ILe is performing at the free opening-night concert of the 20th annual Latin Alternative Music Conference on Wednesday at SummerStage in Central Park. Over the last two decades, the conference (abbreviated as L.A.M.C.) has sought to nurture Latin music that didn’t fit established radio and record-label formats; some of it went on to take over those outlets.

Through the years the conference has presented rising acts including songwriters like Julieta Venegas and Natalia Lafourcade; rock bands like Cafe Tacvba and La Vida Bohème; reggaeton performers like Vico C and Ivy Queen; electronic dance music from Systema Solar and Kinky; and hip-hop from Pitbull, Ana Tijoux, Princess Nokia and the Colombian group ChocQuibTown (which returns to headline SummerStage on Saturday). “We’ve helped to expand people’s listening to different types of sounds, and made it O.K. to do something different,” said Tomas Cookman, who founded the conference.

ILe has already made multiple conference appearances. Her first were with Calle 13, the musically omnivorous, politically charged hip-hop act built by her older brothers René Pérez Joglar (Residente) and Eduardo Cabra Martinez (Visitante); iLe started performing with Calle 13 at 16, when she was still in high school. She was out front with her brothers at one of L.A.M.C.’s most memorable concerts, an uproarious Calle 13 show with overflow crowds at Celebrate Brooklyn in Prospect Park in 2012. One of the first concerts of iLe’s solo career was also a L.A.M.C. showcase, at the Highline Ballroom in 2016; that year, she was given the conference’s Discovery Award as most promising new artist.

Though “iLevitable” would go on to win the Grammy in 2017 for best Latin rock, urban or alternative album, iLe’s debut didn’t really fit those Grammy adjectives. In Calle 13 — calling herself PG-13 — she had been a bright-voiced chorus singer and a sassy rapper. On her own, iLe revealed an entirely different voice, one suited to pop from previous generations: sensual, nuanced, torchy. The sound of “iLevitable” partly harked back to plushly produced Latin pop songs of romance (and mostly heartache) from half a century ago: bolero, cha-cha and bugalú, with big-band horns and luxuriant strings. But she and her co-producer and songwriting collaborator, Ismael Cancel, also gave the music and lyrics some dark 21st-century twists. The album cover showed a slit wrist bleeding honey.