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Perhaps no one genre of music screams “Mexican” more than mariachi music.

Yet a close second is probably the melodic sound of British rock band the Smiths.

Many have pondered why Mexicans and Mexican Americans have such an affinity for those blokes from across the pond. Maybe it’s that lead singer Morrissey’s outsider mentality and melancholic words resonate with the demographic — or there’s something acutely relatable about the melodramatic musings of a romantic yearner.

Decades ago, The Times’ own Gustavo Arellano explored the Smiths and Morrissey’s appeal to Latinos and Mexicans, specifically.

He noted that Morrissey’s malaise mirrors the sentiment of many ranchera songs, also citing that his effeminate onstage persona is a perfect subversion of Mexican machismo. These elements make the singer an anglophone mash-up of Pedro Infante and Juan Gabriel, Arellano added.

Both the Smiths and mariachi music can drive even the most macho Mexican man to tears with their poetic lyrics and layered instrumentals.

To celebrate the special choke hold these musical stylings have on Mexican Americans in Southern California, the L.A.-based group Mariachi Tierra Mia is putting on a “Mariachi Meets the Smiths” show at the Ford amphitheater on Sunday. The show will merge not only the cultural resonance of the two in Mexican American culture, but also unite the sounds.

The idea to incorporate elements of mariachi music into a cover of a Smiths tune happened by happenstance in December 2024.

Members of Mariachi Tierra Mia were performing at a Christmas party when an attendee requested that the group perform the 1984 Smiths track “Heaven Knows I’m Miserable Now.”

Members of rock band The Last Line of Defense who will perform at The Ford as part of “Mariachi Meets The Smiths.”

(Mariachi Tierra Mia)

The ensemble’s leader, Maira Solis, didn’t know the song — but her husband and fellow bandmate Ivan Peña signaled that he did. Later on in the night, he performed the song alongside two dancing, masked luchadors.

The video of Peña belting out the song while outfitted in his mariachi regalia struck a chord with audiences online after the group posted it on social media.

“The relationship between Mexicanos and the Smiths needs to be studied,” Peña told The Times. “[The video] seemed like a very innocuous thing, but days later, it had 3 million views. That was the first time that ever happened to us, and to me, personally.”

The overwhelmingly positive response to Peña’s rendition of the Morrissey-penned tune let him know that people had an appetite to see the Smiths and mariachi blended together.

Born in 1991, Peña was born years after the Smiths broke up, but was introduced to the group’s catalog at age 5, while his uncle drove him around in a lowrider. The first tracks he heard from the band were “Heaven Knows I’m Miserable Now” and “Ask.”

“I don’t think the music has aged a wink. It’s just gotten better with time,” he said. “It’s clearly resonated across generations. Now you even see Gen Z getting in on it too and realizing music of the past is so substantial.”

But the fandom surrounding the Smiths, and more specifically Morrissey, has entered more complex territory in light of the Smiths frontman’s past political commentary.

In recent decades, the crooner has grown increasingly sympathetic toward far-right political stances, voicing anti-immigration and anti-Muslim sentiments, as well as his allegiance to white nationalist party For Britain in the U.K.

Despite this, many fans, like Peña, don’t see a problem with continuing to listen to the Smiths and Morrissey’s solo work.

“I get that he’s a polarizing guy. I know he’s notorious,” Peña said. “I [say], separate the art from the people behind it … because the piece itself is not at fault for the shortcomings or views of the people who made it.”

Sunday night’s concert will be split in two acts, with the first being a bilingual mariachi set by Mariachi Tierra Mia composed of genre standards and more modern covers. For the second act, Peña’s rock group the Last Line of Defense will perform songs by the Smiths and be joined by the mariachi group to merge the sounds.

Incorporating the mariachi to create straightforward covers of the Smiths’ material proved challenging as Peña did not want to put a spin on the songs’ composition — no added notes and no new harmonies were allowed.

“You could task a mariachi band with doing a one-for-one adaptation of the Smiths’ songs, [but] most of the tracks do not work on the mariachi setting,” he said. “Whereas the guitar is leading the charge in a rock band. The guitar and the vihuela are essentially the rhythm section, so you have to translate guitar riffs to the melody section of the mariachi, [which is the] trumpets and violins.”

According to the 34-year-old musician, very few of the English band’s song fit into that mold.

He knows that fans love the original material and he wants to respect the essence of the time-tested songs. Out of that reverence for the group’s music, Peña noted that all the Smiths covers will be performed only in English.

Peña’s final take on why Mexicans are so infatuated with the Smiths?

“Mexicans love catchy music,” he said. “It’s all of the feels. It’s the good, the bad, and a bit of longing. The lyrics aren’t lying to you. [We can all relate to] Morrissey’s angst, his rebellion, his malaise, and, on the other side of that, his optimism.”

Days before the Lucas Museum of Narrative Art officially opens, protesters from the Fair Games Coalition — wearing Jedi robes and Jar Jar Binks masks and carrying lightsabers — rallied together outside the new museum.

Dozens of people from the group fighting for better worker protections during major sporting events were loudly blowing horns, banging drums and chanting, “Sí se puede,” directly across from Exposition Park’s newest museum. The group was at the museum’s private opening party Saturday night to take a stance against museum co-founder Mellody Hobson‘s recent resignation from the Los Angeles Olympics organizing committee, LA28.

“We launched the campaign with some real, reasonable demands,” said Jessica Durrum, the director of the Fair Games Coalition, for the Los Angeles Alliance for a New Economy. “If the Olympics are coming to town, we want to make sure there are lasting benefits for our communities.”

The Fair Games Coalition, which is made up of over 80 organizations, formed to fight for better labor deals during major events like the Super Bowl and the Olympic and Paralympic Games. Some of the unions in the coalition include United Teachers Los Angeles, National Union of Healthcare Workers, United Food and Commercial Workers Local 770, United Farm Workers and various community groups.

Ahead of these events, the group is asking that employers provide union and living wage jobs, funding for 50,000 units of housing for working families, a moratorium on short-term rentals and protections for immigrant workers.

Gladys Avyla marches in a Fair Games Coalition protest outside the Lucas Museum of Narrative Art.

(Jonathan Alcorn / For The Times)

Gladys Avyla, a member of Unite Here Local 11, has worked as a cleaner at the W Hotel in Hollywood for the last 14 years. Several years ago she had to move to Victorville when her rent in L.A. got too high. Avyla said that with these major sporting events coming through town she’s worried the cost of living will continue to rise as her work gets busier and busier.

“Rent is very high, and everything is expensive. It’s hard living here. We need a wage increase for the Olympics because everything costs so much,” Avyla said in Spanish. “We need help for all workers. We’re human beings, but, honestly, we aren’t treated like human beings.”

Hobson, who co-founded the billion-dollar museum alongside her husband, George Lucas, resigned from LA28 earlier this week. She reportedly stepped down from the position due to the demands of running the Lucas Museum.

But the Fair Games Coalition claims she responded to their requests to meet and discuss their concerns by resigning. The 35-person board led by Casey Wasserman, who was recently under heat for his ties to Jeffrey Epstein and Ghislaine Maxwell, is meant to help plan and execute the upcoming Olympic Games.

“That’s how you hide your head in the sand. But we’re not giving up. She still has clout and still has a lot of power in the city of Los Angeles with the Olympic Committee,” said the Rev. Gary Bernard Williams from St. Mark United Methodist Church, a member of the coalition. “There’s going to be a lot of money flowing at the top. Very little money will be trickling down to the workers who need it the most.”

Demonstrators at a Fair Games Coalition protest at the Lucas Museum of Narrative Art.

(Jonathan Alcorn / For The Times)

LA28 and the Lucas Museum did not immediately respond to a request for comment.

During this year’s World Cup, where several games were hosted in L.A., Unite Here Local 11, the union which represents workers including dishwashers, concession workers, bartenders and servers and SoFi Stadium’s food-service operator Legends Global, came to a tentative agreement days before the first match. Pastor Bridie Roberts, who works as the community organizing director at Unite Here Local 11, said having the Fair Games Coalition’s support was helpful during the negotiations.

“Our members face serious, critical decisions every single day about how to make ends meet and they work with some of the biggest tourism companies in the world that will profit in the billions of these games,” said Roberts. “We feel that the games have potential to bring real outcomes for working people, but only if we fight for them.”