The recent concert by Los Alegres del Barranco at the Auditorio Telmex in Zapopan, Jalisco, has sparked significant controversy due to its tribute to notorious drug lord Nemesio Oseguera Cervantes, commonly known as "El Mencho." The event, held on Saturday, March 29, 2025, featured images of Oseguera projected on stage as the band performed songs that glorified narcotraficantes, raising questions about the normalization of drug-related violence in Mexican society.
Los Alegres del Barranco, a popular group known for their narcocorridos, dedicated a song titled "El Dueño del Palenque" to Oseguera, who leads the Cártel Jalisco Nueva Generación (CJNG), one of the most powerful and violent criminal organizations in Mexico. The lyrics, which included references to being the "owner of the cockfighting ring" and "the man from Michoacán," were met with applause from the audience, further fueling public outrage.
Social media platforms erupted with criticism as users condemned the band for what many perceived as promoting drug violence. Critics argued that celebrating figures like Oseguera during a time when Jalisco is grappling with a crisis of disappearances and violence is irresponsible. One user expressed, "Inadmissible that in a public university, this type of spectacle is allowed." The backlash has prompted calls for stricter regulations on events held in public venues, especially those associated with glorifying crime.
The controversy surrounding the concert is heightened by recent events in the state. Just days before the concert, a ranch in Teuchitlán was discovered to have been used as a training center by the CJNG, where search teams found belongings that highlighted the brutality of these criminal operations. This context underscores the gravity of the situation in Jalisco, where violence is not just a backdrop but a harsh reality for many residents.
Governor of Jalisco, Pablo Lemus Navarro, voiced his disapproval of the tribute during the concert. He stated, "What was seen at the concert this weekend goes in the opposite direction. We all have to do our part to stop normalizing violence. It should not happen in this or any other place in our state." His comments reflect a growing concern among officials about the cultural implications of such performances and their potential to influence public perception.
The concert, titled "Los Señores del Corrido," also featured performances by other regional music groups, including Los Nuevos Rebeldes and Tito Torbellino Jr. However, it was the tribute to Oseguera that dominated discussions, overshadowing the musical performances. Videos from the event quickly went viral, showing the audience cheering as images of the drug lord were displayed, which many interpreted as a troubling endorsement of his actions.
Los Alegres del Barranco, founded in 2005 in Badiraguato, Sinaloa, have made a name for themselves in the regional norteño genre. Their repertoire often includes songs that tell stories about controversial figures, including notorious drug traffickers. Their 2008 debut album, "Morenita de Ojos Negros," marked the beginning of their rise in the music scene, and they have since released numerous albums that have resonated with fans of the genre.
Despite their popularity, the band's decision to honor a figure like Oseguera has drawn scrutiny from various sectors of society. As the state of Jalisco continues to deal with the repercussions of drug-related violence, the question remains whether it is appropriate to celebrate artists who seemingly promote or glorify such figures.
In the wake of the concert, many have called for the University of Guadalajara, which owns the Auditorio Telmex, to implement stricter guidelines for events held at the venue. Critics argue that allowing performances that glorify drug lords not only sends the wrong message but also trivializes the suffering of families affected by violence and disappearances in the region.
The outcry following the concert is part of a larger conversation about the role of narcocorridos in Mexican culture. While some defend the genre as a form of artistic expression that reflects the realities of life in regions plagued by drug trafficking, others see it as a dangerous glorification of violence and crime. The debate is further complicated by the fact that many of the artists in this genre have roots in the very communities affected by the violence they sing about.
As discussions continue, the spotlight remains on Los Alegres del Barranco and their recent performance. The incident serves as a reminder of the complexities surrounding cultural expressions in a society grappling with the impacts of organized crime. With the eyes of the public and officials now turned toward them, the band faces the challenge of reconciling their artistic choices with the realities of the world they depict in their music.
Ultimately, the concert at the Auditorio Telmex has sparked a necessary dialogue about the normalization of violence in entertainment and the responsibilities of artists in shaping public perception. As the state of Jalisco seeks to combat the influence of drug cartels, it remains to be seen how cultural institutions and artists will navigate the fine line between artistic freedom and social responsibility.
