Mexico Lindo Y Querido: The LatAm Leader Is Ready To Take Live To Another Level

The secret is out. There’s no way to contain what insiders, especially those in the live industry, have known for quite some time. Mexico rocks, in so many ways — the food, beautiful architecture, art, stunning natural scenery and much more — and the nation that many considered to be an understated giant in the music industry is ready for the spotlight as its popular exports like Peso Pluma and Luis Miguel (Puerto Rican-born crooner with Mexican citizenship) continue to conquer new markets and elevate the culture.

Mexico has always been a rich, exciting region in the live music space brimming with potential behind its three primary markets, including a major one in Mexico City. A robust infrastructure with diverse venues including theaters, arenas and stadiums for baseball and soccer teams has made it a leader in Latin America, but with the country’s recent economic growth and the influence from its neighboring American nation, Mexico has emerged as the 1B to the United State’s 1A when it comes to attracting major talent and routing tours.

At least that’s how seasoned promoter Henry Cárdenas sees it. He has witnessed firsthand the evolution of the live Latin music business, producing shows across the Americas, including the year’s most successful tour from a Spanish-language artist. Luis Miguel’s remarkable run, which began in August 2023 and will conclude in November with 200 concerts under his belt, has grossed more than $336 million, propelling Cárdenas Marketing Network to No. 3 on Pollstar’s Mexico Focus Promoters chart.

“To me, it’s one market now: the United States and Mexico,” says Cárdenas, president and CEO of CMN. “Instead of just routing the U.S., we also route Mexico and Latin America. We changed drastically after the pandemic. We used to think about 20 dates in the United States, but we don’t think that anymore. We think Mexico and the U.S., and instead of just doing 20 dates, we’re going to do 40-50 dates. That’s the way business is going.”

One glance at Pollstar’s Mexico Focus charts and you’d be hard-pressed to disagree when buildings like Arena CDMX, Auditorio Nacional, Palacio De Los Deportes and Arena Monterrey are moving tickets in the hundreds of thousands or millions.

But no venue is more important to the country than Mexico’s beloved Estadio GNP Seguros (formerly known as Foro Sol). The 65,000-capacity stadium built specifically for live music went through extensive renovations this year, enhancing the fan experience by adding premium seating, reducing walking distances and adding a roof that protects seated visitors and collects rainwater that can be repurposed.

Estadio GNP Seguros, operated by OCESA, Mexico’s biggest promoter, reopened in August with Bruno Mars grossing nearly $18.4 million across three nights. It recently hosted rock legends Metallica, and draws such acts while also giving local artists like Pollstar cover artist Junior H a stage to aspire to. The 23-year-old Mexican star grossed a whopping $4,006,738 at Estadio GNP Seguros off 58,999 tickets sold last November.

That kind of success is what draws the Paul McCartneys and Madonnas to Mexico. And it’s not just music. Mexico has also attracted major events from organizations such as WWE, NFL, UFC and NBA.

“There’s a great international exchange of music, and that’s not just for Mexico and Latin America. I think it’s global,” says WME agent Jacob Fox, who works in Latin touring. “What you see happening a lot now is artists from the U.S. or even Europe or other places in the globe wanting to play in Mexico, Argentina, Chile, Brazil.

“And Mexico is a prime opportunity because it’s right next to the U.S., so it’s easy to route into Mexico off of a U.S. tour,” Fox adds. “I think the calendars have gotten so full across the major markets in Mexico, it’s really competitive. It’s always been a competitive market, probably more so than so many others in Latin America. But in Mexico City, you’ve got a ton of artists playing.”

That competition may have bred innovation within Mexico City with venues like Parque Bicentenario, a massive, 110-acre park with four large areas capable of hosting music festivals, stepping up their game and giving promoters an opportunity to host big events in a unique setting. It’s even capable of hosting a small show on a whim, something Carlos McPhail, Parque Centenario’s director, pulled off for Fred again.., who asked for an impromptu pop-up show. More than 3,000 Mexican fans showed up hours after the popular DJ announced the show on social media.

It’s just one of many examples of artists wanting to create a special experience that very few places can successfully accomplish, and global brands, companies and artists are taking notice of Mexico’s versatility, especially those from the nation’s neighbor up north.

“The globalization is incredible, and it’s incredible to see the number of projects that are able to cross borders,” McPhail says. “I think the U.S. market is now looking at us as ‘one more city’ with the number of travelers we have coming to shows in Mexico, which became popular in Tulum with the electronic music parties. We’re seeing it through ticket sales with people using credit cards from outside the country.”

And that success isn’t exclusive to the nation’s capital. Monterrey and Guadalajara remain strong primary markets with some help from major promoters like OCESA, which is owned by Live Nation; Zignia Live; Westwood Entertainment; and Apodaca Group. Zignia Live operates two of the top three arenas in the country in Arena CDMX, which has grossed $66.3 million, and Arena Monterrey, which has moved more than 646,000 tickets with grosses surpassing $40 million.

Alejandro Arce, Zignia Live’s general director, tells Pollstar that the company helped build the business we see today in the city of Monterrey with the construction of the arena, which opened in 2003. The company began rolling out a ticketing service and opened other venues for what’s been a successful in-house operation, and they’re hoping to see similar growth in the city of Guadalajara where a new building is being built. Arena Guadalajara is slated to open early next year and will complement the already thriving ecosystem in the city.

“I think Guadalajara and Monterrey have evolved greatly,” Arce says. “Before, a culture of having venues with different cap sizes didn’t exist, and that is helping acts on the rise develop.”

That infrastructure is what has helped artists of all kinds find ways to earn a paycheck, not just those who are on the rise but also established acts that carry name recognition and haven’t released new material in quite some time, Abraham Contreras of Uno Productions says. Many of them thrive performing at bullrings or local fairs in events that are called jaripeos [Mexican rodeo shows], which are held in just about any city throughout Mexico.

Contreras says “there’s always business” for artists who do 20-30 smaller shows a year, a business that can earn them millions each year if they work with the right promoter and cater to rising markets like Queretaro, Mérida, Sinaloa, Tepic and Tijuana.

“There are artists who can also perform in hotels and convention centers, and there are more convention centers in Mexico than there are stadiums or arenas,” Contreras adds. “Much like in the U.S., Mexico also has many more markets for [Latin music acts] compared to 10 years ago.”

The increased interest in the country and its venues is inextricable from the rapid rise of regional Mexican and corridos stars from both sides of the border like Carin León (from Hermosillo), Peso Pluma (from Guadalajara), Fuerza Regida (from San Bernardino, California) and Grupo Frontera (from Edinburg, Texas). But it’s not just them. While the aforementioned artists drive young audiences to North American arenas and stadiums, older bands like Maná, Los Bukis and Los Temerarios have seen similar success on the road, proving that opportunities exist for just about anyone.

However, challenges still exist as they do in every other market. Ticket prices have continued to increase along with production costs and inflation. Jorge Juárez, manager for Carin León and CEO of Westwood Entertainment, says that the demand for shows was “crazy” as the country transitioned out of the COVID-19 pandemic, and he is noticing that fans are now more selective when it comes to purchasing tickets.

“Maybe a person who would normally go to a concert every three months started going once every four months. We are starting to see an adjustment, and we are feeling that oversupply of concerts,” Juárez says. “We are seeing a strong sensitivity to ticket prices, and I think it’s very key today to have the right prices for your fanbase and understand how much the public is willing to pay. I have noticed more ticket price drops from some artists and cancellations in the last few months, and that didn’t happen as often.”

Industry executives are also closely monitoring the upcoming U.S. election because the candidates’ policies on immigration and economics can affect fan turnout and ticket sales, Contreras says.

Another concern Arce has is competition. Mexico isn’t the only market on the rise, and as the globalization of music continues, discovered genres will in turn elevate the nations where they originate from, increasing demand and the number of markets.

“The most important challenge we’ll face is us competing with the rest of the world,” he says. “So, artists have to make Mexico more attractive so that artists want to come here. And they have to not only consider Mexico City but other cities to build those markets and consumers.”

These issues, however, aren’t new, and promoters and agents have successfully navigated such troubled waters since 2020 as is evidenced by the record numbers posted by promoters year over year.

And when it comes to making Mexico look more attractive, social media influencers are doing their part in creating a different perception of Mexico and helping the country rid the misconceptions of violence in some areas.

Mexico City, in particular, has elevated in status with foreigners moving to neighborhoods like Roma and Condesa to live in a country where their salaries can go a little further. There is a gentrification of Mexico, for better and for worse, that the live business has benefited from with more diverse crowds and more eclectic tastes, which has led to a wide array of festivals, including the Hera HSBC Festival which featured all female artists.

“Above all, I believe the world has come to see Mexico differently and has entrusted it with the consumer’s response to different artists,” Arce says. “That, coupled with the strength that regional Mexican music has taken off in the industry, has been the perfect mix for many talents to want to come to the country. Artists no longer view Mexico as the ugly duckling. And it’s simple for artists to go south from Dallas or Houston to Monterrey or Guadalajara.”

Companies are also changing their tune and want in on the cultural revolution within Mexico. Oak View Group, Pollstar’s parent company, recently partnered with OCESA and will handle food and beverage at four of the Mexican promoter’s major venues, including Estadio GNP Seguros. It’s a major move for OVG, which could mark the beginning of something bigger.

“The fact that [live music] is endemic to the culture is beyond exciting for us, to be a part of that fabric,” says Chris Granger, president of OVG360, Oak View Group’s venue management business. “It’s thrilling, but in terms of what it means for us, all I’m focused on … is being a great partner to OCESA. Period. End of story.

“I want to do great things, whether it’s in a stadium, a festival ground, a convention center or a smaller club, whatever the case may be, we’re going to be a great partner for OCESA, helping them dream big,” he adds. “We’re going to help them execute their vision for a great fan experience, and if that leads to something else in Mexico, in Latin America, so be it.”

It was only a matter of time before a major disruptor in the business wanted to be present in the one nation that is disrupting all facets of the industry worldwide.

“Mexico is critical [to the business]. Mexico is No. 2 behind the States,” Cárdenas says. “If you do a tour and you don’t have Mexico in the routing, you’re not going to get global tour numbers. There’s 120 million people in the country, and the economy is strong. You got everything in Mexico. They have to be part of the equation.”

Judging from the year-over-year numbers and record figures from promoters like OCESA and Zignia Live, it’s looking like Mexico will always be part of any equation in relation to live entertainment.