MEXICO
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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.
Mexican band Los Alegres del Barranco spoke out for the first time on Wednesday (April 2) about the controversial concert where they projected images of the leader of the Cártel Jalisco Nueva Generación (CJNG), Nemesio “El Mencho” Oseguera Cervantes, in an auditorium at the University of Guadalajara last weekend. The incident caused the United States to cancel the work and tourist visas of the group’s members.
In a statement and video posted on their social media, the Sinaloan group offered an apology for the events that occurred on Saturday (March 29) during their performance at the Telmex Auditorium, and stated that, as a group, “it was never our intention to create controversy, much less cause offense.”
The band — who has released some songs with clear references to narcoculture — reaffirms that their music is inspired by telling popular stories within Mexican music. “We will take more rigorous measures on the visual and narrative content of our shows,” he added.
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The statement from the corrido group — who perform in a genre that has occasionally made clear references to narco-culture and famous cartel leaders since its origins over a century ago — came a day after U.S. Deputy Secretary of State Christopher Landau confirmed on Tuesday (April 1) in a post on X that the government of that country had canceled the visas of the members of the Mexican group following the projection of images “that glorify drug traffickers.”
“In the Trump Administration, we take our responsibility regarding the access of foreigners to our country very seriously. We are not going to roll out the red carpet for those who glorify criminals and terrorists,” Landau stated in both English and Spanish.
The incident, which has caused great controversy and outrage in Mexico, was condemned on Monday (March 31) by Mexico’s President, Claudia Sheinbaum, and prompted the Jalisco State Prosecutor’s Office to launch an investigation for “advocating crime.” U.S. Secretary of State Marco Rubio announced on February 20 the designation of eight cartels — including the Jalisco New Generation Cartel — and transnational organizations as Foreign Terrorist Organizations (FTO) and Specially Designated Global Terrorists (SDGT).
On Tuesday, the governor of Jalisco, Pablo Lemus, stated in a message on X that his government supports the measures taken by the University of Guadalajara to prevent concerts from glorifying criminal acts, such as what occurred over the weekend at the Telmex Auditorium.
Videos show the moment when attendees at the concert titled “Los Señores del Corrido” (The Lords of Corridos) erupted in jubilation as images of the drug lord were projected, further fueling controversy and outrage in Mexico.
In a statement, the Telmex Auditorium distanced itself from the events, explaining that the venue, “has no involvement in the selection of the repertoire, speeches, or audiovisual material that the artists choose to share with their audience.” However, it acknowledged that the images of the drug lord could be considered as “advocating crime.”
The controversy over the alleged homage to the drug trafficker comes after the debate over the way in which the cartel founded in that western Mexican state allegedly uses clandestine ranches to recruit people to the criminal group through deceitful job offers. As reported by federal authorities and the media, a raid by authorities at Rancho Izaguirre in the municipality of Teuchitlán revealed the spot where acts of torture and murders were allegedly committed, actions denounced in March by the Guerreros Buscadores collective, a civilian corps focused on finding missing and disappeared loved ones.
Legendary regional Mexican group Banda El Recodo is gearing up for the release of their new album, En Vivo Desde Japón (Live from Japan). Recorded last year during their performance at the De Camino a Latinoamérica festival in Tokyo at Odaiba Pier, the album will be rolled out in five weekly installments starting this Thursday (April 3).
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“We decided to release it this way to offer something different,” says Alfonso “Poncho” Lizárraga, leader of the group that was founded in Mazatlán nearly 87 years ago, in an exclusive interview with Billboard Español. “Each installment will feature a collection of songs grouped under a specific theme.”
The first part, titled Orgullo por México (Pride for Mexico), will include tracks like “Puño de Tierra,” “El Sinaloense/El Corrido de Mazatlán,” and “El Rey/Cielito Lindo/Viva México.” This will be followed by Amor Como Lenguaje Universal (Love as a Universal Language) on April 10, featuring a medley of “Te Presumo/Me Gusta Todo de Ti/La Mejor de Todas,” “Y Llegaste Tú,” and the spotlight track “No Me Aprovechaste,” an unreleased song written by Luciano Luna.
On April 17, the third installment, Separación, Distancia, Desamor (Separation, Distance, Heartbreak), will be released, featuring songs such as “Que te Ruegue Quien te Quiera,” “Yo Sé que te Acordarás/Vas a Llorar por Mí/Acá Entre Nos,” and “Triste Recuerdo/Te Ofrezco un Corazón.” A week later, on April 24, Viva La Fiesta (Long Live the Party) will debut, showcasing the tracks “La Crazy Loca,” “La Culebra,” and “La Quebradora/Vámonos de Fiesta.” Finally, on May 8, En Vivo Desde Japón will be completed with a second unreleased track, “El Malo Soy Yo,” along with “Qué Bonita/El Farol.”
This marks the second time Banda El Recodo has recorded a live album outside of Mexico. Back in 1995, they released Desde París, Francia, La Gira Europa ’95 (En Vivo) (From Paris, France, The Europe Tour ’95 Live). It is also their second time performing in Japan, where they first visited in 2002 to support the Mexican National Soccer Team during the World Cup, playing in five different cities.
“This time, we were part of an event where we were invited to share a piece of our culture with an audience of 5,000 people. It was an incredible experience and a great source of pride,” says Lizárraga. “Nowadays, there’s a growing openness to discovering Mexican music — and we find it very important that mariachi and banda are represented worldwide.”
“It’s important to honor and dignify traditional Mexican music,” Lizárraga continues. “We want the history of Mexican music to be respected and preserved. This doesn’t mean we don’t support new talents or younger generations, but it’s crucial to keep our traditions alive.”
Banda El Recodo will kick off the U.S. leg of their ’90s Banda Tour on May 25 in Newburgh, N.Y., joined by Banda Machos, Banda Los Recoditos, and Banda Maguey. The tour will blend traditional banda hits with technobanda and la quebradita, a music and dance explosion that took the scene by storm during the 1990s.
In Mexico, the tour is called Las Más Perronas (Mexican slang roughly meaning the Baddest) and includes only Banda El Recodo and Banda Machos, with three dates announced: July 11 at the Auditorio Telmex in Guadalajara, August 9 at the Arena Ciudad de Mexico, and Sept. 5 at the Arena Monterrey.
Banda El Recodo
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Grupo Firme is set to kick off La Última Peda Tour on April 11 in Mexicali, following the cancellation of a performance in Mazatlán after a message on a banner with alleged death threats attributed to a drug cartel appeared in Tijuana. And the trek will proceed with reinforced security.
“People can come with confidence and have a good time,” Eduin Caz, the band’s frontman, said during a press conference Thursday afternoon at Estadio Caliente in Tijuana, where the second show of the tour is scheduled for April 12. “We have strengthened security for this tour in Mexico. The shows of Grupo Firme are meant to be enjoyed, and that’s how it will be.”
After a three-year absence from Mexico, La Última Peda Tour will take Grupo Firme to 23 stadiums across the country, including their eighth performance at Estadio GNP Seguros (formerly Foro Sol) on June 28. The tour will also mark their return to palenques, a more intimate type of show that allows for greater interaction with the audience.
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“We need to relive that closeness with people that only these types of venues can provide,” said Jhonny Cazares, the group’s third voice. “Great artists we admire, like Alfredo Olivas and Julión Álvarez, do them. These [venues] are smaller, but they’re no less important. Plus, they’re part of our culture.”
Meanwhile, the state government and the Baja California Prosecutor’s Office are continuing their investigation into the threats against the band. The cancellation of the March 1 concert, which was part of the Mazatlán Carnival, was a result of the discovery of an alleged narcomanta and a human head in a box Feb. 25 in Tijuana — a fact confirmed to Billboard Español by the Baja California State Prosecutor’s Office. So far, four arrests have been made in the case, Excelsior TV reported citing the prosecutor’s office.
“We are grateful for the support of the authorities, who have been attentive from the very beginning,” Caz added. “We can’t share more details so as not to hinder the investigation.”
Coming up, Grupo Firme will be releasing a new album in May. In an interview with Billboard Español, the singer shared some details about the project, which was helmed by renowned songwriter and producer Joss Favela along with Abraham Luna, the group’s second voice and producer.
“The musical arrangements are different,” revealed Caz. “We’ve incorporated piano, electric guitar, and saxophone with banda and norteño. Our musical roots remain the same. The lyrics are in my style, mostly about heartbreak — those are the ones that come most naturally to me.”
He continued: “We recorded 17 songs but will keep only 12; they’re all very good. I don’t want any of them to go unnoticed or not get the attention they deserve.”
He also shared that it took them about a year to select and record the songs, with Caz contributing as a songwriter alongside Horacio Palencia, Nathan Galante, and Joss Favela — the same creator of “El Beneficio de la Duda,” which led Grupo Firme to spend two weeks at No. 1 on the Billboard Regional Mexican Airplay chart in mid-2024.
As for a potential collaboration with Don Omar — who recently expressed in press conference in Mexico City his desire to record with the band — Caz said: “There’s a great friendship. We haven’t been able to align schedules, first due to health issues for both of us. The song has already been chosen; it’s just a matter of timing. It would be amazing to make it happen.”