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Waving a Mexican flag with a vaquero sombrero on, El Malilla made history at Coachella last year as the first reggaeton Mexa act on the lineup.

To keep the momentum going, the rising Mexican star had planned for his first U.S. tour to take place last summer. After the Trump administration ramped up the ongoing ICE raids around the same time, El Malilla decided to put the safety of his fans first and postpone the tour.

“With what was happening with Mexicans and immigrants — the big problem being ICE — I decided to pause the tour, because I didn’t feel comfortable exposing my fans to that kind of situation,” El Malilla says over Zoom from his home in Valle de Chalco. “For me, it was important to bring this tour to the U.S., but in a safe way without putting anyone in harm’s way.”

After wrapping up the Mexican leg of his “Tu Maliante Bebé” Tour, El Malilla, who was born Fernando Hernández Flores, is now preparing to bring his show to the states. The 19-show trek will kick off July 24 in Palm Springs, followed by a concert at The Novo in Los Angeles the next day.

Mexican artist El Malilla.

(Joss Andreu)

“The Novo is very important for me because it’s going to be my biggest venue for this U.S. tour,” he admits. “To see how Los Angeles has adopted me, embraced me, and shown me love, I’m going to feel like I’m home.”

Following his Coachella debut, El Malilla has pushed reggaeton from Mexico into the mainstream. He imbues the genre with Mexican swagger, slang and sex appeal in his explosive hits such as “B de Bellako,” “Mami Tú” and “Balenciaga” featuring corrido singer Luis R. Conriquez.

Since then, El Malilla has expanded the scope of reggaeton Mexa following collaborations with Puerto Rican pioneers such as Jowell y Randy and Colombian superstar J Balvin. The perreo heartthrob is also tapping into new genres for his upcoming sophomore album. In an interview with The Times, El Malilla opened up about leading the reggaeton Mexa movement and what to expect from his tour.

How do you feel about representing Mexican culture and reggaeton Mexa with this tour in the U.S.?
I feel very happy to bring a bit of our culture, our slang, our sound and our essence to the U.S. for my fans that haven’t had a chance to see a show of mine. Something that’s very crazy for me is when I performed in Chicago last year, there were people with signs that said they were from different places in Mexico like the State of Mexico. It made me very nostalgic to know that I’m also from the State of Mexico and we’re here. It’s important for me to represent our roots. Get ready, because I’m coming with perreo sucio. [Laughs.]

What do you think when you fans always ask for you to take off your shirt at your concerts?
It makes me laugh because when I sing “Rodillas,” people start screaming for me to take off my shirt. My show lasts like two hours and that’s barely the first song. I enjoy it, because I consider El Malilla to be a showman. I love to be onstage and have fun with my fans. Though some people might see me as a sex symbol, I don’t see myself that way, but to each their own.

What does it mean for you to be breaking down barriers for reggaeton Mexa?
It makes me very happy. I’ve been thinking about that recently. When would you think that an iconic pop star like Danna would collaborate with an iconic chacalón [Mexican slang for “bad boy”] like myself? That never crossed my mind before, but now in 2026, our reggaeton, our essence and our sound has become important in Mexico and even more so on a Latino level. Now everything is possible. There [are] no longer barriers for reggaeton Mexa, or for Mexican singers. Today, your biggest dream is possible.

Who else would you love to collaborate with in the future?
Lately, I’ve spent more time in the U.S. and I’ve been soaking up more English music. I discovered that I really like The Weeknd. A collaboration with him would be crazy! I returned to Coachella this year to sing with Cachirula & Loojan … and to be able to see Justin Bieber live was incredible. I would love to collaborate with him. On the Latin side, I would love to collaborate with Nsqk, De La Ghetto, Ñengo Flow or a reggaeton pioneer like DJ Blass.

What’s the process been like working on your next album?
I spent a year and a half working on this album. I enjoyed that process so much. Music has given me so much that this album is my way of repaying music for all the blessings it’s given me. You’ll be surprised at what I’m capable of. This is a Malilla that’s now 26 and a little more mature. It’s a more experimental and professional Malilla. I had never made a bolero song and I dared to do that this time. I did my research by listening to Luis Miguel, José José and singers and genres that I wasn’t used to listening to. I found love for those genres and singers. It was a very fun and cool way for me to explore different genres.

Here’s a terrible-seeming idea: The Rolling Stones should get started on their next album.

Like, now.

After taking nearly two decades to release 2023’s “Hackney Diamonds” — the band’s first set of original material since “A Bigger Bang” in 2005 — the Stones are back this week with a follow-up, “Foreign Tongues,” that took them less than 36 months to get out.

And it’s the better record in every way.

In the old days, of course, two and a half years was all they needed to make “Beggars Banquet,” “Let It Bleed” and “Sticky Fingers.” So let’s not get too carried away by the fact Mick Jagger, Keith Richards and Ronnie Wood are working as fast as they are in their late 70s and early 80s.

Yet to listen to the brisk and sportive “Foreign Tongues” is to hear a band clearly going on instinct rather than overthinking the music à la any number of veteran acts in legacy-maintenance mode. I don’t know if the result is the Stones’ best since 1978’s “Some Girls,” but it’s definitely the funniest, which is actually the more impressive achievement.

“Wake up in the morning and you wanna make me puke,” Jagger sneers in the punky “Hit Me in the Head” — exactly the kind of lyric you’d hope to hear from a band whose only possible reason for still being in the game is to have a gas-gas-gas.

Like “Hackney Diamonds” — and, for that matter, like Paul McCartney’s “The Boys of Dungeon Lane” (to name one recent overthinking-veteran LP) — “Foreign Tongues” was produced by 35-year-old Andrew Watt, who’s made a career of helping boomer icons put a little shine on their late-in-life efforts. And he’s helped the Stones convene an appealingly motley crew of collaborators here, including McCartney (who plays bass on “Covered in You”), the Cure’s Robert Smith (who contributes guitar to “Divine Intervention”), Steve Winwood (who plays piano and organ throughout the album) and Bruno Mars (who’s credited with, uh, cowbell in “Never Wanna Lose You”).

You also get a welcome appearance from the late Charlie Watts in a hard-thwacking performance recorded before his death in 2021. (Steve Jordan otherwise keeps time.)

But none of the stunt casting feels like the point of the album, which instead simply doles out a dozen tunes in the Stones’ various idioms — the bluesy stomp, the country-ish lope, the sleazy disco jam — plus a couple of covers in just over an hour. It’s frisky and lighthearted, even when Jagger is lamenting what he sees as the sorry state of his beloved America in “Ringing Hollow” and when Richards is croaking about love having put him on his knees in “Some of Us.”

And when they go goblin mode, they really lean in: “Mr. Charm” is a demented soul-rock rave-up about how boring money is — OK, Mick — in which Jagger drops a diss of the “mad mogul Mr. Musk” into a verse laying out the delights of staying home and doing anagrams.

In “Divine Intervention,” Jagger offers a colorful travelogue of trips through New York and Los Angeles — “I kept moving on to Silver Lake / To play guitar with a brand new friend of mine” — while Richards and Wood get their guitars slip-sliding all over the place. “Jealous Lover” is gorgeously trashy: a horny little strut that sounds like “Dirty Mind”-era Prince doing “Waiting on a Friend.” (Legitimately loony Mick vocal here.)

For God knows what reason, the Stones offer up a faithful rendition of Amy Winehouse’s “You Know I’m No Good” with Jagger on harmonica. And the album ends with a very ragged take on Chuck Berry’s “Beautiful Delilah,” obviously meant to remind you of how the two lifers at the core of the Stones came together more than half a century ago.

The memory is ancient; the thrill, somehow, is alive.