Being part of such a renowned dynasty in Mexican music as the Aguilar family is no easy feat. At least that’s the case for Leonardo Aguilar, who in recent years has had to face criticism and accusations on social media surrounding his famous family. It’s something he admits has not only affected him personally, but also professionally, making him think twice before releasing new music. But now, he has decided to set aside his fears and move forward.
“There were many years of negative comments that made me put my career on hold — but at this point, I don’t want to live with that anger anymore,” the son of Pepe Aguilar and brother of Ángela Aguilar tells Billboard Español. “I’ve been through a lot of blows, but that shouldn’t stop me anymore. I’ve overcome that fear because there are things that are not in my hands to resolve; my music is.”
On Thursday night (Nov. 5), the 27-year-old singer released his fourth solo studio album, Esquina 22, with indie label Machin Records and distribution by Virgin Music Latino. The 10-track set includes renditions of iconic ranchera songs like “Las Rejas No Matan,” “A Pesar de Todo” and “Acepto Mi Derrota,” as well as original tracks such as “Nada Pa’l Futuro” and “Canción de Rancho,” the latter in collaboration with El Komander.
“I created very different versions of the classics. It’s not about trying to be like someone else,” Aguilar says. As for El Komander, he says he “never imagined I’d be able to sing with one of my idols.”
Esquina 22 takes its title from an emblematic street in the small town of Tayahua, Zacatecas, where the family ranch is located. Aguilar currently resides there, and it has served as inspiration for this new stage in his career. The album was produced by Alfonso De La Cruz Pekas, also known as a songwriter of major hits by artists like Julión Álvarez, Calibre 50 and Banda Los Recoditos.
From the tranquility of Rancho El Soyate, famous in recent years for its triumphs in the traditional Mexican equestrian sport of charrería, Aguilar speaks with Billboard Español about his new music, the difficult personal moments he’s lived through, how he’s learned to manage them and more.
After winning last year, Rancho El Soyate didn’t take home the National Charro Championship this year. Was it frustrating for the family?
Yes, it was very intense — especially because everything seemed to be pointing toward a victory, but it didn’t happen. The competition was very strong. When someone else does something better than you, there’s no reason to get upset. The El Soyate team is very good, but this time it didn’t work out.
Is it important to you that young people like yourself, your sister Ángela and your brother-in-law Christian Nodal preserve and pass on Mexican traditions like charrería and music?
Absolutely. Besides what you mention, charrería brings a lot of satisfaction to those who compete, to the team members and to the fans. It’s a beautiful environment. Plus, we’re supporting traditions, the culture of artisans, trainers, veterinarians, horse handlers — everyone.
In addition to continuing these traditions, the young Aguilars are taking on the responsibility of passing Mexican music to new generations. Do you see it as a responsibility?
It’s not a responsibility when it’s something you like, feel and love. For example, with this new album, Esquina 22, I enjoyed carefully selecting the songs. I had a lot of songs to choose from and it was challenging, but in the end, the album turned out to be very diverse and, above all, I consider it to be very honest.
What do you mean by honest?
That what I interpret and want to convey is real. I didn’t grow up on a ranch, but I know the ranch life very well. I’m currently in Tayahua; I live here — it’s my home, I’m not just visiting. I’m not pretending to live on a ranch, I’m not pretending to be from the countryside; I live it and express it in my songs. I didn’t choose songs about things I haven’t experienced. People can tell when the lyrics don’t resonate with you.
The album includes several covers but also original tracks, one of them in collaboration with El Komander. How did that duet come about?
I’ve always liked his music, so I grew up listening to him, although I never imagined I’d get to collaborate with one of my idols. I ran into him at a charro tournament in Puerto Vallarta and greeted him. When I got to my hotel, I called my songwriter friend Eduardo Gurrola and asked him for a corrido that talked about horsemen, mentioning chaps, saddles and more. He sent it to me, I added a couple of things — and then I contacted El Komander through a friend, sent him “Canción de Rancho” and he agreed. That’s one of my favorite tracks from the album, along with another original corrido called “Nada Pa’l Futuro” and “Las Rejas No Matan,” a Mexican classic that I gave a very personal twist to.
Can we say that Esquina 22 is a ranchera-style banda album?
Yes. All the arrangements were done by [Alfonso de la Cruz] “Pekas.” He’s from Sinaloa, and has a lot of experience. I love this album because it captures those moments of camaraderie, of drinking, when we’re all feeling down or tired and just want to have a good time or enjoy a street-side drinking session.
Why record banda and not something more trendy, like corridos tumbados?
When you look at social media, people might think that one thing works better than another, but that’s relative. For example, here in Tayahua, you’ll see some people listening to Vicente Fernández or Antonio Aguilar, and others listening to corridos tumbados. It’s not the same as the lineup of a small-town fair in Zacatecas, where artists might have up to 100 shows a year without much recognition, compared to something like the Feria de Aguascalientes, which gets a lot of exposure. There’s no single reality; there are many realities.
How difficult is it for you to defend your project amidst social media hate?
I no longer want to convince anyone that I’ve been working on my own project since 2017. Back then, I even went into Espinoza Paz’s dressing room to ask him for a song. There are many projects Ángela and I have done without my dad, though we still seek his advice and he guides us. But there are many people for whom it’s more convenient to believe the narrative that everything was handed to us. That’s fine, it doesn’t matter; changing someone’s opinion is very difficult. I’d rather focus on the people who want to listen to my music. Luckily, today many people who ask me for a photo call me by my name and no longer just say, “Pepe Aguilar’s son.”
Can we say that Esquina 22 represents a more mature Leonardo Aguilar?
It’s important to clarify that not having anything to prove doesn’t mean I’m not interested in people hearing my music. This is an ecosystem: without them, this wouldn’t make sense. I want the audience to give me a chance, and yes, I want people who may have seen me before and thought I was arrogant to see me now at 27 and say, “Oh, look, he has a different mindset now.”
What have you done to achieve this change in yourself?
I have to admit that I wasn’t pleasant before. Honestly, I had a lot on my mind that, thank God, I’ve been working through with therapy. There were many years of negative comments that made me put my career on hold, but at this point, I don’t want to live with that anger anymore. I’ve been through a lot of blows, but that shouldn’t stop me anymore. I’ve overcome that fear because there are things that are not in my hands to resolve; my music is.
I’ve learned from the mistakes made in the family, and I accept that there are things that need to be fixed. More than anything, I wish that the hate I receive would turn into support.
Both you and Ángela have a lot to contribute to Mexican music. Could you collaborate in a new phase, leaving behind the media controversies?
We collaborate a lot behind the scenes and write together, but yes, it would be a good idea. Also with Christian [Nodal]. With him, I could create something for drinking sessions, like this album. What I’m already working on is a new album and a collaboration with Moy Bobadilla. I think we can create something very interesting.
