Nearly a year ago, Natanael Cano became embroiled in controversy at a concert when he directly referenced ‘El Mencho’, the leader of the Jalisco New Generation Cartel (CJNG), with phrases that drew criticism and alarm regarding his own safety. This incident highlighted the complex relationship between musicians and narcotraffickers in Mexico, as many artists have incorporated references to figures like ‘El Mencho’ in their music, blurring the lines between admiration and danger.

On February 22, 2026, it was reported that the notorious drug trafficker Nemesio Oseguera Cervantes, known as ‘El Mencho’, was killed during a federal operation in Tapalpa, Jalisco, which involved armed confrontations. His presence has loomed large over the Mexican music scene, with various artists, including Cano, referencing him in their ‘narcocorridos’. This intertwining of popular culture and drug trafficking mythology reflects broader societal issues in Mexico, where narcotrafficking has significant social and cultural implications.

The reference made by Natanael Cano during the concert at the Carnival of Autlán de Navarro in Jalisco serves as a reminder of the ongoing influence of narcotraffickers in the region. His remarks and the subsequent attention reveal how artists navigate the precarious balance of fame, artistic expression, and the potential repercussions they face from associating with such figures. This incident not only reflects the challenges faced by artists in violent contexts but also raises questions about the responsibility of musicians in shaping public perceptions of drug lords and their impact on society.