That dream turned into reality for Tony Succar, a kid born in Peru and raised in Miami. He is now the proud holder of the Grammy for "Best Tropical Latin Album" for his project Alma, Corazón, y Salsa (Live at Teatro Nacional), which he made alongside his mother, singer Mimy Succar.
"It feels a bit surreal. Yeah, I mean, it's incredibly meaningful because, in the "Tropical" category, you see how it encompasses so many genres of tropical music, right? It's a tough category because you have merengue with Juan Luis Guerra, salsa with Marc Anthony, fusion artists like the incredible Sheila E., and traditional Cuban music with Kiki Valera. And then there's our own Peruvian approach, blending salsa and other fusions. It's hard to compare all of that. We truly didn't expect to win, but when they announced our name, it was huge. More than anything, it felt like we did it. It was a tribute — not just to my mom but to all the mothers in the world. Truly a moment to honor them," Tony says.
His mother, Mimy, also celebrated a Grammy win, earning the Grammy for "Best Global Music Performance" for "Bemba Colorá" with Sheila E. and Gloria Estefan.
"We never really thought about receiving something like this. We do everything with care and love," Mimy says. "This was special because it was my first time recording a live performance. The first album, Mimy & Tony, was also nominated last year, and this one was meant to show my dad, Antonio Succar, an appreciation for him from my kids. He was an essential piece for our love of music. It was, for me, a way to give me something meaningful since I've always been singing. It was meant to be a keepsake for the family, but the album turned out so good that we performed it live in Peru, and that live album is the one that won the Grammy this year."
Going at It Live
Not only was the project an underdog in comparison to artists like Marc Anthony and Juan Luis Guerra, well-known Recording Academy favorites, but the album was also a live recording of the mother-and-son duo's performance at the Gran Teatro Nacional in Lima. The Succars chose the venue because of its intimate setting combined with masterful acoustics and, of course, because there's no better place than home. They performed to a sold-out crowd."As a musician, I'm a big fan of live records. I even enjoy listening to live versions of songs more than their studio recordings," Tony says. "When live music is recorded well, it captures something different. It's not bound by the strict, structural parameters you think about when making a studio track. Studio recordings often aim to sound perfect for radio or follow a click track, a consistent tic-tic-tic tempo you have to stick to throughout the song. But back in the day, especially during the Fania era with legends like Willie Colón and Rubén Blades, salsa wasn't recorded like that. It was live, with the whole orchestra playing together — think Tito Puente and the raw magic of those sessions. That energy has been somewhat lost in modern production, where everything is cleaner, more structured, and even a bit more pop. When I go into the studio, I don't record the entire orchestra live either because the sound has evolved. It's more polished now. But there's something magical about live performances. So, I thought, You know what? I want to make an album that captures the essence of the past while still maintaining the studio quality I'm known for."
At 65, Mimy ventured into the studio for the first time, a significant shift from the live settings she had long been accustomed to. The controlled environment — air conditioning, the quiet of the space — felt foreign to her, and the raw, joyful energy that defined her performances seemed to fade. When she performed live, however, her interpretation became something entirely different: unfiltered, connected, and brimming with authenticity, a vibrant energy that resonated deeply with her audience."Salsa has never really left; it's always been around. But I dream of a time when it feels like the golden era when Héctor Lavoe and Willie Colón were at their peak."
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This was another proponent that helped her choose to take the album on the road and create a whole new vision for the project. The energy that she would exchange with audiences throughout the world was something that she and Tony felt they needed to capture and share with everyone.
"We also have an incredible orchestra in Peru, with musicians who are truly exceptional. Our repertoire includes not just salsa but also traditional Peruvian music," Tony explains. "Peruvian music has a unique cadence that can be challenging for musicians who aren't immersed in it, those who aren't from Peru. While we can perform it anywhere, as musicians from different countries, there's something distinct about maintaining the authenticity of the music. That's what I wanted to preserve."
Hometown Heroes
After their recent Grammy win, Tony and Mimy returned to Peru for a hero's welcome, with TV interviews and appearances across Lima to celebrate their achievement. They also performed a trio of sold-out shows again at the Gran Teatro Nacional."When we first chose the date, we were only nominated. The producer asked if we were free on that day, and we said yes, not realizing that it would coincide with the ceremony," Mimy says of the recent Lima concerts. "When the date came, we were shocked to learn it was for the awards. But honestly, we never imagined we would win. It was surreal going in, not knowing we had already won."
Thanks to recent albums by artists like Rauw Alejandro and Bad Bunny, tropical music has suddenly surged in popularity with younger listeners. Everyone wants to learn how to dance, and kids are looking into records from OGs like Tito Nieves, La India, and Frankie Ruiz.
"Salsa has never really left; it's always been around. But I dream of a time when it feels like the golden era when Héctor Lavoe and Willie Colón were at their peak. Back then, in New York, people were eager to hit places like the Palladium and Copacabana, with multiple orchestras performing, including Marc Anthony, La India, and Tito Nieves, all from the Bronx. I hope to be part of a movement like that one day. That's why I was so excited when I saw Bad Bunny's song, 'Baile Inolvidable,' climbing the charts — a song over five minutes long with a piano solo, played out in the streets. I reached out to Marco "Mag" Borrero, one of Bad Bunny's producers who worked on that album, and told him, 'Bro, I want to congratulate you and the whole team. You don't realize how important this is for the genre, especially for Puerto Rico.'"
Thanks to the recognition from the Recording Academy and the rising popularity of tropical music, Tony and Mimy plan to create more music and tour more cities around the globe, as everyone seems to need more sazón.
"I've been talking with my team, organizing all these opportunities that are coming our way," Tony says. "This year marks 15 years of my artistic career, and I'm kicking things off with shows in Peru. But I've already received offers from places like Veracruz, Cuba, Milan, Europe, Atlanta, and Canada. A tour is something I'd really love to do now that we have this platform. Winning the Grammy has definitely opened doors and made a big difference."
