Premios Juventud 2026: 10 Best Performances, Ranked

Natanael Cano brought the beautiful mess. With a beer in hand, his shirt unbuttoned and sweat already setting in, the corridos tumbados pioneer took the stage for “Mar Azul,” off Natanael Cano Vol. 1, flanked by a tuba, two requintos and a steel-string guitar. Cano appeared a little unsteady but wholly unbothered, leaning into the raw, debauched energy that has long made him one of música Mexicana’s most disruptive figures. It was loose, loud and gloriously imperfect.

Kenia OS and Xavi brought one of the night’s most anticipated collaborations to the stage with the live premiere of “Malas Mañas.” Blending corridos’ melodic pull with bachata-inflected rhythm, the pair delivered a sleek, flirtatious performance that played to their contrasting star power: Kenia in daring red sheer bottoms and Chanel pasties, while Xavi rocked a leather vest and dark sunglasses. The performance gave their new song a memorable first look. While it seemed like it was lip synced, it was still super cute.

Farruko and friends set the tone as the night’s opening acts, flexing the genre-hopping versatility that has defined his career. He began alongside Juan Magán and DJ Rous with “Marbella Nights,” the event’s new anthem, blending dancehall flourishes with a high-energy, Spain-meets-Latin America party atmosphere. Without leaving the stage, Farru shifted gears as Greeicy joined him for their Latin Airplay No. 1, EDM-driven collaboration “Yapaque,” featuring Steve Aoki — a fitting launchpad for Premios Juventud’s first European edition.

Ángela Aguilar delivered one of the night’s most elegant performances with a stirring rendition of the Mexican standard “Cielito Lindo.” Dressed in a traditional gown with braids, the singer was backed by a sweeping orchestra as she led the crowd through its beloved “Ay, ay, ay, ay, canta y no llores” refrain. She capped the tribute with a triumphant cry of “¡Que viva México!” — bringing a touch of mariachi grandeur to the award ceremony’s first night in Spain.

Eladio Carrión put his own stamp on “Polaroid,” from his CORSA album, which reworks Michael Sembello’s 1983 pop classic “Maniac” for a new generation. With rap verses, a muscular beat and a gigantic Polaroid backdrop, the Puerto Rican star transformed the familiar hook into a club-ready urbano banger. A dancer evoking Flashdance’s iconic visual brought a touch of theatrics before the set pivoted into “Body,” where neon-clad dancers in leotards, thick socks and sneakers filled the stage, turning the performance into a colorful retro-workout fantasy.

Reggaetón pioneer Wisin turned Premios Juventud into a full-on perreo party, opening with the classic “Saoco” — not Rosalía’s later hit — before rolling through “Paleta” and “Gistro Amarillo.” The Puerto Rican star brought his veteran command and kinetic delivery to the stage, then welcomed Kapo for the televised world premiere of “Muévelo Pa’ Mí.” Their high-energy linkup made a strong case for reggaetón’s enduring, cross-generational pull, amid pyrotechnic effects.

Santos Bravos arrived in crisp white, commanding the stage with the polished choreography, pop-star presence and club-ready sound that explain their immediate appeal. Moving between Portuguese-tinged hooks and a moodier section framed by a looming shadow backdrop, the heartthrob quintet kept every beat tight before a rush of dancers filled the stage and confetti exploded overhead. The performance felt like a K-pop-scale production made for Latin pop’s next boy band.

Quevedo made his Premios Juventud debut feel rooted in home. With a giant projection of the Canary Islands behind him, the Spanish star opened with “Columbia” before moving into “Al golpito” alongside Las Cuatro — the re-formed Nueva Línea — as the crowd sang along. Then Elvis Crespo emerged for their first live performance of “La Graciosa,” the summer-ready collaboration that bridges Quevedo’s island-bred urbano sound with Crespo’s Caribbean pop pedigree. “¡En la graciosa la vida es mas sabrosa!“, the “Suavemente” hitmaker shouted. It was a distinctly Canarian celebration with the kind of multigenerational crossover PJ does best.

Honored as an Agent of Change, Marc Anthony brought the kind of seasoned star power only a salsa icon can summon. The singer ran through a hit-filled medley of “Aguanile,” “Valió La Pena,” “Pa’lla Voy” and “Vivir Mi Vida,” with the crowd rising to its feet for the enduring final anthem. More than a decade after its release, “Vivir Mi Vida” still landed like a communal call to celebrate — a fitting finale from an artist whose songs continue to unite generations.

Over thirty years into their career, La Oreja de Van Gogh delivered a homecoming-worthy highlight with their timeless anthem “Rosas.” Honored as an Agent of Change, the Spanish band took the stage as dozens of pink roses bloomed across the screen behind them, while the audience sang every word and swayed along. In a pink look accented by an oversized rose, appropriately, Amaia Montero led the emotional singalong with a warm, unmistakably live vocal — proving why “Rosas” remains one of Spanish pop’s most enduring hits.