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Natanael Cano, leader and creator of the corridos tumbados genre, defied the ban imposed by authorities in the Mexican state of Aguascalientes against narcocorridos on Saturday (May 3). During his performance at the Feria Nacional de San Marcos, he played a couple of songs with explicit references to figures of drug trafficking and glorification of crime. In response, the event organizers lowered the audio volume and turned off the lights, bringing the show to an end.
Videos on social media show the moment Cano responds to the request of some attendees at his concert during the Feria Nacional de San Marcos, who insisted on hearing “Cuerno Azulado,” a controversial song in which the musician talks about organized crime and its alleged ties to Mexican authorities.

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“‘Cuerno (Azulado)’ isn’t something you need to ask me for, my friend. ‘Cuerno’ is something you need to ask your government for. If you want it so badly, do something about it,” the singer responded to the crowd. “With all due respect, we came here to Aguascalientes to sing for you, my friend, and with all due respect to the people who are prohibiting us from singing and showcasing our art, we don’t give a damn. Do something about it yourselves, don’t come asking me for it here”

Natanael Cano’s performance, announced as one of the star acts of the legendary fair that has been held for 197 years, began with a series of corridos and ballads that adhered to the list previously approved by local authorities. However, after midnight, the setlist included “Pacas de Billetes,” a song referencing Joaquín “El Chapo” Guzmán, the notorious drug lord who is currently serving a life sentence in the United States following his conviction in 2019.

The musician continued with “El de la Codeína,” a song that references substance trafficking, which led the organizers to lower the sound volume in the venue. In response, the artist’s technical team activated its own audio system so Cano could keep performing. However, after finishing the song, the organizers turned off the lights, and the singer abruptly left the stage without the concert officially concluding.

Billboard Español has reached out to Natanael Cano’s representatives as well as festival organizers and the government of Aguascalientes for comment on what happened Sunday, but has not heard back as of press time.

The incident with Cano comes three weeks after the concert by corridos superstar Luis R. Conriquez at the Feria de Texcoco in the State of Mexico on April 11 ended in chaos when he refused to perform narcocorridos, complying with restrictions imposed by local authorities on expressions that glorify crime in public spaces.

Conriquez revealed in an exclusive interview with Billboard that local authorities had warned him not to perform narcocorridos during his show at the Feria de Texcoco. “They said that if I sang a corrido, they would cut off the sound.”

The local Congress of Aguascalientes on April 16 approved legislation to penalize “the dissemination of content, images and artistic or musical expressions that promote activities related to organized crime.” State authorities have not commented on what happened during Cano’s show.

Aguascalientes is one of 10 states (out of 32) in Mexico that have banned or restricted the dissemination of narcocorridos or expressions that glorify crime. Without a federal law, local governments enforce penalties ranging from hefty fines to up to a year in prison for those who perform music that promotes violence.

Grupo Firme, another of the superstar regional Mexican acts that performed at this year’s Feria de San Marcos, declined to play corridos during its concerts on April 19 and 20, as previously announced by vocalist Eduin Caz in a social media message saying the band was complying with the new restrictions.

Junior H, another leading figure in the corridos tumbados genre, is scheduled to perform at the palenque of the mentioned fair Wednesday (May 7).

The new bans implemented in Mexico have expanded to the United States. In an unprecedented move, the U.S. State Department announced on April 1 the revocation of work and tourist visas for the Mexican corridos group Los Alegres del Barranco after it displayed images of the leader of the Jalisco New Generation Cartel, Nemesio Oseguera Cervantes, also known as “El Mencho,” during a concert on March 29 at an auditorium at the University of Guadalajara.

Ivan Cornejo made history the weekend of May 3-4 as the youngest regional Mexican artist to headline the iconic Radio City Music Hall. The 20-year-old singer-songwriter — known for his heartbreaking sierreño ballads — performed two back-to-back sold-out shows at Radio City Music Hall over the weekend as part of his 30-date Mirada Tour Parte 2. A second date was added due to overwhelming demand, further cementing his role as a generational voice for Gen Z Latin fans.

At the start of his hour-and-a-half set Sunday night, Cornejo walked onto the stage wearing a rhinestone-encrusted cardigan, his subtle swagger shining through despite fighting off a cold. Holding a cup of tea for much of the evening, he expressed gratitude to his devoted audience: “Thank you for pulling through with me,” he said to roaring cheers.

The energy in the venue was ecstatic, with fans — mostly teenagers and young adults — filling the historic space to sing every lyric at full volume. Excited fans often chanted “Ivan, Ivan, Ivan!” in between songs, and their fervor was met with Cornejo responding, “New York! New York!”

Throughout his tight, 20-song set, Cornejo delivered fan favorites such as “Está Dañado,” “La Última Vez,” “Dónde Estás” and his newest single “Me Prometí,” which was released just three days prior. Each song showcased his ability to tug at the heartstrings with a signature blend of acoustic melodies, riveting electric guitar solos, and soulful vocals. The show ended on a fiery note with Cornejo’s high-energy rendition of “La Curiosidad,” leaving fans on an emotional high.

Meanwhile, dazzling stage lighting incorporated sunsets, shooting stars and a shimmering starry night, perfectly complementing the moody and emotive tone of his music throughout the night.

While the genre has seen legends such as Vicente Fernández headline Radio City nearly 30 years ago in 1995, such appearances have been rare for regional Mexican artists in the iconic venue. “I feel like it’s a historical and monumental moment,” Anahí Díaz, the booking coordinator at Radio City, tells Billboard Español. “Representation is important. I hope it’s not the first of any.”

As part of his Mirada Tour Parte 2, the artist will continue to bring his unique blend of sad sierreño ballads to audiences across the country before heading to Mexico. Having kicked off the trek at Coachella in April, his tour includes stops at major venues such as the United Center in Chicago, the Moody Center in Austin, Texas, and the SAP Center in San Jose, Calif. The 30-date journey will wrap on June 22 in Sacramento, Calif.

Check out the full setlist below from his Radio City Music Hall performance in New York.

“Atención”

Image Credit: Mario Millan