In a dramatic turn of events, popular Mexican regional singer Gerardo Ortiz has admitted in a U.S. court to performing concerts for the notorious Cartel Jalisco Nueva Generación (CJNG), sparking significant legal repercussions. Ortiz's confession emerged during the trial of Ángel del Villar, the executive director of DEL Records, who has been accused of violating the Kingpin Act, a legislation aimed at targeting drug trafficking.
According to the U.S. Attorney's Office, Ortiz's involvement with CJNG came to light as he cooperated with the FBI as a witness in the case against del Villar, who was arrested in June 2022. The allegations against del Villar include engaging in business with Jesús Pérez Alvear, a music promoter formerly linked to the cartel, and being involved in money laundering activities through his enterprise Gallística Diamante.
Details from the trial revealed that Ortiz had performed in at least six concerts organized by Pérez Alvear and had participated in approximately 19 additional performances after warnings from the FBI. On March 18, 2025, during the proceedings, federal prosecutor Alexander Schwab highlighted Ortiz's ongoing cooperation with authorities, stating, "Gerardo Ortiz is cooperating with the authorities and will testify against Del Villar." This cooperation marks a significant development in the case, which is poised to unravel connections between music and organized crime.
Analyzing the circumstances leading to Ortiz's admission, it is important to consider his background. Born in Pasadena, California, on October 5, 1989, Ortiz's career began in the spotlight at the tender age of eight with his album "Encuentro de amor." He was soon recognized as a major player in the regional Mexican music scene, earning acclaim and numerous awards, including prestigious Billboard accolades. However, his success has been marred by controversies, including arrests and accusations of promoting violence through his music.
In 2018, the FBI had previously informed Ortiz in writing about Pérez Alvear's designation as a narcotics trafficker under the Kingpin Act. Despite this warning, testimony indicates that Ángel del Villar pressured Ortiz to ignore the advisory and continue participating in concerts. The indictment reveals, "Ortiz recognized his participation in concerts organized by Pérez Alvear despite warnings from the FBI about his connections to drug trafficking." This decision demonstrates not only the pressures faced by artists in the industry but also raises questions about their awareness of their collaborators' backgrounds.
The seriousness of Ortiz's actions is compounded by the nature of the Kingpin Act, which prohibits U.S. individuals and entities from engaging in dealings with known drug traffickers and their associates. By continuing to perform under such dire circumstances, Ortiz exposed himself to substantial legal risks. The consequences of these choices could reshape his career and the public's perception of his contributions to the música regional genre.
During the trial, attorney and prosecutor Alexander Schwab emphasized that Ortiz's testimony would shed light on his experiences while working with the FBI, illustrating the precarious nature of his decisions amid the pressures from his management. Leaving no stone unturned, the prosecution described how Ortiz's animated career morphed into a legal battleground, suggesting that it serves as an alarming case study into the intricate relationships between artists and the criminal underbelly.
Furthermore, the circumstances surrounding Jesús Pérez Alvear heighten this tense narrative. Alvear was not only a promoter linked to CJNG but also a pivotal character in the unfolding events surrounding Ortiz. Tragically, he was murdered in December 2024, following a sequence of investigations that had placed him under the federal microscope. This fatal conclusion raises further questions about the safety and security of those entwined in such perilous circles.
In light of his guilty plea regarding conspiracy to conduct transactions with a designated drug trafficker, Ortiz's future now hangs in a precarious balance. Projections indicate that throughout the ongoing trial, he may emerge as a crucial witness, revealing the depth of his understanding of the connections between his music performances and drug trafficking. His testimony is expected to inform potential consequences faced by del Villar, who is accused of leveraging his label to facilitate illicit activities.
As the investigation progresses, Ortiz finds himself at a crossroads—straddling the line between a celebrated music career and the potential irrevocable damage arising from his connections with organized crime. The implications of this saga extend beyond personal reputations and represent a broader commentary on the music industry's relationship with crime in Mexico. How will the lessons learned from this admissions and subsequent testimonies reflect the nature of accountability and responsibility within the realms of artistic expression and ethics in the future?
