Julieta Venegas took the stage at Mexico City’s National Auditorium on Wednesday, accompanied by her closest allies: border-inspired poetry, drawn from her native Tijuana, and the accordion, to celebrate her norteño spirit—the very same spirit she introduced to the world with the release of her latest album, *Norteña*, and which she continued to instill in the audience tonight.
It has been two decades since the Mexican-American singer-songwriter made her debut on this venue’s stage. At the time, she seemed shy, facing her fears in front of the crowd.
Today, at 55, she is a leading figure in Latin music who, with her ninth studio album, is able to confess before a packed audience that she is a “stubborn woman,” shaped by roots that flourish in the arid soil of Tijuana, in the concrete of Mexico City, and on the border between Mexico and the United States.
The concert kicked off with “Tiempos dorados,” the first single from this project to which Venegas devoted her heart and soul, as well as her first book, *Norteña: Memorias del comienzo*, in which she traces her career as an artist, which began with *Aquí* (1997), her debut album.
“You have no idea how happy we are to be back at the (National) Auditorium and to see it filled to capacity,” said the composer, wearing a pink two-piece outfit, a hat, and a pair of cowboy boots.
Venegas says that without El David Aguilar, “Norteña” wouldn’t exist, which is why she invited him to share the stage with her tonight to perform “Caprichos del azar,” the song that brought back childhood memories for the artist: herself at the piano or her mother, Julia, singing by her side.
To perform “Amigas,” a song she originally sang with Ruzzi, she shared vocal duties with the Mexican singer Mariana de Miguel, better known as Girl Ultra.
Natalia Lafourcade did not show up at the venue to perform “Tengo que contarte,” but Gaby Romero, a native of Baja California Sur, stepped in to replace her with a unique rendition highlighted by the sound of the requinto.
The set list was rich, extensive, and timeless, although it lacked “La niña futbolista,” Venegas’s most controversial song to date, after it had been presented at the morning press conference of Mexico’s president, Claudia Sheinbaum, as part of the “2026 Social World Cup” program.
Among the classics performed by the eight-time Latin Grammy winner were “Oleada” and “Algo está cambiando” from her album *Sí* (2003), the musical project that catapulted her to international fame.
The “Norteña Tour” will continue in Guadalajara (western Mexico) on June 20 and 21.
Later, between July and October, he will cross the border to perform in Chicago, New York, Washington, Sacramento, Los Angeles, San Francisco, San Diego, Las Vegas, and other cities in the United States, according to Agencia EFE.