MEXICO
Shakira‘s series of concerts in Mexico as part of her international tour Las Mujeres Ya No Lloran (Women Don’t Cry Anymore) marked her highly anticipated return after a seven-year absence and earned the Colombian superstar several unprecedented records. The tour also set a historic precedent by boosting tourism and generating millions in economic revenue across the three major cities of the country, which has the second-largest economy in Latin America after Brazil.
Among the many achievements La Loba accomplished in Mexico with her seventh and most ambitious international tour, the sale of 645,000 tickets for her 11 scheduled concerts stands out, according to figures from promoter OCESA. Of those tickets, 455,000 were for seven shows at Mexico City’s Estadio GNP Seguros (March 19, 21, 23, 25, 27, 28, and 30), marking the highest number of performances by any artist at this iconic venue (formerly known as Foro Sol), which has hosted stars like Paul McCartney, Coldplay, Taylor Swift, and Metallica.
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Additionally, 90,000 tickets were sold for her two concerts at the Estadio Akron in Guadalajara (March 16 and 17), while another 100,000 corresponded to two dates at the Estadio BBVA in Monterrey (March 12 and 13), where the Mexican leg of her tour kicked off.
Ticketmaster México reports that 2.5 million people visited its website to search for tickets to Shakira’s concerts since the tour was announced in the country last October, according to data provided to Billboard Español. This makes her the most searched act on Ticketmaster over the past year, according to the ticketing company.
“Of the 90,000 tickets sold for Estadio Akron, 37,000 were purchased outside the city, which implies tourism,” Gustavo Staufert, general director of the Guadalajara Visitors and Conventions Office (OFVC, by its acronym in Spanish), told Billboard Español, citing figures from OCESA and Ticketmaster México. “If we talk about double hotel occupancy, we’re looking at 40,000 rooms per night, which would generate around 80 million pesos (approximately $4 million) in direct revenue for hotels, and an estimated tourism revenue of 900 million pesos (approximately $44.4 million).”
The tour supporting Shakira’s album Las Mujeres Ya No Lloran has generated significant buzz in the Mexican destinations it has reached. Mexico City serves as the epicenter of the Latin American leg, where the seven scheduled shows at the Estadio GNP Seguros are expected to generate an estimated economic impact of 5.5 billion pesos (approximately $275 million), according to data from the CDMX Secretariat of Tourism provided to Billboard Español. “That figure only accounts for lodging, restaurants, and nightlife venues; it does not include revenue from ticket sales,” clarified Mexico City’s Tourism Secretary, Alejandra Frausto, in an interview.
In Mexico City, the show by the “Antología” singer is also generating around 20,000 jobs in logistics, security, transportation, and production, benefiting workers across various sectors such as hospitality, restaurants, and airlines, as well as street vendors and small businesses near the venues, noted Frausto.
According to data from Ticketmaster, between 30% and 40% of attendees at Shakira’s concerts in Mexico travel from another state in the country to one of the three cities hosting the shows. A request for information from Billboard Español to the Nuevo León Secretariat of Tourism and the Nuevo León Tourism Development Corporation (Codetur) regarding the economic impact of Shakira’s visit to Monterrey had not been answered at the time of publication.
A world-class show that “is worth it all”
To follow Shakira’s tour across Mexico, “her pack” goes to great lengths. That’s the case of Édgar Lima, a chemical engineer from Mexico City, who will attend all 11 dates his idol is performing in the country. In an interview with the newspaper Reforma, the young fan shared that he spent nearly 80,000 pesos (about $4,000) just on tickets, adding another 12,000 pesos (approximately $600) for transportation and accommodation in Guadalajara and Monterrey.
Experts point out that hosting shows featuring major music stars like the Colombian superstar not only mobilizes her fans but also brings benefits to the local economy and strengthens connectivity between national and international destinations.
The travel company Despegar, a sponsor of the tour, reported a significant increase in interest for flights and accommodations in the three main Mexican cities included in the tour, with an average growth of 43% during the concert dates (March 12 to 30). “Monterrey stood out with a 66% increase in hotel demand,” the company detailed in a statement.
The company added that most travelers to these cities came from Mexico City, Veracruz, Chihuahua, Mérida, and Cancún. Meanwhile, Frausto noted that Mexico City welcomed visitors from across the country, as well as international travelers from the United States, El Salvador, Colombia, and Peru.
A curious fact brought by the Colombian artist’s visit to Mexico was an increase in hotel and lodging reservations in the three Mexican cities hosting *Las Mujeres Ya No Lloran* coming from Las Vegas. “Tourism and music have always been connected, and Shakira’s return to Mexico is a clear example of how major events drive traveler mobility,” said Santiago Elijovich, VP & Country Manager Mexico at Despegar, as quoted in the statement.
Édgar Lima claims that every peso spent on attending Shakira’s 11 concerts in Mexico is worth it. “I believe she puts on a world-class show, and seeing them all makes me think that every investment is worth it and that every peso spent was the best decision I could make.”
For the first time ever, Mexico has entered the top 10 global music markets, the International Federation of the Phonographic Industry (IFPI) has confirmed to Billboard Español. The milestone was driven by a 15.6% increase in recorded music revenue, as revealed in the IFPI’s 2025 Global Music Report published Wednesday (March 19). Mexico’s climb to No. […]
Shakira paid an emotional tribute to Mexico with mariachi rhythms and regional Mexican music on Wednesday night (March 19) with first-time performances of “Ciega Sordomuda” and “El Jefe.” The songs were inspired by the country where the Colombian superstar launched her musical career 30 years ago.
With the surprising inclusion of a Mexican section in her repertoire, the artist kicked-off the first of seven scheduled concerts at the GNP Seguros Stadium in Mexico City in front of 65,000 people as part of her current Las Mujeres Ya No Lloran, according to figures from promoter Ocesa.
Written more than 20 years ago, “Ciega Sordomuda” was one of Shakira’s first international hits, and it sparked euphoria among attendees. Accompanied by the mariachi group Gama 100, the singer delighted her audience with her famous MTV Unplugged (2000) version of the song, featuring Mexican trumpets and brass arrangements. Meanwhile, with “El Jefe” — a collab with Mexican-American band Fuerza Regida included in the 2024 album that gives its name to the tour, — she completed the Mexican segment of the show during her return to the Latin American country after a seven-year absence.
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“This is the first of seven nights in this city that has given me so much joy. Together, we are breaking a historic record, and that’s thanks to all the love you give me,” Shakira expressed with excitement.
Her run of gigs at GNP Seguros Stadium (March 19, 21, 23, 25, 27, 28, and 30) make the Colombian star the first artist to sell out this iconic venue in Mexico City (formerly known as Foro Sol) seven times, collectively bringing together almost half a million attendees, according to Ocesa.
The 48-year-old artist opened her dazzling show with “La Fuerte,” produced by Argentine DJ Bizarrap, followed by hits such as “Girl Like Me,” “Las de la Intuición,” “Estoy Aquí,” “Inevitable,” “Te Felicito,” “TQG,” “Monotonía,” “Shakira: Bzrp Music Sessions, Vol. 53,” and “Don’t Bother,” showcasing a much more rock-oriented side of her artistry. The rest of the setlist was almost identical to what the Barranquilla native has presented throughout the Latin American leg of the tour tour, which began in Rio de Janeiro on February 11.
Before her unprecedented residency in Mexico City, Shakira achieved other milestones in the country, such as two sold-out shows at the BBVA Stadium in the border city of Monterrey, where she gathered 100,000 people on March 12 and 13. Additionally, she performed two concerts on Sunday (March 16) and Monday (March 17) at the Akron Stadium in Guadalajara, bringing together 90,000 people, according to the promoter.
Mexico City will also host the pop-up event “Shakira Estoy Aquí Experience Ciudad de México,” a free exhibition opening Friday (March 21) and running through March 30. The immersive experience will allow fans to dive into the universe of the Colombian artist through thematic spaces showcasing her evolution, creative process, and pivotal moments in her career.
Mexico also marks her second-to-last stop in the region before Shakira starts the U.S. leg of the tour on May 13 in Charlotte, N.C.
Garbage, the iconic American alternative rockers who rose to fame in the ’90s, are in the midst of their first Latin American tour in a decade. The trek kicked off March 12 in Colombia, followed by stops in Chile and Argentina, before arriving in Brazil this Friday (March 21).
On April 6, after an 11-year absence from the country, Garbage will perform in Monterrey, Mexico, at the Tecate Pa’l Norte festival.
“It’s great to go back to Mexico, you know. And going to Pa’l Norte again is even better,” lead singer Shirley Manson tells Billboard Español about their participation on the festival’s second day, which will also feature stars like Olivia Rodrigo and Kings of Leon. “Each represents different generations, and their own music. We’re not the same side of the coin. Having many options at the same place is fantastic.”
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Since the band’s inception in the early ’90s, Garbage has been beloved among Latin American audiences. Tracks like “Stupid Girl,” “Only Happy When it Rains” and “I Think I’m Paranoid” have transcended the years, creating a strong bond with fans in the region.
When asked about the growing globalization of Latin music, Manson shares: “Latin music is developing and expanding so quickly. Now, listening to music in Spanish is something we are used to. That’s so great, it’s wonderful.”
The reunion with their fans has been overwhelmingly positive. At the Festival Rec, recently held in Concepción, southern Chile, the band shared the stage with acts like Los Tres, Suede and Julieta Venegas, along with 40 other talents that brought together an estimated 360,000 attendees, according to Chile’s Ministry of Cultures, Arts and Heritage.
In Buenos Aires, Argentina, the Obras Stadium was packed with fans who had been waiting for the band since their last performance at the legendary Luna Park in 2014. Shirley Manson has a special connection with Argentina, particularly with its feminist movements; the singer even participated in a colloquium there in 2019.
For their performance at Parque Fundidora in Monterrey, where Tecate Pa’l Norte will take place from April 4–6, daily attendance is expected to reach at least 100,000 people. The eclectic lineup includes Green Day, Massive Attack, Justin Timberlake, Caifanes, Foster the People, Benson Boone, El Tri and Eden Muñoz, among others.
Garbage, comprised of Shirley Manson, Butch Vig, Duke Erikson and Steve Marker, has released several covers over the past two years, including David Bowie’s “Starman,” U2’s “Who’s Gonna Ride Your Wild Horses,” Siouxsie and the Banshees’ “Cities in Dust” and Patti Smith’s “Because the Night.” Fans are eagerly awaiting new music from the band, as their eighth studio album, Let All That We Imagine Be the Light, is set to drop on May 30.
Beatport is growing its presence in Mexico as electronic music consumption expands on the digital download platform for DJs.
A representative for the company tells Billboard that download revenue from Mexico on Beatport increased by 25% in 2024, with the percentage of tracks downloaded increasing by 16%.
A number of electronic genres in particular saw large consumptions surges in Mexico on Beatport, with the consumption of Afro-House increasing by 105%, the consumption of psy-trance increasing by 42%, minimal/deep tech going up by 39%, house up by 32%, deep house up by 27%, melodic house and techno up by 26%, tech house up by 21% and dance pop up by 21%.
Meanwhile, Beatport Streaming subscribers in Mexico increased by 28% in 2024.
As such, Beatport is growing its presence in the country, hosting its first ever Beatport Connect summit in Mexico City this Friday, March 21. The event will bring together industry professionals, artists and fans for panel discussions, workshops and DJ sets. The event will also offer Beatport and Beatsource workshops with artists Jessica Audiffred, Zarina/SADGAL and DJ Fucci each participating in sessions focused on trends and insights in music production.
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“Mexico’s music industry is experiencing remarkable growth, with a rapidly evolving electronic music scene and passionate audience,” says The Beatport Group’s Chief Revenue Officer, Helen Sartory. “With Mexico’s digital music segment expected to surpass 26 million users by 2027, the demand for electronic music is stronger than ever. Mexico City, in particular, has earned its reputation as a ‘trigger city,’ shaping international listening habits through its substantial digital consumption. As the country continues to emerge as a major player in the global music landscape, Beatport is proud to invest in this growth.”
Beatport is now also offering subscriptions in local currency and reducing prices of Beatport and Beatsource streaming up to 40%. The Beatport site also now automatically translates into Spanish for users in Mexico, with a “Discover Mexico” page featuring fresh music from the country.
“Mexico has long been a vibrant hub for electronic music, and we’re thrilled to deepen our investment in the region,” says Sofia Ilyas, Chief Community Officer of The Beatport Group. “By launching Beatport Connect: Mexico City and lowering prices for local markets, we’re making it easier for DJs and producers to access the tools they need to create, connect, and perform. As Beatport continues to expand globally, Mexico remains a key market in our mission to provide cutting-edge tools, educational resources, and community-driven events that empower the next generation of DJs and producers.”
David Browne
On Sunday (March 16) the Vive Latino festival closed its 25th anniversary edition with an explosion of sounds, ranging from rock to alternative dance and metal, passing through ’80s pop ballads, regional Mexican music and electronic cumbia — all in a grand eclectic and multigenerational party that brought together 80,000 people on its second day, according to promoter Ocesa.
Zoé, Rüfüs du Sol, Sepultura, Mon Laferte, Keane, Aterciopelados, Edén Muñoz, Astropical, Draco Rosa, Porter, La Lupita and Los K’comxtles, along with a segment titled “Música para mandar a volar” (Music to let go) featuring Belinda and María José singing in tribute to the late Dulce and Paquita la del Barrio, headlined the event’s second day at the GNP Seguros Stadium in Mexico City.
The Mexican band Zoé made a triumphant return to the festival after a five-year absence, marking its only show of the year. Meanwhile, Mon Laferte led the charge for women as one of the star performers of the marathon day, making thousands sing along to hits like “Mi Buen Amor” and “Tu Falta de Querer.” Keane delivered one of the standout and most-anticipated performances of the day, underscoring the British band’s long-standing connection with its Mexican fans.
The Colombian duo Aterciopelados invited Café Tacvba’s lead singer Rubén Albarrán for “Adiós Que Te Vaya Bien” and paid homage to late rock en español icon Gustavo Cerati by performing Soda Stereo’s classic “La Ciudad de la Furia,” which vocalist Andrea Echeverri had previously sung on the band’s MTV Unplugged in 1996.
In an unusual turn of events, Kany García fell victim to a power outage on the Telcel stage, which interrupted her debut at the famous Mexican festival. The Puerto Rican singer-songwriter made the best of the situation by performing without a microphone, accompanied by her guitar and the audience singing along to “Confieso.”
On a day where women took center stage, ASTROPICAL — the new supergroup created by Bomba Estéreo and Rawayana — also stood out with its performance. La Lupita, a pioneer of the musical festival, welcomed back singer Rosa Adame to perform the band’s most iconic songs and pay tribute to guitarist Lino Nava, who passed away in 2024.
For the second year in a row, and thanks to a partnership with Amazon Music, concerts could be streamed for free through the digital platform. The 25th edition of Vive Latino also set a record for the festival, bringing together 160,000 people in total according to Ocesa.
Below are some of our favorite acts from the second day of the Vive Latino festival, as it celebrated its first quarter-century. For our recap of Day 1, click here.
Zoé Comes Out From Hiatus to Shine
The celebration of the 25th anniversary of the Vive Latino festival turned into a big party on Saturday (March 15), with rhythms like rock and cumbia taking center stage through the voices of some of their greatest exponents, including Mexican bands Caifanes, Los Ángeles Azules, and El Gran Silencio.
On its first day of activities, the musical gathering, which returned after a year to its original venue at Estadio GNP Seguros (formerly Foro Sol), brought together 80,000 people, according to promoter Ocesa.
One of the most anticipated and applauded performances was by the legendary group Los Ángeles Azules, who made a triumphant return to the popular music festival 12 years after their memorable debut. Meanwhile, Caifanes added a social touch by addressing themes such as the crisis of femicides in Mexico and migration during their main stage performance.
There were big surprises, like the highly-awaited debut of emerging artist Macario Martínez at Vive Latino. In addition to his solo act at the Carpa Intolerante stage, he was invited to perform alongside the band Little Jesus. Emotional highlights of the marathon of a day included the appearance of Molotov‘s guitarist and vocalist, Tito Fuentes, who joined his bandmates near the end of their set to celebrate the band’s 30th anniversary, after previously announcing he was taking a health-related hiatus.
Emmanuel “Meme” del Real, keyboardist of the popular band Café Tacvba, also delivered one of the most special performances, showcasing new songs from his solo repertoire. Another standout moment came from the German band Scorpions, who fulfilled a promise to their Mexican fans after canceling their performance at the festival last year.
Day one of the festival also saw appearances from Spanish and English-speaking acts, including Nortec: Bostich + Fussible, Él Mató a Un Policía Motorizado, Foster the People, The Guapos, Caloncho and Jesse Baez.
On Sunday (March 16), the festival continues with performances by Zoé, Mon Laferte, Aterciopelados, Sepultura, Keane, Draco Rosa, Los K’comxtles, Eden Muñoz, Kany García, Porter, Rüfüs Du Sol and Cuarteto De Nos, among others. For the second year in a row, and thanks to a partnership with Amazon Music, concerts can be streamed for free through the digital platform.
Below are some of our favorite moments from the first day of the 2025 Vive Latino festival, as it celebrates its first quarter-century.
Caifanes for Women & Immigrants
The legendary Estadio Azteca will be renamed and will now bear the name of a Mexican bank sponsor in preparation for the 2026 FIFA World Cup. This was announced on Friday (March 14) by Banorte and Grupo Ollamani, the company that owns the venue, through a joint statement. They also revealed a “long-term alliance” encompassing advertising and sponsorship elements.
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“Starting today, the Cathedral of World Football will carry the name Estadio Banorte,” the companies stated in the document, shared on social media.
With Grupo Banorte’s investment, this iconic stadium located in Mexico City is expected to become one of the most modern in the world in terms of technology, sustainability, and connectivity.
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The agreement with Ollamani includes a loan of 2.1 billion pesos ($106 million) from Grupo Financiero Banorte to fund the stadium’s renovation for the 2026 World Cup. The financing terms are set for 12 years, according to the release.
“For Ollamani and the new Estadio Banorte, it is an honor to join forces with the most important Mexican financial institution in the country,” said Emilio Azcárraga Jean, president of Grupo Ollamani and owner of Club América, in the document. “With them, we will modernize this iconic stadium, respecting its essence and architectural designs recognized for decades. It will be the most important venue to showcase Mexico to the world.”
This is the second time the renowned venue, currently undergoing renovations, has changed its name since it was inaugurated as Estadio Azteca in 1966. In 1997, it was renamed Estadio Guillermo Cañedo in honor of one of the key figures behind its construction, but fans did not embrace the new name and continued referring to it by its original one.
El Azteca, witness to legendary football moments featuring icons like Pelé and Diego Maradona, has a capacity of approximately 81,000 spectators. The Mexico City venue will host the opening match and two additional games of the world’s biggest football tournament, set to take place next year across Mexico, the United States, and Canada.
Its majestic stage has hosted iconic international music figures such as Paul McCartney, Madonna, U2, and the late King of Pop, Michael Jackson. In recent years, Latin music superstars like Shakira, Bad Bunny, and Karol G have joined the list of artists who have performed at this legendary venue. It was also the site of the farewell concert of one of Mexico’s greatest music stars, Vicente Fernández, in April 2016.
Among its most memorable moments are massive gatherings like Pope John Paul II’s visit in 1999 and the boxing matches of Mexican icon Julio César Chávez in 1993.
Ramón Ayala has revealed the date for his final concert, marking the end of a successful career that began in the 1960s. The final show of the norteño music legend will take place on Sept. 13 at the Arena Ciudad de México, as announced on his social media.
“After 60 years of career, the King of the Accordion is bidding farewell to his audience in style with two concerts on the ‘Historia de un Final’ tour,” the post reads, also referencing his show scheduled one day earlier at the Arena Monterrey. It was in that city where the musician began his journey alongside Cornelio Reyna, with whom he formed Los Relámpagos del Norte, before continuing with his own group, Ramón Ayala y los Bravos del Norte.
In February 2024, Ayala announced the tour El Principio de un Final, which was not completed due to differences with the promoter. Instead, he began that March the ‘Historia de un Final’ trek, with which he has toured dozens of cities in Mexico and the U.S.
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In an exclusive interview with Billboard Español ahead of the tour, Ayala conveyed last May the excitement he felt about going on with his career after more than half a century on the road. “Knowing that there’s a large audience that follows us both in Mexico and in the United States, that fills our concerts and is awaiting our new music, motivates me,” he said.
Ayala’s musical journey began when he was just five years old and he accompanied his father playing the accordion to bring money home in his native Monterrey, Nuevo León, cradle of one of the three strands on which regional Mexican music is based: norteño, mariachi and banda sinaloense.
Throughout his long-lasting career, he has recorded over 100 albums, two of which reached No. 1 on the Billboard Regional Mexican Albums chart: Arriba El Norte (1991) and Antología De Un Rey (2004). He’s also placed 12 songs on Hot Latin Songs, including “Del Otro Lado del Portón”, at No. 12, and “Quémame los Ojos”, at No. 19. And he’s received two Grammy Awards and two Latin Grammys, among other accolades.
An undisputed icon of regional Mexican music, many contemporary artists of the genre often include Ayala classics, like “Tragos de Amargo Licor,” in their concerts — among them Edén Muñoz and Alfredo Olivas, whom the veteran musician has cited among his favorites of the new generation.
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President Donald Trump is facing questions after walking back threatened tariffs on Mexico & Canada for the second time.
On Thursday (March 6), President Donald Trump reversed course and postponed tariffs of 25% of goods that he levied against Mexico and Canada on Tuesday (March 4) for the second time, leading many to question his process. He stated that they would be postponed until April 2. Trump had bragged about the tariffs at his State of The Union address then, claiming they would lead the U.S. to success. “Tariffs are about making America rich again and making America great again. And it’s happening, and it will happen rather quickly. There’ll be a little disturbance. We’re okay with that. It won’t be much,” he said at the time.
Canada, Mexico, and China immediately responded with their retaliatory tariffs, which sent the stock market tumbling on Wednesday (March 5)with the Dow falling 1,300 points in response to consumer concerns stateside about rising prices. On Thursday, Trump spoke with Mexican President Claudia Sheinbaum, who said afterward in a post on X, formerly Twitter, that they “had an excellent and respectful call in which we agreed that our work and collaboration have yielded unprecedented results.” Hours later, Trump signed an executive order granting the same postponement to Canada.
Commerce Secretary Harold Lutnick mentioned the possibility of tariff postponements in a CNBC interview, stating that it would cover all goods. “ I think it’s likely that it will cover all USMCA-compliant goods and services,” he said. The USMCA refers to the United States-Mexico-Canada trade agreement that was signed in 2018, and enforced beginning in 2020. Initially, Trump was seeking to relieve tariffs on automakers, no doubt in response to a Fox News segment where an auto dealer explained that the immediate effect of the tariffs would add $20,000 to the price of a car on the lot.
Trump’s backpedaling didn’t come without criticism. Canadian Prime Minister Justin Trudeau blasted him in a press conference on Tuesday. “Today the United States launched a trade war against Canada, their closest partner and ally, their closest friend. At the same time, they are talking about working positively with Russia, appeasing Vladimir Putin, a lying, murderous dictator. Make that make sense,” he said. China was more direct, expressing that they would “resolutely counter” all tariffs placed on their goods.