Meet the Stars of Mexico’s New Pop Generation

Girl Ultra broke out nearly a decade ago as a leading voice in Mexican R&B, alongside Jesse Baez, a prized talent of Monterrey label Finesse Records. She eventually pivoted into new wave on her excellent 2022 EP El Sur, while her new Chromeo-produced album, RRRomeo, embraces shimmering funk and disco.

In the pandemic, EMJAY emerged as a neoperreo vixen in the vein of Six Sex and Ms Nina. However, she evolved into adventurous pop over the course of her last two albums—Me estoy volviendo loca (2025) and Pop Pesado (2026)—swering through R&B, nightcore, and even mellow rock. The new era also landed buzzy guest spots from Belinda, Ximena Sariñana, and Gera MX, but make no mistake, EMJAY’s thumping baddie music stands on its own two pleaser heels.

Though his early releases had an indie-rock edge, Chilango crooner Valdo Rodríguez pivoted to a sound he smartly branded as MexiPop, coincidentally the name of his upcoming album; the lead singles “De Mentiritas” and “Victoria Miller” arrived loaded with dizzying falsettos and thumping electro, evoking Miranda! and suggesting he’s studied the sacred texts of pop alchemy.

The corridos era proved exceedingly versatile as hybrids with reggaeton and dembow flooded the mainstream. But this adventurousness reached critical mass on FLVCKKA‘s shimmering debut album, Hypercorridos Vol. 1, a startlingly original swirl of nightcore, jersey club, and buchona. In true diva fashion, she enlisted música mexicana titans like Chino Pacas and Régulo Caro, who sing on throbbing electronic beats that make no concessions to their acoustic comfort zones.

Gender- and genre-fluid, Marito Ramírez is a K-pop idol from Ciudad Juárez who began hopping between nasty perreo and techno bitch tracks. Last year’s debut album, MaritoWrld, is a thrilling ride of Y2K references and shivering beats, while the recent single “Drama Princess” delivered a sugar-baby anthem for the ages.

Mentored early on by Clubz, Disco Bahía soon carved their own path with elegant yacht rock, disco grooves, and cinematic ’70s aesthetics. The combination proved remarkably successful, and the band has since toured extensively. They’ve also landed collaborations with Mexican rock-pop gods Little Jesus and Camilo Séptimo, and have become the favorite soundtrack for nostalgic social media reels.

With Slayyyter and Kim Petras at the crunchy vanguard of Anglo pop, RIXXIA is leading the same moderna crusade south of the border. Squealing and rapping over EDM, hyperpop, and pummeling gabber, the flame-haired Barbie debuted last year with the excellent No Lo Entenderías LP. Her kaleidoscopic whirlpool of sound is so delicious that HELLOLOLA, EMJAY, and Maria Daniela y Su Sonido Lasser just had to dive in and join the fun.

On her 2026 debut, XXI: Monomita, GRTSCH flexes her versatile creative muscles. She links up with Mon Laferte for the glitchy merenbow of “Streetfighter,” and goes even more experimental with Mediopicky on the ghoulish “Mamita.” For “Filo,” her rap chops go head-to-head against master MC Tino El Pingüino. She also makes time for the psychedelic cumbia stylings of “Lluvia” with Karen y Los Remedios. GRTSCH is a pop shapeshifter eager to taste every flavor of musical buffet, but she never gets lost in the sauce.

A Mexico City fixture for the past decade, the synthpop duo Budaya first gained buzz as heirs to foundational Mexi-lectric giants like Moenia and María Daniela y Su Sonido Laser. But Maya Piña and Tulio Almaraz learned to adapt their atmospheric sound to a wide range of genres. They’ve since crafted ambient perreo alongside Pahua on “La Marea” and taken freak-folkster Rosas for an existential house ride on “*STAR.”

OjosPielCanela is a playful chanteuse blurring the lines between pop and R&B. Her new album, El Ombligo Pt.1, evokes Sade and Judeline, melding dynamic percussion, atmospheric electronic production, and orchestral flourishes. The vibes are immaculate.