Entertainment
How Intocable's Grammy-winning sound began with dreams, a cow and imagination
How does a legendary band in the highly competitive field of norteño music celebrate three decades of non-stop hitmaking?
Most would be perfectly content with a lavish anniversary tour across Mexico and the U.S., and that’s exactly what Intocable is doing. But the six musicians from Zapata, Texas, took an extra step: Earlier this year, they released “Modus Operandi,” Intocable’s most ambitious and adventurous album to date.
“We never intended to appear daring or rebellious,” says Ricky Muñoz, the band’s singer and accordionist, when asked about the radical sound of the band’s latest effort. “The idea was to make an album that felt comfortable to us. Let’s enjoy the moment and free ourselves. Let’s make the kind of music that will please the inner children still living in our hearts.”
It’s a blistering afternoon in downtown L.A., and Intocable is about to hold a press conference at the Grammy Museum, where the group will donate an accordion to the institution’s permanent collection. We’re in the lobby of a luxury hotel, steps away from the rooftop event, but in keeping with the humble ethos of most norteño musicians, our interview setup is entirely improvised. After looking around, a couple of chairs are borrowed.
We sit in an empty hallway — the six musicians side by side, including René Orlando Martínez, drums; Sergio Serna, percussion; Johnny Lee Rosas, second vocals; Alejandro Gulmar, bajo sexto; and Felix Salinas, bass. They form a horizontal line, listening intently to each other as they dissect the bold sonics of the new record.
“Sure, we play the instruments of a typical norteño conjunto,” reflects Muñoz. “Our music, however, is anything but.”
When Muñoz’s grandfather sold a cow so that he could afford a brand new accordion for his nieto, he probably never imagined that he was investing in a future norteño powerhouse. But Mexican music wasn’t the only influence that Muñoz and his bandmates grew up with.
“Being from a small town strengthened our imagination,” says Muñoz, a nostalgic tinge in his eyes. “We couldn’t see Van Halen live — they would never make it to Zapata, of course — but we spent a lot of time imagining what it would be like to see them in concert.”
Intocable’s musical influences can easily be traced back to the ‘60s, ‘70s and ‘80s.
“No matter what people may say, we happened to grow up listening to music from the best decades,” adds Martínez. “We’re from a small town, and relied on MTV and the ‘Night Tracks’ television show to discover new music. But the influence was huge.”
From its inception, Intocable blended norteño with the slick sheen of commercial Latin balladry (think Camilo Sesto, or Leo Dan), gaining millions of fans in the process. But the songs on “Modus Operandi” — and the production by veteran helmer Don Was, of Rolling Stones and Bob Dylan fame — betray a deep and precise kinship with mainstream pop-rock, from the Beatles and Led Zeppelin to Foo Fighters.
This progressive bend — highly unusual for a genre that tends to reward the comforts of a conservative aesthetic — is not entirely new. On the band’s 2019 album “Percepción,” the track “Tu Soledad y la Mía” begins with the hum of an electric guitar and a rock ’n’ roll drum fill. When the first chorus segues into an accordion solo, Muñoz takes off into wondrous new directions. His melody twists and spirals, a haunting, timeless lament that would feel at home in many different styles and settings.
“I remember exactly how that solo came to be,” he says with a smile. “Johnny and I were at the rancho in Texas, working on the melody, and as he played the last note of his guitar, I thought of Nirvana — those passages where they switch to a minor key and everything is transformed. That kind of influence is always there, although on an unconscious level.”
A similar solo graces “Obsesión,” the opening track of the new album, a previously unreleased original by Argentina’s Leo Dan — master of the baroque ballad. The band also delved into musical archaeology on the title track, “Modus Operandi.”
“We were in the studio with Don Was, who doesn’t speak a lick of Spanish, and the original version of the tune wasn’t really working out,” Muñoz remembers. “Then Johnny brought out a riff — the first riff he ever played, when he was 13 and got his first guitar. That’s what ended up on ‘Modus Operandi.’ This kind of detail may sound fractious compared to where this genre stands right now. To us, it’s normal.”
There’s nothing normal about “Sin Morir (No Puedo),” either. A self-professed “bonus track” at the tail end of the album, it is a brief majestic ballad anchored to Muñoz’s vocals, lilting acoustic guitar, and a lush string section arranged by David Campbell — Beck’s father.
“This is why we went independent and have our own record label,” adds Martínez. “We have nothing to prove now. We have only ourselves to satisfy — not the needs of an accountant.”
Intocable’s 30th anniversary tour began in July in Hermosillo, and will conclude in December with two dates in Monterrey. Los Angeles, Las Vegas and many Texas cities are also part of the trek.
I ask Muñoz if the band feels invigorated by the current surge in música mexicana spearheaded by global stars like Peso Pluma.
“I can’t give you an informed opinion, because I don’t really listen to those artists,” he admits. “Young musicians have access to new tools that allow them to promote their music. But I don’t even know what instruments they play, or how their songs are made. It’s like if you asked me about hip-hop. I know it’s a major force in pop culture, but I haven’t been influenced by it.”
Muñoz lights up when asked about the band’s next step. After such a transcendent album as “Modus Operandi,” does the prospect of returning to the studio feel daunting?
“Eventually we’ll have to address the elephant in the room and go back,” he says. “We have no idea what will transpire. Usually we start jamming, and then an unexpected moment takes place. When that happens, you better press the Record button, because that moment of inspiration will fade away just as swiftly as it arrived. Next thing you know we’re sitting here talking about the experience, and you don’t really remember how it all happened.”
“Art takes time,” Muñoz adds. “We don’t paint houses here. We are painting the ‘Mona Lisa.’ ”
Entertainment
Stagecoach 2026: How to watch Friday’s livestream with Cody Johnson, Ella Langley, Bailey Zimmerman
Choosin’ to stay home instead of trekking out to Indio for this weekend’s Stagecoach festival? Don’t worry, you’ll be able to listen to all the country music your heart desires. You can get your country heartbreak on with Ella Langley, Bailey Zimmerman and Cody Johnson, and then rock out with Counting Crows. If you prefer EDM, you can catch Diplo and Dillstradamus (Dillon Francis and Flosstradamus) as Friday’s closing acts.
The festival will be livestreamed on Amazon Music, Amazon Prime Video and Twitch beginning at 3 p.m. On Sirius XM’s The Highway (channel 56), you can listen to exclusive interviews and live performances along with a special edition of the Music Row Happy Hour. The station Y’Allternative will also be covering the festival on Friday evening.
Here are updated set times for the Stagecoach livestream Friday performances (times presented are PDT):
Channel 1
3:05 p.m. Noah Rinker; 3:25 p.m.; Adrien Nunez; 4 p.m. Ole 60; 4:25 p.m. Avery Anna; 5 p.m. Chase Rice; 5:55 p.m. Nate Smith; 6:50 p.m. Ella Langeley; 7:50 p.m. Bailey Zimmerman; 8:55 p.m. the Red Clay Strays; 10 p.m. Cody Johnson; 11:30 p.m. Diplo
Channel 2
3:05 p.m. Neon Union; 3:25 p.m. Larkin Poe; 4 p.m. Marcus King Band; 4:50 p.m. Lyle Lovett; 5:35 p.m. BigXthaPlug; 6:30 p.m. Noah Cyrus; 7 p.m. Wynonna Judd; 8 p.m. Counting Crows; 8:50 p.m. Sam Barber; 10 p.m. Dan + Shay; 10:45 p.m. Diplo featuring Juicy J; 11:05 p.m. Rebecca Black; 11:45 p.m. Dillstradamus
Sirius XM Music Row Happy Hour
1 p.m. Avery Anna; 2 p.m. Nate Smith; 2:30 p.m. Josh Ross; 3 p.m. Cody Johnson; 3:30 p.m. Gabriella Rose; 5:15 p.m. Nate Smith; 7:50 p.m. Bailey Zimmerman; 9:30 p.m. Cody Johnson; 11 p.m. Diplo
Sirius XM Y’Allternative
5 p.m. Ole 60; 6 p.m. Larkin Poe; 7 p.m. Marcus King Band; 8 p.m. Sam Barber
Movie Reviews
Movie Review: The Mortuary Assistant – HorrorFuel.com: Reviews, Ratings and Where to Watch the Best Horror Movies & TV Shows
Forget the “video game movie” curse; The Mortuary Assistant is a bone-chilling triumph that stands entirely on its own two feet. Starring Willa Holland (Arrow) as Rebecca Owens, the film follows a newly certified mortician whose “overtime shift” quickly devolves into a grueling battle for her soul.
What Makes It Work
The film expertly balances the stomach-churning procedural work of embalming with a spiraling demonic nightmare. Alongside a mysterious mentor played by Paul Sparks (Boardwalk Empire), Rebecca is forced to confront both ancient evils and her own buried traumas. And boy, does she have a lot of them.
Thanks to a full-scale, practical River Fields Mortuary set, the film drips with realism, like you can almost smell the rot and bloat of the bodies through the screen.
The skin effects are hauntingly accurate. The way the flesh moves during surgical scenes is so visceral. I’ve seen a lot of flesh wounds in horror films and in real life, and the bodies, skin, and organs. The Mortuary Assistant (especially in the opening scene) looks so real that I skipped supper after watching it. And that’s saying something. Your girl likes to eat.
Co-written by the game’s creator, Brian Clarke, the movie dives deeper into the demonic mythology. Whether you’ve seen every ending or don’t know a scalpel from a trocar, the story is perfectly self-contained. If you’ve never played the game, or played it a hundred times, the film works equally well, which is hard to do when it comes to game adaptations.
Nailed It
This film does a lot of things right, but the isolation of the night shift is suffocating. Between the darkness of the hallways and the “residents” that refuse to stay still, the film delivers a relentlessly immersive experience. And thankfully, although this movie is filled with dark rooms and shadows, it’s easy to see every little thing. Don’t you hate it when a movie is so dark that you can’t see what’s happening? It’s one of my pet peeves.
The oh-so-awesome Jeremiah Kipp directs the film and has made something absolutely nightmare-inducing. Kipp recently joined us for an interview, took us inside the film, discussed its details and the game’s lore, and so much more. I urge you to check out our interview. He’s awesome!
The Verdict
This isn’t just a cash-grab; it’s a high-effort adaptation that respects the source material while elevating the horror genre. With incredible special effects and a powerhouse cast, it’s the kind of movie that will make you rethink working late ever again. Dropping on Friday the 13th, this is a must-watch for horror fans. It’s grisly, intelligent, and genuinely terrifying.
Entertainment
Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns
A former executive at Live Nation, the world’s largest live entertainment company, is suing the company, alleging that he was wrongfully terminated after he raised concerns about alleged financial misconduct and improper accounting practices.
Nicholas Rumanes alleges he was “fraudulently induced” in 2022 to leave a lucrative position as head of strategic development at a real estate investment trust to create a new role as executive vice president of development and business practice at Beverly Hills-based Live Nation.
In his new position, Rumanes said, he raised “serious and legitimate alarm” over the the company’s business practices.
As a result, he says, he was “unlawfully terminated,” according to the lawsuit filed Thursday in Los Angeles County Superior Court.
“Rumanes was, simply put, promised one job and forced to accept another. And then he was cut loose for insisting on doing that lesser job with integrity and honesty,” according to the lawsuit.
He is seeking $35 million in damages.
Representatives for Live Nation were not immediately available for comment.
The lawsuit comes a week after a federal jury in Manhattan found that Live Nation and its Ticketmaster subsidiary had operated a monopoly over major concert venues, controlling 86% of the concert market.
Rumanes’ lawsuit describes a “culture of deception” at Live Nation, saying its “basic business model was to misstate and exaggerate financial figures in efforts to solicit and secure business.”
Such practices “spanned a wide spectrum of projects in what appeared to be a company-wide pattern of financial misrepresentation and misleading disclosures,” the lawsuit states.
Rumanes says he received materials and documents that showed that the company inflated projected revenues across multiple venue development projects.
Additionally, Rumanes contends that the company violated a federal law that requires independent financial auditing and transparency and instead ran Live Nation “through a centralized, opaque structure” that enables it to “bypass oversight and internal checks and balances.”
In 2010, as a condition of the Live Nation-Ticketmaster merger, the newly formed company agreed to a consent decree with the government that prohibited the firm from threatening venues to use Ticketmaster. In 2019 the Justice Department found that the company had repeatedly breached the agreement, and it extended the decree.
Rumanes contends that he brought his concerns to the attention of the company’s management, but his warnings were “repeatedly ignored.”
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Stagecoach 2026: How to watch Friday’s livestream with Cody Johnson, Ella Langley, Bailey Zimmerman