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Mexico City’s Ángel de la Independencia hosted a massive, free New Year’s Eve concert featuring the popular musical group Polymarchs on December 31, 2024.The event, billed as the “largest disco in the world,” attracted an estimated 200,000 people.The four-hour spectacle included live dancers and laser displays,transforming the iconic landmark into a vibrant celebration. [[3]]
However, the overwhelmingly positive response from attendees wasn’t shared by everyone. Mexican actress and television host Laisha Wilkins took to social media to express her disapproval, sparking a heated debate.
“The music of the Polymarchs, horrendous, but it filled and caught on. Which tells us that we are very nacos in CDMX. That’s the whole tweet,”
Wilkins tweeted on January 1, 2025. [[1]] Her use of the term “nacos,” a derogatory slang term suggesting a lack of sophistication, ignited a backlash from many who felt her comments were classist.
Wilkins’ criticism extended beyond polymarchs, encompassing other popular genres like banda, norteño, and reggaetón.She stated she would only attend such events if legendary groups like Los Ángeles Azules or Los Bukis were performing.
The social media response was swift and largely negative. Critics accused Wilkins of elitism, pointing out the irony of her criticizing the musical tastes of the very audience that supported her television career.Many comments highlighted the popularity of these genres and questioned her right to judge others’ preferences. Some examples of the online responses included: “those same people you call ‘naca’ are the ones who consumed your three-peso soap operas,” and “This post is super classist, people’s musical taste is very relative.”
The incident highlights the ongoing cultural clashes and debates surrounding musical taste and social class, a conversation that resonates far beyond Mexico’s borders. The massive turnout for the Polymarchs concert underscores the popularity of these genres and the significant cultural impact of free, large-scale public events.
Polymarchs’ popularity is evident in their extensive concert history, including a performance at Estadio GNP Seguros in December 2024. [[2]]
Mexico City Rings in 2025 with Energetic Polymarchs Concert
Mexico City’s Reforma avenue pulsed with vibrant energy as the Polymarchs, a renowned musical collective, ushered in the New Year 2025 with a high-octane performance. The event drew massive crowds, transforming the iconic thoroughfare into a sea of celebrating faces.
The Polymarchs’ performance, a blend of diverse musical styles, captivated the audience with its infectious rhythm and powerful vocals. The collective’s unique sound, a fusion of Latin American influences with contemporary electronic beats, resonated deeply with the massive crowd, creating an unforgettable atmosphere.
While specific details about the setlist remain unavailable, eyewitness accounts describe a dynamic show filled with both familiar hits and exciting new material. The energy was palpable, with the crowd singing along and dancing throughout the performance. The event served as a powerful symbol of unity and celebration, a fitting start to the new year.
The New Year’s Eve concert in Mexico City mirrors similar large-scale celebrations seen across the United States, where cities ofen host major musical acts to ring in the new year. these events not only provide entertainment but also boost local economies and foster a sense of community.
The success of the Polymarchs’ performance underscores the growing global appeal of diverse musical genres and the power of music to unite people in celebration. the event’s popularity highlights the importance of cultural exchange and the shared human experience of celebrating new beginnings.
More Photos from the New Year’s Eve Celebration
For a comprehensive visual record of the event, including additional photos and videos, please visit: PHOTOS: This is how Mexico City welcomed the New Year 2025 with Polymarchs in reforma
Mexico City saw a massive celebration ring in teh New Year with the popular musical group Polymarchs headlining a free concert at the iconic Ángel de la Independencia. While most revelled in the festivities, actress Laisha Wilkins sparked controversy with her criticisms of both the band and the crowd. this article delves into the social media firestorm ignited by her comments, exploring the larger cultural conversation around musical taste and social class in Mexico.
Public vs. Elite Taste:
World-Today News Senior Editor,Emilia Cruz,sits down with dr. sofía Hernandez, a renowned sociologist specializing in popular culture and social stratification in Mexico, to unpack the controversy surrounding Laisha Wilkins’ remarks.
Emilia Cruz: Dr. Hernandez, Laisha Wilkins’ comments about the Polymarchs concert and the audience have ignited a firestorm of criticism. Can you help us understand the underlying social tensions that FUEL this type of reaction?
dr. Sofía Hernandez: Absolutely, Emilia. This incident goes beyond a simple musical preference. Wilkins’ use of the term “nacos,” while aimed at the musical genre, inadvertently exposes deeper societal divisions in Mexico. It points to an ongoing tension between what’s considered “high culture” and “popular culture,” often reflected in class lines.
Cruz: how do these cultural divides manifest themselves in everyday life, and how are they amplified through social media?
hernandez: In many societies, music becomes intertwined with identity. Certain genres can be associated with socioeconomic backgrounds, leading to judgments and biases. Social media platforms, with their tendency towards rapid and often polarized opinions, magnify these pre-existing tensions.In this case, Wilkins’ comments gave voice to elitist attitudes that many Mexicans resent, notably when directed at a genre enjoyed by millions.
The Power of Popular Music
Cruz: Can you explain why genres like banda, norteño, and reggaetón, criticized by Wilkins, often resonate so strongly with a large segment of the Mexican population?
Hernandez: These genres offer a sense of belonging and shared cultural experience. They speak to the realities of everyday life, often dealing with themes of love, hardship, resilience, and celebration, which resonate deeply with many Mexicans. Their popularity transcends social boundaries, uniting people across socioeconomic divides.
Cruz: how do you think this incident will impact the ongoing conversation about cultural diversity and inclusivity in Mexico?
hernandez: It’s my belief that incidents like these, though unpleasant, can act as catalysts for broader conversations. Wilkins’ comments have sparked a necessary dialog about elitism,social class,and the value of multicultural expression.It’s a reminder that true inclusivity means embracing and celebrating the diverse tastes and traditions that make up Mexican society, rather than denigrating them.
This incident highlights the power of music to both unite and divide. It’s a cultural flashpoint that has exposed the undercurrents of social stratification and the need for greater understanding and respect across class and cultural lines.
