Kenia Toledo is a Mexican singer songwriter, screenwriter and actress. She studied music at Escuela Popular de Bellas Artes and began performing in 2009, singing covers and taking part in festivals and contests.
Her professional profile developed across music, acting and screenwriting. As a Mexican artist, she has worked in different creative fields while building her career through local media and cultural events, including Canal 13, EXA FM 89.3 and Maxwell Magazine.
In 2020, Kenia launched her solo career with the six song EP Desviaciones de mi vida (deviations of my life), Pt. 1. The release includes “Ponte en Mi Lugar”, “Como Me Va” and “No Tolero”.
After Desviaciones de mi vida Kenia released her second EP, Mujer con M de masculine, recorded in 2026 and representing her most recent musical project. The EP features six new songs.
The project was followed by music videos and media appearances. Kenia also performed at venues and events in Michoacán, continuing to develop her work as an independent artist.
Comment from Pinocchio Magazine:
Kenia Toledo brings together music, acting and writing in a career that started early and has grown through live performances, media appearances and independent releases. Desviaciones de Mi Vida marks an important step in her work as a solo artist.
After Desviaciones de Mi Vida Kenia released her second EP, Mujer con M de masculina, recorded in 2026 and representing her most recent musical project. The EP features six new songs.
What emerges from her songs is not simply a singer of romantic songs. There is a more specific figure: an artist who lives inside the aftermath of love.
Her vocabulary keeps returning to absence, distance, pleading, intolerance, memory and the impossibility of simply moving on. Even the titles form a kind of emotional trajectory: “Ponte en mi lugar” (Put yourself in my place), “No Tolero” (I don’t tolerate), “Suplico encontrarte” (I beg to find you), “¿Por qué aún quieres seguir siendo mía?” (Why do you still want to keep being mine?), “Dile todo al viento” (Tell everything to the wind).
The interesting thing is the contradiction. Kenia is vulnerable, but not passive. She asks, “Ponte en mi lugar” but elsewhere she says “No Tolero”. She can beg to find someone and, at the same time, draw a line. Her songs occupy that unstable space between wanting someone back and knowing that something has already been broken.
A cornerstone of Kenia’s poetic world is egalitarian love, which she embraces with strength and conviction and which reflects her broader approach to life and music: facing challenges, fighting for the freedom to express oneself, and striving to fulfil one’s potential.
And perhaps the most revealing image is “Dile todo al viento”. When the person can no longer receive what needs to be said, the singer speaks to the world instead. Love becomes memory; memory becomes absence; absence becomes song.
So we would avoid presenting Kenia as simply romantic, passionate or heartbroken. Those are too easy.
Kenia’s real territory seems to be emotional displacement: the moment when a relationship has ended, changed, or become impossible, but the feeling has not received the same message.
She writes from that gap.
Kenia is the voice of what remains when love is no longer a relationship but is still an emotional presence.
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