars, then there are plenty of one-day festivals which will allow you to be tucked up in bed by midnight. Just Like Heaven is undeniably one of the coolest, particularly if you're an indie kid of the mid-'00s.

Vampire Weekend, Bloc Party, Empire of the Sun, and TV on the Radio will all bring the MySpace vibes to the Pasadena Rose Bowl. Yet the biggest draw for many will be the comeback performance from cult favorites Rilo Kiley.

Outlaw Music Festival

Various cities (May 13-Sep. 19)

Commemorating its 10th anniversary, this year's Outlaw Music Festival is its biggest, and most would argue best, to date. Alongside co-founder Willie Nelson and his Friends, the 34-city tour is also welcoming Sheryl Crow, Wilco, Nathaniel Rateliff and the Night Sweats, and the one and only Bob Dylan. The whole shebang kicks off at Phoenix's Talking Stick Resort Amphitheatre on May 13 and wraps up at East Troy's Alpine Valley Music Theatre on Sep. 19.

Sand In My Boots

Gulf Shores, Alabama (May 16-18)

Not content with just headlining festivals, country superstar Morgan Wallen is now organizing them. Yes, hot on the heels of crafting the new Field & Stream Music Fest with Eric Church, the country singer is now adding to his portfolio with Sand In My Boots. 

Taking over for Hangout Festival — which is celebrating its 15th anniversary by having Wallen curate — the three-day event will welcome Brooks & Dunn, HARDY and Wallen's recent duet partner Post Malone when it debuts on the beaches of Alabama's Gulf Shores this May. Wallen's lineup also taps into his hip-hop sensibilities, with Wiz Khalifa, 2 Chainz, Three 6 Mafia, Moneybagg Yo, BigXthaPlug, and T-Pain on the bill, too. And of course, the moustachioed man himself will close out the epic weekend with a headlining set on Sunday.

Electric Daisy Carnival

Las Vegas, Nevada (May 16-18)

Still North America's largest dance music festival, the Electric Daisy Carnival will host more than 250 acts across three days of high-energy, glow-in-the-dark fun at the Las Vegas Motor Speedway. Alesso, Kaskade, Dom Dolla, Paul Oakenfold, DJ Snake, and Martin Garrix are just a handful of the superstar DJs who'll be delivering epic drops amid more lasers than a Star Wars fight scene; the 2025 event will also debut Ubuntu, a brand-new stage showcasing the best of the Afro house scene.

Boston Calling

Boston, Massachusetts (May 23-25)

Co-curated by The National's Aaron Dessner, Boston Calling always boasts an impressive musical pedigree. And the 2025 event, which will introduce a new air-conditioned indoor arena and rotating stage setup, is no exception. Alongside headliners Luke Combs, Dave Matthews Band and Fall Out Boy, the three-day event is also welcoming Sheryl Crow, TLC, The Black Crowes, Public Enemy, and Cage the Elephant to Boston's Harvard Athletic Complex. 

BottleRock Napa Valley

Napa, California (May 23-25)

As you'd expect from a festival held deep in the heart of Napa Valley, BottleRock is just as appealing for wine connoisseurs as it is for music lovers. But headliners Green Day, Justin Timberlake, Noah Kahan, and Khruangbin — the latter surely the perfect act to soundtrack a late May evening with a glass of Cabernet — will no doubt help prise attendees away from the 40+ wineries also selling their wares just ahead of Memorial Day.

Head in the Clouds

Pasadena, California (May 31-Jun.1)

Designed to champion the best in R&B, pop and hip-hop talents from within the Asian diaspora, Head in the Clouds heads back to Brookside at the Rose Bowl in the early summer. K-pop girl group 2NE1, Chinese rap outfit Higher Brothers, and Indonesian MC Rich Brian are just a few of the names scheduled to play the top of the bill, while attendees can also look forward to a DJ set from EDM favorite Porter Robinson.   

Primavera Sound

Barcelona, Spain (Jun. 4-8)

Barcelona's Primavera Sound began life as a showcase for Spanish noise bands in 2007 but has since evolved into a sun-soaked paradise for all kinds of genres. Fresh from their GRAMMYs success, Charli XCX, Chappell Roan and Sabrina Carpenter will provide the big pop-girl energy, highlighting the festival's attempts to achieve a 50/50 gender split in its lineups. Kneecap, Kim Deal and LCD Soundsystem will no doubt prove to be just as invigorating — a necessity considering the Parc del Forum's schedule typically kicks off at 4 p.m. and doesn't finish until 6 the following morning!

CMA Fest

Nashville, Tennessee (Jun. 5-8)

As its name suggests, CMA Fest will welcome the biggest names in the country music world when it returns to the genre's capital, Nashville, this June. Last year saw the likes of Kelsea Ballerini, Luke Bryan, Jelly Roll, Keith Urban, and Lainey Wilson take to the Nissan Stadium stage. 

But you don't even need to spend money to see some of the genre's exciting new generation; though the 2025 lineup is still TBA as of press time, last year's roster of free sets included Shaboozey, Ella Langley, Tucker Wetmore, Megan Moroney, and Angel White. And fans wanting a breather from the five daytime outdoor stages can also head to the Music City Center for Fan Fair X — named in honor of the fest's early '70s incarnation — for various meet-and-greets and celebrity Q&As.

World Pride Music Festival

Washington, D.C. (Jun. 6-7)

Celebrating the 50th anniversary of Capital Pride, World Pride Music Festival is a haven for dance, drag and general LGBTQIA+ culture. Jennifer Lopez provides some A-list star power with a rare headline set, while the likes of Troye Sivan, Grimes and Galantis will undoubtedly keep the global party going. But for many of the 50,000 heading for the RFK Festival Grounds, the star attractions will be tabloid regulars Paris Hilton and Trisha Paytas — not to mention, a DJ set from queer icon RuPaul.

The Governors' Ball

New York City, New York (Jun. 6-8)

Last year's Governors' Ball boasted a memorable set from Chappell Roan that helped continue her remarkable ascent from virtual unknown to GRAMMY-winning chart-topper. Those further down the bill at Flushing Meadows Corona Park's 15th annual shindig, including Artemas, Yaya Bey and Isabel LaRosa, will therefore be hoping for a similar career boost. But headliners Tyler, the Creator, Olivia Rodrigo, Feid, Glass Animals, Hozier, and this year's most acrobatic GRAMMY performer, Benson Boone, will also guarantee that the three-day event goes with a bang.

Bonnaroo

Manchester, Tennessee (Jun. 12-15)

Taking place at Tennessee's Manchester Great Stage Park, Bonnaroo can always be relied upon to offer something outside the norm. Alongside regular slots from Queens of the Stone Age, Vampire Weekend and Avril Lavigne, the music and arts festival will see Remi Wolf host a superjam dubbed "Insanely Fire '70s Pool Party" and psych-rock favorites King Gizzard and the Lizard Wizard stage a "Roo Residency" with three different sets across three days. The four-day fest will also feature the all-new Infinity Stage, which marks the world's largest 360° spatial audience experience.

Vans Warped Tour

Washington, D.C. (Jun.14-15), Long Beach, California (Jul. 26-27), Orlando, Florida (Nov. 15-16)

After a six-year break, the ultimate celebration of punk, pop-punk and any other genre that considers Vans as part of its uniform is returning to commemorate Warped Tour's 30th anniversary. Avril Lavigne, All Time Low, Asking Alexandria, and dozens of other Warped veterans are confirmed to hit the road for stops at Washington, D.C.'s Festival Grounds at RFK Campus, Long Beach's Shoreline Waterfront, and Orlando's Camping World Stadium — and as teased on the fest's official Instagram, there's "more bands and surprises to come." 

Summerfest

Milwaukee, Wisconsin (Jun. 19-21/ 26-28/ Jul. 3-5)

Staged across three consecutive weekends, 12 stages and 75 acres, Milwaukee's Summerfest has continually grown in stature since its 1968 debut. In fact, it was once hailed as the largest music festival in the world. The Henry Maier Festival Park event may no longer hold this particular record, but it's still welcoming more than 600 acts in 2025 including The Killers, Def Leppard, Lainey Wilson, The Lumineers, and James Taylor.

Lyrical Lemonade Summer Smash

Bridgeview, Illinois (Jun. 20-22)

Reportedly the hip-hop world's largest independent festival, Lyrical Lemonade Summer Smash is expected to reel in another 120,000 attendees when it returns to Bridgeview's SeatGeek Stadium this summer. Cactus Jack, Playboi Carti and Chief Keef served as headliners last year, so organizers will no doubt be pulling out all the stops to make 2025 just as impressive.

Glastonbury

Pilton, Somerset (Jun. 25-29)

As always, the Glastonbury rumor mill has been in overdrive for months, with Rihanna, Stevie Wonder, and Sam Fender all predicted to play the Pyramid Stage at the UK's flagship music festival. But we now know that The 1975, Olivia Rodrigo, and — after much toing and froing — Neil Young will headline the iconic five-day event. Rock legend Rod Stewart is also playing the prestigious Sunday Legends slot, with the recently reformed Scissor Sisters, Little Mix's Jade Thirlwall, and big beat legend Fatboy Slim just a few of the intriguing names further down the bill.

Essence Fest

New Orleans, Louisiana (Jul. 3-6)

Still the largest African-American cultural festival in the United States, Essence Fest returns to New Orleans' Caesar Superdrome for Fourth of July weekend. The 2025 lineup has yet to be announced, but just to prove how much it's grown in stature since its 1995 debut, last year's featured superstars Janet Jackson, Usher and Busta Rhymes. Of course, Essence has more to offer than just the music, with an array of speakers and workshops also on hand to empower and inspire. 

Lollapalooza

Berlin, Germany (Jul. 12-13); Chicago (July 31-Aug. 3); more cities and dates TBD

The brainchild of Jane's Addiction frontman Perry Farrell, Lollapalooza started out as a traveling show before taking root at Chicago's Grant Park. Since the early 2010s, however, it's also spawned several international offshoots including Paris, Stockholm, and Berlin. Justin Timberlake, j-hope, Gracie Abrams, and Raye are all confirmed to play the latter when it returns to the Olympiastadion and Olympiapark this summer.

Following their successful 2024 legs, expect Argentina, Chile, and Brazil to fly the flag for South America in 2025 and Mumbai's Mahalaxmi Racecourse to host for a third consecutive year. If you prefer your Lollapalooza homegrown, though, then check back on March 18 when the lineup of the U.S. iteration — which will take place at Chicago's Grant Park July 31-Aug. 3 — is released.

Newport Folk Festival

Newport, Rhode Island (Jul. 25-27)

Enjoyed Timothée Chalamet's Oscar-nominated impersonation of Bob Dylan in A Complete Unknown? Well, why not visit the scene of its revolutionary denouement. 

Yes, Newport Folk Festival is having a moment again as the place where the Bard went electric. And while the three-day event, staged at Fort Adams State Park in Rhode Island, can't promise anything as groundbreaking in 2025, the likes of Waxahatchee, Jeff Tweedy and Michael Kiwanuka will at least guarantee a musical masterclass.

Hinterland

St. Charles, Iowa (Aug. 1-3)

Held at the Avenue of the Saints Amphitheater in St. Charles, Iowa, Hinterland first debuted in 2015 and has fast become one of the coolest festivals on the block. Just look at this year's lineup, which features Clairo, The Marias and Royel Otis alongside headliners Kacey Musgraves, Lana Del Rey and Tyler, the Creator, for proof. Just as renowned for its sunshine as its Pitchfork-friendly acts, Hinterland has also promised a guaranteed refund should the forecasted temperatures soar beyond 90 degrees. 

Outside Lands

San Francisco, California (Aug. 8-10)

Hailed as a love letter to San Francisco, Outside Lands Festival has yet to announce its 2025 lineup. But considering last year's featured Sabrina Carpenter, Sturgill Simpson, Teddy Swims, Kaytranada, and Grace Jones, expect a typical mix of buzzworthy artists, chart-toppers, and cooler-than-cool icons. Since debuting at Golden Gate Park in 2008, the three-day event has also established a strong culinary reputation thanks to areas dedicated to cheese, wine and even bubble tea.

North Coast Music Festival

Bridgeview, Illinois (Aug. 29-31)

Although the North Coast Music Festival started out as a celebration of all things hip-hop, folk and jam band, it's since switched its focus to floorfilling beats, anthemic synths and glowstick-friendly melodies. Zedd, Galantis and Kaskade, alongside a special drum and bass set from masked mastermind Deadmau5, are the big draws for its 15th anniversary edition, once again held at Bridgeview's SeatGeek Stadium. 

Bourbon & Beyond

Kentucky, Louisville (Sep. 11-14)

Self-described as the world's largest bourbon and music festival, Bourbon & Beyond will return to the Kentucky Expo Center's Highland Festival Grounds this September with the likes of Noah Kahan, Jack White, The Lumineers, Benson Boone, Sturgill Simpson, and the recently reunited Alabama Shakes in tow. Jam band legends Phish will also be making their only festival appearance of 2025 at the four-day event which, as you'd expect, also prides itself on its culinary workshops and tasting sessions. 

Aftershock

Sacramento, California (Oct. 2-5)

More than 160,000 metalheads are due to head to Sacramento's Discovery Park this October for one of the loudest and hardest rock festivals in America. Last year boasted icons such as Iron Maiden, Slayer and Slipknot alongside a Stateside solo debut for Rammstein frontman Till Lindemann and Mastodon playing their seminal album Leviathan in full. Expect a similar blend of big names and exclusives when the lineup is announced.

Austin City Limits

Austin, Texas (Oct. 3-5/10-12)

Inspired by the same-named PBS series, Austin City Limits typically attracts 450,000 people to Zilker Park each year with an abundance of indie, hip-hop, folk, electro, indie, and pop. Dua Lipa, Chris Stapleton, Norah Jones, Foster the People, and Leon Bridges were just a few of the artists who graced its eight stages in 2024. So expect this year's lineup, expected to be announced anytime soon, to be similarly star-studded. 

When We Were Young

Las Vegas, Nevada (Oct. 18-19)

Since becoming a regular fixture in 2022, When We Were Young has established itself as the must-see festival for any self-respecting fan of classic emo, post-hardcore, and pop-punk. This year sees Panic! at the Disco come out of their brief retirement to perform debut A Fever You Can't Sweat Out in full for its 20th anniversary. Weezer, blink-182, Avril Lavigne, Taking Back Sunday, and The Offspring are also among the names that will send the Las Vegas Festival Grounds crowd moshing down memory lane. A second day was just added, so those who couldn't snag a ticket during the first day's on-sale can still revel in the nostalgia.

Did you know that among all GRAMMY U members, songwriting and performance are some of the most sought-after fields of study? This playlist dedicates a space to hear what these members are creating today!

The GRAMMY U Mixtape, now available for your listening pleasure, highlights the creations and fresh ideas that members are bringing to this industry directly on the Recording Academy's Spotify, Apple Music and Amazon Music pages. Our goal is to celebrate GRAMMY U members, as well as the time and effort they put into making original music — from the songwriting process to the final production of the track.

Each month, we accept submissions and feature 15 to 25 songs that match each month’s theme.This month’s playlist channels pure confidence and bold energy. With high-energy beats and empowering tracks, Lucky Syndrome will soundtrack feelings of control and alignment. So, what’s stopping you? Press play on GRAMMY U's Mixtape and listen now on Spotify and Amazon Music.

Want to be featured on the next playlist? Submit your songs today! We are currently accepting submissions for songs of all genres for consideration for our April playlist. Whether you write pop, rock, hip-hop, jazz, or classical, we want to hear from you. Music must be written and/or produced by the member (an original song) and you must be able to submit a Spotify, Apple Music and/or Amazon Music link to the song. Artists must be a GRAMMY U member to submit.

About GRAMMY U:

GRAMMY U is a program that connects aspiring professionals and creatives ages 18-29 with the music industry's brightest and most talented minds. We provide a community for emerging professionals and creatives in addition to various opportunities and tools necessary to start a career in music. Throughout the program year, events and initiatives touch on all facets of the industry, including business, technology, and the creative process.

As part of the Recording Academy's mission to ensure the recorded arts remain a thriving part of our shared cultural heritage, GRAMMY U establishes the necessary foundation for music’s next generation to flourish.

Not a member, but want to submit to our playlist? Apply for GRAMMY U Membership here.

Former GRAMMY U Reps Heather Howard, Sophie Griffiths and Samantha Kopec contributed to this article.

The Latin Recording Academy begins an exciting new chapter, announcing new serving Board members for the next three years. The new Trustees include Gabriel Abaroa, Jr., Pedro Blanco, multi-Latin GRAMMY winner Gustavo Borner, Rafael Fernández, Jr., Dr. Chelsey Green, Jorge Hernández-Toraño, and Latin GRAMMY winner Berta Rojas, who will assume the great responsibility of helping chart the course of the organization and ensure its continued success.

Luis Álvarez-Fiol, Eduardo Bergallo, Paty Cantú, Alexandra Lioutikoff, Rico Love, Rafa Sardina, and Manuel Tejada have reached their serving term limits and have retired from the Board.

"Our deepest gratitude to all our former Trustees! I am honored to give a warm welcome to a very talented and diverse group of professionals joining our Board," said Eduardo Hütt, Chairman of the Board of Trustees of The Latin Recording Academy. "Each of our new Trustees has been serving the music community over the years in different roles, and I look forward to working closely with them as we continue to grow, evolve and strengthen our organization."

The Board of Trustees, in partnership with CEO Manuel Abud and The Latin Academy Executive Team, works to uphold the organization's mission to nurture, celebrate, honor and elevate Latin music and its creators.

ABOUT THE NEWLY ELECTED TRUSTEES:

Gabriel Abaroa, Jr. is a seasoned entertainment executive, attorney and the first President Emeritus of The Latin Academy, where he also served as President/CEO from 2002 to 2021. Currently, Abaroa is a co-founder and CEO of Incurator LLC. Previously, he founded Legal Corp, a law firm providing services to multinational and independent record labels in México. He is a musician and record producer of children's music, and was a professor of entertainment law for five years at the Anáhuac University. Abaroa is a dual member of the Recording Academy and The Latin Academy, the Rock & Roll Hall of Fame, serves as Board member of NALAC and is an international jury member for Premios Platino. He also participated in the Hispanic Committee of the Kennedy Center for the Performing Arts.

Pedro Blanco is the President and CEO of Blanco-Lorenz, a global content branding studio with 25 years of experience in the industry. Blanco and his company specialize in content development and packaging for streaming platforms, digital media, television and film, and have collaborated with leading companies such as HBO, Spotify, ViX, A+E Networks, Netflix, BBC, ESPN, FOX, Warner Bros. Television, TelevisaUnivision, NBCUniversal, Disney and Telemundo. He has also directed over 50 commercials and has been behind the lens for music videos featuring artists like Marc Anthony, Alejandro Sanz, Gente de Zona, and Fonseca. In addition, Blanco has served on the Latin GRAMMY TV Committee since 2003. His work has earned him honors from the Global Entertainment Marketing Academy, the Mark Awards and the Streamy Awards.

Gustavo Borner is a renowned producer and sound engineer, winner of six GRAMMYs and 14 Latin GRAMMYs. With four decades of experience, he has worked on productions for artists such as Phil Collins, Santana, Juanes, Fito Páez, Vicente Fernández, Luis Miguel and Plácido Domingo, totaling over 40 million records sold. He has worked on all Latin MTV Unplugged productions since 2004 as an engineer, mixer or producer. Borner has also worked on television projects for the Latin GRAMMYs, MTV Music Awards and "Sep7imo Día", the Cirque du Soleil show dedicated to Soda Stereo. His talent has left a mark on film soundtracks, including Birdman, Guardians of the Galaxy, Suicide Squad, and video games such as Spiderman. Borner has served The Latin Academy as an active member of the Circle of Producers and Engineers (CPI) since 2019. In 2018, he received the AES Fellowship Award for his achievements in audio production and worldwide dissemination of audio knowledge. Since 2000, he has operated Igloo Music in Burbank, California, a complex with 18 studios.

Rafael Fernández, Jr. is the Senior Vice President of State Public Policy and Industry Relations at the Recording Industry Association of America (RIAA), where he directs government relations activities across all 50 U.S. states, while also serving as the Director of Latin Music. Previously, Fernández held the position of Vice President of Latin Music at the RIAA and has been with the organization for nearly 24 years. Under his leadership, the RIAA has been an active supporter of The Latin Academy and its Person of the Year Gala.

Dr. Chelsey Green is an artist, entrepreneur and educator who combines classical and contemporary to make music uniquely her own. Dr. Green and her ensemble, Chelsey Green and The Green Project, have released five studio projects, debuted on the Billboard Contemporary Jazz Chart, and actively perform concerts, music festivals and educational workshops around the world. Dr. Green has appeared on stage and screen with artists of various genres, including Stevie Wonder, Lizzo, Samara Joy, The War and Treaty, Esperanza Spalding, Kirk Franklin and many more. Committed to music education, advocacy and youth arts access, Dr. Green is an associate professor at Berklee College of Music and currently serves as Vice Chair of the Board of Trustees of the Recording Academy.

Jorge Hernández-Toraño is an attorney specializing in general business law, corporate transactions and entertainment law. After 31 years as a partner at the international law firm Holland & Knight, Hernández-Toraño retired from full-time legal practice in 2024. Throughout his career, he has represented GRAMMY-winning artists and producers and negotiated recording contracts, publishing agreements, tours, radio and television appearances, and sponsorship deals. Hernández-Toraño served as counsel to The Latin Recording Academy from 2002 through 2023. He has also represented major record labels and the International Federation of the Phonographic Industry (IFPI). Recognized in rankings such as The Best Lawyers in America and Chambers, Hernández-Toraño was named one of the 100 most influential Hispanics in the U.S. entertainment industry by Hispanic Business Magazine. Committed to his community, he served as Trustee and General Counsel for United Way of Miami, is a past President and former Board Member of the Cuban American Bar Association and chaired the Miami Business Forum.

Berta Rojas is one of Latin America's most celebrated classical guitarists. With a career spanning over three decades, the Paraguay-born artist has released 14 studio albums and performed in some of the world's most prestigious concert halls. Her exceptional talent also led her to academia at Berklee College of Music, where she serves as an associate professor, becoming the first Latin American instructor invited to join the institution's guitar department. In 1992, Rojas earned a bachelor's degree in music with a concentration in guitar from the Universidad de la República in Uruguay, and later completed a master's in music, specializing in guitar, from Johns Hopkins University. She has received four Latin GRAMMY nominations and won Best Classical Music Album in 2022 for Legado. In 2023, she was honored with the National Order of Merit in the Gran Cruz, Paraguay's highest civil and military decoration.

The full list of the Latin Recording's Board of Trustees can be found here.

It's hard to imagine any other artist impacted by a Tiny Desk appearance as much as CA7RIEL and Paco Amoroso.

During their 17-minute set at the NPR mainstay last year, the duo transformed tracks from 2024’s BAÑO MARIA and two from earlier solo projects, swapping synthesized elements with live instrumentation. Replacing bouncy electronic drum beats for soft percussion, songs like "DUMBAI" took on a sunny bossa nova feel, while "BABY GANGSTA" shed its drum-and-bass edge to bloom into a brassy Latin funk track. 

The set went viral, propelling them to heights neither had experienced or anticipated.

"The fame of Tiny Desk has taken us to very strange places doing very odd things," says CA7RIEL with a knowing grin. "Sometimes, we look at each other in the eyes just to check what is happening is real."

After years of grinding — both as solo artists and collaborators across various musical ventures — the duo quickly became industry It Boys. Every concert, track, interview or step they made was blurred in a haze of hype. 

Read more: 25 Artists To Watch In 2025: CA7RIEL & Paco Amoroso, John Glacier, Lola Young & More

This surreal experience is the subject of their new EP, PAPOTA. Argentine slang for someone on steroids, the word that comically captures the overblown nature of their new reality. PAPOTA includes the live Tiny Desk versions, alongside four new tracks that navigate their post-viral fame journey. The EP's narrative begins when a producer called Gymbaland approaches the newly-famous duo, and instructs them to hit the gym and sing songs written by ChadGPT — with the ultimate goal of winning the coveted Latin Chaddy. 

Like Baño Maria, PAPOTA is built on a convergence of styles, from trap beats to '90s pop, with more instrumentation and funk than their previous work. The pair have just embarked upon what will be a dizzying year ahead — dozens of tour dates in the U.S., UK, Europe, Latin America, and a stop at Coachella.

CA7RIEL (Catriel Guerreiro) and Paco Amoroso (Ulises Guerriero) spoke to GRAMMY.com (not Chaddy.com) about the ups and downs of success, and how friendship is vital to staying grounded through it all.

Your new EP, PAPOTA, takes aim at the music industry — from AI-generated pop music to the Latin "Chaddys." Are you wary of music awards?

Paco Amoroso: It’s a parody of this Miami world where the music producer promises to make you successful and ensures that you win awards. Sometimes it feels like this matters more than the music. We poke fun at the industry that we too are a part of. It’s a humorous approach to the reality we live in. 

So, it’s not criticizing the awards themselves, but the priorities of the industry.

Paco Amoroso: Exactly!

The new single "#TETAS" is about making commercially successful music; pasting a viral hashtag onto a catchy chorus. It starts as a funk track and twists into a '90s pop song. What if people don’t understand the parody, and assume you’ve sold out?

Paco Amoroso: I think that’s fine — that Backstreet Boys style chorus is good! There's something in liking something you think you shouldn’t; in the end, pop always wins you over.

CA7RIEL: Like with any work, some get it and others don't, right? And those who get it will laugh. For us, it’s a temon (a banger); a great song. 

PAPOTA’s opening track is called "IMPOSTER," which is about experiencing imposter syndrome in the wake of the Tiny Desk success. Do you regret doing that series?

Paco Amoroso: No, not at all. We approached this new pressure we felt after the Tiny Desk with humor. It’s a nice pressure to have — that people admire us and think we are great musicians. In Argentina, we have a term [that translates to] "we added tax"; it’s to say we inflated everything a bit. It’s what we felt, it’s more fun than fear.

CA7RIEL: All these feelings are real, but they are on steroids. That’s why our album is called PAPOTA.

I imagine many artists must feel imposter syndrome, but very few talk about it.

Paco Amoroso: One hundred percent. Often, in this industry, songs are composed by several people and produced as if they were made in a factory. Some of these songs are great, others are horrible. Even your favourite artists can make terrible songs, and that's funny too. One day you feel on top of the world, and the next, you feel like crap. When everything starts going well, it tastes a little less sweet too. It's talking about all the emotions that come with success. 

Are friendship and humor an important part of getting through those feelings?

Both: Yes!

Paco Amoroso: We laugh with friends. We’re simple people. We got lucky with our music, but we spent many years making music, rolling up our sleeves, so we fought for it. We’re taking in all of this [success] with humor and gratitude.

As you say, you didn’t get successful overnight, you’ve both spent years working in music; both together and as solo artists. With the Tiny Desk fame, some may assume you came out of nowhere. Does that bother you?

Paco Amoroso: Not at all. Nobody owes you anything. It’s good we took advantage of the opportunity to do Tiny Desk. Thanks to that, people from all over the world stop us in the street, those who saw it and loved it. Our career has exploded thanks to it. Now, we're on an endless tour, playing all around the world. We’re happy.

How did you prepare for the Tiny Desk session?

CA7RIEL: As urban artists, we use a lot of beats and sounds from computers. So we had to "kill" the computer and put in the heart. It was complicated. Even though we’ve been playing with friends, for a long time, switching from one format to another was difficult. We put in a lot of effort.

Paco Amoroso: It’s also interesting to see how some songs don’t work on a guitar, for example. A song isn’t always easily transferable from an electronic, beat-driven format to one without auto-rune, effects, or backing tracks. So, we also had to find the right songs that worked best for this format. It was quite a process.

Did the preparation for Tiny Desk influence the arrangements we hear on PAPOTA?

Paco Amoroso:** One hundred percent. We feel like the hard work is already done, because now all that’s left is to play and play and play. But last year, honestly, there was a lot of rehearsing and a lot of experimenting.**

Read more: 5 Rappers Taking Argentinian Hip-Hop To The Next Level: L-Gante, Duki & More

Speaking of the tour, new fans know you because of Tiny Desk, which is all about live performance. Does that put pressure on you going onstage, that you have such high expectations to live up to?

CA7RIEL: It’s the opposite. Tiny Desk was just a window into what we know how to do. We feel more comfortable playing live, with friends, defending our music with real instruments.

You’re playing Coachella soon. What can we expect from that set?

Paco Amoroso: Honestly, it’s going to be one of the most important events of our musical lives. We’ve prepared as much as possible and we’re to bring all our party favors and all our paraphernalia to the stage, so that people go crazy watching us.

The schedule ahead is pretty wild, with over 30 dates in over a dozen countries. How do you plan to look after yourselves on the road?

CA7RIEL: I don’t know if we’ll come out of it safe and sound — I just hope we do. I think we will because we have fun and we do what we love. The reality is that sometimes we push our bodies a little beyond what they can handle, but we’re good. We’re young. We still have collagen in our faces. 

Hopefully, you won’t need any "papotas."

Paco Amoroso: Ha! Ask us in a few months.