Latin music has become a powerful tool for UFC fighters to express their identity and connect with the crowd. In the lead-up to Noche UFC, a celebration of Mexican Independence Day, the promotion showcases a diverse range of Latin walkout songs, each with its own unique story and significance. These songs are not just background noise; they are carefully chosen to reflect the fighter's personality, culture, and motivations, creating a memorable spectacle before the fight even begins.
One fighter who embraces the power of Latin music is Alexa Grasso. Her walkout song, "El Son de la Negra" by Mariachi Vargas de Tecalitlán, is a cultural statement. The song's cultural weight is instantly recognizable, and Grasso's choice sends a clear message to the crowd. This is not a one-time flourish but a consistent part of her identity, as evidenced by her title-winning walkout at UFC 285 and her Noche UFC appearance.
Diego Lopes takes a different approach with his high-energy remix of "La Chona" by Los Tucanes de Tijuana. The norteña song is a party record, a communal sing-along, and a guaranteed crowd-igniter. This choice aligns with Lopes' fighting style, built on pace, offense, and chaos. It also highlights the diversity of Latin music, showing that not every walkout song needs to be solemn or rooted in folklore.
Edgar Chairez, with his walkout to "Soy Un Mexicano, Lo Que Hay" by Carlos Blanco, leaves little ambiguity about his message. The song's title is a direct declaration of his Mexican heritage, and its clarity makes it effective. In the context of Noche UFC, where Mexican representation is celebrated, this song does exactly what it is supposed to do.
Kelvin Gastelum's walkout song, "El Palenque" by Vicente Fernández, carries significant symbolism. The song was identified by UFC as Gastelum's theme, and its imagery framed his self-presentation. This choice was not incidental but a deliberate way for Gastelum to introduce himself to fans.
Loopy Godinez brings a lighter, celebratory energy with her walkout to "Vivir Mi Vida" by Marc Anthony. The song has become synonymous with her in the fight world, and she sees it as a reflection of her identity. It's upbeat, widely recognizable, and rooted in Latin pop-salsa tradition, making it a crowd-pleaser.
Alex Pereira's walkout to "Itsári" by Sepultura is unique. The instrumental song, built around collaboration with the Indigenous Xavante people of Brazil, places Pereira's heritage at the center of his entrance. It's not just about raising the volume; it's about celebrating his roots.
Raul Rosas Jr., a young Mexican prospect, leans into songs that foreground Mexican identity. His walkout to "México Lindo y Querido" by Vicente Fernández is a straightforward declaration of his pride. This pattern is clear, and it makes sense for a fighter rising through the ranks with Mexican heritage at the forefront.
Ilia Topuria's walkout to "Canción del Mariachi" by Antonio Banderas & Los Lobos has a cinematic charge. The song, paired with AC/DC's "Hells Bells," creates a theatrical build. It's dramatic, familiar, and larger than life, instantly recognizable to fans from the 1995 film "Desperado."
Tracy Cortez's walkout to "Como la Flor" by Selena is deeply personal. The song, with its iconic imagery, reflects Cortez's roots and her pursuit of dreams. It's a humbling reminder of her identity and a powerful statement of her Chicana heritage.
Waldo Cortes-Acosta brings dembow to the mix with his walkout to "Pila de Bandera" by Don Miguelo, Mozart La Para & Lapiz Conciente. The song widens the list's sound beyond mariachi and rancheras, showcasing the diversity of Latin music. Dembow brings a different tempo, a Caribbean identity, and a unique crowd energy, making it a powerful addition to the UFC walkout repertoire.
