editors

As 2026 reaches its halfway point, the editors of De Los are eager to talk about Latin artists to watch — and share their hottest music takes. Over the years, award-winning music journalist Suzy Exposito and Director of Latino Initiatives Fidel Martinez have documented the rise of genres like reggaeton and música Mexicana in mainstream culture.

In her work for Vogue, The Times and Rolling Stone, Exposito has interviewed influential artists like Shakira, Cardi B and Bad Bunny (the last of which made history as the first Rolling Stone cover story written by a Latina journalist).

Martinez has an impressive roster of his own, having interviewed many stars in the Mexican and Chicano music scenes, from Fuerza Regida to Natalia Lafourcade.

Reflecting on a landmark year for Latin music

On this week’s episode of “The De Los Podcast,” they weigh in on the explosive impact of 2025 on the genre: between Bad Bunny‘s Super Bowl halftime show and Karol G‘s Coachella headlining performance, last year was nothing short of a groundbreaking for Latin music.

“Being there, you could feel barriers coming down,” Martinez, who reported live from the Super Bowl in February, said. “It wasn’t Bad Bunny trying to validate us in front of others. It was him saying, ‘This is who we are, and we are proud of who we are.’”

According to the RIAA, 2025 was the first year that Latin music sales in the U.S. reached $1 billion, in its 10th consecutive year of growth. In 2016, American Latin music sales were at just below $150 million.

“It highlights how quickly and with what speed the genre has been taking off,” Martinez said.

However, as Exposito notes, at times, it came at the cost of originality.

A Latin music trend that De Los is leaving behind this year

“Our generation is too married to the past,” Exposito said. “How can we evolve musically if we keep trying to re-create our grandparents’ music?”

Nostalgia, De Los editors note, has driven the wide-ranging popularity of last year’s most successful Latin projects. As Exposito says, the artists “mine the past in their own ways.”

In Bad Bunny’s “DtMF” and Karol G’s “Tropicoqueta,” classic genres like salsa, plena and cumbia took center stage. “DtMF” samples El Gran Combo de Puerto Rico while in Fuerza Regida samples Mexican classics like Vicente Fernández.

While comforting and educational for younger generations, Martinez argues that artists relying on nostalgia could turn that effort into becoming more experimental with their sound.

Some artists, however, are resisting the nostalgia trend, making De Los’ best albums list of 2026 … so far.

De Los’ 2026 Latin albums you need to hear

Suzy’s picks:

Alvaro Díaz, “Omakase”

“He’s experimental … and taking bold swings, with producers like Tainy,” Exposito said.

“Omakase,” which the Puerto Rican star released in May, blends Latin trap elements with electronic, R&B and in one track, cumbia, for a diverse, thoughtful album that Diaz equates in his De Los story to the Japanese dish omakase, or a platter decided by the chef.

RaiNao, “Marcría”

With a worldplay title that blends the words “malcriada” (badly raised woman) and “cria por el mar” (born in the sea), RaiNao’s project promises earthly, intimate lyricism with experimental musicianship.

“The way she melds jazz with reggaeton and folkloric elements, I really enjoy,” Exposito said. “I really appreciate people (like RaiNao) who can remix but also introduce seemingly disparate elements, like saxophone and Caribbean music.”

Other picks include Ibeyi’s “Offering” and Diles Que No Me Maten’s “Escrito en Agua.”

Fidel’s picks:

Julieta Venegas, “Norteña”

Venegas, who De Los interviewed last month, wrote a memoir alongside this album, which delves into her Tijuana heritage with Mexican collaborators like Bronco, is what Martinez calls “a chef’s kiss.”

“She’s such a fascinating character because she started as an indie rocker,” Martinez said. “This album is a love letter to Tijuana. It’s just the perfect fusion of tradition and pop.”

Hermanos Espinoza, “Linaje”

Two brothers from the Rio Grande Valley, Hermanos Espinoza performed at De Los’ SXSW showcase and blew the audience away with their live energy and accordion work.

“Their project talks about lineage. This album certainly has a point of view,” Martinez said. “With this album, they said, música Mexicana can be like rock and roll.”

Also on the list are Tito Doble P’s “Acomodo” and Trio Asesino’s self-titled.

To hear more about 2026’s emerging artists and De Los’ music hot takes, check out “The De Los Podcast.”

Avid Technology, the editing software company, is the latest entertainment industry player to introduce AI into its toolbox.

The company behind industry-standard platforms Pro Tools and Media Composer said it is entering a multiyear partnership with Google Cloud.

The goal is to implement both generative and agentic AI so that users can turn the “mostly manual process into an intelligent, AI-assisted experience,” Avid said in a statement Thursday morning.

“The primary bottleneck in Hollywood is manual labor [in editing] and managing thousands of hours of high-risk footage,” Avid Chief Executive Wellford Dillard told The Times. “This isn’t us just adding a new tool. It’s going from static files sitting on hard drives, to living data that understands its context.”

Google’s Gemini models and Vertex AI will be embedded directly into Avid’s processes, offering customers a chance to accelerate their editing time. Avid’s Media Composer, the editing system used on most professional film and TV productions, will now include a Gemini extension that could enhance metadata and generate B-Roll.

The company said that, overall, using AI on its platforms enables systems to understand the context of every file — allowing users to describe what they need based on visual movements, on-screen dialogue and emotional cues.

Dillard said that when someone uses Media Composer for editing, it can often be frustrating to click in and out of the application in search of the right shot buried within hours of footage. Now, he said, clients can describe the shot to AI, which could find it faster.

Anil Jain, global managing director at Google Cloud, said that these tools can do both simple functions like tweaking a scene’s background, or achieve more complex tasks, like creating promotional material.

“Most storytellers don’t get excited about putting together a promo, but if they could leverage AI to help do it a lot faster, then it becomes more interesting, gets it done and opens up the possibility of more creative time,” Jain said.

Avid, founded in 1987, is based in Burlington, Mass., and has since established itself as a pioneer in digital audio and video editing software. The company said its software was used to edit 87% of this year’s Oscar-winning productions, including the movies “K-Pop Demon Hunters” and “One Battle After Another.”

Avid is one of the many media companies that has recently incorporated AI into its services. In March, Netflix acquired Ben Affleck’s AI filmmaking company, Interpositive. Disney invested $1 billion into OpenAI’s now shuttered Sora platform. Even in the music industry, the “Big Three” labels have inked individual deals with AI startups like Udio, Klay and Suno — after suing a few of the same companies for copyright infringement.

Ramesh Srinivasan, a professor of information studies at UCLA, said these kinds of deals are the “new normal” and that “almost every single industry is being sort of eaten up by the Pac-Man of AI.”

But he said he’s not sure that this kind of AI will only be used for mechanical tasks.

“Editing is a task that involves creativity and human artisanship. An editor is not just someone who mechanically reproduces a number of steps. They have a sense of storytelling in mind,” said Srinivasan. “In terms of AI-created content, the initial research is showing that it is flattening creativity. It’s putting out the dominant patterns that it can copy, rather than reflect, the specific diverse and creative ways we can write, or edit.”

To Dillard, Avid’s CEO, incorporating AI is a way to ensure that creators can make enough content to keep up with audiences’ increasing demands.

“The demand for content is almost insatiable, and dollars are limited. This work can help compress those production timelines [and make] more content,” Dillard said. “Our hope is that we’re actually enabling the world, within the same budget constraints that the studios have today. You’re producing more content, and you are also opening the doors for smaller production houses to be able to produce more content competitively.”