MEXICO
Christian Nodal‘s highly anticipated new album has officially arrived: The acclaimed regional Mexican artist released ¿Quién + Como Yo?, his first solo LP since Ayayay! in 2020, on Thursday (May 22). The 12-track production highlights Nodal’s commitment to “showcasing the ‘mariacheño’ sound” (mariachi + norteño) he coined, while “making us proud of our roots,” he says to Billboard Español.
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Released through Sony Music México, ¿Quién + Como Yo? — which follows his January EP, PA’L CORA EP. 02 — features previously dropped singles like “El Amigo,” “Amé,” and “X Perro.” These tracks gave fans a glimpse of the direction Nodal’s new music was headed: a fresh blend of sounds that he brought to Mexican music nearly a decade ago, paired with deeply emotional lyrics.
But for those wondering, Nodal clarifies: “There’s nothing personal in it,” he says. “These are songs that truly touched my soul. I think we’ve all been through things like this.”
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In this album, the 26-year-old Sonoran artist teams up with three major stars in regional Mexican music, each bringing their own unique style: Alfredo Olivas, on the heartbreak-filled track “Se Vienen Días Tristes”; Tito Double P, on a corrido tumbado titled “La Loba”; and Netón Vega, on the motivational single “EBVSY,” the focus track.
Ahead of the album’s release, Nodal shared a heartfelt video on his social media, reflecting on this moment in his career. “This isn’t just an album,” says the six-time Latin Grammy winner. “It’s a toast to what’s been lost, to what hurts, and to what still stands.”
Nodal has also announced a new U.S. tour, the Gira 2025, featuring nearly 20 dates starting Nov. 7 in Los Angeles. The hitmaker sat down for an exclusive interview with Billboard Español to discuss the making of his new album, ¿Quién + Como Yo?
Christian Nodal
Courtesy of Sony Music México
Musically, what can we expect to find in this new album?
The goal is to showcase the mariacheño sound, to make us feel proud of our roots, our instruments, and all the beautiful arrangements. In the videos, we’re also highlighting Mexico. There’s just one “tumbado” (urban corridos) track.
How did the collaborations with Alfredo Olivas, Tito Double P, and Netón Vega come about?
The song with Alfredo Olivas came about thanks to my engineer, who’s a friend of his. I asked him to give Alfredo a call, and he agreed to collaborate. It’s a real pleasure working with him — he’s an amazing musician and performer. With Tito, there’s a lot of camaraderie, and as for Netón, we happened to cross paths in Culiacán. He’s one of the most-listened-to Mexican artists in the world.
How was the recording process for these tracks with them?
Everything was recorded remotely. I only filmed the video with Alfredo, but there was always good communication with everyone, and everything came together really well. The videos will be released little by little. I’m sure people will enjoy this new work.
Has what you’ve experienced personally in recent months influenced the lyrics of the songs?
No, not at all — there’s nothing personal in the album. These are songs that truly touched my soul. I think we’ve all been through things like this. In fact, the songs came out of a songwriting camp, with many people from Sonora, Sinaloa, Mexicali, and so on. There was a lot of great energy. I can honestly say this is one of the albums where I’ve had the least involvement in terms of the lyrics — I let them do their thing. They’ve studied my style really well, so they know what works for me.
If you had to choose your favorite songs from the album, which ones would they be?
Without a doubt, “Sé Feliz Sin Mí” and “Se Vienen Días Tristes.” When I heard “Amé,” I knew it was a perfect song. Honestly, so many great songs came out of this project, and many were saved for the next album.
A very important U.S. tour is coming up this year.
I really miss my fans — it was about time. I’ve been enjoying the shows in Mexico a lot. This year, I did many palenques, which I love because there’s a much closer connection with the audience. This year, I’ll also be heading to Colombia, and we’re working on scheduling the dates for Europe before the U.S. tour.
Your fans have shown their love during the good times and the tough ones…
Without a doubt, they’re the best. About a year and a half ago, I went to France to step away from everything for a bit. When I came back, I wasn’t No. 1, I wasn’t trending, and the regional Mexican scene had changed a lot. It was so beautiful to see people showing up to my shows and singing the songs from [the 2024 EP] Pa’l Cora — an album that was musically experimental — along with my usual repertoire. Those kinds of moments are priceless.
You’re one of the young artists who are truly building a catalog…
I draw a lot of inspiration from the [genre] greats and the legacies they leave behind. Since the beginning of my career, I’ve worked hard to contribute to Mexican music in every way possible, and I’ll continue to do so with great pride so it keeps gaining recognition all over the world.
Stream Christian Nodal’s ¿Quién + Como Yo? below:
Yeri Mua, the Mexican influencer who became TikTok’s No. 1 most-viewed musical artist globally in 2024, officially releases her debut album under Sony Music México, De Chava, tonight (May 15).
“It’s an album that totally captures my essence, who I am as a person,” the 23-year-old artist tells Billboard Español. “I’m not that grown-up, I’m young, but I’m at that stage in life where you start to understand many things — even though I never stop having fun, enjoying myself and falling in love. Literally, it’s about chava (girl) things.”
The 15-track set — which includes previously released singles like “Traka,” “Croketita” with La Lokera, “Avión Privado” with El Malilla, “Él No Es Tuyo” with Bellakath and Uzielito Mix, and “Modo Antidepresivo” alongside Snow The Product — arrives with the focus track “Morrita (Tinker Bell),” a song featuring Chilean artist Lewis Somes, in which she sings to an ex that he’s already lost her, and that he doesn’t have a brain.
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Produced (among others) by SAAK, Uzielito Mix and Jocsan La Loquera, it also includes collabs with La Joaqui (“Salida de Chicas”), Chris Tales (“Viña Mari”), and Marcianeke (“Combi”) — all with very colloquial and explicit language.
Yeri Mua signed with Sony Music México in mid-2024, when she was already amassing more than 600 million streams of her solo music and collaborations, according to a statement issued by the label at the time. From giving beauty tips and undergoing a remarkable physical transformation to becoming one of the top “reggaetón Mexa” performers, she is now entering a new phase in her rising career as a singer.
“I feel very proud of what I’ve achieved so far, much more confident than ever — and above all, deeply in love with what I’ve created with Sony Music — so, I’m ready for whatever comes next,” she says in her signature carefree style.
After a series of performances in the U.S. and Costa Rica, Yeri Mua is preparing for an important milestone in her career: her first solo concert in Mexico City, scheduled for May 30 at the Pepsi Center. She will then take her Traka Tour to other Latin American countries, including Argentina, Colombia, Chile and Guatemala.
But today, as De Chava is being released, she reflects on her beginnings, opens up about her fears, and looks forward to the future.
As an influencer, you were used to everything happening quickly. The process of building a career as a singer is different. How have you handled that?
I’m not going to lie, it’s been a very long process — because, obviously, things happen along the way. I even questioned myself about whether I really wanted this, and I lost a bit of motivation. But ultimately, here I am, happy.
How do you feel after transitioning from influencer to singer?
It was difficult, because now I have to earn people’s respect as an artist. Sometimes I even felt embarrassed to say I was a singer — but I am, and I’ve learned to believe in myself and trust in my ability to make this work. If I didn’t, I wouldn’t be here facing this head-on. I haven’t stopped being who I was — in fact, the album talks a lot about beauty, wanting to look spectacular, the things I enjoy doing, and what I love. I think many people can relate to my songs, regardless of their age.
I’m aware of my privilege, and I think there’s nothing wrong with that. Obviously, an influencer lives much more comfortably than most ordinary people who earn a minimum wage and work long hours. Yes, it’s a privilege to dedicate yourself to social media, but it’s not easy — it’s taken me a lot of effort to get to where I am; I’ve worked hard for this. I worked other jobs before becoming an influencer. Being an influencer was like a period of preparation for what God had planned for me.
Now as a singer, what’s your opinion about this profession?
My dreams have materialized, and it’s largely thanks to my team. An artist can’t achieve something like this alone, so I’m grateful and happy to have them.
There have been restrictions in many Mexican states on narcocorrido singers because of the lyrics. Are you prepared if this happens with reggaetón?
I think it was somewhat logical that this would happen with regional Mexican music because of words connected to drug trafficking. As for reggaetón, I don’t think explicit words will be censored. They might make some people uncomfortable, but they don’t offend or harm anyone.
Your upcoming Latin American tour is another big step forward in your music career.
I did very well on the tour I did in the United States, as well as in Costa Rica. Now it’s time to visit my fans in several countries, and I want to thank them for their support — so I’m going to give it my all.
Luis Alvarado, spokesperson for Los Alegres del Barranco, is defending the Mexican band’s right to perform narcocorridos freely, without being punished by authorities.
“Everyone who tells stories, whether with a pencil or an accordion, has the right to tell them,” Alvarado tells Billboard Español.
In an interview on Monday night, the group’s spokesperson rejected the actions taken against the quartet by the Fiscalía de Jalisco (Jalisco State Prosecutor’s Office), which accuses them of allegedly supporting drug trafficking. The band projected images of Nemesio Oseguera Cervantes, also known as “El Mencho,” leader of the Jalisco Cartel – New Generation, while performing the song “El Del Palenque” on March 29 at the Telmex Auditorium in the municipality of Zapopan.
Jalisco is one of 10 out of 32 states in Mexico that have put bans on narcocorridos or any kind of expression that glorifies crime, even though it’s not a federal law. Los Alegres del Barranco is the first group officially accused of allegedly promoting drug culture, along with their manager and the promoter of their concerts.
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At a hearing held on Monday at a court in Jalisco, the judge ordered precautionary measures like showing up at the court every week, paying a bond of 1.8 million pesos (around $92,000), and staying in Jalisco, except for three previously scheduled shows outside the state, at least for the next three months. The judge did not order pretrial detention, so they’ll be able to continue their defense while remaining free.
For Alvarado, this historic criminal case is about more than just the potential legal consequences. In his opinion, it “violates freedom of expression” and goes against a tradition that dates back to the time of the Mexican Revolution (1910–1917), serving as an alternative narrative to the official history, according to experts interviewed by Billboard Español.
Alvarado talked about the steps Los Alegres del Barranco will take to face justice in Jalisco, where they have four open investigations for performances in different municipalities where they allegedly glorified criminal activity.
How is the group feeling after Monday’s hearing and the start of an unprecedented criminal case for alleged glorification of crime?
At the moment, our legal team has advised us not to share details about the judicial process, but we did want to express how the members of the group are feeling. I must say that, although this challenge has been very difficult for them, they remain strong and understand the heavy burden they carry — not only because of the possibility of being punished, but because they are defending an entire musical genre at this moment. As musicians, and alongside journalists, they are standing up for freedom of expression in democratic societies. The line between what is legal and what isn’t is still very blurred. Different government officials have varying opinions, and that’s how democracy works. That’s why they are facing this challenge with focus and determination, but always holding their heads high.
Is there trust in Mexican authorities?
This is where we are right now. They understand that this isn’t a sprint; it’s a marathon. Since the judicial process isn’t immediate, it will take time, as it should, because every issue being reviewed by the judicial system and the government needs time for all voices to be heard. All the group asks is that the members of the judicial system reviewing their case remain independent. The group has faith in the process, and we have a strong legal team supporting us all the way. They will remain strong, but most importantly, they will stay positive.
In addition to Los Alegres del Barranco, other artists like Natanael Cano and Junior H have been called out in other states, although no criminal proceedings have been initiated. How do you see the outlook for corrido performers?
Los Alegres del Barranco are asking for support from all musical groups in the genre — not just those who perform corridos, but also norteño musicians and all artists working in this profession in Mexico. They are calling for unity and for all artists to have the right to freedom of expression.
Would you agree to regulation of narcocorridos without outright prohibition?
I insist, it’s still a very unclear landscape, but like any law that affects so many people, there should be a process to make things clearer and reduce confusion and problems for groups in the future. If that means there should be regulation, we’ll be able to decide what the band will support or not after we finish this proceeding.
The group won an injunction in Michoacán to temporarily perform narcocorridos. Will they attend the hearing scheduled for Thursday (May 15) in that state?
Michoacán is a perfect example of how people can have different opinions about the same issue. The process of figuring out how an artist can practice their profession can vary from state to state, and that’s where we’re working to understand the unique challenges the band faces in each state, while making sure we follow the law and still keep the audience entertained.
We will attend any hearing the government requires us to, and we do everything under the guidance of our legal team. I can’t say this with absolute certainty, but as far as I know, yes, they will travel to Michoacán for the hearing.
What will happen with the tourist and work visas that were revoked by the U.S. government for the group?
We understand from the statement made by the U.S. Deputy Secretary of State, Christopher Landau, that they have been canceled. I can’t confirm it personally since the group hasn’t traveled yet, but I trust Deputy Secretary Landau’s word, and we’re treating it as a fact.
What’s next?
We are navigating this with all the necessary attention to detail to avoid any mishap that could not only impact the group but the entire music industry. Los Alegres del Barranco have never faced a challenge like the one they are confronting today.
After shaping some of the biggest acts in global pop, HYBE is setting its sights on Latin music with an ambitious new reality series from its subsidiary, HYBE Latin America. Billboard has exclusively learned that production kicks off this week in Mexico City on the yet-to-be-titled project, which aims to form a new all-male pop group.
The series will train and develop 16 contestants from countries including Mexico, Brazil, the U.S., Peru and Spain, narrowing the field to a final five by the end of the season this fall.
The series’ format and execution differs from other reality talent competition in multiple key ways. First and foremost, it’s HYBE’s first artist development venture of this scale focused entirely on Latin talent, combining the development discipline the company has applied in K-pop with Latin American cultural and artistic sensibility.
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Further, instead of airing as a carefully formatted weekly television show, the reality show is a multi-platform production that integrates long-form storytelling, performance content and behind-the-scenes narratives distributed across streaming, social and music platforms.
The project also features a roster of mentors that may be unprecedented in a Latin reality show. It includes director and choreographer Kenny Ortega (High School Musical, The Descendants) as executive producer; Charm La’Donna (Kendrick Lamar’s 2024 Super Bowl, Bruno Mars) as head choreographer; and Robert J “RAab” Stevenson (SZQ, Rihanna) as head vocal coach.
“This project is about much more than music. It’s about reimagining how Latin talent can be discovered, developed and presented to the world. We are building the foundation for the next generation of global Latin artists with the highest creative and production standards,” said J.H. Kah, CEO of HYBE Latin America, who is leading efforts on the venture, in a statement.
The new project joins a roster of properties that includes newly-announced talent competition Pase a la Fama, which HYBE Latin America developed with Telemundo. The competition show seeks to find the next regional Mexican band and premieres on Telemundo June 8 with Ana Bárbara, Horacio Palencia and Adriel Favela as judges.
This show, however, doesn’t have a partner network.
While contestants officially arrive in Mexico this week (beginning May 12), preproduction for the show has been underway for months. Hundreds of applications poured in from across Latin America and the U.S., leading to an initial shortlist of 300 candidates. From there, 16 finalists were selected to begin intensive training at a custom-built “bootcamp” located in Mexico City’s Parque Bicentenario.
The bootcamp will include some 30 instructors, including vocal coaches, producers, fitness trainers and choreographers and is supported by Weverse, HYBE’s extremely successful social media/fandom platform.
HYBE Latin America
courtesy of HYBE Latin America. ©️ 2025 HYBE Corporation.
Make no mistake — this is a distinctly Latin production. The show is being helmed by two seasoned Colombian producers: showrunner Jaime Escallón (X Factor, Survivor) and production designer Lucas Jaramillo. Both serve as executive producers and co-creators of the format, with a clear mission to build a production environment that authentically reflects Latin culture.
“This is different from other talent reality shows in that it takes place in a space designed for the city to participate in,” says Jaramillo, noting that production is working closely with Mexico City government and fans will be allowed to actually visit the space and be part of performances and media experiences. “That’s why we’ve developed a cultural program that’s both artistic and media driven, and includes things like podcasts. This is a show that’s alive.”
The project is HYBE Latin America’s latest venture after launching in 2023 with the acquisition of Exile Music, the music division of Spanish-language studio Exile Content, led by Isaac Lee, who is now chairman of HYBE Latin America. The company has moved quickly since then. With offices in Mexico City, Miami, and Los Angeles, the division houses labels such as DOCEMIL Music and Zarpazo Entertainment.
Los Alegres del Barranco, their manager and their concert promoter will face criminal proceedings for projecting images of a criminal leader during a March performance in the state of Jalisco, a judge ruled Monday (May 12). During a hearing at the Puente Grande Penitentiary in Jalisco, Mexico, the judge did not order preventive detention; the accused will be able to continue their defense in freedom.
A document from the Jalisco Prosecutor’s Office shared with Billboard Español says that the precautionary measures ordered by the judge for the six accused (including the four members of the band) include regular weekly appearances in court; the enforcement of a financial guarantee of 300,000 Mexican pesos for each of them, equivalent to 1.8 million pesos (approximately $92,000); and their stay in the state of Jalisco, meaning they will only be given permission to attend three concerts in other states previously agreed upon and return afterward.
The accusation stems from a concert by Los Alegres del Barranco on March 29 at the Telmex Auditorium in the municipality of Zapopan, where images of Nemesio Oseguera Cervantes, alias “El Mencho,” leader of the Jalisco New Generation Cartel (CJNG), were projected while they performed the song “El del Palenque.”
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Authorities indicated that the investigation and the precautionary measures imposed by the judge will remain in effect for at least three months. Upon leaving the hearing, Luis Alvarado, spokesperson for Los Alegres del Barranco, told reporters that their fight is “for freedom of expression” and thanked those who have supported them.
Billboard Español has sent a request for comment to representatives of the band.
Los Alegres del Barranco became the first act from the regional Mexican genre to be formally accused by the Jalisco State Prosecutor’s Office of alleged glorification of criminal activities. The incident even led the U.S. to revoke work and tourist visas for the band members, as announced April 1 by U.S. Deputy Secretary of State Christopher Landau in a statement on X.
The band, its representative, and the promoter are facing investigation from the Jalisco Prosecutor’s Office for four performances in different municipalities of that state in which they allegedly glorified criminal activities, according to information published on May 9 by the same office.
That same day, Los Alegres del Barranco won an injunction granted by a federal judge to sing narcocorridos in the Mexican state of Michoacán, despite the state decree prohibiting the broadcast of music or expressions that promote crime in public spaces, which went into effect in April. For now, the ruling only favors the group for having filed the lawsuit. The federal judge has set a new hearing for May 15 to determine whether to uphold or revoke the temporary suspension granted to the musical group.
“We are going to respond,” said Michoacán Governor Alfredo Ramírez Bedolla at a press conference on Monday (May 12). “Today I will submit the initiative to amend the State Penal Code, which will establish the crime of apology and now make it a criminal offense.”
Ten out of Mexico’s 32 states have implemented various bans against narcocorridos or any expression that promotes or glorifies criminal activities, though such bans have not yet become federal law.
Mexican band Los Alegres del Barranco has been charged by the Fiscalía del Estado de Jalisco (Jalisco State Prosecutor’s Office) for allegedly advocating crime. Authorities in the Mexican state are investigating the band after projecting images of a criminal leader while performing the song “El del Palenque” during a concert on 29 March at an auditorium of the University of Guadalajara.
Now, a judge will determine whether or not to initiate legal proceedings against the members of the group, their legal representative and the promoter of their concerts in a hearing scheduled for Monday (May 12), which would mark a precedent in regional Mexican music.
“The members of a musical group that showed images referencing a figure from organized crime during a concert in Zapopan have been formally charged in a criminal court today for allegedly promoting criminal activity,” read a statement from the Jalisco Prosecutor’s Office on Tuesday (May 6) shared with Billboard Español. “Similarly, charges were also brought against the group’s manager and the promoter of their concerts.
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According to the statement, the judge imposed precautionary measures on the four members of the band, their manager and the promoter, meaning they are not allowed to leave Jalisco. Additionally, they will have to pay a bond of 1.8 million pesos (about $92,000), which amounts to 300,000 pesos per person.
Article 142 of the Jalisco Penal Code states that publicly inciting the commission of a crime or glorifying it — or any vice — can be punishable by up to six months in prison. Experts consulted by Billboard Español note that since this type of penalty is less than four years, it can potentially be served outside of prison if the judge allows it.
The group and their representatives chose not to make any statements during a hearing on Tuesday, according to the statement. Billboard Español has reached out to the band’s representatives for comment but has not received a response at time of publication.
The Jalisco State Prosecutor’s Office confirmed to Billboard Español that three open investigations into Los Alegres del Barranco for allegedly advocating crime. The first one corresponds to the investigation against them for projecting images of the leader of the Cártel Jalisco Nueva Generación (CJNG), Nemesio Oseguera Cervantes, alias “El Mencho,” during their concert on March 29. This fact even caused the United States to revoke the work and tourist visas of its members, as announced on April 1 by the U.S. Undersecretary of State, Christopher Landau, in a post on X.
The second investigation was opened after, on May 3, the group allegedly projected on screens during their show the lyrics of the controversial corrido “El del Palenque,” which alludes to the aforementioned drug lord. The third folder corresponds to another presentation, on May 4, in which the group allegedly incurred in similar acts, in the municipality of Tequila, according to a press release from the Jalisco State Prosecutor’s Office on May 5.
The President of Mexico, Claudia Sheinbaum, said on Wednesday (May 7) that “it was the decision” of the Jalisco State Prosecutor’s Office to prosecute the members of Los Alegres del Barranco for allegedly advocating crime, and reiterated that her government is not in favor of banning the narcocorrido genre.
“My position is that it should not be banned, but that other music should be promoted. Rather than prohibiting, it is more important to educate, guide and encourage people and young people to stop listening to that music,” said the Mexican president during her morning press conference.
The controversy over Los Alegres del Barranco’s alleged homage to the drug trafficker comes in the wake of the debate over how the cartel founded in Jalisco uses clandestine ranches to recruit people to the criminal group through deceitful job offers, as reported by federal authorities and the media. This follows the discovery of the Izaguirre Ranch in the municipality of Teuchitlán, where acts of torture and murder were allegedly committed, as denounced by the Guerreros Buscadores collective in early March.
Ten (out of 32) states in Mexico have implemented several new bans against narcocorridos or any expression that advocates crime, without it being a federal law.
Eslabon Armado will perform for the first time in Mexico this month, and Pedro Tovar, the group’s leader and main vocalist, couldn’t be happier.
“The last time I went to Mexico, I was six years old,” he tells Billboard Español. “When we started our first tour in 2020, my dream was always to go, but it hadn’t been possible, so I’m very excited.”
Making its debut in the country as part of the Vibras de Noche II Tour, the Californian band behind the smash hit song “Ella Baila Sola” (with Peso Pluma) will arrive at the Banamex Auditorium in Monterrey on May 16 for the first of three confirmed dates. The other two will be four months later, when the band returns to perform on Sept. 12 in Mexico City at the Pepsi Center WTC, and on Sept. 13 at the Telmex Auditorium in Guadalajara.
There’s also the possibility of adding more dates, in cities like Guanajuato and Tijuana. “I look at the stats on streaming platforms, and I realize that most of our fans are from Mexico,” Tovar says. “In the comments, they constantly ask us to perform in all the cities, so we’re going to make it happen for them.”
For its shows in Mexico, Eslabon Armado has prepared a special setlist, along with a lights design and visuals. They will also feature a guest performer, at least in the capital city: Macario Martínez, the young janitor who went viral on TikTok for a video promoting his song “Sueña Lindo.” The emerging Mexican folk singer has already collaborated with Eslabon on “Esa Noche,” included in the group’s latest album, Vibras de Noche II, which debuted in the top 10 of the Billboard Top Latin Albums and Regional Mexican Albums charts in March.
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“I saw his story on TikTok, sent him a message on Instagram, and he replied,” Tovar recounts. “We had a video call and chatted for about an hour. I suggested a collaboration, and he immediately said yes, so I sent him the song ‘Esa Noche.’ He did his part, and it turned out to be a really good track.”
With new drums and electric guitars sounds complementing their regional Mexican style, Vibras de Noche II —a sequel to their No. 1 2020 album Vibras de Noche— is the first production the group has released independently under their own label, Eslabon Records, distributed by Interscope. Previously, they were signed to Del Records, which they joined in 2020 and with which they released No. 1 albums including Tu Veneno Mortal (2020) and Desvelado (2023), among others.
The band’s current tour, named after its latest album, began on March 7 and will keep them on the road through 2025.
On her new album, Cosas Que Sorprenden A La Audiencia (Things That Surprise the Audience), Vivir Quintana uses the strength of her voice and the power of her words to tell real-life stories of women who were imprisoned after killing their abusers in self-defense. She does so through the corrido, a traditional Mexican genre often associated with glorifying violence and misogyny — but transforming it into a narrative of denunciation, dignity, and justice.
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Told in the first person, Quintana’s sophomore LP is the result of a decade of research and collaboration with women who shared “their hearts, their homes, and their cells” to recount their stories and the reasons that led them to defend themselves against their abusers, ultimately losing their physical freedom after being accused of “excessive self-defense.”
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“Fifteen years ago, a friend of mine was a victim of femicide, and it made me incredibly sad — I didn’t know who to blame or how to cope,” the Mexican singer-songwriter shares in an interview with Billboard Español. “For a long time, I kept thinking about what would have happened if my friend had killed her abuser instead of him killing her.”
Her friend’s femicide inspired her popular 2020 release “Canción Sin Miedo” (Song Without Fear), the powerful feminist anthem that accompanies marches and protests against gender violence in Mexico, as well as the fight of mothers searching for their missing children.
But in her album Cosas Que Sorprenden A La Audiencia, released last Thursday (April 24) on digital platforms, the artist, originally from the northern state of Coahuila, goes further by reflecting deeply on the causes of machista violence — the same that results in the killing of 10 women every day in Mexico for gender-based reasons, according to reports from UN Women.
Released under Universal Music, the album features 10 corridos, a genre that emerged during the Mexican Revolution (191–1917) as an alternative account to official history, according to experts consulted by Billboard Español.
With resonant guitar sounds and a powerful accordion, Quintana uses this musical style — characteristic of the region where she was born and raised — to tell stories like that of Yakiri Rubio, the protagonist of the song “La Nochebuena Más Triste” (The Saddest Christmas Eve). In 2013, Rubio was kidnapped by two men who took her to a hotel to sexually assault her, and she ended up killing one of her attackers in self-defense.
Another example is the corrido that opens the album, “Era Él o Era Yo” (It Was Him or Me), which narrates the story of Roxana Ruiz, who was sentenced to six years in prison for killing her attacker in 2021. “Files and more files/ With my name and the names of other women/ Who fiercely dodged death/ Justice destroyed our luck,” goes part of the lyrics.
The album also includes titles like “Mis Cuarenta” (My Forty), “Mi Casita” (My Little House), “Más Libre que en Casa” (Freer Than at Home), “Mi Cobija” (My Blanket), “Claro Que No” (Of Course Not), “Kilómetro seis” (Kilometer Six), “Al Tiro” (At the Ready), and “Cosas Que Sorprenden a la Audiencia,” the album’s title track, inspired by Marisol Villafaña, who was sentenced to 20 years in prison for defending herself against her abusive husband.
“That’s why the album is named this way,” Quintana explains, “because we’re so surprised when a woman defends herself, but we’re not surprised when a man receives an exemplary sentence for committing femicide.”
Recognized in 2024 as one of the Leading Ladies of Entertainment at the Latin Grammys, the 40-year-old artist is one of the new faces of corrido music in Mexico, although she has revolutionized the genre since her debut over a decade ago, by using music as a tool for activism and denunciation. In addition to “Canción Sin Miedo,” she is the author of “El Corrido de Milo Vela” (The Milo Vela Corrido), a tribute to journalist Miguel Ángel López, who was murdered in 2011 along with his wife and son in Veracruz. In 2024, she also wrote “Compañera Presidenta” (Madam President), a letter dedicated to the then-possible first female president of Mexico, a position now held by leftist Claudia Sheinbaum.
“With this album, I hope people open their hearts — but beyond that, I hope they open their minds to understand that gender violence needs to be addressed by all of us,” Quintana says. “And may we never forget that the voices of women deprived of their physical freedom also matter.”
Regarding the controversy surrounding corridos that glorify drug trafficking — subject to bans and restrictions in public spaces across ten Mexican states, though not officially prohibited by the federal government — Quintana believes that prohibition “is not the solution.”
“The children born into a world of organized crime, where their social context is that, where their family members are part of that life, and one day they realize they want to sing or play the guitar — what are they going to talk about?” Quintana questions. “Music is nothing more than a reflection of the reality or social context you live in, so narcocorridos should be regulated, but through education. That way, we can distinguish between reality and fiction, between good and bad.”
Three people were injured on Wednesday night (April 23) when a bleacher collapsed during a concert by Spanish star Quevedo at the Palacio de los Deportes in Mexico City, promoter Ocesa confirmed to Billboard Español on Thursday (April 24).
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The incident happened when some attendees in section C of the venue started jumping to the beat of the music, causing one of the bleacher planks to give way and collapse. Videos shared on social media show two people lying on the ground while others in the audience call for help.
Promoter Ocesa spoke out on Thursday in a statement, clarifying that the three people “sustained non-serious injuries.”
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“In line with our protocols, the individuals were immediately attended to by the venue’s medical and security staff, and were taken to a hospital where they received care and were discharged during the early hours of the morning accompanied by their families,” Ocesa explained in a statement to Billboard Español.
In the same statement, the Mexican promoter reaffirmed its commitment to the safety of attendees, staff, and artists.
In a post on X Thursday, Quevedo spoke about the incident that occurred during his show.
“Good morning from CDMX. Last night, a bleacher collapsed during the show, and three people had to receive medical attention,” wrote the “Quédate” singer. “We’ve learned that they’ve been discharged without serious injuries, and I wanted to send them encouragement and strength for a speedy recovery.”
The accident happened nearly three weeks after the tragedy at the AXE Ceremonia festival, where two photojournalists lost their lives when a scissor lift, used to place a decorative figure, fell on them due to strong wind gusts. The incident is currently being investigated by Mexico City’s Attorney General’s Office.
Quevedo kicked off the Latin American leg of his Buenas Noches tour on Wednesday in Mexico City, marking his first visit to the region in two years. The tour will also stop in Guadalajara and Monterrey on Friday and Sunday (April 25 and 27). With 14 dates, this is the “Gran Vía” singer’s most ambitious tour in Latin America to date.
Turning 40 led Natalia Lafourcade to discover CANCIONERA, the vein of the message that fuels her new musical project, the character that brings her alter ego to life, and the concept of a tour that will take her around the world for more than a year to perform her artistic creation live. A year later, with the release of her new album on Thursday (April 24), the acclaimed Mexican singer-songwriter says that this work reaffirmed her role in life and the path she wanted to follow.
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“I feel that CANCIONERA came to remind me of that message as a songstress, but it also made me feel very inspired by songs from around the world, at a moment in my life when I said to yourself, ‘I’m 40 now, what’s next?’” Lafourcade tells Billboard Español in an interview in Mexico City.
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The LP follows De Todas Las Flores, her celebrated 2022 album that earned her a Grammy Award and three Latin Grammys and marked a creative partnership with her friend and colleague, Franco-Mexican producer, musician, actor, and director Adán Jodorowsky. Again, they collaborate on CANCIONERA, which was entirely recorded on analog tape in Mexico.
The album also features contributions from El David Aguilar, Hermanos Gutiérrez, Israel Fernández, Diego del Morao and Gordon Hamilton, who enrich the set with nuances and textures ranging from bolero to son jarocho, with hints of tropical and ranchera music. Additionally, the work of Soundwalk Collective adds a sound design that complements the album’s depth, integrating natural sounds as part of the musical landscape.
The repertoire of CANCIONERA, Lafourcade’s 12th album, includes original compositions and a couple of reinterpretations of traditional Mexican music, such as the son jarocho songs “El Coconito” and “La Bruja,” which establish a dialogue with the essence of the project. Released by Sony Music, the album consists of 14 tracks, including an acoustic version of “Cancionera,” where she explores sounds like bolero, son jarocho, tropical music, and ranchera, very much in the style of the iconic Chavela Vargas. Other titles on this production are “Amor Clandestino,” “Mascaritas de Cristal,” “El Palomo y La Negra,” “Luna Creciente,” “Lágrimas Cancioneras” and “Cariñito de Acapulco.”
The four-time Grammy and 18-time Latin Grammy winner — recently highlighted among Billboard’s Best 50 Female Latin Pop Artists of All Time — admits that her alter ego in this new project pushed her to do things she, as Natalia Lafourcade, wouldn’t have done. “This songstress soul cornered me into maximum creativity through dance, exploration of movement, exploration of painting, many things I love and had perhaps kept locked away in a drawer,” she says. “It shows that this is a new facet, a stage that taught me about the capacity I have to transform, and not just me, but everyone.”
And unintentionally, she confesses, Mexico — through its traditional rhythms, lyrics, and songbooks — once again permeated her work, just as it did in her previous albums Un Canto por México (2020), Un Canto por México II (2021), and De Todas las Flores (2022).
“I think the album has a lot of Veracruz in it, a lot of our way of speaking, our wit. And again, without seeking it, without forcing it, all the influences of those involved and that sense of Mexican identity came through,” Lafourcade explains. “Just as Emiliano Dorantes brought the influence of Agustín Lara, ranchera Mexico came through, tropical Mexico with Toña La Negra, the Mexico embodied by Chavela Vargas. All those glimpses manifested in the process. I loved that because it shows that we’re all here and we exude that Mexican spirit.”
Additionally, she points out, the new songs conveyed fantasy and a surreal touch, “what happens as if in a dream.” Without hesitation, she knew her new album needed to feature Jodorowsky as co-producer, whose critical and sensitive ear would help her direct her creations.
“Creating with Adán is one of the most beautiful things. Besides Adán, there was David Aguilar, Emiliano Dorantes, Alfredo Pino, my lifelong musicians, people I love and admire, all gathered in a studio, playing, making music — some of the happiest moments of my life creating,” she says. “And Adán, I really appreciate his philosophy of life, his way of working, his friendship, the way he loves me. I’ve found in him a producer who understands both my roles: as a producer and as an artist.”
The singer of “Hasta la Raíz” notes that with Jodorowsky — son of the renowned Chilean-born filmmaker, theater director, psychomagician, writer, and producer Alejandro Jodorowsky — she knows she can fulfill her role as a producer and songwriter without losing focus. “When you go into the recording studio, you’re so vulnerable; everything happens — there’s joy, and there’s also confrontation. There are days when you’re having a terrible time, when you’re very fragile and need a sensitive person. That’s Adán.”
Lafourcade shared that before CANCIONERA became a conceptual album, it was initially envisioned as a tour with just her voice and guitar on stage. “That was the first spark that led us to create an entire album.” Thus, a series of intimate concerts in Mexico, produced by Ocesa to promote the album, began on Wednesday (April 23) in Xalapa, Veracruz, and will arrive at the Teatro Metropólitan in Mexico City on May 2, before returning in September to the Auditorio Nacional. With stops in several cities across the country, the United States and Latin America, the CANCIONERA Tour is shaping up to be one of Lafourcade’s most ambitious ones.
With Mexico as one of her greatest inspirations, and after having elevated the country’s name with her music, Lafourcade applauded the government initiative México Canta, announced on April 7 by president Claudia Sheinbaum to promote songs free of violence glorification. “I agree that it’s time to analyze a little and open our eyes, to be aware that music has a lot of power,” Lafourcade says. “Sung words have an even greater power; they truly affect us, transform us, for better or worse. It’s a transformation on a level we don’t even realize. I think a constructive perspective is always a great contribution.”