State Champ Radio regional Mexican
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Music executive Ángel Del Villar will remain a free man while he appeals his convictions for doing business with Mexican drug cartels, a federal judge said.
Del Villar was scheduled to report to prison on Dec. 1 to begin serving his four-year prison sentence on the cartel-ties convictions, but Judge Maame Ewusi-Mensah Frimpong granted his request to stay out on bond during the appellate process. Such appeals can take a year or more to resolve.
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Siding with arguments last month by Del Villar’s attorneys, the judge said the convicted executive had cleared the low bar for remaining free: that his appeal raised sufficiently arguable points about her jury instructions that an appellate court might be persuaded.
“Del Villar need only show that his appeal raises a fairly debatable question,” Judge Frimpong wrote. “The Court finds that—although the Court does not see any error in its trial rulings or in its jury instructions—that at least the question of the deliberate ignorance instruction is a ‘fairly debatable’ one.”
Del Villar, who founded his Del Records in 2008, built the label into a powerhouse for regional Mexican music, home to supergroup Eslabon Armado, Lenin Ramirez and other chart-topping artists.
But in June 2022, federal prosecutors unveiled charges against Del Villar, 41, CFO Luca Scalisi, 56, and Del Records under the Foreign Narcotics Kingpin Designation Act – a statute that allows the U.S. to impose targeted sanctions on foreign individuals involved in the illegal drug trade and ban U.S. residents from doing business with them.
The feds claimed that Del Villar had repeatedly arranged concerts with Jesus Pérez Alvear, a Guadalajara-based promoter with cartel ties. And at a March trial, superstar Gerardo Ortiz took the stand to testify against Del Villar, saying he had seen Pérez Alvear at the Del Records offices and had himself performed at one of the promoter’s concerts.
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Del Villar’s defense attorneys argued back that he had been “manipulated” into working with Pérez Alvear by a “trusted” former employee. But the jury didn’t buy it, finding him guilty on 10 counts of violating the Kingpin law, as well as one conspiracy charge. In August, Judge Frimpong sentenced him to 48 months in prison on those convictions.
With that sentence looming and his appeal still in the earliest stages, Del Villar’s attorneys urged the judge to postpone his December prison report date. In the process, they also previewed how they will likely challenge the verdict on appeal.
They say they have a particularly strong argument on how the judge instructed jurors that they could convict Del Villar by finding that he willfully blinded himself to Pérez’s shady connections. They say prosecutors couldn’t prove he took concrete actions to avoid such knowledge, but that Judge Frimpong gave the jurors that option anyway.
“The government pointed to no evidence — and the record contains none — from which a jury could conclude beyond a reasonable doubt that Del Villar took ‘deliberate actions’ or made ‘active efforts,’ his lawyers wrote, later adding that the judge’s instruction “went to the heart and most hotly contested aspect of the case.”
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Andrew Del Villar is set to take over as the new CEO of regional Mexican music powerhouse Del Records. The transition that he and his dad, Ángel Del Villar, have been “planning for years” will take effect Thursday, Nov. 6.
The 26-year-old will step in amid his dad’s legal battles as he faces a prison sentence that will begin on Dec. 1. Over the summer, Ángel was sentenced to four years in prison following his conviction on felony charges of doing business with a concert promoter linked to Mexican drug cartels. Now, the California-based indie record label — founded by Ángel in 2008 and previously home to música mexicana giants like Eslabon Armado, Ariel Camacho and Gerardo Ortiz — is looking to enter a new era with a new leader in tow.
“While we never talked about when this transition would actually happen, I’m excited because my dad and I had been planning this for years, it’s been a while and it’s finally happening,” Andrew tells Billboard over Zoom, just days before stepping into his new role.
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Previously Del Records’ COO, Andrew began working for his dad’s company as a teenager and mainly worked behind the scenes, booking theater or arena shows for the label’s roster and flagging artists on social media that he thought his dad should sign, including sierreño acts Eslabon Armado and T3R Elemento.
“I started getting involved like 7 or 8 years ago and started from the bottom; collecting tickets, charging when we were doing the nightclubs, and booking U.S. shows in theaters and arenas,” Andrew says. “Then, I kinda of became A&R, sending my dad artists I was finding on social media. I would say, ‘Hey, what do you think about them?’ Just like my dad, I have a good ear and can identify who has potential.”
While Andrew is open to branching out to different genres, for now, Del Records will continue to focus on signing música mexicana acts. “[Regional Mexican] has been our bread and butter,” he adds. “DEL has done a lot over the years, and I want to keep that legacy alive, and keep signing artists and build them from the ground up,” he explains. “But this new era will differentiate from my dad’s run because I will launch new marketing and promotion strategies, leaning heavily on social media. That’s the biggest marketing you can invest in. There’s more to just posting on social media, you need a team dedicated to taking that post to the next level.”
Ángel del Villar & Andrew del Villar
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Andrew is revamping his dad’s “Canta Con Del” initiative that launched 10 years ago, inviting local California acts to sing at the family’s restaurant for a shot at getting signed by the label. Andrew will relaunch that initiative but open it to artists from all over the world who can submit their songs/performances on social media. “There’s talent everywhere and we want people to be heard and get an opportunity,” he says.
Over the years, Andrew gained confidence to make decisions, encouraged by his dad to find his voice. “He would tell me, ‘Hey, mijo, whatever you want to say, whatever you want to do, let’s roll with it.’ He’s given me that confidence to speak up.”
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Andrew further adds, “My dad has always been my role model, everything that has been thrown at him is a lot, we’ve had these talks for years and he’s always been positive about everything. He’s told me to never let things get to me because in our genre, and the industry in general, people don’t wish you well. But never let the negativity get to you.”
Del Records’ roster today includes Lenin Ramírez, Yahir Saldívar, Sucesión M and Panchito Arredondo, plus newly added acts Marco Granillo, Andi Luan and Cobian Montana.
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Powerhouse regional Mexican label Rancho Humilde is locked in a bitter legal dispute with one of its fastest rising acts, the California-based band Fuerza Regida.
Rancho Humilde filed a lawsuit in September accusing the band of breaching its record deal by unilaterally doing features for other artists and inking live performance contracts with Apple Music and Live Nation. Fuerza Regida countersued a month later, alleging the indie label withheld millions of dollars in royalties and tried to “sabotage” its success — including by leaving it off Latin Grammy Awards submissions.
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The dueling legal claims, moved from a California state courthouse to federal court on Oct. 20, reveal a stunning breakdown in the relationship between Fuerza Regida and its longtime label home. The fight comes just as Fuerza Regida’s star is on the rise; the band made history in May when 111XPANTIA debuted at No. 2 on the Billboard 200, making it the highest-charting Spanish-language album ever by a duo or group.
Fuerza Regida, a quintet of regional Mexican hitmakers from San Bernardino, signed with Jimmy Humilde’s label in 2018. The band now puts out music via a joint venture between Rancho Humilde and its own Street Mob Records, with distribution by Sony Music Latin.
Rancho Humilde’s lawsuit is focused on exclusivity language in the label’s original record deal with Fuerza Regida, which allegedly entitled the label to a seat at the table and a cut of proceeds for all recording and touring contracts. According to Rancho Humilde, Fuerza Regida violated this deal by performing unauthorized features for other artists and not sharing the royalties.
The lawsuit lists 27 offending songs, including “Qué Onda,” Fuerza Regida’s Billboard Hot 100 entry from 2023 with Calle 24 and Chino Pacas, and “Modo Capone,” the band’s 2024 collaboration with Pacas and Drake that hit No. 11 on Billboard‘s Hot Latin Songs chart.
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Rancho Humilde says Fuerza Regida also disregarded exclusivity by contracting directly with Apple Music this past summer for a live concert taping in Mexico City, as well as with Live Nation for U.S. tours in 2023 and 2024.
“[Rancho Humilde] has suffered damages, including, but not limited to, lost royalties, advances, fees, market-share and other compensation that should have been directed to Sony and accounted to [Rancho Humilde], lost shares of touring revenues [and] lost income from unauthorized deals such as the Apple agreement,” says the lawsuit. “The exact amount of damages is subject to proof at trial but exceeds $15 million.”
Fuerza Regida, however, tells a very different story in its countersuit. The band claims Rancho Humilde is actually the one who has breached their record deal by failing to pay millions of dollars in royalties and stonewalling audit requests.
The countersuit also says Rancho Humilde has engaged in “systematic financial malfeasance” by refusing to revert master recordings back to the band as required by the record deal, as well as by using “clandestine arrangements” with Live Nation to siphon off touring profits.
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“In addition to its fraudulent schemes and systematic contract breaches, Rancho and its principal Jimmy Humilde escalated to a malicious campaign of active sabotage designed to destroy [Fuerza Regida’s] professional relationships and career opportunities within the entertainment industry,” reads the countersuit.
Fuerza Regida says that as part of this campaign of “sabotage,” Rancho Humilde requested that Sony remove the band from Latin Grammy Awards submissions in 2024, even though they had been a top-selling act that year.
Additionally, the countersuit claims Jimmy Humilde sent “threatening and intimidating text messages” to Apple’s head of Latin music in an attempt to “derail” Fuerza Regida’s live concert taping. Overall, Fuerza Regida is seeking at least $25 million in damages from the label.
In a statement to Billboard on Monday (Oct. 27), the band’s attorney Kenneth D. Freundlich says, “Rancho Humilde and Jimmy Humilde have for years engaged in brazen self-dealing, enriching itself at the expense of our client Fuerza Regida.”
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“Rancho’s bad faith state court lawsuit against Fuerza was the last straw,” adds Freundlich. “After our removal, the disputes will air in federal court where Rancho must now respond to our detailed claims of wrongdoing.”
Reps for Rancho Humilde did not return a request for comment.
The Fuerza Regida fight is not Rancho Humilde’s only ongoing legal battle with top talent. Regional Mexican artist Codiciado, who was signed to Rancho Humilde as part of the ensemble Grupo Codiciado but has since parted ways and gone solo, sued the label in June, alleging it infringed his intellectual property by getting the rest of the band back together with a new act called Los Codicia2. Rancho Humilde has not yet responded to Codiciado’s claims.
Henry Cárdenas was on his way to Texas from Chicago when he got the news: Julión Álvarez’s work visa was cancelled, which meant the música mexicana hitmaker couldn’t enter the United States in time for his sold-out show at the AT&T Stadium in Arlington, Texas on May 24. “We had everything set up already,” says Cárdenas, founder/CEO of the powerhouse Cárdenas Marketing Network, still perplexed by the situation. “The entire production, including labor and equipment, amounted to over $2 million dollars — it was all a complete loss because we had to postpone the event. It was unbelievable.”
Álvarez — who in April made his grand return to the U.S. with a historic run at L.A.’s SoFi Stadium after being sidelined for eight years over since-cleared issues with the U.S. Treasury — was traveling from Guadalajara to Texas the day before the show and was informed at the airport that he couldn’t board the plane because his visa was cancelled. “I’ve been in the business for 45 years and I had never seen this,” Cárdenas adds. “In the past, we’ve known of groups or bands that apply [for a non-immigrant visa] and are denied but at least we were informed ahead of time. The day before your sold-out stadium show with 50,000 people? No way. We immediately started calling our lawyers but unfortunately, we haven’t gotten to the bottom of it. If you ask me right now what the reason for the cancelled visa is, I don’t know. Nobody knows.”
In the past two months alone, at least a handful of regional Mexican acts — including Los Alegres del Barranco, Banda Cuisillos, Lorenzo de Monteclaro and, most recently, Grupo Firme — have shared a similar experience to that of Álvarez’s. Their work visas — it’s unclear if they are O-1 or P-1B visas — are either delayed in an “administrative processing” or outright revoked by the U.S. State Department, leading to postponed shows or cancelled festivals and performances. Such was the case for touring giant Firme, which was unable to perform at La Onda Fest in Napa Valley, Calif., on June 1. Chicago’s Michelada Fest, featuring Mexican music headliners Luis R Conriquez, Firme and Gabito Ballesteros, cancelled its two-day summer event over artist visa “uncertainty.”
In general, U.S. visa uncertainties under the Trump administration have upended multiple communities and groups of people. “Everything is taking longer under Trump,” says attorney Daniel Hanlon, who specializes in immigration law. “It’s a combination of a few things, including stricter vetting policies, which have resulted in delays in visa processing almost across the board. We’re seeing this with foreign students at universities and now these musicians, and no one knows how it’s being brought to the attention of those who are in the position to make these revocation decisions, or why they are deciding to do this now. It could be completely politically motivated.”
In an unprecedented move, Deputy Secretary of State Christopher Landau announced on X that the State Department had revoked Los Alegres del Barranco’s work visas after the group portrayed images “glorifying” drug kingpin “El Mencho” at a concert in Mexico in March. “In the Trump Administration, we take seriously our responsibility over foreigners’ access to our country. The last thing we need is a welcome mat for people who extol criminals and terrorists,” his post reads.
Julión Álvarez performing during a concert at Arena Monterrey on October 29, 2021 in Monterrey, Mexico.
Medios y Media/Getty Images
In Mexico bans on narcorridos have spread across the country, where now 10 states have implemented laws to control or limit the diffusion of corridos in public spaces. But the U.S. had yet to really take a stance on the lyrics, which can be compared to gangster rap. That quickly changed this year when a wave of regional Mexican acts began to be impacted by visa delays, going beyond those who sing narcocorridos. Grupo Firme and Julión Álvarez — two of the biggest touring acts in the genre’s history, breaking barriers for regional Mexican artists in the U.S. — are mainly known for norteño and banda ballads and party songs, not narcocorridos particularly.
“We don’t know what we are fighting against because we really don’t know the reason these visas are getting denied or revoked, and it seems like it’s no longer just because they sing narcocorridos, which is what they initially had said,” says Mariana Escamilla, vp at Promotores Unidos USA, a longstanding organization composed of promoters who specifically work the regional Mexican touring circuit. “People don’t have the confidence to buy tickets in advance anymore if the artist is coming from Mexico. That’s a huge problem because we rely on pre-sale to determine if an event is going to sell or not. Now, I think fans will wait until day-of to buy the ticket when they see that the artist has finally landed in the U.S.”
Non-immigrant visas like O-1 and P-1B, the ones artists typically apply for “extraordinary achievement or ability,” are short-term work permits that need to be renewed by the artists and their petitioners and must include an agenda listing performances scheduled and where they’re performing every single time they apply. But even after being approved, these visas can be revoked at any time. Once the visa gets delayed by the State Department, for reasons like “administrative processing,” there’s no timeline for resolution. “It’s a euphemism for basically more background checks,” adds Hanlon. “It is unknown to the applicant what they are looking at, where they are looking or what they are looking for. They use that as a blanket to delay the processing of visas. So, the visa is refused until that’s resolved and then it could be issued or approved later but often it goes into a black hole and there’s nothing much you can do about it.”
In a statement sent to Billboard, a spokesperson for the U.S. Embassy & Consulates in Mexico said, “Due to privacy and other considerations, and visa confidentiality, we generally do not comment on U.S. government actions with respect to specific cases. Continuous vetting and visa revocation actions are not limited to visa holders from any specific country or area in the world. All visa applicants and visa holders, no matter the visa type and where they are located, are continuously vetted.”
What could be interpreted as targeting Mexican music and culture aligns with the Trump administration’s “disdain for Mexicans,” says entertainment attorney Marjorie García, partner at King, Holmes, Paterno & Soriano. “Any indication that [artists] are singing about anything the government doesn’t like, just like they [want to cancel] funding for PBS and NPR, if you’re not saying the things they want you to say, there is a perception that you don’t get to be here.”
Whether intentional or not, the timing couldn’t have been worse. In the past few years alone, regional Mexican has exponentially grown in popularity and global exposure. In 2023, Billboard reported that regional Mexican music consumption in the United States had jumped 42.1% year over year, outpacing gains in the Latin genre overall, as well as country, dance/electronic, rock and pop, according to Luminate.
“The regional Mexican music movement can’t keep growing if its artists can’t tour the U.S.,” García says. “All aspects of our business will be impacted. Before, you could predict the length of time that you needed for the visa process; you had a window. But now, the visa is being pulled after it’s already given, and as you get closer to the show, and at that point, you either show up or pay. There’s no way you can plan for someone to cancel your visa. This is all going to have a chilling effect when artists voices are most needed and in demand.”
Visa delays or revocations will almost certainly not fall under a contract’s force majeure clause, meaning event cancellation insurance very likely won’t cover it. “It’s up to individual artists to apply for those visas and get their documentation together. If the U.S. government says no, that’s almost assuredly not going to be covered by event cancellation insurance,” says attorney Tim Epstein, partner at Duggan Bertsch, who represents most of the independent events and festivals in North America, including Sueños and Baja Beach Fest. “Maybe once a year you were dealing with artists having to cancel concerts or festival performances over visa issues, but having a whole festival canceled because of artist visa issues … I have never seen that before.”
The financial impact this will have on artists who can’t tour the U.S. will be long-lasting. “A group like Los Alegres del Barranco that has a large following in the United States and already had contracts signed there, it is devastating financially,” Luis Alvarado, spokesperson for Los Alegres del Barranco, tells Billboard. “It is obvious that there is some kind of movement against Los Alegres del Barranco, but also against musicians who play this genre of music (regional Mexican). We’re waiting first to clear the judicial process in Mexico and then begin a conversation with the U.S. government.”
The U.S. is the No. 1 market to tour in — it’s the “base for success,” says Cárdenas. “You get guys like Firme and Julión who gross $10 million in one night here. This is where you make the big money — you don’t make the money in Mexico, with all due respect.”
For now, Cárdenas is staying optimistic and working diligently to help resolve this issue. “There are thousands of people working at the stadium when a concert happens, from parking, to vendors, production staff, all kinds of occupations that didn’t make any money because the Julión show didn’t happen,” he says. “That weekend, we lost more than $2 million that we won’t recover. How many of these instances can we survive? If this was a small promoter, it would go out of business immediately. You can’t lose $2 million every weekend.
“Someone has to go see the guys in Washington and tell them, ‘Listen, we have to fix this,’” Cárdenas continues. “This is not $100 or $200, this is millions of dollars; we have 50,000 people in one stadium. They consume everything — food, water, beer, and people are working, trying to make a dollar. Now, we’re talking to the political sector, calling our local congressmen and senators, and they are aware of the situation, and I’m sure they will fix it. Otherwise, this will jeopardize the entire industry.”
Additional reporting by Tere Aguilera and Natalia Cano.
Regional Mexican music imprint Kartel Music is rebranding as K Music, it was announced on Monday (May 19).
Founded in 2019 in Riverside, Calif., the label has played a pivotal role in promoting regional Mexican music while helping drive its recent global expansion.
“This rebranding to K Music marks a significant milestone for our team and artists,” said Freddy Becerra, CEO/co-founder of K Music, in a statement. “In just a few years, our artists have topped charts and earned recognition from global tastemakers like Billboard. Our new name reflects an ambition with no borders.”
The decision to renew the brand is part of a strategy that promises to “continue to amplify its impact,” a press release reads, adding: “The new identity reflects the label’s evolution and global ambitions, reaffirming its commitment to growth rather than signaling any detachment from its cultural roots.”
K Music also boasts a refreshed visual identity and updated logo.
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Leonardo Soto, CFO/co-founder, added, “Our name may be new, but our heart remains the same. K Music will continue to uplift the Mexican talent and culture that shaped Kartel Music, even as we expand into new territory.”
K Music represents some of the genre’s hottest stars, such as Luis R Conriquez, who graced the cover of Billboard last September. His 2024 album, Corridos Bélicos, Vol. IV, debuted at No. 5 on Top Latin Albums, No. 3 on Regional Mexican Albums and No. 36 on the Billboard 200. Then there’s Tony Aguirre, who boasts 7.5 million monthly listeners on Spotify and has collaborated with Xavi and Luis R in the early stages of their careers.
The label is also home to acts such as Dinamicos Jrs and Joel de la P, who has written hits for Peso Pluma and Tito Double P and released his breakout track, “Dembow Bélico.” K Music’s rebranding comes six years after its launch amid an ongoing crackdown on narcocorridos in Mexico.
Mexican music powerhouse Fonovisa-Disa is rebranding as Fono, it was announced on Wednesday (May 14).
The new name for the regional Mexican label, which is part of Universal Music Group, comes more than 40 years after its launch. It went on to become a pioneering company at a time when música mexicana didn’t have the global spotlight it has today.
“This isn’t the end of an era, at least we don’t feel like it is,” Antonio Silva, Fono’s U.S.-Mexico MD and a towering figure at the company, tells Billboard. “This is an evolution of Fonovisa, of our team, our artists, and it is an evolution designed to expand our genre and culture. This rebranding does not make Fonovisa’s legacy disappear, we intend to make [the genre] more relevant and take it beyond where our artists have already taken it.”
Fono is home to genre giants Alejandro Fernández, Los Tigres del Norte and Banda El Recodo, to name a few of the veterans on its roster, as well as emerging acts such as Camila Fernández, Danny Felix and Majo Aguilar — a reflection of the genre’s multigenerational audience. The label’s rebranding comes at a time when regional Mexican music has grown significantly in popularity and exposure over the past few years. Still, there’s much more opportunity for growth, says Alfredo Delgadillo, president/CEO of Universal Music México.
“Mexican music is in a good place right now, but we want to see it go further,” says Delgadillo, who notes the rebranding has been in the works for over a year. “It’s important to note that while corridos are getting all the attention at this moment, the rest of the subgenres like banda, norteño, mariachi, cumbia, continue to have enormous relevance, and we don’t want that to get lost. We see a very strong opportunity. The focus on the corrido, which is very important and, coming from what Fonovisa is and what it has built, we don’t want it to end or stay there. For us, the cultural richness of the entire genre goes beyond a special moment for just one of the subgenres.”
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Fono will continue building on the legacy that Fonovisa-Disa built. Previously an indie label, Fonovisa was acquired by Universal in 2008 and became an institution in the regional Mexican music space. “We saw this as [an opportunity] to grow, to take Mexican music and all its genres to other regions and territories,” says Ana Martínez, who was appointed Fono’s U.S. GM last year. “Our vision is focused on the opportunity to take our culture to other audiences, above all in a sustainable way, helping develop something that lasts more than the isolated impact that sometimes happens.”
Adds Silva, “After so many years of working in the music industry and practically all dedicated to regional Mexican, I’ve experienced the phenomenon of Bronco, Rigo Tovar and so many more that have been a part of our history. Now, to reach this moment where the company has this vision of expanding our culture and all that we are, I’m thankful to Fono and Universal for giving us a new road to navigate the world.”
In 2019, pop star Belinda earned her first Billboard top 10 hit. That rarified chart milestone didn’t come from a pop hit, but rather, from “Amor a Primera Vista,” a cumbia sonidera with Los Ángeles Azules, Lalo Ebratt and Horacio Palencia that peaked at No. 2 on the Regional Mexican Airplay chart. It was the first time that Belinda entered the chart, a feat that underscores not just the artist’s versatility but her resilience.
Co-written by Belinda, Descemer Bueno and Palencia, the track that fuses traditional Mexican cumbia sounds with soft hints of reggaetón not only marked the Spain-born, Mexican-raised star’s return to the Billboard charts after four years, but it also introduced a bold new sound that she had never done before, and ultimately the música mexicana era she’s in today.
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Thanks to that capacity for continuous reinvention, the singer and actress is receiving the Evolution Award at the 2025 Billboard Latin Women in Music gala on Thursday, April 24.
“Life has been a journey full of learning, growth, and constant evolution — both personally and artistically,” she tells Billboard. “This recognition not only celebrates my career, but also the power of reinvention and continuing to explore new chapters. I feel more inspired than ever and excited to share this new musical era. Being honored on a night that celebrates such powerful and talented women makes this moment even more special.”
Though the artist born Belinda Peregrín Schüll has a trajectory that spans 25 years, she admits she hasn’t had time to stop and truly reflect on the moment she became a bonafide Latin star.
“I keep working while having many goals, and to be honest, I don’t think I’ve ever, at any point in my life, thought ‘Wow, I made it!,’ which is something I should do,” she says. “I’m always thinking about new ideas, new songs, new challenges, new projects, but I’ve never taken the time to think, ‘Okay, I’ve achieved all this.’ ”
But she has achieved a lot, and along the way, rightfully earned her place in the Latin pop realm.
Belinda was only 10 years old when she was cast as the lead in the Mexican children’s telenovela Amigos x Siempre in 2000, but it was her self-titled debut album that catapulted her into the musical spotlight three years later. The set — home to her timeless pop tune “Ángel” — earned her a first top 10 entry on a Billboard chart, reaching No. 6 on the Top Latin Pop Albums chart in 2003. Her four studio albums since, including Utopia (2006), Carpe Diem (2011), and Catarsis (2013), have also entered the top 10 on the chart.
Meanwhile, hits such as “Bella Traición,” the Pitbull-assisted “Egoísta,” and “Amor a Primera Vista,” have displayed her ease to navigate different genres from rock to EDM to reggaetón to cumbia. Never one to shy away from experimentation, Belinda has now branched out into música mexicana, tagging her new fare as “Beli Bélica” in a wink to the genre’s corridos bélicos. However, Belinda’s songs steer away from drug dealer exploits and rather focus on lyrics about heartbreak and being coquettish.
“The first corrido tumbado artist I heard was Natanael Cano. He was the first one who made me say, ‘Wow, Mexican music sounds different. It doesn’t sound like it used to,’ ” she recalls. “At that time, someone also told me: ‘You’re a woman, you’ll never be able to sing corridos or regional music, because it doesn’t suit you.’ They told me I couldn’t sing it because it was for men and that I would look ridiculous. And a couple of years later, here I am singing that style.”
Defying all odds, Belinda officially evolved into her corridos era with the release of “Cactus” in Jan. 2024, which also marked her debut single with Warner Music México after signing an exclusive record deal in Aug. 2023.
“I’d been thinking about doing corridos tumbados for a couple of years, but it just sort of happened,” she explains. “ ‘Cactus’ was a song that started out written in a notebook; it didn’t really have a melody because it was a feeling I had to express, and suddenly we turned it into music. We knew it was the right song at that moment, and that it would represent a new musical phase in my life.”
That new phase was shortly followed by her first collaborative effort with Natanael Cano in “300 Noches,” which she coined as a “corrido coquette” because of its dreamy pop undertones; “La Mala,” an unapologetic trap-corrido; and her team-up with Tito Double P on “La Cuadrada,” which secured a No. 23 spot on the Regional Mexican Airplay chart in March.
“I know there are many who don’t like it,” she says of her Beli Bélica era, but if there’s anything that her música mexicana collaborators have taught her, it’s to “go with the flow.”
“I’ve learned not to take everything so personally and to listen to myself,” she elaborates. “To listen to what I feel, what I think, and what I like, because no one is going to agree with you 100% and no one is going to have your vision 100%, and as long as you’re happy with what you’re doing and writing, the audience will accept it well because you’re doing it from the heart.”
Belinda & Tito Double P
Bri Diez
And even though she found a new sound — while also being active on social media and connecting with new and loyal fans — Belinda remains true to her pop essence. Her single, “Jackpot,” with Kenia Os, peaked at No. 10 on the Latin Pop Airplay in February.
“Belinda isn’t a musical genre,” she emphasizes. “I’ve been through all the musical eras, and my favorite word to describe my career is versatile. It’s the perfect word to define my style. Now, with Mexican music, we’re going back to the basics. It reminds me a lot of how music used to be. I love that I can go back to what it was like to make a song with real instruments and not rely on a computer program. It feels like I’m going back to what music used to be.”
Now, with her new “go with the flow” mentality, Belinda says a new studio album is on the horizon, one that she’s creating specifically for those “independent women who are completely irreverent but at the same time strong, sexy, fun.”
But first, she’s taking it easy.
“I’m trying to rest because in 2024 I didn’t rest at all. I spent almost all my time writing the album. It was a lot of emotions in one year. This year I’m going to take the time I need to finish my album. I just want to enjoy every moment, every stage, every project,” she concludes.
The third annual Billboard Latin Women in Music special will air live at 9 p.m. ET / 8 p.m. CT on Thursday, April 24 exclusively on Telemundo, Universo, Peacock and the Telemundo app and throughout Latin America and the Caribbean on Telemundo Internacional.
Read Billboard’s Latin Women In Music 2025 executive list here.
At the end of last year, Bobby Pulido announced his retirement from music to pursue a career in politics starting in 2026. But the norteño-tejano music icon still has much to offer.
In an exclusive interview with Billboard Español, Pulido reveals that he has signed with Fonovisa/Universal for a double album and an additional new project he’ll release before officially closing his chapter as a singer.
“I wanted something special with my friends, something where I could invite the people I admired and respected,” Pulido explains about Bobby Pulido & Friends – Una Tuya y Una Mía, the title of the set that will kick off this partnership. “Normally, it’s customary for guests to sing the other person’s songs, but in this case, I wanted it to be one of mine and one of theirs.”
The recording took place in December 2024 during the Mexican-American singer’s performances at the Auditorio Cumbres in Monterrey, Nuevo León, Mexico, where he was joined by guests such as Alicia Villarreal, Bronco, Kinky, Caloncho, Majo Aguilar and David Bisbal, among other stars.
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The concept will begin to unfold on April 22 with the release of Pulido’s hit “Desvelado” in a duet with Bisbal. Two days later, a norteño-tejano version of the Bisbal’s song “Dígale” will be available on streaming platforms.
Antonio Silva, managing director of Fonovisa Disa US & México, tells Billboard Español: “For the team and personally for me, having worked with him at the start of his career, it’s very emotional to reunite at such a special moment, working on a product that represents the legacy of a lifetime of success.”
The first part of Bobby Pulido & Friends – Una Tuya y Una Mía includes 14 songs that will be released in pairs on a weekly basis, starting on April 22 and continuing until May 30. Starting June 17, the 16 songs of the second set will begin to launch, concluding on Aug. 7.
L to R: Antonio Silva (managing director Fonovisa-Disa US/México), Bobby Pulido, Alfredo Delgadillo (CEO & president, Universal Music México/US), José Luis Cornejo (manager Bobby Pulido)
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Born in Edinburg, Texas, Pulido — the performer of hits like “Se Murió de Amor,” “Le Pediré” and “Ojalá Te Animes” — belongs to a successful subgenre of regional Mexican music that emerged in the mid-’90s and includes groups like Intocable, La Firma, El Plan, and Duelo — all U.S.-born with Mexican roots. “We made our own music by blending cultures. I feel very honored to have represented this movement for so many years and to mentor new generations,” Pulido adds. “I’m happy with what I’ve achieved in my career. I never wanted to be just the artist of the moment.”
In addition to the double set, Pulido is preparing a studio album for next year, aiming to leave new music for his fans before running for an unspecified public office in Texas.
Fans will still have the chance to see Pulido live throughout 2025 during his Por La Puerta Grande Tour, which kicks off on April 25 in San Antonio, Texas. The trek includes a show on Aug. 9 at the Auditorio Nacional in Mexico City. For more dates and details, click here.
Billboard Women in Music 2025
The U.S. State Department has canceled the work and tourist visas of the members of Mexican corrido group Los Alegres del Barranco after they displayed images of the leader of the Jalisco New Generation Cartel (CJNG), Nemesio Oseguera Cervantes, also known as “El Mencho,” during a concert on Saturday (March 29) at an auditorium at the University of Guadalajara.
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The news was confirmed on Tuesday (April 1) by Christopher Landau, the Deputy Secretary of State, in a post on X.
I’m a firm believer in freedom of expression, but that doesn’t mean that expression should be free of consequences. A Mexican band, “Los Alegres del Barranco,” portrayed images glorifying drug kingpin “El Mencho” — head of the grotesquely violent CJNG cartel — at a recent concert… pic.twitter.com/neSIib7EC4— Deputy Secretary Christopher Landau (@DeputySecState) April 2, 2025
“I’m a firm believer in freedom of expression, but that doesn’t mean that expression should be free of consequences,” wrote Landau in his post. “A Mexican band, Los Alegres del Barranco, portrayed images glorifying drug kingpin “El Mencho” — head of the grotesquely violent CJNG cartel — at a recent concert in Mexico. I’m pleased to announce that the State Department has revoked the band members’ work and tourism visas. In the Trump Administration, we take seriously our responsibility over foreigners’ access to our country. The last thing we need is a welcome mat for people who extol criminals and terrorists.”
The State Department, through Secretary of State Marco Rubio, announced on Feb. 20 the designation of eight cartels and transnational organizations — including the Jalisco New Generation Cartel — as Foreign Terrorist Organizations (FTO) and Specially Designated Global Terrorists (SDGT).
Prior to Landau’s announcement, the concert had caused significant controversy and outrage in Mexico, which has long tried to curb the glorification of drug lords in popular Mexican music and narcocorridos.
The concert was condemned on Monday (March 31) by Mexican President Claudia Sheinbaum. It prompted the Jalisco State Prosecutor’s Office to launch an investigation for “glorification of crime.”
📢 Tras la proyección de imágenes en un concierto en Zapopan, que presuntamente hacían alusión a un personaje vinculado a un grupo criminal, la Fiscalía del Estado inició una carpeta de investigación. (1-3) pic.twitter.com/OU4R8EYr6q— Fiscalía del Estado de Jalisco (@FiscaliaJal) March 31, 2025
On Tuesday (April 1), the governor of Jalisco, Pablo Lemus, wrote in a post on X that his government supports the measures adopted by the University of Guadalajara to prevent criminal acts from being glorified at concerts, as occurred over the weekend at the Telmex Auditorium. The local leader said he signed an executive order to ensure that no singer or group with a history of endorsing criminal activity will perform at events linked to his government.
“Next week, I will introduce an initiative to ensure that, in any legally sanctioned public event, producers and performers are held accountable for what happens during their shows, and no one can wash their hands of responsibility,” Lemus announced.
Los Alegres del Barranco were scheduled to play shows in several U.S. cities, where the band was announced as part of the lineup for the Bésame Mucho festival April 5 in Austin, Texas. In a TikTok livestream on Tuesday, Pavel Morales, a member of the Sinaloan group, stated that the majority of their audience supports them and referred to their critics as “confused.”
Billboard Español reached out for comment to the band’s reps, but hasn’t received a reply by press time. Meanwhile, authorities from the municipality of Pedro Escobedo, in the Mexican state of Querétaro, confirmed on Tuesday that the group’s scheduled performance for April 19 was canceled because “it does not meet the necessary municipal permits for its realization,” the local government said in a statement on Tuesday.
The projection of the controversial images took place during a concert titled “Los Señores del Corrido” at the Telmex Auditorium, where Los Alegres del Barranco performed the song “El Dueño del Palenque” (The Owner of the Palenque) and displayed on screen photos of the cartel leader, as well as other images created by AI.
The images appeared on multiple videos on social media. They include the moments in which fans burst into cheers when the images of the cartel leader were shown, adding to the controversy.
In a statement, Auditorio Telmex Adistanced itself from the events, arguing that the venue “has no influence on the selection of the repertoire, speeches, or audiovisual material that artists decide to share with their audiences.” However, it acknowledged that the images of the kingpin could be considered an “exultation of crime.”
The controversy over the alleged tribute to the drug trafficker arises after information has surfaced over how the cartel uses clandestine ranches to recruit people through deceptive job offers, according to federal authorities and media reports. This followed the recent discovery of Izaguirre Ranch in early March in the municipality of Teuchitlán, where acts of torture and murder were allegedly committed, according to the Guerreros Buscadores collective.
🚨#AlertaADN¡Se cancela! El municipio de Pedro Escobedo, Querétaro, suspendió la presentación de “Los Alegres del Barranco”, prevista para el 19 de abril, tras la controversia por un homenaje a “El Mencho” en un concierto en Jalisco pic.twitter.com/ChxD61VNps— adn40 (@adn40) April 2, 2025
Regional Mexican superstar Gerardo Ortiz testified against Ángel del Villar, the CEO of his former label Del Records, on Wednesday (March 19) in a downtown Los Angeles federal courtroom. The West Coast-based executive’s criminal trial began on Tuesday where he is accused of doing business with a concert promoter linked to Mexican drug cartels.
The trial follows a 2022 criminal complaint that charged Del Villar, among other defendants, with conspiring to violate the Foreign Narcotics Kingpin Designation Act. The complaint also alleged that on April 19, 2018, FBI agents approached Ortiz in Phoenix to inform him about Jesus “Chucho” Pérez Alvear’s designation under the Kingpin Act. Mexican concert promoter Pérez Alvear — who was killed in 2024 — ran a company called Gallistica Diamente (Ticket Premier) and until March 2019, promoted concerts in Mexico for DEL Entertainment.
The designation prohibited Ortiz from conducting business with Pérez and performing concerts that Pérez promoted. Prosecutors claim that the música mexicna hitmaker went on to perform concerts organized by Pérez after Del Villar “convinced” Ortiz to “ignore the FBI warning.”
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Ortiz — who pleaded guilty to a conspiracy charge in the case and is cooperating with the FBI — took the stand and told the jury he saw Pérez Alvear with Del Villar at the Del Records office in Los Angeles two or three times, according to Univision Noticias. He added that Pérez Alvear was at the office to hire bands and artists to perform at his shows in Mexico. He went on to confess that he had performed at Feria de San Marcos in Aguascalientes, Mexico in April 2018, promoted by Pérez Alvear, even after he had already been designated under the Kingpin Act and FBI agents had alerted him that if he performed at the Feria, he could face up to 10 years in prison and pay a fine of $1 million — which is why he was charged initially.
The “Dámaso” singer — who signed to Del Records in 2009 and parted ways with the company in 2019 amid a contract dispute — testified a day after the trial began where Del Villar’s lawyers argued in the opening statements that the Latin music executive was allegedly “manipulated” by former Del Records employee Brian Gutiérrez who “convinced” Del Villar that “everything” the company was doing was “legally acceptable,” according to reports by Rolling Stone.
“There is something deeply wrong and manipulative about how this case was created and investigated,” Del Villar’s defense lawyer Marissa Goldberg said on Tuesday. “The ones who actually created this crime, who manufactured it, are not sitting as defendants, which is even more deeply wrong.”
Founded by Del Villar in 2008, Del Records is considered a powerhouse in regional Mexican music. The label has been música mexicana giants including Ortiz, Ariel Camacho and Eslabon Armado, whose global hit, “Ella Baila Sola” with Peso Pluma, became one of the biggest songs of 2023.
Passed in 1999, the Kingpin Act allows the U.S. to impose targeted sanctions on foreign individuals involved in the illegal drug trade and ban U.S. residents from doing business with them. If convicted of violating the law, Del Villar would face a statutory maximum sentence of 30 years in prison.
