PEGGY returns with serious intent on “Burn The Witch,” a track that hits with style, substance and a fierce sense of purpose. This is not simply another indie-pop release chasing attention — it is a bold statement piece from an artist who knows exactly what she wants to say and how to say it. Built around PEGGY’s signature ethereal sound, the single balances beauty with bite. There is a haunting atmosphere running through the production, but underneath it sits real force. The track moves with tension and confidence, pulling the listener into its world before landing its message with sharp precision. It is polished, modern and emotionally charged. Lyrically, “Burn The Witch” stands tall. PEGGY tackles themes of gender, power and social control with honesty and conviction, transforming frustration into something defiant and empowering. Rather than preach, she delivers her message through smart songwriting and vivid imagery, making the song feel personal while speaking to something much larger. What makes the track especially strong is PEGGY’s ability to blend vulnerability with strength. She never loses the emotional core of the song, even as it pushes forward with a rebellious edge. That contrast gives “Burn The Witch” real weight — it feels intimate and universal at the same time. Vocally, she sounds completely in command. There is presence, character and purpose in every line, and she carries the song with the kind of confidence that marks an artist entering a new level. The performance feels authentic rather than theatrical, which only adds to the impact. With millions of streams already behind her and a growing fanbase across platforms, PEGGY clearly has momentum — but “Burn The Witch” feels like more than momentum. It feels like a breakthrough moment. A song where artistic identity, message and melody all connect in one powerful strike. This is indie-pop with backbone. Smart, stylish and unafraid to challenge the status quo, “Burn The Witch” proves PEGGY is not here to follow trends — she is here to make noise and leave a mark. For more information: PEGGY

On 3 September, The Waterboys return to València’s Roig Arena for what promises to be one of the most significant live music events of the year — not only because it will be their only concert in Spain in 2026, but because the city has been chosen to host the extraordinary “The Fisherman’s Blues Revue”, a full-blooded celebration of one of the most beloved and influential albums in modern rock history. This is no ordinary tour stop. This is a rare, carefully assembled event built around “Fisherman’s Blues” (1988) — the record that transformed The Waterboys, expanded their sound and left an indelible mark on generations of listeners. For one night only, Valencia becomes the centre of that mythology. When Fisherman’s Blues first arrived, it felt like a door being kicked open. The grand, sweeping “big music” of earlier Waterboys releases gave way to something looser, warmer, more rooted in folk, soul, Celtic tradition, country spirit and timeless songwriting craft. The result was a record full of songs that have only grown richer with age. The title track remains one of the great road-songs of longing and escape. “We Will Not Be Lovers” still carries emotional thunder. “Strange Boat” drifts with haunted beauty. Their take on Van Morrison’s “Sweet Thing” is pure moonlit grace. “When Ye Go Away” aches with tenderness. This is one of those rare albums that demands to be heard whole — no skips, no filler, no weak corners. A complete journey. And now, those songs return to the stage in full. That this event lands in Valencia feels significant. In recent years, the city has become one of Spain’s strongest live music destinations, with the stunning Roig Arena quickly establishing itself as a venue capable of hosting major international names while keeping the atmosphere close and electric. To be chosen as the sole Spanish date for this tour is a statement. Fans from across the country — and likely beyond — are expected to travel to the capital of the Turia for what could become one of the most talked-about nights of the year. Mike Scott is not arriving alone. For this revue, the mighty Steve Wickham returns — the violinist whose playing helped define the Fisherman’s Blues era and whose sound can lift songs into something close to the spiritual. Then comes a name that changes everything: Steve Earle. The American songwriting giant joins the tour as a featured member of the revue, contributing his own songs plus vocals, guitar and mandolin to the Waterboys set. Earle has said: “I only ever wanted to be in three bands: The Rolling Stones, NRBQ and The Waterboys.” Now he gets his chance. The expanded eight-piece line-up also includes Brother Paul on organ, Famous James on piano, Aongus Ralston on bass, Eamon Ferris on drums and Norwegian lap steel player Roar Øien — a cast built not just to recreate these songs, but to let them breathe, grow and roam wild again. This is not a museum piece. The Waterboys continue to create at a ferocious pace. In recent months they have released “Atlantic Rain”, a triple album of previously unheard material from the original Fisherman’s Blues sessions, alongside alternate takes and buried treasures from that fertile era. Mike Scott himself has said the material is so strong it stands beside the original album. They also recently issued “The Waterboys Present: Rips From The Cutting Floor”, featuring sixteen songs from the sessions of their 2025 studio record Life, Death And Dennis Hopper, proving this band is still moving forward rather than living in the rear-view mirror. That means Valencia may witness not only the classic album in full, but unexpected detours, deep cuts, alternate gems and fresh moments born in the room. Scott has described the original Fisherman’s Blues period as a “transcendental time” in the history of the band, adding that these shows could become some of the best concerts The Waterboys have ever played. That is not small talk. This is a frontman who has spent decades on stages around the world. If he says these nights matter, pay attention. For tickets and more information: Roig Arena

The countdown is officially on, and Valencia is ready. With just two weeks remaining, excitement is building fast for one of the biggest pop events of the year as Aitana prepares to take over Roig Arena for two completely sold-out nightson 21 and 22 May. What was already set to be a major moment for the city’s live music calendar has now become a full-scale phenomenon. Thousands of fans snapped up tickets for both dates, confirming once again that Aitana’s star power is operating at the very highest level. Two nights, two packed arenas and one city buzzing with anticipation. Few artists in Spanish pop have grown as impressively or connected as deeply with audiences as Aitana. From breakout success to becoming one of the most recognisable names in modern Latin pop, she has built a career on strong songs, emotional honesty and an ability to evolve while keeping fans close. Now, with Valencia next on the map, she arrives at Roig Arena in full command of her moment. These concerts are expected to showcase the scale, polish and energy that have made her one of the country’s most in-demand live performers. Sold-out shows always carry their own electricity, and with back-to-back dates now full, the atmosphere around these concerts is only growing stronger. Expect fans travelling from across the region, queues building early, social media buzzing all week and the kind of shared excitement only major pop events can generate. Roig Arena is set to become the centre of Valencia for two nights as thousands gather for singalongs, huge production moments and the emotional connection that has become a trademark of Aitana’s live shows. The concerts also underline the growing status of Roig Arena as Valencia’s new heavyweight entertainment destination. Landing artists of Aitana’s calibre — and selling out two consecutive nights — sends another clear message: the city now has a venue capable of hosting the biggest names and biggest moments. For fans, it means world-class shows on their doorstep. For Valencia, it means increasing recognition as one of Spain’s most exciting live music hubs. Aitana’s shows have become known for balancing polished production with genuine warmth. Expect a set packed with chart favourites, emotional ballads, high-energy crowd moments and the kind of visuals that turn a concert into a full experience. Whether fans have followed her from the beginning or are discovering her rise more recently, these two nights promise something memorable. With both dates sold out and anticipation climbing by the day, one thing is clear: Aitana fever has fully arrived in Valencia. In just two weeks, Roig Arena opens its doors to thousands of voices, lights in the air and one of Spain’s defining pop stars at the height of her powers. 21 and 22 May cannot come soon enough.

Three years is a long time in rock ’n’ roll. Long enough for records to gather dust, for nights to blur together, for people to wonder if certain bands will ever make it back. But last night in Valencia, those doubts were kicked clean through the wall as The Hangmen returned to Loco Club and reminded everyone exactly why some bands never lose their bite. From the moment doors opened, there was that familiar electricity in the room — old fans greeting each other like survivors, younger faces curious to witness the legend, beers moving fast, conversations getting louder with every passing minute. It didn’t feel like just another gig. It felt like an occasion. And when The Hangmen hit the stage, the place locked in immediately. Still carrying that dangerous blend of hard rock swagger, outlaw soul and road-worn attitude, the Los Angeles veterans delivered the kind of set that only comes from years of living it properly. No fake poses. No forced cool. Just riffs with scars on them, songs that smell of late nights and bad decisions, and a band who know exactly how to work a room. The crowd gave it straight back. Front rows singing, fists in the air, heads nodding, bodies moving — the kind of warm, sweaty communion that happens when fans know they’re watching the real thing. There were smiles everywhere. Loud ones. Knowing ones. The smiles of people who had waited too long for this return and intended to enjoy every second of it. And then there was Loco Club, once again proving why it remains one of Valencia’s true homes of live music. Few venues in the city understand rock ’n’ roll atmosphere like Loco. It has that rare balance: intimate enough to feel every note, big enough to generate real noise, and honest enough that bands want to come back. The walls have seen countless nights like this, but they never seem tired of another one. That closeness made everything hit harder. Every guitar line landed in the chest. Every chorus bounced off the room and came back twice as strong. Every cheer sounded earned. For The Hangmen, this wasn’t just a return after three years away. It was a reminder that Valencia remembers. That this city turns up for bands with grit, history and songs that still carry weight. For the fans, it was the kind of night that justifies all the waiting. No gimmicks. No nonsense. Just a great band, a packed room, and the beautiful racket of people having a very good time. Words and photos: Rhyan Paul

There are venues that feel manufactured, polished and painfully corporate — and then there’s El Café de la Plaça in Carcaixent, where music still feels human. On Sunday 10 May at 12:30pm, the beloved cultural hideaway opens its doors once again for another daytime gathering of locals, music obsessives, wandering souls and Sunday regulars as Planet 8 arrive for what promises to be one of those special up-close performances people talk about long after the chairs are stacked away. Because El Café is not just another venue. Run with genuine love and stubborn passion by Enric, the space has quietly become one of the most important grassroots cultural spots in the region. Hidden in the heart of Carcaixent, it carries the spirit of old cafés where conversations matter, artists are respected and audiences actually listen. Musicians don’t disappear backstage here — they become part of the room. There’s history in the walls, warmth behind the bar and a sense that something real still survives away from algorithm-driven noise and oversized festival branding. And that intimacy matters when a band like Planet 8 comes to town. Made up of Óscar Briz, Silvia Martí and Xavi Alias, Planet 8 operate in that beautiful space between sophisticated pop craftsmanship and emotional honesty. Their music breathes rather than shouts. Songs drift through folk textures, elegant melodies and lyrical storytelling with the confidence of musicians who know exactly who they are. At the centre stands Óscar Briz, one of the Valencian scene’s most respected and enduring songwriters. Across decades of work — from cult indie beginnings through solo records and countless collaborations — Briz has built a reputation as an artist’s artist: intelligent, melodic, poetic and completely uninterested in chasing trends. His songs carry echoes of classic songwriting traditions while still sounding unmistakably personal. Planet 8 feels like a natural extension of that journey. There’s chemistry in this project, a looseness and warmth that comes from musicians playing for the joy of connection rather than spectacle. Which is exactly why this concert fits El Café perfectly. This won’t be one of those afternoons where the audience stares at phones while shouting over the music. This will be close quarters. Tables full. Cassalla flowing. Locals greeting each other at the door. The soft pre-show murmur of people who know they’re about to witness something worth slowing down for. And when Planet 8 begin playing inside that intimate room, every lyric and every silence will land differently. The beauty of small venues is that nothing can hide. No giant screens. No fireworks. No distractions. Just songs, musicians and a crowd close enough to feel every shift in mood. In places like El Café, music regains its original purpose — bringing people together for a shared moment that only exists once. On a sunny Sunday lunchtime in Carcaixent, that feels more valuable than ever. So arrive early. Grab a drink. Find a corner. Listen closely. Because Planet 8 at El Café de la Plaça has all the ingredients of one of those quietly unforgettable afternoons.

There are concerts, and then there are nights when a band reaches into the guts of a city, twists, pulls, and leaves everybody walking out a little dazed, a little taller, and a whole lot more alive. The Waterboys did exactly that at Roig Arena on November 28—rolling in like a swirling storm front, filling the hall with fiddle-soaked thunder, electric shamanism, and that unmistakable Mike Scott swagger that seems to bend time, weather forecasts, and even the laws of physics. The crowd came hungry, and the band delivered a feast—“The Whole of the Moon” hitting like a celestial fist to the chest, “Fisherman’s Blues” roaring with the vitality of a midnight pub riot, and the newer cuts proving the band’s fire hasn’t flickered, not even slightly. If anything, these Waterboys feel like they’ve boiled down four decades of folk-rock alchemy into a weapon-grade live show. Scott prowled the stage like a pirate-poet in a cosmic mood, grinning at every fiddle break and guitar snarl. The audience roared, sweat dripped off the rafters, and the Roig Arena floor felt like it might just lift off its foundations and drift somewhere over the Valencian skyline. It was that kind of night—feral, euphoric, and deeply human. A SECOND ROIG ARENA SHOW? SOLD OUT. OF COURSE IT IS. If you missed this one, prepare to suffer: the band returns to Roig Arena on December 5th, and—naturally—it’s already sold out. No surprise. After a performance like this, Valencia would’ve stormed the ticket booths with torches and pitchforks if seats were still available. THE BIG ONE: SEPTEMBER 3RD, 2026 — THE FISHERMAN’S BLUES REVUE WITH STEVE EARLE But don’t crawl into despair just yet. The Waterboys have already planted their next flag in Valencian soil:September 3rd, 2026, right back at Roig Arena, where they’ll return with Steve Earle in tow for the Fisherman’s Blues Revue—a night already whispered about like some mythic pilgrimage, the kind of once-in-a-generation performance that ends up etched into local folklore. Expect a collision of Celtic fire and outlaw-country grit, a night where fiddles and mandolins duel in the heat, and every soul in the arena walks out barefoot, blessed, and maybe a little transformed. The Waterboys came, conquered, and promised to come back swinging even harder. Valencia heard the call. And Valencia answered. For tickets and more information on the 2026 return: Roig Arena Words and photos: Rhyan Paul

In one month’s time, the elegant old Jardins de Vivers in Valencia will experience a violent spiritual awakening. Birds will flee. Grass will reconsider its life choices. Respectable neighbours will look over the wall in alarm. Because on Friday 5 June 2026, Soziedad Alkoholika arrive at Nits de Vivers, bringing with them a bill stacked with distortion, fury and enough riff damage to register on nearby seismographs. This is not one of those polite summer concerts where people clap between tasteful ballads and discuss parking afterwards. This is the night where Vivers swaps perfume for sweat, replaces whispered conversation with feedback, and welcomes the glorious racket of punk and metal in all its beautiful, uncompromising ugliness. At the top of the pile stand Soziedad Alkoholika — Basque institution, scene veterans, survivors, agitators, one of the most ferocious live bands ever to come screaming out of the Iberian Peninsula. For decades they have fused hardcore, thrash, punk and righteous rage into something that doesn’t just entertain, it confronts. Their shows don’t feel like concerts so much as organised uprisings with better bass tone. Expect circle pits. Expect hoarse throats. Expect strangers helping each other up after colliding at speed. Expect that rare thing modern life struggles to provide: catharsis. And they are not arriving alone. Angelus Apatrida, Spain’s thrash metal war machine, join the chaos with precision riffs sharp enough to perform surgery. They play like four men trying to outrun an explosion. Tight, relentless and internationally respected, they are the sort of band that leaves scorch marks on festival stages. Then there’s Bala, one of the fiercest heavy acts in the country, dragging sludge, punk, grunge and brute-force charisma behind them like a wrecking chain. Loud enough to alter weather patterns, smart enough to make every note count. Deaf Devils add another blast of raw rock’n’roll venom, while Vaire complete the line-up with fresh blood and sharp intent. Five bands. One stage. No weak links. And what a setting for this lovely disorder.... The Jardins de Vivers are one of Valencia’s most beautiful spaces — historic gardens in the heart of the city, usually associated with summer walks, greenery and Mediterranean calm. But during Nits de Vivers, they become something else entirely: a place where nature and noise shake hands in the dark. Food areas, open-air atmosphere, warm June night, trees overhead, amplifiers below. Civilisation hanging on by a thread. That contrast is half the magic. One minute you’re admiring the surroundings like a cultured adult. The next you’re twenty feet from a pit while someone in black denim loses a shoe to the gods of momentum. With one month to go, anticipation is already building among Valencia’s heavy faithful. This is the kind of date people circle early, then mention in every conversation until it happens. “You going to S.A.?” becomes the city’s most important question. So hydrate. Stretch properly. Wear shoes you can trust. Call in emotionally unavailable the next morning. Because in thirty days, Valencia gets loud. Soziedad Alkoholika at Nits de Vivers won’t be a concert. It’ll be a controlled collapse of good manners. For tickets and more information: Nits De Vivers

Some EPs arrive like a press release. Others arrive like weather. Morning Silk’s new release Have A Nice Life lands somewhere between a late-night confession, a neon-lit train ride through New York, and the moment you realise your past is waving goodbye from the platform. Released via Nettwerk, this latest chapter from New York producer, songwriter and multi-instrumentalist Frank Corrfeels like the sound of an artist stretching out, shaking off old skin and stepping into sharper air. If previous Morning Silk material carried the pulse of electronic after-hours loneliness, Have A Nice Life opens the windows, drags in guitars, lets the distortion bloom and still keeps one foot planted firmly on the dancefloor. This is a record about letting go — badly, beautifully, humanly. Corr has described the EP as celebrating the immature feelings that surface when you’re trying to move on while also embracing the thrill of opening your heart again. That tension runs through the whole thing. These songs don’t pretend healing is graceful. They know it can be messy, petty, romantic, hopeful and embarrassing all at once. And that honesty gives the record its heartbeat. Opening track “I’m Not Sorry” sets the tone with attitude and movement, sounding like someone striding through the city determined to look stronger than they feel. There’s grit in the guitars, but also shimmer around the edges. It’s defiance dressed in melody. “Truth or Dare” sharpens the emotional stakes. It carries the push-pull energy of relationships where nobody says what they mean until it’s too late. Corr knows how to build atmosphere without overloading the room; everything feels purposeful, clean and cinematic. Then comes “8 Hours,” a standout that captures the strange elasticity of time when your head is stuck on one person. The production is muscular yet spacious, balancing indie-rock crunch with synth textures that flicker like city lights through rain. The centrepiece, though, is “Stay Here Tonight.” Inspired by the romantic melodies and harmonies of the 1950s, it could have become a novelty exercise in retro nostalgia. Instead, Morning Silk turns those influences into something modern, tender and oddly timeless. There’s genuine yearning in the song — the kind that can’t be faked. It feels like standing in a doorway hoping someone changes their mind. Sweet without becoming syrupy, heartfelt without collapsing into cliché. Across the EP, the guitars have more bite than before, often leaning into baritone tones and downtown indie grit, while the synth work remains lush and intelligent. Corr’s background as a producer shows everywhere: nothing is wasted, every sound has shape, every layer knows why it’s there. But the real evolution is lyrical. By his own admission, this is the first time he has seriously written about other people rather than hiding behind abstraction. You can hear the difference. These songs feel closer to the skin. There are unfinished conversations inside them, unresolved feelings, doors left half open. That vulnerability gives Have A Nice Life its emotional pull. What makes the EP especially strong is that it never wallows. Even in sadness, there is movement. Even in regret, there is style. Even in goodbye, there is the possibility of dancing. This is city music for people with memories they haven’t filed away yet. Music for midnight walks, for looking out of taxi windows, for deleting messages and then wondering if that was wise. Morning Silk has not made a loud statement here. He’s made a smart one. Have A Nice Life is sleek, bruised, romantic and quietly addictive — proof that growing up artistically doesn’t mean losing your edge. It just means learning how to cut deeper. To listen and for more information: Morning Silk

Valencia's summer concert season is about to get a serious injection of classic rock. Deep Purple are confirmed for Conciertos de Viveros on 7 July 2026, bringing one of the most influential names in hard rock to the city's historic Jardines de Viveros. Deep Purple are not just another heritage act. Formed in 1968, they helped define hard rock and heavy metal alongside peers such as Led Zeppelin and Black Sabbath. Their catalogue includes genre-defining classics such as Smoke on the Water, Highway Star, Child in Time, and Black Night. The famous riff from Smoke on the Water remains one of the most recognisable guitar lines ever written. The current touring lineup is led by vocalist Ian Gillan and bassist Roger Glover, with guitarist Simon McBride, keyboard player Don Airey, and drummer Ian Paice. The band were inducted into the Rock and Roll Hall of Fame in 2016 and continue to tour internationally. Conciertos de Viveros is one of Valencia's flagship summer music events, staged each July in the Jardines de Viveros. The festival combines major international artists, Spanish headliners and emerging acts in an open-air setting that has become a cornerstone of the city's cultural calendar. The 2026 edition runs across multiple dates through July, with Deep Purple positioned among the programme's biggest rock attractions. For rock fans, this is the rare chance to see a band that helped write the rulebook for hard rock in one of Spain's most atmospheric outdoor concert venues. Expect a set built around the classics, a crowd ready to sing every riff, and a summer night where Valencia gets a direct blast of rock history. For tickets and more information: Conciertos De Viveros

If your weekend diary is blank, careless or morally bankrupt, Valencia has the cure. This Saturday 9 May, the glorious institution that is Els Concerts de La Pèrgola serves up another sunlit sermon at La Marina Norte, where the city gathers at lunchtime to eat, drink, dance and remember life is supposed to be fun. Forget dark clubs and midnight starts. This is Valencia’s civilised madness: live music by the sea before most people have chosen their shoes for the evening. Cold drinks sweating in plastic cups, sunglasses everywhere, the smell of salt in the air, kids on shoulders, old gig veterans near the bar, and a crowd stitched together by one common belief — Saturdays should begin with volume. This week’s main attraction is a beautiful odd couple: Los Estanques y El Canijo de Jerez. Los Estanques are one of Spain’s finest musical troublemakers — masters of sharp turns, psychedelic swerves, vintage glamour and musicianship so tight it could crack teeth. They play like a band who raided a 1970s record collection, swallowed it whole and decided to rebuild it using caffeine and mischief. One minute they’re grooving like prog-pop scientists, the next they’re throwing shapes nobody asked for but everyone loves. Then enters El Canijo de Jerez, a man who carries sunshine in his pockets. Formerly of Los Delinqüentes, Canijo has long been one of the great street-poet spirits of Spanish music: cheeky, soulful, wise in the ways of bars, heartbreak and laughter. He sings like someone who has survived both parties and mornings after. His songs don’t walk onto a stage — they swagger in wearing yesterday’s grin. Together, this collaboration promises something deliciously unhinged: Andalusian charm colliding with kaleidoscopic groove, flamenco-flavoured soul rubbing shoulders with left-field pop brilliance. Expect songs that shimmy, grin and occasionally wobble the earth beneath your trainers. And then there is La Pèrgola itself — not just a venue, but a weekly ritual. Few places do daytime joy better. People arrive fresh-faced and leave sun-kissed, hoarse and suspiciously happier than when they came in. It’s where strangers dance together before lunch and the city briefly remembers community still exists. The crowd will be half seasoned regulars, half curious newcomers, all ready to be converted. Front rows bouncing, back rows swaying, somewhere near the middle somebody already dancing far too hard for 12:47pm. So get there early. Find your people. Order something cold. Let the sea breeze slap the week off your shoulders. Because this Saturday in Valencia, while the rest of the world wastes daylight indoors, La Pèrgola will be doing what it does best: turning lunchtimes into legends. For ticket and more information: La Pèrgola

Some records arrive politely. They knock softly, wait to be invited in, maybe wipe their shoes on the mat. The new self-titled album from Automatic Lovers does none of that. This thing crashes through the front window at 100mph, steals your cigarettes, necks your beer, turns the amp to ten and disappears into the night laughing like a maniac. Officially released May 7th, Automatic Lovers is a filthy, thrilling, lip-snarling blast of punk rock’n’roll from a young Madrid gang made up of Whisky David, Arhurr Crash, Passedout Kid and Juan Sinovas — four names that already sound like they should be spray-painted on the back wall of some doomed club where the toilets don’t work and the band is louder than God. This album doesn’t care about trends, playlists, algorithms or polished modern nonsense. It cares about hooks, speed, swagger, danger and sweat. It worships at the altar of the New York Dolls, Heartbreakers, Dead Boys, The Vibrators, and every glorious degenerate who ever thought three chords and bad intentions were enough to start a revolution. And guess what? They were right. From the opening kick to the final smoking crater, this record is all killer and no filler. “Wasting Time” comes out swinging like a broken bottle in a backstreet argument — snarling vocals, razor guitars and enough attitude to power Madrid for a week. It’s rude, sharp and instantly addictive. Then there’s “High Degree,” a strutting street anthem that stomps through the city with shoulders back and middle fingers raised. It sounds like neon lights reflected in puddles at 3am. The kind of song that makes you want to walk faster and cause minor trouble. “Pushin’ Too Hard” is a runaway train with no brakes and no interest in stopping for civilians. “Long Gone” show that beneath the leather jackets and bad decisions, Automatic Lovers know how to write songs about regret, loss and romantic wreckage. Then comes “Out of Control,” which feels less like a title and more like a mission statement. It’s the soundtrack to quitting your job, stealing a traffic cone and running toward whatever comes next. “Hardbeat” is exactly what punk rock should be: dumb in all the smartest ways, sleazy in all the right places, and built to make your chest rattle. It’s got that beautiful trash-can glamour where the groove is ugly, sexy and irresistible. Meanwhile “WGTEYEO” (which sounds like a secret code shouted through beer foam) is another blast of street-level fury and glorious confusion. And then the band throw curveballs. By the time “Shoot at Me” hits you’re left grinning like someone who survived a beautiful accident. There’s real emotional damage under the swagger too. “What Do I Know” shows that they will never go soft — they will just bleed louder! “Take My Hand” dives into twisted B-movie horror punk territory, all knives, blood and desperation, like a love letter written in lipstick on a crime scene wall. “Twist and Die” rounds the album off and mixes heartbreak and self-destruction with a chorus that should have a warning label attached. What makes this album hit so hard is that it never feels fake. There’s no cosplay here. No retro posturing. No “look how punk we are” nonsense. This sounds like four people who genuinely believe rock’n’roll should still be dangerous, stupid, sexy and fun. And in 2026, that feels revolutionary. The production keeps the dirt where it belongs. The guitars slash and burn, the rhythm section kicks like a mule, and the vocals swagger between sneer, shout and full-blown alleyway sermon. Everything sounds alive. Imperfect. Human. Which is exactly the point. In a world of over-edited sterile music made by committee, Automatic Lovers is a glorious middle finger with lipstick on it. This is not an album for sitting quietly and appreciating from a distance. This is an album for spilled drinks, bad dancing, busted speakers, split lips, missed buses and waking up with someone else’s stamp on your hand. Madrid should be proud. Punk rock should be proud. Automatic Lovers haven’t made a debut album — they’ve started a riot in style. For more information: Automatic Lovers

The countdown has begun. Two months from now, Valencia’s coastline will light up with sound, sweat, sunset skies and world-class live music as FAR València returns to Marina Norte for what looks set to be one of the most ambitious summer music events Spain has to offer. Running from 8 to 31 July 2026, the second edition expands into a near month-long concert cycle bringing international icons, cult heroes, pop legends and new-generation stars to the Mediterranean waterfront. This isn’t a traditional cram-everything-into-three-days festival. FAR does things differently. One artist, one night, one atmosphere at a time. It’s a format built for people who actually love music — where every concert gets room to breathe, every crowd gets its own identity, and every night feels like an event instead of a schedule sprint. With sea air, open skies and the Valencia skyline in the background, FAR is shaping up to be the soundtrack of the summer. Jean-Michel Jarre arrives as one of electronic music’s true pioneers, a visionary whose live shows have redefined what concerts can be. Expect lasers, atmosphere and futuristic grandeur. ZZ Top bring the beards, the riffs and decades of blues-rock swagger. Few bands carry this much cool so effortlessly. OMD (Orchestral Manoeuvres in the Dark) will deliver synth-pop brilliance and timeless hits, while Rick Astley arrives not as a meme, but as a genuinely superb live performer with a catalogue people love more than ever. Luz Casal remains one of Spain’s most commanding voices, capable of elegance and power in equal measure. Rubén Blades, salsa titan and lyrical giant, brings class, rhythm and global stature. LP promises one of the most emotionally charged sets of the month, with that unmistakable voice built for huge choruses and open-air nights. Young Miko is one of the hottest names in Latin music right now, and her Valencia date already has fans buzzing internationally. Judeline, one of Spain’s most exciting rising stars, brings modern edge, style and serious artistic momentum. Depresión Sonora delivers post-punk angst for the wired generation, while Rodrigo Cuevas continues to explode conventions with one of the boldest and most unique live shows in Europe. Belle and Sebastian are a dream booking — beloved Glasgow romantics celebrating landmark albums and bringing literate beauty to the coast. Babasónicos arrive as Argentinian rock royalty. El Mató a un Policía Motorizado bring emotional indie intensity and cult devotion, while Xoel López offers warmth, songwriting and craft of the highest level. Need movement? FAR has that too. Elvis Crespo guarantees hips in motion and zero dignity left by the end of the night. MEUTE, the German techno brass phenomenon, will likely turn Marina Norte into a dancing carnival of percussion and chaos. Gipsy Kings bring flamenco-pop joy and songs made for warm nights and raised glasses. M-Clan bring road-tested Spanish rock power. Antoñito Molina offers charisma and singalong warmth. Marta Santos, El Zar, Silvana Estrada, Judith Hill and rinôçérôse round out a bill that somehow keeps finding new colours and textures. There’s something beautifully dangerous about a month of concerts by the sea. People will come for one show and end up buying tickets for four more. Friend groups will form in queues. Holiday romances will bloom over plastic cups and encore chants. Sunsets will melt into basslines. Taxi drivers will hear a thousand stories. FAR València is becoming more than an event. It’s becoming a seasonal ritual. And with two months to go, the anticipation is only getting louder. So clear your July calendar. Charge your phone. Book the nights you can’t miss. Leave space for the ones you didn’t expect. Because in sixty days, Valencia stops being a city and becomes a stage. For tickets and more information: FAR