
*For more than four decades, Sheila E. has been a force in music—commanding the stage with her explosive percussion, magnetic presence, and boundary-pushing artistry. But 2025 is proving to be a career-defining year for the Oakland-born Queen of Percussion.
This year, Sheila E. earned her first-ever Grammy Award, winning Best Global Music Performance for her electrifying rendition of Celia Cruz’s “Bemba Colorá” featuring Gloria Estefan and Mimy Succar. The track, from her salsa debut album Bailar, made history—not only for the collaboration but also for Sheila’s bold decision to play both a rumba conga solo and a funk-driven drum solo on the same track.
“I told Tony Succar, who co-produced the record, ‘I don’t think anyone has done it—and especially a woman—so I gotta do it,’” she explained. “I just heard it differently. I had to.”
The Grammy win capped off an ambitious release schedule. In May, she dropped Bailar Deluxe, featuring three new tracks, including “Mi Rumba y Tambor” with Puerto Rican salsa star La India and the heartfelt ballad “Vuelvo.” Just one week later, she followed up with Sheila E. & Friends: Bailar Instrumentals, a stripped-down, percussion-forward reimagining of the album.
“I’ve never done an instrumental version of any of my albums before,” she said. “I wanted to let the instruments speak… not a lot of people hear vibes anymore, especially women playing them. There were so many artists who said yes—it was amazing to have such an eclectic mix.”

Those artists include an all-star roster of collaborators such as Marcus Miller, Chris Botti, Kirk Whalum, Peter White, Charlie Sepúlveda, and Alfredo Valdés Jr.
For Sheila, the music is deeply personal. Born to Latin jazz legend Pete Escovedo and influenced by her godfather Tito Puente, rhythm and heritage have always been at the core of her artistry. But she’s quick to point out that her musical identity is shaped by both sides of her family.
“It’s amazing,” she said of her cultural background. “That’s what makes me who I am as an artist. To be able to mix a little bit of everything—from Bailar to Bailar Deluxe to the instrumental version—that flavor of Oakland, Latin, jazz, funk, R&B, and the mix of salsa works. And having my mother’s Creole influences in there as well just adds another layer to the rhythm. It makes sense to me.”
Her mother, Juanita Gardere Escovedo, was of French Creole and African descent, and Sheila credits her with giving her a sense of pride and connection to multiple cultural traditions.
And while the album releases were months ago, Sheila E. is keeping the momentum alive through a busy live schedule. Her E-Train band has performed at the North Sea Jazz Festival in Curacao and Rotterdam this summer, with upcoming dates in Minneapolis, Cincinnati, the Bronx, and a November homecoming at Yoshi’s in Oakland.

The combination of a Grammy win, groundbreaking achievements in percussion, and a still-active touring calendar makes 2025 one of the most significant years of her career.
“It was pure, unadulterated destiny,” Sheila E. said, reflecting on a year that’s redefining her legacy.
Watch my full conversation with Sheila E. below:
From the column: Black in the Green Room
By Keith L. Underwood
Follow: @mrkeithlunderwood (IG), @blackinthegreenroom (IG), YouTube, TikTok, and Facebook

Keith L. Underwood is a writer, producer, director, and former celebrity publicist whose work explores the intersection of Black culture and entertainment. He is the creator and host of Black in the Green Room, a syndicated column and radio series spotlighting Black creatives in television, film, theater, and music. The column runs weekly in the Los Angeles Sentinel, and the companion radio show airs on KBLA Talk 1580. The series can be seen on YouTube (@blackinthegreen) and heard across most major podcast platforms. You can also follow Keith on Instagram (@mrkeithlunderwood), TikTok and Facebook (@keithlunderwood).
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