Walking with the confidence of a star, Karol G paves every step on the runway that extends from the stage to the center of SoFi Stadium. And before the roar of the crowd that filled every corner of the venue, the “bichota” climbs onto a striking giant macaw mounted in place. The same one she debuted during her previous headlining performance at Coachella. A surprise in line with the scale of a stadium show. And from there she sings wearing a feathered headdress, with the air of a Latin American star of yesteryear.
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What the artist proposes on stage is a tour through Latin America in four acts. That is the axis that crosses Viajando por el mundo Tropitour, the new show that the Colombian started in North America with a powerful performance at Soldier Field in Chicago on July 24. The name is already sufficiently eloquent, so the tour will take her to 63 stadiums in North America, Latin America, and Europe until well into 2027. Notable are the four nights at the National Stadium in Santiago, for January next year (tickets at Puntoticket).
It is an ambitious concert, with the demeanor of a star who spares no resources.
At first glance, the stage is colossal. It is a three-story structure that recreates a cave nestled in a jungle landscape that could rhyme with the Amazon, Mato Grosso, or the lush greenery of Central America and the Caribbean. Something like a pre-Hispanic disco, frozen in time. As if invoking the strength of the ancestors. Therefore, the palette highlights earthy colors, well-defined floral tones, and the orange typical of Tropicoqueta, the 2025 album that celebrated Latin culture by emphasizing its most festive side.
Hence the audience arrives in a party mood. Culto was able to attend one of the three performances at the imposing SoFi Stadium in Los Angeles, California. A venue inaugurated in 2020 that hosted 8 matches of the recent 2026 World Cup. The night that gathered 70,000 people is charged with a Latin accent and strong colors. Tropical print outfits, flowers in hair, and all kinds of festive accessories are repeated among the audience, mostly female, but many children, adults, and even some American whites who don’t quite understand what it’s about but enjoy it are also seen.
Others arrive with signs ready to greet the singer, and others take the opportunity to touch up some last details before lining up to enter. There are also lines at the bathrooms and bar areas with options for beers and drinks.
After a countdown projected on the giant screens, Karol G emerges at the top of a staircase dressed in a golden sequin suit and surrounded by nearly twenty dancers, although at times they seem many more. On the three levels of the “cave” there are as many others, also accompanying the reggaeton artist who starts with LATINA FOREVA, which somehow emphasizes the narrative of the show. So much so that there is a reference to axe in a transition inserted in the repertoire design. That is, it is a first part loaded with dance. Mambo n°5 sounds – played by the band – and the star and her dancers parade down the central runway wearing carnival-inspired outfits; it could be from Rio, Gualeguaychú, or Barranquilla but it speaks to that tradition rooted in the deep history of Latin America. Therefore, she walks to the platform to mount a giant macaw on the body of the structure. There she sings Papasito, wearing a headdress with flowers, like a carnival queen.
At a moment of transition, Mexican-American actor Edward James Olmos appears on screen with a monologue that seems inspired by the old radio style, as if to further emphasize Latin pride. And suddenly, the shrill call of the brass marks the entrance of Mariachi Reyna de Los Ángeles, the first mariachi group entirely made up of women in history, with whom she delivered a very regional moment, performing the traditional Negrita de mis pesares and a dramatic Ese hombre es malo, with its air of a scorned ranchera that allows a more transversal wink for the audience less familiar with her.
Then comes the plateau moment of the show to lower the intensity a bit and show different material, like No me arrepiento de sentir tanto. The emotional and eclectic breakup album released earlier this month, in line with the pop trend of maintaining a constant flow of releases from an artist. That is, you are still touring with Tropicoqueta and in the meantime released another album with a more internal energy that seems to contrast with the explosive enthusiasm of the show.
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When the “Bichota” greeted the Latin flags present among the audience, there were applause for Colombia, some cheers for Paraguay, and shouts for Brazil, but when she mentioned Mexico, the stadium seemed to thunder with a single voice. The strong Mexican presence in the city was noticeable, which also explains the inclusion in the repertoire of Alguien te amaba, the cumbia with obvious Tex-Mex inspiration, in the style of Selena (a recognized influence of the artist) in which the Medellín native wears a cowboy hat, thus maintaining the idea of speaking in several Latin languages. Additionally, it highlights the growth she has had as a performer, better managing her potential and thus achieving a very clean display.
If the show on Saturday the 15th had guests Becky G and Bruno Mars to sing the sentimental ballad Still, Karol G’s first fully English song, the night of Sunday the 16th featured Greeicy, with whom she performed the collaboration Amiga Mía for the first time. The timing allowed some words from both regarding the moment their native Colombia is living.
In tune with her refined sense of spectacle, the “Bichota” also takes moments to interact with the audience. She frequently greets and sometimes talks to groups of people, like three friends who were very enthusiastic in the boxes. And as if taken from old festivals, the star reads some of the audience’s signs.
Walking to the left side, she stopped in front of a sign. “Karol G, if you sing Gucci los paños I’ll talk to my baby.” The artist looked surprised and agreed to perform the song from the album Mañana será bonito (2023) more loosely, just guitar and voice. There, the support of guitarist Susana Vásquez, who has accompanied her on stage since 2018, is key and has moments to shine with old-style guitar solos.
The final part is the hits with a luminous work for Tulsa and an energy boost when the Tiësto mix of Provenza sounds, evoking an electronic party in the middle of the jungle landscape, then closing with a minimal version of 200 Copas, with the flavor of a toast before the final sip. “LA an incredible support in this city since the beginning of my career,” the “Bichota” said goodbye after just over two and a half hours to a closed applause that seemed to fill every space of SoFi. Once leaving the coliseum, the smell of hot dogs roasting over the fire was felt with its intense seasoning.
Selfies, Instagram photos, and the occasional tipsy person being carried by a friend decorate the end of the show. There are many artists going through what could easily be considered a “good streak.” And then there’s Karol G,” Rolling Stone concluded about the first of the shows in L.A. A streak of vibrant Latin flavor.
Karol G will head to San Francisco for her “Viajando Por El Mundo Tropitour” tour, before making several more stops in North America, such as Phoenix, Boston, and New York’s Metlife Stadium. Afterwards, she will embark on the Latin American stages (with shows in Mexico, Costa Rica, Colombia, Ecuador, Peru, Argentina, Brazil, and the Dominican Republic). To finish everything by flying to Europe to close in the northern summer of 2027 in Milan, Italy.
