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There are still places where live music feels like something you discover rather than something that gets delivered to you by an algorithm. El Café de la Plaça in Carcaixent is one of them. And on Thursday, 13 August, it welcomes one of Valencia’s most distinctive singer-songwriters, Oscar Briz, for an intimate evening built around his music and his latest chapter, Sol després de l’eclipsi. Briz is no stranger to the Valencian music scene. A songwriter with decades of experience behind him, he has developed a sound that refuses to sit neatly in one box — rock, pop, folk and Mediterranean influences all finding their way into songs that are intelligent without ever feeling overly polished. This is exactly the kind of artist who makes sense at El Café. For owner Enric, music isn't simply something to put on in the background while people drink and hang out. Over recent years, El Café has become a genuine little cultural meeting point in Carcaixent, with Enric quietly building a programme that brings musicians, artists and audiences together in a way that feels increasingly rare. You can come for a drink, stay for a conversation, discover a new band, hear a songwriter you've known for years or simply end up spending considerably longer in the place than you intended. That's the charm. And Oscar Briz's appearance fits perfectly into that spirit. Sol després de l'eclipsi suggests light returning after a period of darkness, and Briz has always understood the power of a good song to do exactly that — not by pretending everything is perfect, but by finding something worth holding onto in the middle of the mess. Expect guitars, stories, sharp songwriting and the sort of close-up performance that works particularly well when the distance between artist and audience is measured in metres rather than rows of seats. If you've never been to El Café, this is a bloody good excuse to finally find out what all the fuss is about. And if you're already a regular, you'll know exactly why nights like this work.

Just when you think every grunge riff has been recycled and every overdriven guitar has been squeezed dry, a band like Torus comes crashing through the speakers with something that feels both familiar and refreshingly alive. Their latest EP, Take Me Home, doesn't reinvent the genre—it reminds you why it mattered in the first place. Across six tightly wound tracks, the Milton Keynes trio blend grunge, garage rock and hard rock into a collection that's heavy without becoming bloated and melodic without sanding off the rough edges. There's no unnecessary studio gloss here. Every distorted chord, every crashing cymbal and every howl of frustration feels earned. The title track sets the tone immediately. It's built on a muscular riff that refuses to let go, while Alfie's vocal balances vulnerability with defiance, capturing the EP's central themes of loneliness, longing and the search for somewhere—or someone—that feels like home. It's introspective without becoming self-indulgent, proving that emotional honesty still packs a punch when it's delivered through a wall of amplifiers. What makes Take Me Home stand out isn't just its volume—it's the songwriting. Beneath the layers of fuzz and distortion are hooks that stick around long after the guitars have faded. Torus understand that the biggest rock records have always been driven by memorable choruses, and every track here seems built around that philosophy. The band's chemistry has also taken a noticeable leap forward. With Jack Orr's driving drums and the recent arrival of Cameron Bell completing the line-up, Torus finally sound like a band firing on all cylinders rather than a project still searching for its identity. There's a looseness to the performances that suggests these songs were forged in sweaty rehearsal rooms and sharpened on stage, not assembled piece by piece on a laptop. The accompanying single "All Alone" captures everything that makes the EP work. Equal parts bruising and vulnerable, it's the emotional centrepiece of the release, demonstrating the band's ability to write songs that hit as hard emotionally as they do sonically. Then there's the now-famous cover of Billie Eilish's "Ocean Eyes." By now, its millions of Spotify streams and viral TikTok success have become part of the band's story, but hearing it alongside the original material only highlights how far Torus have come. Rather than feeling like the obvious streaming magnet, it slots naturally into the record, showcasing the band's gift for reshaping a delicate pop ballad into something darker, heavier and unmistakably their own. Influences from the Seattle greats are impossible to ignore, but so are flashes of desert rock swagger, garage-punk urgency and flashes of psychedelic colour. Crucially, none of it sounds like imitation. Torus wear their influences proudly while carving out a voice that feels authentic rather than nostalgic. At a time when British rock is crying out for young bands capable of writing big riffs without forgetting the song underneath, Take Me Home lands with impeccable timing. It's concise, confident and packed with enough choruses to suggest that Torus are aiming well beyond the underground. For more information: Torus

Forget the neon lights of Nashville. Forget the polished cowboy cosplay and the endless parade of songs about trucks, heartbreak and whiskey written by committee. Burgers and Fries is a different kind of country beast. It smells like old wooden bars, spilled beer, dusty highways and the kind of places where the jukebox is still louder than the conversation. Valencia’s HELEN HELEN have delivered a wonderfully rough-edged slice of honky tonk, country rock and barroom storytelling that feels authentic because it never tries too hard to be. This is music with boots firmly planted on the ground. The band take the classic ingredients—twangy guitars, swinging rhythms, memorable melodies and a healthy dose of attitude—and serve them up with a distinctly modern European twist. There’s a loose, live-wire feeling running through the record, like you’ve stumbled into a late-night gig where the band is halfway through their third encore and nobody wants to go home. The charm of Burgers and Fries lies in its personality. These aren't songs built for background listening. They demand attention, dragging you into their world of heartbreak, humour, characters and everyday chaos. The melodies stick, the arrangements breathe, and every track carries that unmistakable honky tonk spirit where sadness and celebration are often drinking at the same table. There’s plenty of classic country DNA here, but HELEN HELEN avoid simply looking backwards. They understand the attitude behind the music—the storytelling, the swagger, the imperfections that make a song feel lived-in rather than manufactured. The title alone tells you plenty. Burgers and Fries isn’t chasing glamour. It’s about the real stuff: the roadside diners, the late nights, the strange conversations and the small moments that become great stories after a few years. The result is a record full of character. It’s funny without being a joke, nostalgic without being stuck in the past, and traditional without feeling like a tribute act. In a musical world obsessed with polish, HELEN HELEN bring back the beauty of a little dirt under the fingernails. Pour yourself something cold, turn it up loud and let Burgers and Fries soundtrack the next questionable decision. Have a listen here: Burgers and Fries

Ten days - that's all that's left before thousands of leather jackets, patched battle vests, battered Converse and voices that have spent decades screaming punk anthems descend on Villena. For the first time in over a decade, Aúpa Lumbreiras!! is back. Not rebooted. Not reinvented. Not polished for social media. Just back where it belongs. Between 13-15 August, the legendary festival returns to the Polideportivo Municipal de Villena, bringing three relentless days across three stages with the kind of line-up that feels like somebody emptied the contents of every punk's record collection onto one poster. This isn't one of those festivals where people spend all day queuing for artisan burgers before watching the headliner from the VIP bar. This is sweat. Dust. Sunburn. Cheap beer. Friends you haven't seen since the last time somebody shouted "¡Aúpa!" across a campsite. It's Soziedad Alkoholika ripping holes in the night.It's Evaristo still refusing to mellow with age. It's El Drogas, Narco, Boikot, The Toy Dolls, Reincidentes, Def Con Dos, Talco, Kaos Etiliko, El Último Ke Zierre, Los de Marras, Envidia Kotxina and dozens more reminding everyone why this festival became an institution in the first place. The return has been years in the making. For many, Lumbreiras wasn't simply another weekend on the festival calendar—it was where lifelong friendships were forged, where political slogans mixed with guitar feedback, where every chorus felt like a protest and every campsite became its own temporary republic. Now those gates are about to open again. The venue hasn't forgotten how to throw a proper festival either. Three continuously running stages. Shaded camping. An Olympic swimming pool waiting to rescue exhausted survivors from the Alicante heat. Trees. Space. Actual room to breathe between the chaos. It's built for endurance because this isn't a sprint—it's three days of organised punk-rock mayhem. And perhaps that's why this comeback matters so much. Festivals disappear all the time. Very few come back with their identity intact. Aúpa Lumbreiras hasn't returned to chase trends or reinvent itself for a new audience. It has come back carrying everything that made people fall in love with it in the first place—attitude, community and enough volume to rattle the mountains around Villena. Ten days from now the first riffs will ring out across the Polideportivo. Ten days from now one of Spain's most beloved punk festivals writes its next chapter. Lumbreiras is coming home. Its sold out, but for more information: Aupa Lumbreiras If you are lucky enough to have a ticket - set times are below:

Reggaetón doesn't usually come with violins. It certainly doesn't arrive backed by a full symphony orchestra in front of more than 10,600 people. But that's exactly what happened at Valencia's Roig Arena as Puerto Rican superstar Yandel tore up the rulebook with Yandel Sinfónico, a show that swapped predictable backing tracks for soaring strings, thunderous brass and enough fire to keep the temperature climbing long after the sun had disappeared. It could have been a gimmick. Instead, it felt like a celebration of one of Latin music's most influential catalogues. Opening with "Puño de Tito" before sliding effortlessly into "Permítame," Yandel wasted no time reminding the crowd just how many anthems he's collected over the years. Every orchestral flourish gave familiar tracks a fresh heartbeat, transforming club staples into cinematic moments without stripping away the swagger that made them hits in the first place. As smoke rolled across the stage and flames erupted around the orchestra, the Roig Arena bounced through "Nunca Me Olvides," "Abusadora" and "Te Siento," each greeted like an old friend by a crowd that knew every lyric. The loudest reaction of the night arrived with "Noche de Sexo," unleashing a run of classics that turned the arena into one giant singalong. "Rakata" landed with all the force you'd expect from one of reggaetón's defining tracks, while "Encantadora," "Ay Mi Dios" and "Báilame" kept thousands of voices locked together from the floor to the highest seats. The second half leaned into Yandel's more recent material, with "Brickell," "Explícale" and the streaming phenomenon "Yandel 150" proving that his career isn't built solely on nostalgia. A welcome appearance from his brother Gadiel added another layer to the evening, with the pair delivering "La Pared" and "Plakito" to a roaring reception. By the time "Moviendo Caderas," "Sexy Movimiento" and "Algo Me Gusta de Ti" brought the night to its close, there was little doubt that the experiment had worked. Mixing reggaetón with a symphony orchestra sounds like a gamble on paper. Live, it felt completely natural. For one night in Valencia, the orchestra pit became the dancefloor, the violins hit as hard as the bass, and Yandel demonstrated why, two decades into his career, he remains one of the architects of Latin urban music's global takeover.

Leyendas del Rock has dropped the full stage times for its massive 20th anniversary edition, meaning thousands of fans are now staring at colour-coded schedules, debating impossible clashes and convincing themselves they can somehow be in two places at once. Forget packing your tent. The real preparation starts now. For four blistering days, Villena will once again become Spain's loudest postcode as one of Europe's premier metal festivals celebrates two decades of riffs, circle pits and sore necks. The line-up was already ridiculous. Now everyone knows exactly when the chaos begins. Godsmack finally bring their long-awaited Spanish debut to the festival. Sepultura continue their emotional farewell run. Helloween arrive armed with 40 years of power metal glory, while In Flames, Black Label Society, Arch Enemy, Slaughter To Prevail, Nothing More, Of Mice & Men, WarCry, Dark Tranquillity and a stacked undercard promise there'll barely be time to grab a beer between sets. Of course, no Leyendas timetable would be complete without a few cruel twists. Your favourite bands will overlap. Someone in your group will insist on camping at the barrier all day. You'll swear you'll leave one set early to catch another, then end up staying for "just one more song." It never works. It never has. And that's exactly what makes Leyendas special. This festival has never been about ticking bands off a list. It's about discovering your next obsession on a smaller stage, bumping into friends you only ever see in festival fields, losing your voice by lunchtime and somehow finding the energy to do it all again the next day. With the running order now locked in, the countdown has shifted into top gear. Battle jackets are coming out of wardrobes, playlists are getting one last spin, and metal fans from across Spain and beyond are preparing to descend on Villena for four days of controlled mayhem. The stage times are here. Now all that's left is surviving them! For more information: Leyendas Del Rock

Ryan Oakes doesn't do subtle, and "LIGHTS OUT" makes absolutely no apologies for that. From the opening seconds, the track barrels out of the speakers with the confidence of a heavyweight entering the ring, delivering a furious collision of alternative rock, hip-hop and modern metal that's impossible to ignore. If you've been waiting for a song to soundtrack your next adrenaline rush, this is it. Oakes has spent years blurring the lines between genres, but LIGHTS OUT feels like one of his sharpest and most complete statements to date. The guitars hit with real weight, the beats punch through the mix, and the production never lets the energy dip for a second. Everything feels dialled up to maximum without descending into chaos—a difficult balance that the track absolutely nails. The addition of Cody Carson from Set It Off proves to be inspired. Rather than feeling like a guest appearance added for streaming numbers, Carson becomes an essential part of the song's DNA. His soaring melodies provide the perfect contrast to Oakes' relentless vocal attack, creating a push-and-pull dynamic that keeps the song fresh from start to finish. Lyrically, LIGHTS OUT is all about taking control. It's fuelled by defiance, swagger and the determination to stand your ground when the pressure is on. There are no self-pitying moments here—just pure conviction wrapped inside massive hooks and enough attitude to shake the walls. What really elevates the single is how naturally Oakes moves between rap and melody. Plenty of artists attempt this hybrid approach, but few make it feel so effortless. His delivery carries genuine urgency, while the chorus arrives like a knockout punch, sticking in your head long after the song has finished. The production deserves plenty of credit too. Every element has room to breathe despite the sheer intensity of the arrangement. The riffs bite, the drums thunder, the electronic textures add cinematic depth, and the entire track feels built for festival stages where thousands of fists are punching the air in unison. More importantly, LIGHTS OUT never sounds manufactured. There's an authenticity to Ryan Oakes that separates him from many of his contemporaries. His music has always balanced vulnerability with aggression, and while this single leans heavily towards the latter, it still carries the emotional honesty that's become one of his defining traits. It also offers another tantalising glimpse of what's to come from his forthcoming album, Scary Stories After Dark, which promises to explore darker themes through his ever-evolving fusion of rock and hip-hop. Fans of artists such as From Ashes To New, Hollywood Undead, I Prevail, Fever 333 and Set It Off will find plenty to love here, but Ryan Oakes is rapidly carving out a lane that's unmistakably his own. He's no longer simply mixing genres—he's building a sound that feels both current and uniquely personal. LIGHTS OUT is loud, relentless and ridiculously infectious. It refuses to slow down, refuses to play safe and refuses to leave quietly. As another preview of Scary Stories After Dark, it suggests Ryan Oakes isn't just building towards a strong album—he's building towards a breakthrough moment. For more information: Ryan Oakes

If your idea of a perfect Friday night involves soulful vocals, scorching guitar solos and irresistible rhythm & blues, then Loco Club has the gig for you. On 3 July, one of Valencia's most respected live music venues will host an explosive double bill featuring Maria Carbonell Blues Mood and local favourites Los Fabulosos Blueshakers, with Quique Lledó keeping the party going with a DJ set afterwards. Leading the night is Maria Carbonell Blues Mood, one of Spain's fastest-rising blues acts. Fresh from being crowned Best Emerging Blues Band in Spain and after reaching the finals of the European Blues Challenge, the group has built a reputation for electrifying performances that honour the great women of African-American blues and rhythm & blues while adding their own contemporary flair. Fronted by the magnetic Maria Carbonell, whose rich, soulful voice has been described as "a voice to die for," the band channels the spirit of vintage New Orleans, where blues, swing and early rock 'n' roll first found their groove. Sharing the bill are Valencia's own Los Fabulosos Blueshakers, veterans of the city's blues scene who have spent nearly two decades getting audiences dancing with their infectious blend of Chicago blues, Texas blues, jump blues and classic R&B. Winners of the VII Concurso de Blues de la Societat de Blues de Barcelona, they're renowned for delivering high-energy performances packed with killer harmonica, swinging rhythms and feel-good grooves that never fail to ignite a crowd. For tickets and more information: Loco Club

Judas Priest, one of the most important and influential bands in the history of heavy metal, are bringing their legendary live show to Roig Arena for a night that promises volume, attitude and more than five decades of metal heritage. This isn't just another date on the calendar. This is a meeting with metal royalty. Since forming in Birmingham over 50 years ago, Judas Priest have helped define the sound, style and spirit of heavy metal. From the thunder of British Steel and Screaming For Vengeance to the unstoppable force of Painkiller, their catalogue is packed with songs that have become the soundtrack to generations of metal fans. And with Rob Halford still commanding the stage, leather, studs and that unmistakable voice intact, Judas Priest remain a band that refuses to simply live off nostalgia. Their latest album, Invincible Shield, proved that the Metal Gods still have plenty of fire left in the furnace, with recent tours showing they remain a formidable live force. The evening will kick off with Airbourne, Australia's answer to pure, unfiltered rock'n'roll chaos. Expect flying guitars, huge riffs and the kind of no-nonsense energy that has made them one of the most exciting hard rock bands of the modern era. Also joining the bill is Udo Dirkschneider, the legendary voice behind Accept, celebrating the 40th anniversary of the classic Balls To The Wall. A pioneer of German heavy metal, Dirkschneider brings decades of experience and one of the most recognisable voices in the genre. The result? A triple bill built for the faithful. Three generations of metal coming together under one roof. Roig Arena has quickly become Valencia's new home for major international concerts, but this one feels particularly special. Metal has always been about community—the old-school fans who were there from the beginning, the younger generation discovering the classics, and everyone in between united by the same roar when that first riff kicks in. Expect a sea of black T-shirts, raised fists, flying hair and thousands of voices joining together for a night that celebrates everything heavy metal was, is and continues to be. Valencia, get ready. The Metal Gods are coming! For tickets and more information: Roig Arena

There comes a point where every emerging artist has to decide whether to chase the algorithm or simply sound like themselves. On "Typical Me," Tally Spear makes the right choice. Instead of sanding off the rough edges, she leans into them, delivering a three-minute blast of unapologetic pop-rock that feels refreshingly human in an age of carefully curated perfection. The track wastes no time getting to the point. Opening with bright acoustic guitars before quickly gathering momentum, it steadily builds into a chorus that's impossible to ignore. It's big without feeling bloated, catchy without becoming disposable, and packed with enough attitude to make you want to turn the volume up another notch. There's an unmistakable early-2000s pop-punk DNA running through the song. Fans of Avril Lavigne's golden era will immediately recognise the mix of crunchy guitars, soaring melodies and self-deprecating confidence, but Spear never sounds like she's copying anyone. Instead, she borrows the spirit of that era while giving it a thoroughly modern polish. Lyrically, Typical Me succeeds because it doesn't pretend to have all the answers. Rather than another empowerment anthem filled with empty slogans, Spear celebrates the everyday chaos of simply being yourself. The missed opportunities, awkward moments and personal flaws become badges of honour instead of reasons for embarrassment. It's funny, relatable and surprisingly heartfelt, making the song feel like an honest conversation rather than a motivational speech. That honesty has become Spear's greatest strength. Following the emotionally heavy themes explored on her BittersweetEP, this latest single feels like someone finally opening the windows after a long winter. The grief hasn't disappeared, but the weight has shifted. There's laughter where there was sadness, confidence where there was uncertainty, and a sense that she's allowing herself to enjoy the ride again. Vocally, Spear continues to impress. She has one of those voices that can move effortlessly between vulnerability and full-throttle defiance without ever sounding forced. Every chorus lands with conviction, while the verses retain enough intimacy to pull the listener in before the guitars inevitably kick the door down. Production-wise, everything hits the sweet spot. The guitars have bite, the rhythm section keeps the track charging forward, and the hooks arrive exactly when they should. Nothing feels over-produced or unnecessarily flashy. Instead, the arrangement gives the song room to breathe while ensuring the chorus earns its payoff. Perhaps what makes Typical Me so enjoyable is that it remembers something many modern pop-rock releases forget: music should be fun. Not manufactured fun, but genuine, carefree, windows-down-on-a-summer-drive fun. It's the sound of someone laughing at life's disasters instead of letting them define her. With recent singles steadily building momentum and an impressive run of live performances across the UK and Europe already under her belt, Tally Spear is beginning to carve out a place among Britain's most exciting alternative pop voices. Typical Me feels less like another stepping stone and more like the moment everything clicks into place. The best songs don't just tell you who an artist is—they make you feel like you know them. That's exactly what Typical Me achieves. Honest, infectious and bursting with personality, it's the kind of single that deserves to be played loud, sung louder, and leaves you wondering just how much bigger Tally Spear's next chapter is going to be. for more information: Tally Spear

Few singers can be identified within a single line of a song quite like Macy Gray. More than 25 years after I Try became one of the defining tracks of the turn of the millennium, the Grammy-winning soul icon is heading to Valencia, bringing The Trouble With The Truth Tour to the Auditorio Roig Arena on 15 December. For fans of soul, R&B and smoky late-night grooves, this is one of the standout dates still to come on Valencia's live music calendar. Gray exploded onto the international scene in 1999 with her multi-million-selling debut On How Life Is, introducing the world to a voice that sounded unlike anyone else before—or since. Equal parts Billie Holiday, funk, jazz and pure attitude, she carved out a lane entirely of her own, refusing to smooth out the rough edges that made her music so compelling. That fearless individuality has kept her relevant for more than two decades. Five Grammy nominations, a Grammy win for I Try, two Brit Awards and collaborations spanning generations—including Ariana Grande—tell only part of the story. Macy Gray has always been an artist who follows instinct rather than trends. Her live shows remain gloriously unpredictable. Whether she's delivering stripped-back soul, full-band funk workouts or heartfelt ballads, Gray performs with the same loose, charismatic energy that has made her one of contemporary music's most distinctive voices. The concert also continues an impressive run of international artists arriving at the Roig Arena, which has quickly established itself as one of Spain's premier destinations for major live music events. With a concert capacity of up to 20,000 people, the venue is rapidly becoming a fixture on European touring schedules, attracting everyone from rock legends to pop superstars. for tickets and more information: Roig Arena

Somewhere between the Mediterranean breeze drifting across Valencia Marina and the opening riff of "Got Me Under Pressure," FAR Festival stopped feeling like a boutique summer event and started resembling a full-blown rock 'n' roll revival. The backdrop was postcard perfect, the beer was flowing, the sun had finally dipped below the skyline, and thousands of fans—ranging from lifelong devotees in faded Eliminator T-shirts to curious younger festival-goers—were ready for one thing: riffs. ZZ Top didn't disappoint. Billy Gibbons, still looking impossibly cool beneath his trademark hat and beard, walked on stage with the effortless swagger of someone who has spent more than five decades proving that less really is more. Alongside bassist Elwood Francis and drummer Frank Beard, the Texans delivered ninety minutes of blues-drenched rock that felt simultaneously timeless and completely alive. Before the headliners took over, La Perra Blanco had already lit the fuse. The Spanish rockabilly powerhouse ripped through an electrifying opening set that mixed frantic guitar work with vintage attitude and enough raw energy to shake the marina loose from its foundations. She won over plenty of new fans and was the perfect choice to warm up a crowd that was clearly ready to trade the beach for the blues. By the time ZZ Top emerged, the atmosphere around the FAR stage had shifted into something special. The crowd packed tightly towards the front while families, couples and groups of friends spread across the open-air venue, framed by yachts, palm trees and the glowing lights of Valencia's waterfront. It's hard to imagine a better setting for music that was born under the blazing skies of Texas. The setlist wasted little time getting down to business. "Gimme All Your Lovin'," "Sharp Dressed Man" and "Waitin' for the Bus" landed early, each greeted like an old friend. There was no unnecessary chatter, no overblown theatrics—just three musicians completely locked into the groove. That's always been ZZ Top's greatest trick. They make difficult things look ridiculously easy. Billy Gibbons remains one of rock's most underrated guitar players, squeezing filthy blues licks and scorching solos out of his battered Gibson with an economy that most players spend a lifetime chasing. Every note served the song. Every solo said exactly what it needed to before stepping politely aside. The rhythm section never let up. Elwood Francis has settled seamlessly into the band following the loss of Dusty Hill, bringing his own personality while respecting the group's unmistakable chemistry. Frank Beard, ironically the only member without a famous beard, remained the band's engine room, keeping every groove tight and relentless. Visually, the show stayed refreshingly uncomplicated. The famous spinning guitars appeared, vintage hot-rod imagery flashed across the giant screens, and the lighting bathed the stage in deep reds, blues and golds without ever distracting from the music. In an era where concerts increasingly resemble Broadway productions, ZZ Top continue to prove that charisma can't be programmed. Then came the songs everyone had been waiting for. "Legs" transformed the marina into one giant outdoor dancefloor. Even those who had arrived out of curiosity suddenly found themselves singing every chorus. Beer cups were raised, strangers danced together and phones lit up the warm Valencian night. Closing with "La Grange," ZZ Top unleashed the filthy Texas groove that has inspired generations of rock bands. The riff remains irresistible. Forty years on, it still carries the same swagger, the same grit and the same ability to make thousands of people move without thinking twice. One of the most impressive things about the evening was how naturally ZZ Top fitted into FAR Festival. Their music might have been born thousands of miles away, but under the warm Mediterranean sky it felt completely at home. Festivals often chase the newest trend, but nights like this are a reminder that great rock music doesn't have an expiry date. As the final notes echoed across Valencia Marina and the crowd slowly drifted towards the bars, food stalls and waterfront promenade, there was a shared sense that everyone had witnessed something increasingly rare: a legendary band that still sounds hungry. No gimmicks. No nostalgia trip. Just three musicians, a catalogue packed with classics and ninety minutes of blues-rock delivered exactly as it should be—loud, loose and effortlessly cool. Words and photos: Rhyan Paul