Ahead of the 27th Annual Latin Grammy Awards, Billboard Brasil and Billboard Español teamed up with Meta for a two-day activation at the Museum of Illusions in Las Vegas on Nov. 10–11. The immersive experience brought artists and nominees into a world of mind-bending exhibits, where they tried on Meta’s smart glasses, explored optical illusions and stepped in front of the camera for candid conversations about their music, careers and more.
From personal revelations and unexpected anecdotes to reflections on creative breakthroughs, the artists had plenty to share. Here are 15 of the most memorable quotes from the experience.
Luísa Sonza on her breakthrough beyond Brazil
For Brazilian pop star Luísa Sonza, earning her first Latin Grammy nomination outside the Brazilian categories — best reggaetón performance for “Uñas afiladas” with Sofía Reyes — was an unexpected milestone. “The nomination was a surprise to me. I didn’t think it would happen,” she said, describing the recognition as “something very beautiful, an achievement.”
What made the moment even more meaningful was sharing it with an artist she considers a friend. Sonza recalled how their collaboration came together organically, without awards or commercial expectations in mind: “We didn’t make the songs thinking about anything else, just because we liked each other.” Their creative chemistry was so immediate that one studio session yielded three songs, all of which they eventually released.
Bruses on Rosalía, vulnerability and redefining success
The Mexican singer-songwriter had plenty to celebrate with three Latin Grammy nominations, but she also found time to give a hat tip to the competition. “Rosalía, it’s an honor to lose to you. I love you so much,” she joked. Beyond the playful remark, the Tijuana native reflected on the emotional journey behind her album, Desde el Coma — which took three years to complete — explaining that mental health has long been central to her songwriting, which began as a form of personal journaling before her music reached a wider audience.
“I’ve always made songs about mental health, you know? And I started making music by writing as if it were my personal diary,” she said. As her career grew, so did her understanding of what achievement really means. “Success looks different to me now. It’s really beautiful, and I think I’m a very successful woman, and that has nothing to do with musical success.”
J Noa on taking aim at the music industry
The Dominican rapper found herself in an ironic position: earning a Latin Grammy nomination in the best rap/hip hop song category for “Antisistema,” a track that openly challenges the very industry recognizing her work. Rather than targeting a particular artist, J Noa explained that the track addresses the pressures imposed on musicians from all sides: “It’s like a diss track aimed at the system, but not specifically at music. It’s about the industry in general, the public, the listeners who make demands — everyone.”
What surprised her most was that the song’s confrontational message had earned such prestigious recognition. “I was really surprised that the nomination came from a song taking shots at the industry,” she said, adding that it was inspired by the desire to express “the things that we artists are always keeping quiet about.”
Francisca Valenzuela on the beautiful and brutal realities of motherhood
For Chilean singer-songwriter Francisca Valenzuela, motherhood became the inspiration for “Bugambilia,” her Latin Grammy-nominated alternative song. Written during her first postpartum experience, the track captures the emotional extremes of welcoming a child, including feelings that are often left out of the conversation. “It’s a song about the revolution that happens in that state of new motherhood, of postpartum,” she explained. “It talks about how dark it can be, because it’s not all rosy.”
While the song celebrates the love and wonder of becoming a mother, it also explores the pressure to keep going when everything feels overwhelming. Valenzuela described it as an attempt to portray a moment that is both “beautiful and brutal,” touching on “feeling inadequate, feeling like you’re collapsing under the pressure of having to perform.”
Gerardo Coronel on the $1,500 cure for heartbreak
Mexican singer-songwriter Gerardo Coronel has a rather unconventional prescription for getting over a breakup. His song “Una de 1500” draws on a familiar expression in Mexican street slang, which he uses to suggest that sometimes a little spending can help ease the pain of a failed romance. “When someone does something to you, when a relationship ends in a way you didn’t expect, sometimes you need something worth 1,500 pesos (roughly $80 USD) to help you forget or get over that trauma,” he explained.
The possibilities, according to Coronel, are practically endless — including “a psychologist who charges 1,500 pesos, a night of drinking that costs you 1,500 pesos, a little outing for 1,500 pesos, or whatever you can imagine for 1,500 pesos.” His conclusion? “One of 1,500 is very necessary to heal your sorrows.”
Milo J on his least commercial album becoming his most commercially successful
Argentine artist Milo J took a creative gamble with La Vida Era Más Corta, an album he initially considered one of his least commercially oriented projects. Rather than chasing a particular sound or audience, he focused on making something that felt authentic to him, even if it meant taking an unexpected direction. “In a way, I thought of it as a less personal album, because it’s somehow my least personal album, but perhaps the one that feels most like mine,” he explained, describing the freedom of releasing music primarily for himself and whoever wanted to listen.
The result, however, surprised him: The project connected with listeners across generations, and became one of his most commercially successful releases. “So it’s my least commercial album, but also my most commercial at the same time,” he reflected, calling its release perhaps the biggest gamble of his career. For this work, Milo earned six Latin Grammy nominations, including for album of the year.
Ovy on the Drums on why business can ruin a collaboration
Colombian hitmaker Ovy on the Drums believes some of the best musical partnerships happen when personal chemistry comes before business considerations. Discussing “Yo y Tú,” his Latin Grammy-nominated collaboration with Quevedo, the producer recalled how the song began with an initial idea developed alongside Beéle, before he shared it with the Spanish artist during a summer trip to Spain.
Quevedo immediately connected with the track, and the collaboration unfolded without complications. “It was a very natural collaboration, very easy, very fluid,” Ovy said. For him, that spontaneity makes all the difference. “When things happen that way, the music comes with a beautiful energy. Because there are songs where business gets in the way and ruins the energy.” In this case, he said, everything came together perfectly, ultimately leading to a Latin Grammy nomination.
Fonseca on fulfilling a dream with Rubén Blades
Colombian singer-songwriter Fonseca fulfilled a lifelong ambition when he joined forces with salsa legend Rubén Blades for a song addressing the experiences of migrants around the world. “Recording with maestro Rubén Blades is a dream come true. I grew up with his music, and I admire him deeply,” Fonseca said.
As the composition took shape, he realized that its message of solidarity with people pursuing their dreams far from home made Blades an ideal collaborator. After reaching out to the Panamanian icon, Fonseca was delighted by his response. “Fortunately, from the very beginning, he connected with it,” he recalled. Blades eventually became involved not only as a performer but also in the song’s production and composition, making the collaboration even more meaningful for Fonseca, who called having him on the album an enormous privilege.
Bad Gyal on making Más Cara without following the rules
Spanish star Bad Gyal approached her Latin Grammy-nominated album Más Cara with an open mind, allowing her musical tastes to guide the project rather than forcing the songs into a predetermined concept. “I never thought of it as a very strict concept,” she explained. Instead, the singer used the recording process to explore the genres and sounds that have influenced her, embracing the freedom to follow her instincts. “More than anything, I gave myself the opportunity to explore the genres I like most and enjoy creating the music I love.”
What emerged was a project she likened to a personal playlist, bringing together different styles that reflect her inspirations. The album earned her a nomination for best urban music album, while “Choque,” her collaboration with Chencho Corleone, received a nod for best reggaetón performance.
WIU on the beauty of being Brazilian
Brazilian rapper WIU sees his country’s cultural influence as something rooted in the ability to find beauty in ordinary life. Reflecting on his journey from Fortaleza’s freestyle rap circles to the international stage, he argued that language and regional identity are becoming increasingly important in a global music landscape.
“Everyone saw in their own language, their accent, their culture, a way to show how beautiful their area is, how beautiful their neighborhood is,” he said, emphasizing that the world deserves to discover those stories. For WIU, that perspective is central to Brazilian creativity. “The coolest thing about being Brazilian is our ability to see beauty in very simple things and turn that into a reason to capture attention in the most beautiful way possible.” Pointing to Carnival and funk as examples, he added that Brazilians have a particular talent for commanding attention with elegance and confidence while remaining true to themselves.
Joss Favela on the unreleased album that changed his life
Long before becoming an established singer-songwriter, Joss Favela recorded an album at just 14 years old that never saw the light of day. Although the project remained unreleased, the Mexican artist considers it one of the most significant milestones of his career because of the sacrifices his family made to bring it to life. “It was very important to me because it was made possible through all my parents’ efforts, and because so many things had to happen for me to record it,” he recalled.
The experience of hearing his voice in a professional studio left a lasting impression: “I remember walking into the studio and feeling an incredible excitement when I heard my voice.” Looking back on his evolution as a songwriter, Favela compared artistic growth to changes in personal style over time, noting that musicians continually discover new sides of themselves as their lives and tastes evolve.
Yami Safdie on Julieta Venegas’ influence and her musical diary
Argentine singer-songwriter Yami Safdie traces one of her earliest musical inspirations to Julieta Venegas’ Limón y Sal, an album that became part of her childhood routine. “It was the first album someone gave me when I was little. I played it every morning to wake up and go to school,” she recalled.
Years later, Safdie has embraced a similarly intimate approach to songwriting with Querida Yo, which she described as a deeply personal reflection of her life. “It’s as if it were my private diary. It’s super real, super transparent, completely unfiltered,” she explained. The songs capture the experiences, worries and questions that occupied her mind at the time. Looking back on 2026, she described the year as one of new experiences, including collaborations with artists she admires, such as Alejandro Sanz and Maluma.
Chino Pacas on making Christmas music, grandmother-approved
For Chino Pacas, the holiday season carries a special kind of nostalgia. The música mexicana star recalled growing up listening to Christmas carols and sharing those traditions with his mother and grandmother, memories that helped shape his latest project. “Christmas is the best, the best celebration of the year,” he said, explaining that he has loved holiday music since he was a child.
While his catalog has reached audiences around the world, he believes this particular album will have an especially meaningful listener close to home. “I feel like this is the album my grandmother is going to like the most out of all my music,” he shared. “I made this album with all my heart, thanking all my fans for the support they’ve given me this year.” He also discussed “Allá en Sonora,” a song he had been holding onto since 2023, and was finally preparing to release this week with a longtime friend and collaborator.
Eddy Lover on why he can’t recreate the magic of “Perdóname”
Nearly two decades after “Perdóname” became a defining hit, Panamanian singer Eddy Lover is still discovering new details in his collaboration with La Factoría. The romantic reggaetón favorite remains one of the songs most closely associated with his career, and he believes its original recording captured something impossible to reproduce. “Today, I notice so many things in that song that I didn’t realize at the time I recorded it, like the melody,” he explained. “There are so many things in the intonation that I try to imitate today, and I can’t. I can’t imitate them.”
Rather than viewing those imperfections as flaws, Lover sees them as part of the recording’s enduring appeal. He described the performance as having special qualities and a certain magic that cannot simply be recreated, even by the artist who originally sang it.
Urias on why freedom begins with overcoming fear
For Brazilian artist Urias, the meaning of freedom goes far beyond the ability to make personal choices. Her exploration of the subject began with questions about how freedom has been defined historically and what it means within society today. That search ultimately shaped her creative perspective. “It may sound cliché, but freedom to me is the absence of fear,” she said. “Fear of being, fear of existing, fear of doing — the absence of that fear.”
Urias believes that removing fear also helps eliminate the doubts that prevent people from expressing themselves fully. But she acknowledged that achieving that state requires an essential quality: courage. “Without courage, there is no freedom.”
