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Regional Mexican star Julión Álvarez made his return to the U.S. stages on Thursday night (April 17), with the first of three shows of his 42/18 Tour at the SoFi Stadium in Inglewood, Calif. — a record for a Latin artist at the venue. Previously, Los Bukis — also Mexican and representing the same musical genre — held the record there with two performances in August 2021.
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It took eight years for Álvarez, also known as the King of the Box Office, to perform in the U.S. again after he was accused by the U.S. Department of the Treasury’s Office of Foreign Assets Control (OFAC) of money laundering in 2017, a charge he was cleared of in 2022.
“I must confess that I was close to tears. I’m trying to stay strong, but I’m truly very emotional and happy. You can’t imagine the amount of feelings and emotions I’m experiencing right now. I hope you enjoy this as much as I am,” Álvarez said shortly after starting the show with a Mexican flag and a snippet of “Cielito Lindo,” singing in Spanish, “Let them say I’m asleep and bring me here, beautiful and beloved Mexico, if I die far from you.”
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“I hadn’t come to sing for you in eight years,” he continued. “Thank God and thanks to all of you, I’m still doing what I love — the work on which so many families depend. Thanks to my family, who supported me through everything. Thanks to the friends who were always there. But above all, a thousand thanks to the audience, and to the media who were always present. I thank you from the bottom of my heart.”
Álvarez then embarked on a musical journey through his career, performing hits such as “Regalo de Dios,” “Te Hubieras Ido Antes,” “Rey Sin Reina,” “La Frontera” and “Mi Mayor Anhelo,” a song that brought back memories of his days as the vocalist for Banda MS, which he thanked for the lessons he learned from the band. In another touching moment, his musicians played the classic “Las Mañanitas,” and his daughters Maria Julia and Maria Isabel joined him on stage to celebrate his April 11 birthday.
Known for performing shows lasting up to four hours, the artist born Julio César Álvarez Montelongo explained to the audience that venue rules would prevent him from singing for more than two hours. “I hope you can forgive me, but I must respect the laws of this land,” he said before closing with a medley of José Alfredo Jiménez’s classic rancheras “El Rey” and “Ella,” along with his rendition of “Volaré.”
After his shows on Friday and Saturday (April 18 and 19) at SoFi Stadium, Álvarez will continue his 42/18 tour on May 24 at AT&T Stadium in Arlington, Texas.
Billboard’s New Music Latin roundup and playlist — curated by Billboard Latin and Billboard Español editors — is back with fresh new music. This week’s releases include a bunch of duets, such as Beéle and Marc Anthony (“Dios Me Oyó”), Ana Bárbara and Yahritza y Su Esencia (“Besos Robados”), Xavi and Netón Vega (“Hija de Papi”) and Kenia OS and Anitta (“En 4”). […]
New Music Latin is a compilation of the best new Latin songs and albums recommended by Billboard Latin and Billboard Español editors. Check out this week’s picks below.
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Beéle, Marc Anthony, “Dios Me Oyó” (Hear This Music, LLC)
Breakout Colombian star Beéle and salsa music icon Marc Anthony join forces on this infectious Afrobeats track, where the former’s tropical and urban sound blends beautifully with the latter’s romanticism, transporting us to a Caribbean love scene. “God heard me, hey, God heard me/ You’re holy water and I drink it myself,” goes the catchy chorus. “Dios Me Oyó” is “a love letter” to Beéle’s roots.
“I was born into a family full of Colombia’s coastal culture. We’ve been salsa and African music lovers for as long as I can remember,” the 21-year-old singer-songwriter explains in a press release. “So to now have a song with someone I grew up listening to-Marc Anthony- it just makes sense. It’s more than a dream come true. It’s destiny.” Destiny or not, we couldn’t be happier about this pairing. — SIGAL RATNER-ARIAS
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Ana Bárbara x Yahritza y Su Esencia, “Besos Robados” (Columbia Records / Sony Music)
After performing the song together in concert, Ana Bárbara and Yahritza y Su Esencia officially release their first collaborative effort “Besos Robados.” Backed by weeping requintos and a deep tololoche bass, the heartfelt track best showcases both Bárbara and Yahritza’s powerful vocals. Co-written by the two artists, the melancholic sierreño song was beautifully crafted for those who are in love, but have to let go. “I wanted you by my side/ But what we shared were robbed kisses/ It’s best if I say goodbye,” they passionately harmonize in the chorus. A music video — featuring Ana with the famed siblings group creating the song in the recording studio and with video bits of their live performance on stage — accompanies the track. — JESSICA ROIZ
Código FN, “Me Gustas 1CH!NG0” (Al Millón Music)
Código FN, known as one of the greatest exponents of corridos, surprises with a rhythmic norteño tejano cumbia with romantic lyrics —with a very contemporary style. Written by José Ernesto León Cuén, Roberto Zamudio Ramos, and Salvador Aponte, “Me Gustas 1CH!NG0″ invites to dance from the first chords with a cadenced rhythm, a concept they have been mastering since their previous single, “Cajeta,” both part of their upcoming studio album Géminis, to be released in June. With 15 years in music, Código FN demonstrates their versatility and interest in continuing to advance their career. —TERE AGUILERA
Xavi & Neton Vega, “Hija de Papi” (Interscope Records)
Xavi and Netón Vega’s “Hija de Papi” is a playful ode to young love and indulgent reckless nights, wrapped in the infectious grooves of corridos tumbados. The tololoche hits as the duo delivers witty lyrics, painting the picture of a “fresa” girl with lavish tastes — Birkin bags, black cards and chaos aplenty. Lines like “carita de Barbie, cuerpazo de Bratz” and “Me siguе la cura siempre andando en еl desmadre” reveal the song’s edgy, tongue-in-cheek attitude, while its high-energy production by Xavi keeps things dynamic. Riding immense TikTok hype, the track cements the chemistry between Xavi and Netón, emerging as an anthem for lavish lifestyles and wild romance. Whether sipping jarabe or chasing trouble, “Hija de Papi” captures the uncontainable spirit of the música mexicana’s rising stars. — ISABELA RAYGOZA
Ariza, Morat, “Ciudad Amurallada” (Ariza)
Colombian producer, songwriter, and multi-instrumentalist ARIZA teams up with the vibrant pop rock band Morat for his captivating new single, “Ciudad Amurallada.” This emotionally-charged piece delves into the tender nuances of love and serves as a captivating first peek of his forthcoming album. The song opens with the evocative lines, “I want to be the calm that covers you in the mornings,” wrapped in a delicate piano melody that gradually grows into a rich and immersive sonic landscape. “Ciudad Amurallada” is a masterclass in musical dynamics, skillfully meshing ARIZA’s minimalist-yet-intentional production style with the unique vocal textures that are the hallmark of Morat’s distinctive sound. — INGRID FAJARDO
Check out more Latin recommendations this week below:
At the dawn of the new millennium, Nortec Collective transformed the traditional sounds of northern Mexico into something entirely unheard of — a fusion of regional Mexican and electronic music that redefined a generation. Shorthand for “norteño” and “techno,” Nortec was culture rewired, fusing the bright accordions and brassy tubas of banda with driving techno and experimental beats. But what emerged wasn’t merely a genre — it was a sonic identity, a collision of past and future that encapsulated the spirit of Tijuana.
While Nortec Collective began as a collaborative effort of forward-thinking Baja California DJ/producers and visual artists, its global breakthrough was powered by the duo of Ramón Amezcua (Bostich) and Pepe Mogt (Fussible). With their boundary-pushing vision, Bostich + Fussible carried the sound, ethos, and imagery of Nortec beyond the Tijuana clubs and into Coachella (2001 and 2015), Cirque du Soleil, the 2011 Pan American Games, and events spanning Japan, Brazil, France, and Argentina. Along the way, they collaborated with icons like Morrissey, Beck, Tom Tom Club and Kraftwerk. Nortec Collective’s seminal album Tijuana Sessions, Vol. 3 (2005) earned them two Latin Grammy nominations.
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From the outset, Nortec’s work challenged conventions, subverting stereotypes of Mexican identity — like the outsider trope of the gun-slinging charro donning a weed plant shirt in a lawless Tijuana — while exploring new artistic terrain. Their influence hasn’t just resonated in music but across academia and art, sparking critical studies like Paso del Nortec: This is Tijuana! (2004), by Jose Manuel Valenzuela, and Nor-tec Rifa!: Electronic Dance Music from Tijuana to the World (2008) by Alejandro L. Madrid. Most recently, they’ve been the subject of a chapter in 2024’s Con sus charros cibernéticos: Un paseo por la música electrónica en México by Juan Antonio Vargas Barraza.
Nortec Collective
Courtesy of Nacional Records
Today, the ripple effects of Nortec’s inventive sound can be heard in the rise of electro corridos, a genre-blurring movement led by acts like Fuerza Regida (whose Jersey corridos album Pero No Te Enamores made waves), DannyLux (“House of Lux”), Codiciado (“Gabachas”), Grupo Marca Registrada, Luis R. Conriquez, and Los Esquiveles. Even this week, SoundCloud spotlighted the growing prominence of the movement among listeners, a testament to the enduring relevance of the fusion that Nortec originated.
Now, 25 years after the release of their first project as Bostich + Fussible, the pair continue to celebrate their legacy while adding new milestones. Last month, their single “Tijuana Sound Machine” from their Grammy-nominated 2008 album of the same name was certified double-platinum by AMPROFON in Mexico. With festival appearances this year at Vive Latino, Pa’l Norte, and Festival Arre, Nortec’s Bostich + Fussible continue to demonstrate the enduring resonance of their influence — not only for themselves but for the revolutionary fusion that changed how we hear and imagine Mexican music.
Below, the duo reflect on both their legacy and their place in contemporary music.
Fussible: Nortec started out as a collective back in ’99. Ramón and I had been making electronic music since the ’80s, experimenting with genres like industrial, breakbeats, EDM and house. Even though our paths were pretty different, in the mid-’90s we came up with an alias called Monitor, which leaned more toward experimental electronic stuff with a touch of breakbeat.
Neither Ramón nor I liked norteño or banda music because we grew up with different influences. It wasn’t because we had anything against that music — we’d hear it at family parties, and it’s very common in Tijuana. But when you grow up with electronic music coming across the border, whether through radio stations or record stores back then, our passion was electronic music — that’s what shaped our influences.
From there, I got my hands on some tapes of norteño music with snare drums and trumpets recorded by local bands. These groups made demos to land gigs in bars and nightclubs around Tijuana. They’d record covers of artists like Los Tigres, El Recodo, Intocable and even a norteño version of the Beatles in Spanish, all in their own style. While experimenting with mixing their recordings with ambient techno sounds, the track “Ventilador” was born, giving me the idea for an entirely new project.
Nortec Collective
Gregory Allen
At first, Ramón was a bit skeptical and thought it was a joke. I told him we could do something with it. More than anything, it was about searching for identity, an opportunity to create something different and shake things up, but only as a one-off project. Then Ramón released “Polaris,” followed by “Trip to Ensenada” [by Fussible] and “Tijuana Bass.” That set the foundation.
We had several musician friends in Tijuana who were making electronic music. We put out a call to see if they wanted to join in under the same concept and use the samples I had collected. However, many thought it was a joke or just weren’t interested. But a few with production experience jumped on board. We brought in Terrestre and Plantón from Ensenada, who had a strong background in advanced electronic music, jazz, and even rock. Then there were Hiperboreal and Panóptica, who were doing their own thing. Designers Jorge Verdín (Clorofila) and Fritz Torres also joined in, contributing to both the music and the visuals.
When we released our first tracks, a DJ from Tijuana named Tolo decided to use his budget, which was originally meant for house music on vinyl, and decided to fund the first Nortec vinyl. That’s how it all took off — with finished songs and a collective. It was the birth of the Nortec Collective.
Ramón and I had more material, so we dropped our first release, Bostich + Fussible Remixes, which came out on [the label] Opción Sónica in early 2000. That’s why the 25 years of Bostich + Fussible. The collective’s performances came to an end around 2006 or 2007, with one final show featuring everyone together. After that, each member went on to release their own albums individually. But Bostich and Fussible made a comeback with Tijuana Sound Machine in 2008. We kept creating more and found our formula for working and performing together.
We decided to create a story based on that car [featured on the album cover]. That’s when we came up with the trilogy about this mysterious car that you don’t know if it flies, smuggles undocumented immigrants or illegal goods, or maybe even traffics records. Its wheels are speakers, and inside there’s a norteño ghost. The design, created by Fritz, was also nominated for a Latin Grammy for best recording package.
Bostich: Each of our albums has reflected that [Tijuana] reality. In the beginning, the first Nortec cover, a digitized norteño, was very much tied to the concept of the music. It was a deconstruction through technology of a sound that was entirely regional and local. Even though norteño and banda music didn’t originate in Tijuana, it’s the music we grew up with in our city.
During the Tijuana Sound Machine era, Tijuana was an extremely violent city. It was necessary to keep your name out of phone directories to avoid being tracked or located. Many people left the city. There were a lot of kidnappings, and that reality was reflected in the themes of the albums, like “Retén” and “Akai 47.”
Bulevar 2000 (2010) is about a highway in our city that was built to support Tijuana’s growth but ended up becoming a place where many murders happened, with bodies wrapped in blankets being dumped there. Interestingly, when people Googled “Bulevar 2000” or on other search engines back then, all they found were stories about violent incidents. But when the Bulevar 2000 album was released, people started seeing the album or references to Nortec in the top search results. It was a complete shift and has changed so much since then.
Our latest album, De Sur a Norte (2022), reflects Today’s Tijuana, where the city no longer has its own distinct identity. Everything is so interconnected now. People listen to music from all over the world. You can go to Mérida, and folks there are listening to the same music we’re hearing in Tijuana — not just the sounds of guitars, trumpets, tubas and accordions, but also influences from other parts of the city. Pepe and I have tried to authentically capture our reality as Tijuana natives and what we’re experiencing today.
Tijuana, as a border city and a constantly changing place, has completely different sides to it. Every five to seven years, Tijuana isn’t the same city anymore. The Tijuana of ’99 and 2000, I can tell you, was industrial — it was a time of economic, social and political growth. There was also this new concept of globalization. Pepe and I were sharing our music in a very different way. Our first tracks on Napster were already among the most listened to, according to the creator of Napster himself when we met him. In fact, Nortec’s original slogan was “download is culture.” People would say, “Why are you giving music away? Why is it free? There won’t be any business; there won’t be anything.” But all of that was part of the vision of what was coming at the time — the era of downloads.
Nortec Collective
Courtesy of Nacional Records
The Rise of Electro Corridos
Bostich: We’re very aware that we’re not necessarily an influence on them [today’s acts in the genre]. It’s more a reflection of technology — an inevitable way of applying it to any type of music. Electronic music was bound to find its way into every musical style sooner or later. A few months ago, we played at Festival Arre in Mexico City, which focuses on regional Mexican music. Most of the crowd — 18, 20 years old — no longer wear cowboy hats or boots. We were a little nervous about how Nortec would be received, especially since Fuerza Regida performed right before us. The place was packed, with over 20,000 people.
And when they finished playing, the stage emptied out completely, and then we started. At first, there were maybe 50 to 100 people in front of us, tops. We thought, “Well, that’s it for us.” But then it filled up immediately, I think just like it did for the others. The most surprising thing was that the musicians from those bands stayed to watch us. They were off to the side, like, “Who are they? What are they doing? Why are they mixing this music?” We truly believe that the connection between the roots of Mexican music and electronic music was something inevitable — sooner or later, it was bound to happen.
“Tijuana Sound Machine” is included on The Story of Nacional Records, Vol. 1 limited edition double vinyl. The duo is slated to perform in Mexico City’s Pepsi Center on Aug. 30. They are currently working on new music.
The ban on narcocorridos in certain Mexican states have most recently caused chaos at a Luis R Conriquez show in Texcoco, a city in the State of Mexico just 15 miles outside Mexico City.
“There are no corridos. What do we do? Should I just go home instead?” Conriquez, who pioneered the regional Mexican subgenre corridos bélicos, told the rowdy crowd that protested his firm stance on not performing corridos that night. He was following the rules and regulations established by Texcoco, a municipality that, since April 9, prohibited expressions that glorify violence following the implementation of a law targeting mass events.
“It feels awful not to be able to sing what people want to hear, but we join the cause of zero corridos,” the Sonora-born artist added, stirring up a strong reaction by the audience who booed him, threw punches and caused significant damage to the venue, ending the show abruptly. (Read Conriquez’s exclusive interview with Billboard detailing exactly what happened that night.)
Corridos are a style that dates back to the Mexican Revolution in the early 20th century. Over the past few decades, the subgenre has birthed various iterations, including corridos bélicos, corridos alterados, corridos verdes, corridos tumbados and narcocorridos, to name a few.
While Conriquez’s situation has sparked mass media attention, the ban on narcocorridos, songs that often name-check Mexican drug kingpins or cartel figures, goes way back to the 1970s, when Los Tigres del Norte ushered a new era for corridos. Since, calls for censorship of this popular style of music — which has only gone global over the past few years thanks to a new generation of hitmakers, including Gerardo Ortiz, Peso Pluma, Natanael Cano and Conriquez — have only intensified.
Sinaloa was among the first states in Mexico to call for a ban on narcocorridos in the 1980s. Other states followed in efforts to regulate or control the diffusion of narcocorridos. Today, 10 (out of 32) states in Mexico have implemented bans and limitations on the broadcasting of corridos in public spaces, including Baja California, Chihuahua, Guanajuato, Quintana Roo, Nayarit, Jalisco, Michoacán, Aguascalientes, Querétaro and Estado de México. Without a federal law, the local government would apply penalties that range from fines or up to one year in prison to those who play music that advocates violence.
“This censorship has followed regional Mexican music for many years but in reality, it reflects what happens every day in our environment,” Rafael Valle, programming director of Guadalajara radio station La Ke Buena, previously told Billboard. “If the song says some word that is not allowed on the radio, obviously we modify the song, but we don’t censor it because that would mean not playing songs that people are constantly requesting.”
States have gone so far as to banning actual artists from performing in certain cities. In 2012, Los Tigres were “indefinitely banned” from Chihuahua after the norteño band sang narcocorridos during a weekend concert there. “We ask concert organizers and the artists themselves to think about the difficult situation the country is in,” government officials said then. Murders and drug-related violence linked to organized crime in Mexico continues to engulf the country today.
This year alone, a number of new bans have taken into effect in Mexico and have even expanded into the U.S. In an unprecedented move, the U.S. State Department canceled work and tourist visas of Mexican corrido group Los Alegres del Barranco after they displayed images of the leader of the Jalisco New Generation Cartel (CJNG), Nemesio Oseguera Cervantes, also known as “El Mencho,” during a concert on Saturday (March 29) at an auditorium at the University of Guadalajara.
Below, see Billboard‘s updating timeline on state and federal actions against narcocorridos implemented this year in Mexico, and their impact on Mexican artists.
January 5, 2025
The second edition of Maluma’s “Medallo En El Mapa” concert in his native Medellín, Colombia is approaching, with the show taking place on Saturday, April 26. To celebrate, Maluma announced that he’ll be hosting a weekend-long festival at the venue for fans.
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On the heels of his sold-out hometown show, the Colombian artist announced a series of free activities so that all those fans who were unable to get tickets can still enjoy the ultimate “Medallo En El Mapa” experience.
The three-day festival, in conjunction with the Saturday show, will take place at the Atanasio Girardot Stadium from Friday, April 25th to Sunday, April 27th. It will include various interactive spaces including horses, carriages, food courts, and brand activations, among others—all free of charge.
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Those who already have their ticket purchased for Saturday’s concert have a guaranteed access to the festival on the three days.
Meanwhile, those without a concert ticket can enjoy the festival on Friday and Sunday by registering for free at this link. You’ll receive a ticket valid for two people, giving you access to the festival. The free ticket does not grant access to the Saturday concert, only to the activities the day before and after.
In 2022, Maluma drew an estimated 54,000 people to the Medallo En El Mapa show in his native hometown. The show, which was streamed live on Amazon in more than 240 countries, featured guests such as Feid, Grupo Firme, and superstar Madonna, and marked a milestone in the Colombian singer’s career.
This story was originally published by Billboard Colombia.
On April 11, Luis R Conriquez performed at the Feria del Caballo in Texcoco, in the State of Mexico — a city where the corrido singer has performed four or five times before, always drawing a big crowd. But this time, concert organizers gave him a warning: “They said that if I sang a corrido, they would cut off the sound,” Conriquez recalls.
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The warning came as a result of new government ordinances in Mexico banning live performances of narcocorridos in several states. Conriquez, who’s known for his narcocorridos, has ignored similar orders in the past and paid fines as a result. But this time, he wasn’t just facing a fine—his entire concert was at risk of being canceled. That wasn’t a chance he was willing to take.
A few hours before the show, he posted on social media letting fans know that his set wouldn’t include narcocorridos. Apparently, not everyone in the crowd saw the post. An hour and forty minutes into his performance, fans started demanding he sing his most popular corridos. When Conriquez explained that he couldn’t, some fans booed and threw objects at the stage. Eventually, Conriquez said, “No corridos. What do we do? Should I just go home instead?” He walked off the stage.
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The next day, Conriquez addressed the situation again on his Instagram stories, saying, “Some people don’t get it. They think I make the rules, but the truth is, there won’t be corridos at shows anymore—not from any artist, folks.”
Since then, Conriquez has received support from fans and fellow artists. He’s now preparing to bring his Trakas tour to the U.S., kicking off at UBS Arena in New York on April 25, where he’ll be able to perform his full repertoire. But at his next concert in Mexico, it’s likely there won’t be corridos. Here’s what he told Billboard about the whole situation.
Why did you decide not to sing corridos at this particular show?
They said that if I sang a corrido, they’d cut off the sound. They said, “We’ll cut off the sound. It’s prohibited.” So, I said, “Okay.” That’s where my frustration came from. I wasn’t mad, honestly. I just wanted to give the crowd what they came to hear, but I had to stick to the rules.
Did you think about canceling the show?
No. I always planned to go ahead with it. I said, “I’ll post that I won’t sing corridos.” But even before showing up, I’d already told people I wouldn’t be singing corridos.
What happened during the show?
I’d been performing for an hour and forty minutes when people started asking for the songs I wasn’t allowed to sing. At that point, people are usually a bit more rowdy or have had a few drinks, so they think anything goes. It got to the point where I thought, “I better leave, or they’re gonna throw a chair at me or something.” So, I decided to leave, and that’s when things got crazy. Last year, something similar happened to me in Chihuahua. I had to pay a $45,000 fine — around 850,000 pesos — for singing one corrido. I didn’t sing corridos for the whole show, but at the very end, I sang one and paid the fine. Just for one song. But that was part of a state decree. They showed up with official paperwork for us to sign, saying we couldn’t sing corridos or anything like that.
You seem like a very chill person, and you didn’t react aggressively on stage while all of this was happening — even when people were throwing things. Did you ever think about fighting back or responding?
Exactly. I said, “If it’s no, it’s no. If it’s yes, it’s yes.” Honestly, I’m a pretty chill person. I try not to be someone who explodes. So, it wasn’t like, “Oh, I’m gonna lose it and go crazy.” I stuck to the rules, and I think I did the right thing. I feel like I did the right thing. I did what they told me to do.
Were you surprised by how aggressive the crowd was?
Of course. But I think it’s just because I didn’t sing what they came to hear. Before performing there, I’d done another show and posted [on social media] that I wouldn’t be able to sing corridos. Why? Because they’ve started cracking down on this stuff. It wasn’t my decision, obviously. Everyone who listens to me and artists like me—what do they want to hear? Corridos. But if it’s not allowed, we won’t cause problems by singing them. If they told me, “It’s a one-million-peso fine for singing corridos,” I probably would’ve paid it just to make my fans happy. But it wasn’t up to me this time, and I ended up on the losing side of things.
What’s happened since then?
Honestly, I’ve gotten a lot of support from the fans. People who’ve followed me for a long time understand the situation. It’s not even about me anymore. Artists like Alejandro Fernández, Edén Muñoz — even artists who aren’t in this genre — have reached out, saying, “Keep your head up, man. Hang in there.” Peso Pluma also sent me a message. Unfortunately, I might’ve been the first to go through this, but after this, maybe people will start understanding.
I’ve been performing in Texcoco for four or five years, and every time, people are excited to see Luis R Conriquez. But this time, this happened. Imagine what could happen in other places. At the end of the day, I’m not going to sacrifice my career or my fans—I’d rather perform than not perform. That’s the bottom line. If it comes down to damaging my career just to sing corridos, then obviously, I won’t sing corridos.
What do you think about corridos being banned? Do you think it’ll make a difference?
I don’t think so. Corridos have existed since before I was born. They’ve always been around. I grew up listening to corridos. I listened to artists and always thought, “I want to be another voice in regional Mexican music.” The artists who sing corridos are at the top globally. In a way, we represent Mexico. But before you were born, corridos were about Pancho Villa — not drug lords. I know, but they’re still corridos at the end of the day. There were corridos about crime even back then. If I have to, I can adapt and write songs that aren’t as explicit, but I’ll keep the same vibe and storytelling. People are free to listen to what they want. Like I said, if I have to adjust, I’ll adjust.
You mentioned you’d change the lyrics to your songs. What did you mean by that?
I meant I won’t release songs that are super explicit anymore. I might tweak the lyrics a bit on certain songs, but I’ll keep singing them.
Where does the tour go next?
Jalisco, Hermosillo, Sonora, Monterrey — and then the U.S. tour. Corridos aren’t banned everywhere. But who knows what’ll happen? I need to put together a setlist and share it so people know what I’ll sing. Then they can decide whether to buy tickets or not. We always try to please our fans, and we’ve been doing it for four or five years. But now, if we have to follow the rules, that’s what we’ll do. I hope people understand.
There’s no ban in the U.S. Will you sing corridos at your shows here?
Of course. We’ll keep singing what people want to hear. If I have to tweak lyrics or make other changes, I’ll do it. The goal is to keep singing and working—this is how we make a living, and it’s how the people around us make a living too.
Mexico‘s President Claudia Sheinbaum addressed questions from Billboard Español this Wednesday (April 16) regarding the controversy surrounding the idea of the federal government potentially banning or regulating the public dissemination of music that glorifies criminal activities, specifically so-called narcocorridos. This is a measure that some state and municipal governments have already begun implementing.
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Joining the list of regions that have turned down the volume on corridos tumbados and narcocorridos — a genre popularized by artists like Natanael Cano, Peso Pluma, and Junior H — are Mexico City and Michoacán, which recently announced measures to regulate such expressions. Last Friday (April 11), chaos broke out during a concert by singer Luis R. Conriquez at the Feria del Caballo in the State of Mexico when the artist refused to perform corridos glorifying drug trafficking, citing compliance with the entity’s new rules. This decision angered some in the audience.
The debate in Mexico over tightening regulations on songs that glorify drug trafficking has intensified in several parts of the country. But it’s also making waves across the border in the United States, where Deputy Secretary of State Christopher Landau confirmed on April 1, via a post on X, that he revoked the work and tourist visas of the members of the group Los Alegres del Barranco. The decision came after the band projected images of a criminal leader during their March 29 concert at an auditorium at the University of Guadalajara in Jalisco. “I’m a firm believer in freedom of expression, but that doesn’t mean that expression should be free of consequences,” Landau wrote in his post.
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Here are President Claudia Sheinbaum’s responses to Billboard Español during her morning press conference on Wednesday (April 16) in Mexico City.
Narcocorridos have become a polarizing topic in Mexico and across the border. On Monday, you mentioned that your government does not ban any music genre. Do you think regulating, rather than banning, this type of expression is a viable option?
I’m not really a fan of banning things in this case. There are other things I believe are more important, like the issue of sweets in schools, which are no longer allowed because it’s a public health matter. In this case, of course, the way these lyrics are crafted within certain types of music and genres is a phenomenon that happens. I think that if it’s banned — even though what they’re banning is its promotion in public spaces, not that people can’t listen to it at home — that’s a decision some municipalities have chosen to make.
From my point of view, education and awareness are better approaches, allowing society itself to gradually move away from these kinds of musical content, rather than outright bans. Of course, there are extremes that cross into criminal territory, right? Like what happened at an event where a video of a drug trafficker was shown as if it were something positive. Everything has its pros and cons.
We’ve asked some musicians for their thoughts on the binational contest México Canta, including Natalia Lafourcade just yesterday — an artist who has elevated Mexico’s name to great heights without relying on trends or narratives that glorify anything controversial…
Yes, there are Mexican women — singer-songwriters, true artists in every sense of the word — with incredible talent and creativity. Natalia Lafourcade is one of them. Julieta Venegas, Ximena Sariñana — these are young women with immense creativity. And of course, Lila Downs as well. It’s truly a generation of men and women, but especially women, with remarkable creativity who elevate Mexico’s name without resorting to glorifying violence. On the contrary, they create highly creative musical content, along with their own unique music.
So, this contest (México Canta) has that goal: to inspire young people to participate with different kinds of content, and for the music that emerges throughout the contest to start resonating within society. Some say the main issue is ending violence and reducing organized crime in Mexico, and that’s true — we’re working on that as well. But I think building a culture of peace is also a task for the government, using creative methods like this that involve young people, and I believe it will be very positive.
And what’s really great about this contest, México Canta, is that many producers got involved and joined in. It wasn’t something they organized, but rather an initiative that emerged, and they decided to participate—music producers who will be part of this process. I think it’s a great initiative, and we’ll be sharing some of the pieces that come out of this process on Fridays.
Just like former President López Obrador had his playlist without “corridos tumbados,” is there a chance you’ll have your own playlist?
Yes, of course. We’ll share it soon.
Reggaetón royalty Ivy Queen is hitting the road for her highly anticipated Killa Queen World Tour, a globe-spanning journey that begins May 17 in Quito, Ecuador. “Music has given me a voice, strength and purpose. This tour is a celebration of everything I am and all the women who have stood by me since the […]
Selena Gomez will receive the 2025 Woman of the Year award at the annual Billboard Latin Women in Music event, Billboard and Telemundo announced on Wednesday (April 16). The two-hour special, set to be held Miami, will air April 24 exclusively on Telemundo.
The Woman of the Year award is presented to a female artist who has demonstrated exceptional success, leadership and cultural influence in the music industry and beyond. Previous Women of the Year honorees at Latin Women in Music include Shakira and Karol G.
A global powerhouse, Gomez has had a fruitful career as a recording artist. On the Billboard charts, the 32-year-old star has had presence across genres, including a total of 42 entries on the all-genre Billboard Hot 100, including her first No. 1 hit, “Lose You to Love Me” (2019). On the Hot Latin Songs chart, her featured role on DJ Snake’s “Taki Taki,” alongside Ozuna and Cardi B, debuted at No. 1 on the tally in October 2018, where it ruled for 13 weeks. Since, she’s achieved three additional top 10 hits on the multimetric ranking, including “Baila Conmigo,” her collaboration with Rauw Alejandro, which soared to a No. 4 peak in 2021 and topped the Latin Airplay chart for a week.
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The Texas-born artist of Mexican descent further expanded her reach in Latin music with her first-ever Spanish-language project, Revelación. The EP, released four years ago, debuted at No. 1 on the Top Latin Albums chart, making history as the first album by a female artist to achieve the feat since Shakira’s El Dorado. It also scored her a Grammy nomination for best Latin pop album. Most recently, Gomez entered the top five on Hot Latin Songs thanks to “Ojos Tristes” with Benny Blanco and The Marías. The song, a reimagination of the ’80s classic “El Muchacho de los Ojos Tristes,” is part of Gomez and Blanco’s collaborative album, I Said I Love You First.
Beyond her career in music, Gomez — also an award-winning actress, producer and business mogul — has become a leading voice for mental health and social justice issues that impact underrepresented communities. She was Woman of the Year at the 2017 Billboard Women in Music.
Gomez joins this year’s previously announced honorees, including Anitta (Vanguard Award), Belinda (Evolution Award), Celia Cruz (Legend Award), Chiquis (Impact Award), Ha*Ash (Unbreakable Award), Natti Natasha Unstoppable Artist), and Olga Tañón (Lifetime Achievement Award).
Read Billboard’s Latin Women In Music 2025 Executive List here.
The third annual Billboard Latin Women in Music special will air live April 24 at 9 p.m. ET/8 p.m. Central exclusively on Telemundo, Universo, Peacock and the Telemundo app and throughout Latin America and the Caribbean onTelemundo Internacional.