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Miguel Bosé admits that on the first day of rehearsals for his upcoming Importante Tour 2025-2026, he felt terrified. “Oh my God! How was this done? How did one walk on stage?” he thought. But when the music started, his body began to move and glide naturally across the wooden platform to the rhythm of his famous song, “Nena.”
Everything was set for the great return of the pop icon, after an eight-year hiatus. It was time for the world to witness his personal and artistic rebirth.
“I was ready to come back, and suddenly going on tour became the most important thing in my life,” says an visibly excited Bosé to Billboard Español in Mexico City, where he has lived for the past seven years.
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“I feel very motivated, with a lot of desire. Oh!” he adds. “You see, I wanted to wait eight years to let all the past drama settle down and be able to rebuild myself physically, spiritually, mentally, emotionally. All that had to be rebuilt.”
Bosé’s last tour was Estaré in 2017, which started in Mexico that February and followed the concept of his last album to date, Bosé: MTV Unplugged (2016), concluding the following year. His last recording was a cumbia version of his classic “Morir de Amor” with Los Ángeles Azules, included in that band’s 2018 album Esto Sí Es Cumbia.
Today, Bosé looks triumphant for having overcome a crisis that shook him on various levels: He partially lost his voice between 2019 and 2023; ended a 26-year relationship with Nacho Palau; suffered the death of his mother, the Italian actress and model Lucía Bosé; and was the victim of an armed robbery at his luxurious home in Mexican City in August 2023.
“When everything that happened happened, and all the problems began to accumulate from all sides, I blamed Bosé. I said, ‘He is to blame’ — ‘You are to blame, bastard, for being who you are. You have destroyed my life.’ So I deconstructed myself like a Lego, and left all the pieces there for eight years,” he said at a press conference following the interview.
The singer of “Aire” and “Si Tú No Vuelves” points out that he had to exercise humility, and decide that the self-punishment had been enough. Therefore, he says that his 2025-2026 Importante Tour will be a “luminous” and “powerful” concert.
“People are going to hear the super hits,” he says, explaining that he had to leave many songs out of the setlist. “I can’t do a six-hour show. It’s not viable.” He details that this tour will consist of several segments like “a collection of paintings” that will depict various characters, stories and landscapes.
Importante Tour will begin its journey on Feb. 27 at the Congress Center in Querétaro, in that state neighboring the capital of Mexico, and will arrive at the National Auditorium in Mexico City on March 14 and 15, before visiting other Mexican cities.
He will continue in June in his native Spain. And, on Oct. 2, he’ll begin the U.S. trek of the tour at The Theater at Madison Square Garden in New York City. In the coming weeks and months, the artist hopes to announce dates for Latin America.
“I look forward for everyone to come and see luminous, a fun show — a journey through time, through the soundtracks of millions of people — to see this beautiful and bold proposal,” he adds.
With more than 30 million albums sold throughout a five-decade career, Bosé is one of the most recognized Latin pop artists globally. On the Billboard charts, he has placed hits like “Nena,” “Morena Mía,” and “Como un Lobo” on Hot Latin Songs and Latin Airplay, and multiple albums in the top 10 of the Top Latin Albums ranking, including Papito, Cardio, and Papitwo.
And his influence extends beyond music. Awarded with accolades such as the Latin Recording Academy 2013 Person of the Year, the Global Gift Humanitarian Award and Telemundo’s El Poder en Ti, as a philanthropist, Bosé is deeply involved in such causes as Patrimonio Indígena Mex, Fundación Lucha Contra el Sida and National Geographic’s Pristine Seas.
Although the 68-year-old artist — who’s also a writer and an actor — says he has many songs he has written over the last few years, he has no plans to share new material anytime soon, because he considers that releasing albums is “not viable” at a time when music has been digitalized.
“I have already built my career,” he says. “I don’t feel like recording anything right now. How do you sell that music? Are there stores, are there supports? How much do you pay? What does it contribute? How much does it give you financially? Nothing, I have no desire for others to take advantage of the new creations, that neither I nor my fans have something tangible — a CD, a cassette.
“[Instead] I’ll sing to the people the first 30 songs they are expecting to hear [on the tour] — because if I don’t, they will slit my throat,” he concludes with a laugh.
Mexican singer and songwriter Paquita la del Barrio, known for denouncing macho culture and attitudes in rancheras and boleros like “Tres Veces Te Engañé,” “Rata De Dos Patas” and “Las Rodilleras,” has died, it was announced on her Instagram account. She was 77.
“With deep pain and sadness, we confirm the sensitive passing of our beloved ‘Paquita la del Barrio’ at her home in Veracruz, [Mexico] being a unique and irreplaceable artist, who will leave an indelible mark in the hearts of all who knew her and enjoyed her music,” says a statement posted on Monday (Feb. 17). “In this moment of great pain, we respectfully ask all media and the public to give us space and understanding so that her family can experience their mourning in privacy and peace.”
A representative of the artist in Mexico informed Billboard Español that she died of a heart attack while she was sleeping.
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With a career spanning over five decades, Paquita la del Barrio was an idol in popular music. In 2011, she received the Billboard Regional Mexican Music Award “La Voz,” and 10 years later, in 2021, she was recognized with the Lifetime Achievement Award at the Billboard Latin Music Awards for her exceptional career.
Born in Veracruz, Mexico, Francisca Viveros Barradas (her real name) discovered her powerful voice as a child while singing at school festivals. In the 1970s, she formed the duo Las Golondrinas with her sister Viola, and in 1984, she released her debut album, El Barrio de los Faroles, as Paquita la del Barrio.
Since then, she recorded over 30 albums, which sold more than 30 million copies, with hits that also include “Las Mujeres Mandan,” “La Última Parada,” “Me Saludas a la Tuya,” “Soltero Maduro, Chiquito” and “Hombres Malvados,” among others.
On the Billboard charts, she had eight entried on Top Latin Albums, two songs on Regional Mexican Airplay (“Piérdeme el Respeto” and “Si Yo Fuera Varón”) and one (“Pobre Pistolita”) on Tropical Airplay.
She was married twice, to Miguel Gerardo and Alfonso Martínez, and had three children.
After delivering successful songs as a songwriter to big stars of the new regional Mexican genre — and after making it onto the Billboard charts with hits like “Si No Quieres No” with Luis R. Conriquez, “La Patrulla” with Peso Pluma, and more recently “Loco” — the corrido singer-songwriter Netón Vega presents his debut album, Mi Vida, Mi Muerte.
Released on Friday (Feb. 14) under Josa Records, the 21-track set includes collaborations with Peso Pluma, Luis R Conriquez, Gabito Ballesteros, Oscar Maydon, Victor Mendivil, Chino Pakas, Juanchito, Xavi, Tito Double P, and Aleman. He arrives with “Morena” with Peso Pluma as the focus track, and brings the first single, “Loco,” which earned Vega his fourth top 10 hit on the Hot Latin Songs chart.
“This album is very personal and represents the mixture of all the influences that have marked my career and my life,” Vega tells Billboard Español about this production — which, in addition to corridos tumbados, adds some rap and reggaetón.
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Netón Vega (real name: Luis Ernesto Carvajal) was born in La Paz, Baja California Sur, and at the age of 12 went to live in Culiacán, Sinaloa, the birthplace of corridos, where he began writing songs. His first musical references were the traditional regional Mexican artists, such as Grupo Intocable, one of his favorites. Along the way, he delved into corridos tumbados, until he became a hit maker for the great stars of the genre.
“My songs gained momentum and first reached Hassan (Peso Pluma), who recorded ‘La Patrulla,’ ‘Rubicón,’ and ‘La People,’” Vega recalls. “Then they were picked up by Luis R. with ‘Si No Quieres No’ and ‘Chino,’ followed by Tito Double P with ‘El Gabacho,’ and then by Código FN and Gabito Ballesteros, among others.”
Now, at 21, he is releasing his debut album with the collaboration of many of these colleagues — a union to which he credits the growth of this movement. “It makes us stronger,” he notes. “Even though this is a business, we help each other.”
Below, Netón Vega breaks down five essential songs from his debut album Mi Vida, Mi Muerte in his own words. To listen to the album in its entirety, click here.
“Morena” (feat. Peso Pluma)
It is a corrido with classic requinto and a lot of ambiance. This song was born at a live event where I intended to record with Tito Double P, but for one reason or another, I couldn’t do it with him. I wrote this song while I was in a car. Later I showed it to Peso, who liked it from the first moment. At first, the song had a different direction, but it turned out very good. Peso asked me to make it the focus track of my debut album — and of course, I agreed.
“CDN” (feat. Luis R. Conriquez)
It’s a corrido that carries the hallmark I’ve always loved, with classic guitar picking, flawlessly executed. Honestly, this song was created because I knew it would be perfect for Luis R. Conriquez, and it turned out just right. It’s exactly the style that he and I share — and from the moment we made it, we knew it was going to be a hit. It’s one of those corridos that feels authentic, with real power.
“Chiquitita” (feat. Tito Double P)
Initially, “Chiquitita” was meant for Tito’s album. I sent it to him to record quickly because it needed to be submitted. However, in the end, I asked for it back and decided to keep it for my own album because I felt it needed a change, to have my own stamp on it. Honestly, I really liked how it turned out. “Chiquita bonita, déjate querer” (Pretty little one, let yourself be loved), that phrase is key in the song. It’s a romantic corrido that brings that touch of emotion with a distinctly marked requinto.
“Me Ha Costado” (feat. Alemán & Víctor Mendivil)
“Me Ha Costado” is a track with Alemán that came together in a crazy way. I remember sending him a video with the idea, and he liked it so much that he stopped eating and went straight to the studio. I mean, he really liked it — one of those times when you say, “This is a hit!” Then I invited Víctor Mendivil, and honestly, he did a great job on it. This song talks about effort, about everything it has taken for me to be here because I’ve been working since I was a kid, and everyone knows that. It’s a trap song with a really good beat.
“Cuando Me Ocupes” (feat. Xavi)
“Cuando Me Ocupes” came out very naturally, and was the last one to be recorded. With Xavi, we made two tracks, one for him and one for me. Everything was put together in two intense days in Guadalajara. Josa, my manager, arranged everything, and we got down to recording. It’s a love corrido, but with that style that makes it feel real. It’s one of those songs that brings a lot of emotion.
Netón Vega
Josa Records
Mexican superstars Maná have made history by being the first Spanish-language act to receive a nomination to the Rock & Roll Hall of Fame. The band, composed of Fher Olvera, Alex González, Sergio Vallín and Juan Calleros, has left an indelible mark on music, not only in Latin America but globally, through their career spanning more than three decades.
Since their formation in Guadalajara, Jalisco, the quartet has captured the hearts and minds of millions with their lyrics full of passion and their sound that mixes rock, pop and pan-Latin rhythms. With this nomination, they celebrate a milestone not just in their career, but for music in Spanish too. (Fans can cast a vote for Maná’s induction into the Hall of Fame here.)
The band made their debut on the Billboard charts in 1994 with their seminal album Dónde Jugarán los Niños, which reached No. 2 on the Top Latin Albums chart. Their success continued to grow and, over the years, they have managed to position 10 of their songs at No. 1 on the Hot Latin Songs chart, including classics like “Mariposa Traicionera” and “Labios Compartidos.”
These tracks, along with other timeless hits not on this list — such as “Oye Mi Amor,” “Rayando el Sol” and “Clavado en un Bar” — have solidified the Mexican rockers as one of the most influential bands in Latin music. Although the Hot Latin Songs chart, which started in 1986, is the barometer of success in the Latin market — combining data from radio plays, streaming, and digital sales — their achievements go beyond certifications and accolades. They have connected with a worldwide audience through their philanthropic efforts aimed at social justice and peace.
“We want to share this recognition with all Latinos everywhere, especially the immigrants who are suffering right now,” frontman Fher Olvera said in a statement about their nomination. “Don’t lose faith. Our people always find a way. Maná loves you. We’ll always be here standing with you.”
In honor of their nomination to the Rock & Roll Hall of Fame, Billboard Español has compiled their 10 songs that have topped the chart, in chronological order.
“Mariposa Traicionera”
Image Credit: Bernardo Flores
La Original Banda El Limón de Salvador Lizárraga, one of the longest-running Sinaloan bands in the genre, is celebrating its 60th anniversary and is preparing to celebrate throughout 2025.
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“I am happy to announce that Alex Lora, frontman of El Tri, has joined our celebration with one of his songs, “La Raza Más Chida,” which we will unveil in due time,” reveals Juan Lizárraga, grandson of the group’s founder and current music producer, in an interview with Billboard Español. “There are several guests for duets that we will be announcing in the near future.
“We would like to include some of the vocalists who have been in the band, like Julio Preciado,” continues Lizárraga, referring to the first official singer not only of La Original Banda El Limón but of any banda music of its kind.
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La Original Banda El Limón was formed in 1965 in a small town in Sinaloa called El Limón de los Peraza, from which it took its name. Following in the footsteps of its predecessor, Banda El Recodo de Don Cruz Lizárraga, it began as a wind band and, already with a defined style and an earned reputation, served as accompaniment for great stars such as Lola Beltrán, José Alfredo Jiménez and Antonio Aguilar. In 1990 they released their first album, Puro Mazatlán, with which they innovated by putting their own vocalist in a Sinaloa band for the first time.
Since then, the band has released more than 50 albums, 10 of which have appeared on Billboard‘s Top Latin Albums chart and seven on the Regional Mexican Albums chart. The group has also placed 33 songs in Regional Mexican Airplay, reaching No. 1 with “Al Menos” (2010) and “Di Que Regresarás” (2011), among other achievements. Banda El Limón has received multiple awards such as Latin Grammys for best banda album, twice, for Soy Tu Maestro (2010) and La Original y Sus Boleros De Amor (2013), as well as the Billboard Mexican Music Award for Excellence in Regional Mexican Music in 2012.
On Jan. 29, the group received recognition from the Promotores Unidos USA association in Las Vegas, kicking off his anniversary celebrations.
Today, Don Salvador Lizarraga’s grandchildren, who call him papá, carry on his legacy since his passing in 2021. One of them, producer Juan Lizárraga, talks with Billboard Español about their accomplishments, their upcoming plans and the possibility of one day seeing La Original play alongside music peers like Banda El Recodo and La Arrolladora Banda El Limón.
How great is the responsibility to remain relevant after six decades?
I would start by saying that I am very excited. Time goes by very fast; ten years ago we were celebrating our 50th anniversary with a huge concert at the Zócalo in Mexico City, something that marked our history. The legacy of my papá Salvador is something that must be dignified, something that we must work hard on. My brother Carlos, my brother Andrey, Francisco and I learned from him as a professional, but also as the great gentleman he was. This celebration is a dream come true for my dad, even though he is no longer here, and for us who are carrying on his legacy.
Characters like Don Cruz Lizárraga (from Banda El Recodo) and Don Salvador Lizárraga built a very important part in the history of regional Mexican music. Did your father realize that?
My dad used to tell us that he couldn’t imagine what was going to happen to his band. At the time, the only thing he thought about was bringing home the bread. People like him and Don Cruz Lizárraga loved music and in it they found their family’s livelihood. They were not looking for success; they just enjoyed what they did. It has been a great journey in which many characters have left their lives to achieve that the bands are positioned as an important part of Mexican culture.
What is it that keeps Sinaloa’s bands alive?
There are songs that are 30 years old and are still hits. That is what makes a group great, that makes the difference. It is with music that we really transcend and remain relevant. As long as there are singers and musicians who love the band, it will never stop and will continue to be strong. Banda El Recodo and La Original Banda El Limón are recognized for their longevity, but we cannot overlook what Banda MS has done. In twenty years, they have achieved what it took others twice as long. La Arrolladora also had its golden age. Banda Los Recoditos too. In short, there are many that continue to dignify regional Mexican music.
Fashions come and go, but what is well cemented continues. It is like when a hurricane passes and does not knock down a palm tree; it will shake it, it will bend it, but it is well planted and will not knock it down. Banda sinaloense music already has a hard-earned place.
What do you have planned to celebrate these 60 years?
I am happy to announce that Alex Lora, frontman of El Tri, has joined our celebration with one of his songs, which we will unveil in due time. He is delighted with how the arrangements turned out because we took care of the two essences, we achieved a point of balance. At the end of the day, we are enhancing Mexican music. We are focused on making collaborations with artists that are joining us. It’s not about doing songs by La Original Banda El Limón; we did that not too long ago. We want the guest to choose the song, and most importantly, we want them to enjoy banda music. As for a party, we also have it in mind and we are working on it.
Throughout your history you have had some great collaborations, is there one you remember in particular?
Fortunately there are several, with very important artists like Jenni Rivera, Juanes and Becky G, but one that was definitely a big challenge was to be part of the tribute to Caifanes with “No Dejes Que.” Making it sound good with a band and making them like it was not easy, but they were very satisfied. All those moments make us feel happy and proud of our genre.
Will there be a time when we can see something together with Banda El Recodo and La Arrolladora?
With whoever, we are open. I believe that all our colleagues should have the idea of making our music continue to transcend, to make a team. I believe that there are no egos or envy, what we have are matters of negotiation. My dad used to say and he said it well: “Credits are not earned on a piece of paper or in an advertisement, they are earned on stage.” At least for La Original Banda El Limón, opening or closing is the least of it. We are very happy that Banda El Recodo and La Arrolladora are touring together. We wish that could be extended. There are many things that can be achieved if we all come together, to make a great team so that we can bring a strong musical history to the people.
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President Donald Trump’s tariff standoff with Canada and Mexico is on hold, with observers noting his agreement to deal with both contains elements that were already in place.
On Monday evening (February 3), President Donald Trump announced that he and Canadian Prime Minister Justin Trudeau had agreed to pause tariffs coming into each other’s nations after the two spoke by phone. In a post on his Truth Social media platform, Trump wrote: “Canada has agreed to ensure we have a secure Northern Border, and to finally end the deadly scourge of drugs like Fentanyl that have been pouring into our Country, killing hundreds of thousands of Americans, while destroying their families and communities all across our Country,” adding “I am very pleased with this initial outcome, and the Tariffs announced on Saturday will be paused for a 30 day period to see whether or not a final Economic deal with Canada can be structured.” Trump reached a similar pause agreement with Claudia Sheinbaum, Mexico’s president.
News of the pauses brought relief to the financial markets and American consumers who were stressed over the economic hit they would suffer if the tariffs went through. The only problem? Trump has agreed to deals on security measures that were mostly already in effect with both nations.
Concerning his deal with Canada, Trudeau announced that Canada was already implementing a border security force worth $1.3 billion to “ensure 24/7 eyes on the border”. According to journalist Mehdi Hasan in a post on X, formerly Twitter, “Trump got played again. Canada *already* has 8,500 frontline personnel at the border.” Trudeau and former President Joe Biden had struck a similar deal in December 2024 before Biden left office. Canada had also begun patrolling the border between it and the United States with Blackhawk helicopters and committed to a “fentanyl czar” and joint task force operations.
https://x.com/mehdirhasan/status/1886534635288715571
Trump and Sheinbaum came to their agreement earlier on Monday, three days after he announced the 25% tariffs to be placed on goods from both countries entering the United States, in addition to a 10% tariff on goods entering the country from China. While Sheinbaum promised that she would immediately send 10,000 soldiers to the border to prevent the trafficking of fentanyl, she announced in her press conference that Trump agreed to do more to prevent high-powered weapons from the U.S. from falling into the hands of drug cartels. There are already 15,000 Mexican soldiers stationed at the border with America.
Shakira arrived on Tuesday (Jan. 21) in Mexico City, where she will stay for a few days to conduct general rehearsals for her stadium tour Las Mujeres Ya No Lloran, kicking off on Feb. 11 in Rio de Janeiro, Brazil.
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Local TV station Milenio showed the moment the Colombian superstar arrived this afternoon on a private plane at the Felipe Ángeles International Airport (AIFA), on the outskirts of the Mexican capital. The publication Excélsior also shared a video on social media. Escorted by her private security and elements of the National Guard, Shakira spent a few minutes greeting dozens of fans who were waiting with items alluding to her, hoping to greet her up close or get her autograph.
Shakira said in front of the cameras that she was in Mexico City because she has seven concerts scheduled in the capital. The hitmaker of “Monotonía” and “Soltera” recently revealed on the Brazilian show Domingão com Huck that she had chosen the North American country to rehearse and finalize the details of her highly anticipated trek.
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In brief statements to the Mexican press, Shakira shared how she’s been preparing her new adventure that will take her back to international stages after almost seven years since El Dorado, her previous world tour.
“It has been a very healing process, for me and for many women, and for many people who have accompanied me from the start,” said the singer-songwriter. “I am very happy to be here in Mexico, a country that has supported me, understood me, loved me, and I love you with all my heart,” she added.
In response to a question about what she liked the most about Mexican cuisine, the Colombian star said she was craving to taste some traditional tacos or flautas, a style of tacos filled with chicken or beef and topped with green or red sauce.
According to the promoter Ocesa, the Barranquilla native returns to the country setting a new record by becoming the first artist to give seven consecutive shows at the Estadio GNP Seguros (formerly Foro Sol), gathering about 455,000 people in total. The concerts will take place on March 19, 21, 23, 25, 27, 28, and 30, with tickets sold out, as per Ocesa.
Prior to this, Shakira will arrive in the border city of Monterrey, where she has two shows scheduled at the BBVA Stadium on March 12 and 13. She will also make a stop in Guadalajara, where she will offer two concerts at the Akron Stadium on the 16th and 17th of March.
A request for more details on her stay in Mexico sent by Billboard Español to the promoter and the singer’s record label was not immediately answered.
Shakira announced last October that the U.S. leg of her Las Mujeres Ya No Lloran world tour would move from arenas to stadiums due to high ticket demand, so the dates for the U.S. were postponed for May, immediately after her tour through Latin America. In December, she added several additional dates for North America.
The euphoric and loving screams of the crowd made Fito Páez blush. The Argentine rocker admitted that the clamor for his free Saturday night (Jan. 18) show in Mexico City’s Zócalo made him feel “modesty.” Visibly moved, he thanked the 80,000 people who attended the Plaza de la Constitución, according to figures from the city government, but also those who followed the concert on social media and public television.
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“How beautiful it is to be here!” said Páez, who appeared on the imposing stage dressed in a fluorescent yellow sweater and a red cape that matched the show’s lighting design. “Please save energy because you will need it,” the musician from Rosario added before starting his first concert of 2025 with his iconic song “El Amor Después del Amor.”
The concert at the country’s main public square settled a pending debt with his Mexican fans, after postponing a presentation originally scheduled for September due to a domestic accident that resulted in five fractured ribs and forced him to suspend a series of shows in Mexico and Colombia.
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It was also the prelude to three shows that the legendary icon of rock en Español will perform this week in Mexican territory, with two dates at the National Auditorium on Tuesday and Wednesday (Jan. 21-22), and one more at the Auditorio Telmex in Guadalajara on Jan. 26 — all part of his Páez 403 tour, which celebrates 40 years of his first album, Del 63, and the 30th anniversary of Circo Beat.
The concert of the 61-year-old rocker, with which the Government of Mexico City inaugurated its free musical shows of 2025 at the Zócalo, was even mentioned at the presidential conference of last Friday (Jan. 17). “Fito Páez is Fito Páez!” said Mexican president Claudia Sheinbaum in response to a reporter’s question about the singer-songwriter’s visit.
On the Plaza de la Constitución, or Zócalo, a huge Argentine flag was waved from the front rows, with many people of the South American country in attendance to see one of their most respected and beloved musicians, but also curious and old fans, and even new followers who met him through Netflix’s bio-series El Amor Después del Amor. “This is bursting, how beautiful!” Páez, who kept his dialogues short but seemed to enjoy the moment, told the audience.
Accompanied by a large band of musicians and his inseparable piano, he pleased the crowd with a repertoire of his most well-known songs, including “Yo Vengo a Ofrecer Mi Corazón,” “Cadáver Exquisito,” “Un Vestido y Un Amor,” “Tumbas de la Gloria” and “Naturaleza Sangre.” He also sang classics such as “Al Lado del Camino,” “Circo Beat,” “Brillante Sobre el Mic,” “Ciudad de Pobres Corazones,” “A Rodar Mi Vida” and “Dar es Dar,” which made the audience vibrate.
Previously, the Argentine group El Juguete Rabioso and the Mexican band Rey Pila served as opening bands.
“Ciao, my loves. What an unforgettable night! Health, money, and love for everyone. Thank you for this great honor, for having received us all the people of the city,” Páez said as a farewell. “Know that we appreciate this from the bottom of our hearts.”
With the energy of the audience still high, the rocker reciprocated the affection performing “Mariposa Technicolor” and “Dale Alegría,” which marked the end of his presentation.
Fito Páez’s show adds to the long list of concerts that national and international artists have offered at the capital’s Zócalo, including Paul McCartney, Roger Waters, Pixies, Caifanes, Rosalía, Interpol, Grupo Firme, Shakira, Juan Gabriel and Los Fabulosos Cadillacs, among many others.
The romantic songs of Los Temerarios, those that captivated four generations in Mexico and the United States, were sung along by thousands Friday night (Dec. 20) at the GNP Seguros Stadium in Mexico City — in the first of the last two concerts of the band’s farewell tour, Hasta Siempre, with which they’ll close a story of almost half a century.
“We have reached the end, the end of these 47 years! We will always carry you in our hearts. Thank you for what you made us live during all this time. It has been wonderful!” said an emotional Gustavo Ángel to the 65,000 people who packed the venue, according to figures from promoter Ocesa.
It was a nostalgic and very special night for the group, led by brothers Adolfo and Gustavo Ángel, and their loyal fans, many of whom have been followers of their music from the old days, when they attended their concerts in popular venues in municipalities on the outskirts of the Mexican capital. Many others maintained their taste for the group’s music after having migrated to the U.S., and made their songbook part of their connection to Mexico.
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“We are going to sing those songs with which you fell in love, got married, had children and grandchildren,” the vocalist and guitarist told the audience after performing “Tu Infame Engaño,” one of their classics from the ’80s.
“Our beloved audience, 47 years of being here and you experiencing it with all your heart. There is nothing we can say to reciprocate your affection,” added keyboardist Adolfo Ángel, prompting a thunderous applause.
The audience, mostly made up of women between 30 and 60 years old, sang along at the top of their lungs to songs like “Vivo Enamorado de Ti,” which opened the show, followed by the aforementioned “Tu Infame Engaño,” “Una Tarde Fue,” “Como Te Tecuerdo,” “Como Quisiera Volver,” and “Ya Me Voy Para Siempre.”
The extensive repertoire also included songs like “Ven Porque Te Necesito,” “Acepta Mi Error,” “Porque Te Conocí,” “Una Lágrima No Basta,” “Eres Un Sueño,” “La Mujer Que Soñé,” “Me Partiste el Corazón” and “Te Quiero.”
The show lasted about three hours, during which Los Temerarios performed more than 30 songs — those that catapulted them as one of the most beloved and successful Hispanic bands of the past four decades, and with which they achieved feats like 41 entries on the Billboard Hot Latin Songs chart and 47 entries on Top Latin Albums.
“The emotions are at their peak. If you see teary eyes around, it’s pure gratitude,” said Adolfo Ángel, who recalled that “Tu Última Canción” was inspired by an ex-girlfriend whose relationship ended in a phone call.
The Hasta Siempre Tour of Los Temerarios began in February 2023, and this year accounted for more than 30 shows in cities in Mexico, the U.S., and Central America, including Mexico City, Los Angeles, Chicago, Las Vegas, Monterrey, San José, Houston and Atlanta, among others.
In the Mexican capital, before their last performances at the GNP Seguros Stadium, the group packed eight nights at the Arena Ciudad de Mexico since last February, gathering about 160,000 people in total, according to promoter Zignia Live.
On Saturday (Dec. 21), Los Temerarios will repeat the feat for the last time at the GNP Seguros Stadium, lowering the curtain after 47 years.
Keyboardist Adolfo Ángel Alba and singer Gustavo Ángel Alba, from the group Los Temerarios, during a concert at the Arena Monterrey on Feb. 29, 2024, in Monterrey, Mexico.
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Mexican music is undergoing a revolution, and at the epicenter of this new wave of talent is Luis Ernesto Vega Carvajal, better known as Netón Vega. At just 21 years old, the young musician has achieved global success as a co-writer for tracks such as “La People” by Peso Pluma and Tito Double P, “Rubicon” by Peso, and “Si No Quieres No” by Luis R. Conríquez.
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The latter song, on which he also sings, is one of five that he currently has on the Hot Latin Songs chart as both composer and performer, including “La Patrulla” with Peso Pluma, “Linda” and “Chino” with Tito Double P, and “Presidente” by Gabito Ballesteros, Natanael Cano, and Conríquez.
“The fact that my songs reached Hassan (Peso Pluma) allowed them to reach all these artists, with whom I now share a great friendship,” explains Vega, who is ready to write his own story now as a singer, in an interview with Billboard Español.
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On Friday (Dec. 20), he will release “Loco,” the first single from his debut album, slated for January 24, 2025.
“Now it’s my turn to perform my own songs. I have prepared 18 and I am very excited for everyone to hear all that I can offer because I don’t just do corridos tumbados; I really like rap and even romantic songs,” explains the singer-songwriter, who has more than 20 million monthly listeners on Spotify thanks to his collaborations.
When asked if at this stage he will have the support of those to whom he has given key songs in his career, the answer is blunt: “There is a union with the artists of Mexican music today as never before, we support each other unconditionally, it is a brotherhood. So they will be with me in my first album Peso Pluma, Luis R. Conríquez, Tito Double P, Víctor Mendívil, Oscar Maydón and Alemán, who is from the same place where I was born”.
Vega was born in La Paz, Baja California Sur, but moved to Culiacán, Sinaloa, at a young age. He learned to rap on the streets and later began to write.
“I didn’t write corridos tumbados. I composed romantic songs, reggaetón, everything. I wrote traditional corridos; people from the United States requested them a lot. That’s how I started making money,” he shares, adding that he also grew up listening to music from groups like Intocable and Juan Gabriel. “Then I mixed everything I knew and created my own style,” he continues. “As for the lyrics, I make sure they are not too aggressive.”
Amid so many emerging artists, the competition becomes stronger every day, and this is something he is very aware of. “However, I believe that we can continue our careers if we work and keep doing new things all the time,” he says. “At least that’s what I am willing to do.”
With the release of his debut album, he will also have the opportunity to perform in front of an audience for the first time with three concerts scheduled in Mexico early next year: February 27 at the Escenario GNP Seguros in Monterrey, March 1 at the Pepsi Center in Mexican City, and March 9 at the Auditorio Telmex in Guadalajara.
“This is a very important challenge. I understand that having millions of listeners is not the same as having people come to see me and pay for a ticket,” concludes Vega, undoubtedly an artist to keep an eye on in 2025.