MEXICO
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.”
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.
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.
A concert by popular Mexican corrido singer Luis R. Conriquez ended in chaos on Friday night (April 11) when the musician announced that his performance at the Feria del Caballo in the State of Mexico would not include narcocorridos due to a ban on expressions that glorify violence implemented in several municipalities in the central region of the country.
The singer was performing at a “palenque” (a more intimate format at popular fairs) in the municipality of Texcoco, featuring covers of other artists and his own songs, when the audience booed him because the setlist did not include some of his most famous corridos — several of which have been criticized for allegedly glorifying drug trafficking. Upset attendees began jeering, throwing punches, and causing damage at the venue.
“There are no corridos. What do we do? Should I just go home instead?” Conriquez is heard saying to the audience in videos of the moment before the chaos erupted, which are circulating on social media.
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Hours before the show, the musician had already warned his followers that narcocorridos would be removed from his setlist at the Texcoco Fair. “We’re entering a new phase, without corridos and all that. It feels bad not being able to sing what people want to hear, but we’re joining the cause of zero corridos and moving forward,” the singer said in an Instagram Story.
Although Conriquez tried to explain to the audience the reason for the absence of narcocorridos in the night’s repertoire, the angry crowd expressed their displeasure with boos and shouts and began throwing empty and drink-filled cups toward the stage, as can be seen in videos circulating on social media. In response to this reaction, Conriquez left the venue, which provoked a barrage of chairs and other objects.
“There are many people who don’t understand. They think we’re the ones setting the rules, but the truth is there won’t be any corridos at events from now on, for any artist, my people. Cheer up. I love you all. The people who truly support us will continue doing so, even if we’re playing bachata,” the Sonoran musician expressed in another Instagram Story hours before the show.
In Texcoco, along with two other municipalities in the State of Mexico (Metepec and Tejupilco), which neighbor the Mexican capital, expressions that glorify violence have been prohibited since April 9 following the implementation of a law targeting popular fairs and mass events, with sanctions of up to six months in prison, according to reports from newspaper Milenio.
So far, neither Texcoco authorities nor organizers of the Feria del Caballo have commented on the incident. Billboard Español has sent a requested for comment to Luis R Conriquez’s team but has not yet received a response.
The ban on narcocorridos in municipalities in the State of Mexico adds to similar measures in other regions of the country, following controversy sparked by the projection of images of a famous cartel leader at an auditorium of the University of Guadalajara in Jalisco on March 29 during a concert by the group Los Alegres del Barranco. This incident led to the U.S. revoking the work and tourist visas of the group’s members.
On Friday (April 11), the Jalisco government introduced a bill to reform the law against the glorification of crime in public or private performances. This initiative “empowers municipalities to regulate, and if necessary, prohibit and sanction musical groups that engage in any type of glorification of violence,” according to a post on X.
Mexican president Claudia Sheinbaum, through the Secretary of Culture of the Mexican Government, announced this week the binational contest México Canta (Mexico Sings), which seeks to encourage young artists — especially those in the trending genre of corridos tumbados — to create songs that don’t glorify violence or drugs.
The President of Mexico, Claudia Sheinbaum, wants to encourage young artists — especially those in the trending genre of corridos tumbados — to create songs that don’t glorify violence or drugs. That’s why this week she announced México Canta (or Mexico Sings), a binational contest aimed at shifting the focus of Mexican music to themes like “love, heartbreak and peace.”
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This is the first initiative launched by the Mexican government to use music as a way to counteract the glorification of violence and the fascination some young people have with joining criminal groups, drawn by the promise of a flashy, luxurious lifestyle — all happening amid the wave of violence affecting certain regions of the country.
“While the contest won’t solve this issue overnight, and we’re not neglecting the underlying causes — for that, there’s a whole national security program — we felt it was important to create creative spaces through culture for Mexican and Mexican-American youth who are passionate about music,” explains Claudia Curiel de Icaza, Mexico’s Secretary of Culture, to Billboard Español.
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In her opinion, many young Mexicans see their dreams of breaking into the music industry crushed, because they don’t have instruments or professional recording equipment. “Organized crime takes advantage of this situation and starts funding musicians,” says the official. “No one hires you if you don’t have a solid music production to stand out. This program aims to provide that professional support.”
The presidential initiative is backed by a segment of the country’s music industry, including major players like Virgin Music Group and Fonovisa/Universal, the Mexican Society of Authors and Composers (SACM), the Mexican Association of Producers of Phonograms and Videograms (AMPROFON), among others.
Registrations will be open at mexicocanta.gob.mx from April 28 to May 30. The grand finale will take place on Oct. 5 in the Mexican state of Durango.
A Billion-Dollar Industry
According to Curiel de Icaza, another goal of the México Canta contest is to attract a portion of the creative industry in the United States to promote Mexican creative industries. This effort is part of Plan México, a joint strategy between the Mexican government and the private sector to attract investments and boost national growth, especially amid the tariff policies of U.S. President Donald Trump.
The minister highlighted the importance of Mexican music, which generates “$2 billion in the United States, of which $500 million stays in Mexico,” she said, adding that Mexico currently ranks tenth in the global music industry market, according to the International Federation of the Phonographic Industry (IFPI), and No. 8 in digital consumption.
“More than 70% of Latin music consists of corridos, and many of them glorify violence,” she stated.
In the past, Sheinbaum has clarified that her government is not looking to promote censorship but rather to preserve traditional Mexican music while emphasizing other values.
This initiative was announced just days after outrage erupted in Mexico over the projection of images of a criminal leader during a concert by the corridos group Los Alegres del Barranco at an auditorium at the University of Guadalajara, which led to the U.S. revoking the work and tourist visas of the band’s members.
Here’s everything you need to know about the binational México Canta contest.
Who can participate?
All young Mexican and Mexican-American performers between the ages of 18 and 34.
How can you participate?
With songs or performances in genres like mariachi, norteño, banda, corrido, tropical, duranguense, campirano, bolero, among others, as well as fusions with rap, rock, pop, and hip-hop. Participants can perform in indigenous languages, Spanish, or Spanglish, with original songs up to 3 minutes long.
In which cities will participants be selected?
In the U.S.: Chicago, Houston, and Los Angeles.
In Mexico: Tijuana, Mexico City, and Oaxaca.
Where can the contest be followed?
On the Mexican government’s public channels and official social media platforms.
What are the prizes?
Regional winners will receive mentorship from a group of specialists.
For Best Song, the prize is a contract with a national, international, or independent record label.
The Best Performer will be awarded a record deal and the opportunity to record an album.
The winner of the Jury Prize will receive a record deal and the opportunity to record an EP (6 songs).
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Billy McFarland might need to find a new location for Fyre Fest 2. Mexican officials have said the event is not happening.
As per Complex, the controversial entrepreneur is trying his best to resurrect the biggest music festival that never happened. Since being released from prison in 2022, Billy McFarland has publicized his aspirations to bring the Fyre Fest back to life. On March 25, the brand announced that the Fyre Fest 2 would be hosted in Playa Del Carmen, Mexico, from May 30 to June 2. While the news was met with much skepticism online, Billy continued his promotional efforts with daily posts expressing his excitement.
On April 3, Mexican officials posted an announcement to X, formerly known as Twitter, saying that the event will not be hosted there. “The municipal government of Playa del Carmen informs that no event of that name will be held in our city,” a statement read, shared by Playa del Carmen’s city hall on social media this week. “After a responsible review of the situation, it is confirmed that there are no records, plans, or conditions that indicate the holding of such an event in the municipality.”
As expected, Billy McFarland has commented on the matter and tried to dispel what Mexican authorities shared on social media. “FYRE has been working directly with the government of Playa del Carmen (PDC) and their officials since March 5, 2025 to ensure a safe and successful event. All media reports suggesting our team has not been working with the government of PDC are simply inaccurate and based on misinformation.”
According to TMZ, Fyre Fest event producer Nick Botero says that the Mexican government is “lying completely” and added “we’re not doing any event there and we plan on making it very public and showing all of the evidence.”
The government of Playa Del Carmen has yet to respond.
Shakira continues being unstoppable! The Colombian superstar announced on Monday (April 7) four additional dates for her historic Las Mujeres Ya No Lloran World Tour in Mexico, once again surpassing her own record with a total of 26 concerts in the Latin American country. The new cities hosting her shows are Tijuana, Hermosillo, Chihuahua, and Torreón, according to promoter OCESA.
“Due to the enormous demand and the cultural impact Shakira has in Mexico, four new dates have been added to the artist’s return in August. This second leg of her tour in the country will take her to new territories, reaching every corner to reconnect with her ‘pack’ and meet her fans where they are,” the promoter said in a press release.
Consequently, Shakira will bring her show to the northern part of the country, performing on August 11 at Estadio Caliente in Tijuana, Baja California; on August 14 at Estadio Héroes de Nacozari in Hermosillo, Sonora; on August 17 at Estadio UACH in Chihuahua; and on August 20 at Estadio Corona in Torreón, Coahuila.
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After making history with seven consecutive sold-out shows at Estadio GNP Seguros, the Las Mujeres Ya No Lloran World Tour will return to Mexico City for another four concerts at the stadium on August 26, 27, 29, and 30, for a total of 11. This will make Shakira the first artist to achieve such a number of dates at this major venue (formerly known as Foro Sol).
Shakira, who has been adding dates to the tour as tickets continue to sell out, now ties the record of seven dates at Estadio GNP Seguros with Grupo Firme, who are set to give their eighth show there on June 28.
The success of her monumental stadium trek has led the “Hips Don’t Lie” singer to top Billboard‘s Top Tours chart in February, when she kicked off the tour in Brazil, making her the first Latina solo artist to achieve this feat. Shakira’s tour has left an indelible mark across Latin America, gathering more than a million attendees, according to OCESA.
The Barranquilla-born artist was also named by Billboard as the No. 1 star among the Best 50 Female Latin Pop Artists of All Time last month.
Some call it “the festival of the future” due to its eclecticism and bold approach to creating lineups aimed at a multigenerational audience. For others, AXE Ceremonia brings together major alternative music shows in inclusive spaces, where the distinction from other festivals is evident — from the outfits attendees choose for the occasion to the sonic acts showcased during the marathon event.
But for Diego Jiménez, director and co-founder of the festival, it’s the place that provides the opportunity to host the creator of the popular corridos tumbados genre, Natanael Cano, as a headliner one night — and the next day, the two-time Grammy-winning American rapper Tyler, Tyler The Creator. Amidst all that, attendees can hear trip-hop veterans Massive Attack, British sensation Charli XCX, South Korean boy band Tomorrow X Together, and Argentine experimental trap duo Ca7riel y Paco Amoroso.
“We like to differentiate ourselves from other festivals by focusing on youth culture rather than a specific genre or musical style,” Jiménez tells Billboard Español about the festival, whose 12th edition will take place this Saturday and Sunday (April 5 and 6) at Parque Bicentenario in Mexico City.
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“Seeing Tyler, The Creator on a lineup at major festivals around the world is more common, but seeing him one day and Natanael Cano the next doesn’t happen often elsewhere. That gives AXE Ceremonia a very strong personality,” adds the organizer.
Produced by the company ECO Live, this year’s festival lineup is rounded out by a diverse group of international bands and solo artists — including Parcels, Gesaffelstein, Nathy Peluso, The Marías, Meme del Real, pablopablo, Lil Yachty, Artemas, Hanumankind, A.G. Cook, NSQK, The Dare, Simpson Ahuevo, Brutalism 300, and Luisa Almaguer — making it one of the most innovative offerings of the spring festival season.
The 12th edition of the festival will mark the return of Natanael Cano to Mexico City, who previously performed as an emerging artist in 2022. This time, he will take center stage as a headliner after becoming one of the stars of Mexican regional music and delivering a sold-out concert at the Estadio GNP Seguros in August 2024.
“Watching an artist grow like that is very exciting, and it speaks to this dialogue that exists between this city and the rest of the world — of becoming a cultural capital — and how the vision of culture and music from a Mexican perspective has an international impact,” Jiménez observes.
Additionally, this year the festival introduces K-pop to its musical offerings for the first time by inviting South Korean boy band Tomorrow X Together, allowing it to cater to another segment of the audience —Generation Alpha, or those born in the early 2010s. “We like to seek balance, those connections between the past and the present, to create a snapshot of what’s happening today,” Jiménez notes.
The organizer also highlighted the introduction of a new space dedicated to tropical music, salsa, merengue, bachata, and cumbia in this year’s edition of the festival, which will feature two iconic dance halls from Mexico City: Miki’s and Barba Azul.
“Speaking of the present and the past, if you listen to Bad Bunny’s album (Debí Tirar Más Fotos), it’s based on sounds from the past — that distinctly Latin sound. How does youth interact with these sounds? You create a new space,” he explains.
The festival’s organizers expect to gather 55,000 people per day, totaling 110,000 attendees over the weekend. In past editions, the festival’s stages have hosted prominent figures in music such as Björk, Rosalía, Kendrick Lamar, LCD Soundsystem, Travis Scott, James Blake, Wu-Tang Clan, A$AP Rocky, Aphex Twin, Snoop Dogg, Animal Collective, Underworld, Nicolas Jaar and Fuerza Regida.