She embarked on touring alongside her father, Eligio Escobar, spanning the United States, Mexico, and Central America.
[7] Writing for the San Antonio Current, Matt Stieb found the track to be somewhere "between [a] novelty song and purebred pop".
Stieb believed that the "rubber band beat" transforms the song into a danceable track over a lively accordion and praised Escobar's voice, noting its captivating and melodious ascent.
[7] Escobar toured alongside her father Eligio for ten years throughout the United States, Mexico, and Central America.
[7] In retrospect, Escobar shared that her path to building a thriving music career posed significant challenges, partly because of the close-knit camaraderie among male musicians, which seldom included women.
Garza further pointed out that Escobar and Ybarra embarked on their careers during a pivotal era of conjunto music's growth, as the genre was gaining recognition beyond its traditional strongholds of Nuevo Leon, Tamaulipas, and Texas.
[9][1] the Narciso Martinez Award for Conjunto Female Vocalist of the Year in 2001 and was inducted into the Tejano Roots Hall of Fame in 2003 and became a board member for the organization in 2007.
In 2000, the festival included a performance by the Japanese conjunto group known as Kenji Katsube y Los Gatos de Japon, which drew criticism from those in attendance.
[12] American music scholar, Alejandro L. Madrid, examined the El Veterano Conjunto Festival through the lenses of cultural citizenship and necro-citizenship in his book Transnational Encounters (2011).
[6] On July 31, 2014, U.S. Representative Filemon Vela Jr. recognized Escobar for her contributions to Tejano and conjunto music in celebration of Women's History Month.
[11] Known as "the Queen of Conjunto Music",[9][10] and "la hija del pueblo" ("The Daughter of the City [Alice]"),[7] she was named one of the most influential women of South Texas.