The band were critically acclaimed as well, with a long list of awards to its credit.
But within Mexican and Mexican-American strongholds, Intocable were as revered as any pop stars, and likely more respected. Granted, those pop stars enjoyed international adoration, whereas a regional Mexican act like Intocable, for reasons of cultural specificity, was geographically limited to Mexico and the United States. They were among the few regional Mexican artists - along with the aforementioned Tigres del Norte and Conjunto Primavera, as well as superstars like Marco Antonio Solís and Ana Bárbara - who rivaled the popularity and cultural impact of Latin pop stars such as Paulina Rubio, Juanes, and Thalía. Intocable took pride in their devoted following, which allowed them to sell out massive arenas filled with tens of thousands of fans. Between 1999's Contigo and 2016's Highway, they also placed ten albums in the Top 200. In all, nine of their albums peaked at either one or two on the Latin Albums chart and ten hit number one at Mexican Regional Albums. Followed by a pair of chart-topping albums in 2003 - Crossroads: Cruce de Caminos, and La Historia, established a pattern for the group. Intocable established themselves as one of the most steadily popular and commercially successful regional Mexican acts of their day with recordings such as 1999's number one Contigo. However, their Texan roots and frontman Ricky Muñoz's gift for graceful pop melodies, among other subtleties, differentiate them from more traditional genre acts such as Los Tigres del Norte and Conjunto Primavera. The group even fashions itself as norteño (i.e., the cowboy look). Intocable's style of Tejano is undeniably norteño in nature, driven by polka rhythms and heavily accented by accordion. Intocable rose to mass popularity in the late '90s and arguably became the most successful Tejano act of their day.