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

The first beat hadn't even settled before it was obvious this wasn't going to be an exercise in nostalgia. Pet Shop Boys walked onto the Roig Arena stage with the quiet confidence of a band that has nothing left to prove and somehow still manages to prove everything. Playing to 10,000 fans, Neil Tennant and Chris Lowe delivered a slick, visually stunning celebration of one of the most influential catalogues in British pop. Every element was precisely placed—towering LED screens, striking choreography, theatrical costume changes and immaculate sound—all serving songs that have lost none of their bite. "Can You Forgive Her?" and "Opportunities (Let's Make Lots of Money)" still sound deliciously cynical decades after they first skewered greed and ambition, while the inspired collision of "Where the Streets Have No Name" and "I Can't Take My Eyes Off You" remains one of pop's most audacious reinventions. One of the night's greatest strengths was its pacing. Pet Shop Boys never allowed the atmosphere to flatten. "Rent" and "Domino Dancing" brought elegance and warmth before "New York City Boy" threw the entire arena into party mode, thousands dancing as though Valencia had suddenly become a late-night club in Soho. Then everything slowed down for "Always On My Mind." The lights softened, phones appeared across the arena and Tennant barely needed to sing the chorus as 10,000 voices took over. It was easily one of the defining moments of the evening. The final run of songs felt unstoppable. "Go West" became a joyous communal celebration, filling every corner of the arena with waving arms and huge smiles, before "It's a Sin" arrived with all the theatrical grandeur that has made it one of the defining songs of the '80s. When the duo returned for the encore, "West End Girls" reminded everyone why it remains one of British pop's coolest records, while "Being Boring" closed the night on an unexpectedly emotional note—a beautiful, reflective ending after nearly two hours of immaculate electronic pop. Some bands survive because people remember them. Pet Shop Boys continue to fill arenas because the songs still connect, the production still dazzles and Neil Tennant and Chris Lowe remain effortlessly cooler than almost anyone else on a stage. Forty years into their career, they still make synth-pop feel timeless rather than nostalgic.

Somewhere in Sydney, somebody had the terrible idea of mixing garage punk, Devo, The Saints, cheap synthesisers and far too much caffeine. Against all odds, that experiment became Gee Tee. On 30 July, that glorious racket crashes into 16 Toneladas, with Valencia's own Filete opening proceedings. If your idea of live music involves polished solos and carefully rehearsed stage banter, you've wandered into the wrong room. Gee Tee don't write epics. Most of their songs are over before you've finished your beer. They arrive at full speed, throw hooks, riffs and synth squeals in every direction, then disappear before your brain has caught up. It's punk stripped of pretence, powered by instinct rather than perfection. That's exactly why people keep coming back. Over the last few years, the Australians have quietly built one of the strongest cult followings on the underground circuit. They've sold out shows at home, packed out tours across Europe and the US, earned headline slots at Gonerfest and picked up praise from Pitchfork for Goodnight Neanderthal. None of it seems to have changed the band's approach. They're still gloriously rough around the edges, still writing songs that sound like they're one bad decision away from collapsing into complete madness. If you know Valencia's underground scene, you'll know this isn't a support band that's going to politely warm up the room. Built from musicians who've done time in some of the city's best alternative bands, Filete throw punk, electronics and controlled noise into a blender and somehow make it danceable. They're weird in all the right ways and exactly the sort of band that belongs on this bill. There's something fitting about this show landing at 16 Toneladas. In a city that's steadily adding bigger venues and shinier stages, Toneladas remains one of the few places where gigs still feel unpredictable. You don't come here for luxury. You come because there's always the chance you'll discover your new favourite band or leave wondering what the hell just happened. That's where Gee Tee thrive. No oversized LED screens. No carefully choreographed moments designed for TikTok. Just battered amplifiers, wiry guitars, buzzing synths and forty or fifty minutes of beautifully unhinged rock'n'roll. For tickets and more information: 16 Toneladas

Tomorrow night, Pet Shop Boys finally return to Valencia, bringing their acclaimed Dreamworld: The Greatest Hits Live tour to Roig Arena for what promises to be one of the biggest concerts of the summer. It has been 19 years since Neil Tennant and Chris Lowe last played the city, and they're not coming back quietly. Instead, expect a two-hour celebration of one of the greatest catalogues ever written. West End Girls, It's A Sin, Suburbia, Domino Dancing, Always On My Mind, Go West and plenty more are all expected to feature in a show that packs four decades of chart-topping hits into one spectacular evening. The Dreamworld tour has been earning rave reviews around the world for its dazzling visuals, stunning staging and reminder that nobody has ever blended electronic music, pop hooks and high art quite like the Pet Shop Boys. Whether you've followed them since the '80s or discovered them through streaming playlists, tomorrow is one of those rare opportunities to see genuine pop pioneers still performing at the very top of their game. The concert also marks the duo's only Spanish arena show before they head north for a festival appearance in Santander, making Valencia a must-stop on their 2026 European run. Roig Arena has quickly established itself as Valencia's premier live venue, and it's difficult to imagine a more fitting act to fill it. Pet Shop Boys have always understood that a concert should be more than a greatest hits package—it's theatre, it's art, it's dance music, it's social commentary and, above all, it's packed with songs that refuse to age. If you've somehow never experienced them live, prepare to understand why they're regarded as the most successful duo in British music history. If you've seen them before, you already know what's coming. Tomorrow night, Valencia belongs to the Pet Shop Boys. More information and remaining tickets: Roig Arena

Some bands make music. Others create a mood. Gipsy Kings have spent more than three decades doing exactly that — turning every stage they step onto into a celebration of rhythm, guitar and pure Mediterranean spirit. On 30 July, the legendary French-Spanish flamenco fusion group arrive at FAR Festival in Valencia for what promises to be one of the most colourful nights of this year’s event. Few bands have managed to take traditional sounds and push them onto a global stage quite like Gipsy Kings. Their unmistakable blend of flamenco guitar, rumba catalana, Latin rhythms and infectious melodies has made them one of the most successful world music acts of all time, with songs that have become part of the soundtrack to summer everywhere. Expect a set packed with classics including “Bamboleo”, “Volare” and “Djobi Djoba” — songs that have filled dancefloors, beach bars and festival fields across the planet for decades. But this isn’t a nostalgia trip. The reason Gipsy Kings continue to connect with audiences is simple: the music still feels alive. The guitars still cut through, the rhythms still move people and the chemistry between the musicians remains at the heart of the show. FAR Festival has built a reputation for bringing major international artists to Valencia in a unique setting, and Marina Norte provides the perfect backdrop for a band whose sound has always belonged under open skies, surrounded by people ready to dance. Expect a crowd made up of generations — lifelong fans who discovered them in the 80s and 90s, alongside younger audiences discovering the magic for the first time. No gimmicks. No complicated formula. Just great musicians, unforgettable songs and a night where standing still probably won’t be an option. For tickets and more information: FAR Festival

There are festival headliners, and then there are bands that make an entire evening feel like it was built around them. At FAR Festival, Belle & Sebastian turned Valencia's Marina Norte into their own postcard-perfect playground, delivering a set that was warm, witty, effortlessly stylish and packed with the kind of songs that have soundtracked lives for nearly three decades. With the Mediterranean shimmering behind the stage and the skyline slowly giving way to darkness, it was difficult to imagine a more fitting setting. This wasn't about oversized production or arena theatrics. It was about timeless songwriting, understated brilliance and a band completely at ease with who they are. Before the Scots took to the stage, Xoel López delivered the perfect opening chapter. His beautifully crafted songs drifted across the harbour as fans poured into the venue, creating an atmosphere that felt more like friends gathering for a summer celebration than another festival support slot. His mix of indie-folk and heartfelt storytelling won over plenty of new admirers, and by the end of his set the crowd was more than ready for what was to come. Walking on to huge applause, Stuart Murdoch greeted the Valencia crowd like old friends before leading the band into a set that balanced beloved classics with newer material. It quickly became obvious this wasn't simply another stop on a European tour—it felt like a band genuinely enjoying every second of the evening, feeding off an audience who knew every lyric and every subtle twist in the arrangements. Murdoch remains one of indie music's most engaging frontmen. Never needing to shout for attention, his charm comes naturally. One minute he's dancing across the stage with infectious enthusiasm, the next he's delivering thoughtful introductions that make a crowd of thousands feel strangely intimate. Few performers can command such a large audience with such gentle confidence. The band themselves were flawless. Every lush string arrangement, shimmering keyboard line and jangling guitar part slotted perfectly into place, reminding everyone why Belle & Sebastian remain one of Britain's most treasured live acts. Songs from If You're Feeling Sinister, The Boy With The Arab Strap and beyond were greeted like old friends returning home, with huge singalongs echoing across the marina. What made the night special wasn't simply hearing the hits. It was watching thousands of people completely lose themselves in music that has never chased trends or demanded attention. Teenagers stood beside fans who had followed the band since the '90s. Couples danced, friends sang arm in arm and strangers smiled at one another as chorus after chorus floated into the warm Valencian night. FAR Festival deserves enormous credit for programming a bill that trusted great songwriting over hype. In a festival landscape increasingly obsessed with viral moments, booking Belle & Sebastian alongside Xoel López felt like a reminder that substance will always outlast fashion. As the final songs rang out across Marina Norte, there was no rush for the exits. People lingered, soaking up the atmosphere and trying to squeeze a few more moments out of a genuinely magical evening. That's the sign of a great concert—not the volume of the applause, but the reluctance for it to end. Belle & Sebastian didn't need fireworks, giant screens or gimmicks. They simply arrived with a catalogue of exceptional songs, played them beautifully and reminded everyone why they've remained one of indie music's most quietly brilliant bands. Words and photos: Rhyan Paul

With the Mediterranean stretching out behind the stage and a warm July evening settling over Marina Norte, FAR València welcomed OMD for a performance that felt perfectly suited to its surroundings. Thousands drifted into the waterfront venue long before the headline set, creating an atmosphere that was relaxed, expectant and unmistakably summery. French electronic outfit RINÔÇÉRÔSE had the job of getting the evening moving, and they did it with style. Their blend of dance beats, rock guitars and infectious grooves rippled across the site, drawing more and more people towards the stage as the sun dipped below the horizon. It was an inspired choice of support act, bridging electronic music with live performance and setting the tone for everything that followed. When Andy McCluskey bounded onto the stage with his trademark energy, Marina Norte erupted. From the opening songs it was clear this wasn't an audience content to stand and watch. Every familiar keyboard line triggered another wave of cheers, while McCluskey's unmistakable dance moves drew smiles across the crowd. His enthusiasm remains completely genuine, feeding off every reaction from the audience and giving every song the same commitment you'd expect from a band half their age. OMD's catalogue is remarkably deep, and the set flowed effortlessly between favourites including Electricity, Souvenir, Joan of Arc, Tesla Girls, So In Love, Sailing on the Seven Seas and the inevitable roar that greeted Enola Gay. By the closing moments, thousands of voices had merged into one, with Maid of Orleans providing a fitting finale beneath the Valencia night sky. What stood out most wasn't simply the music, but the mix of people enjoying it. Fans who grew up with OMD shared the evening with younger concertgoers discovering these songs in a live setting for the first time. Throughout the night there was constant movement—friends dancing together, strangers singing the same choruses and countless phones briefly raised before disappearing again as people chose to stay in the moment. Marina Norte continues to establish itself as one of Spain's finest outdoor concert settings, and this performance showed exactly why. The sea breeze, the city lights and a band whose songs have aged with remarkable grace combined to create an evening that felt effortlessly natural rather than overly polished. OMD have spent more than forty years writing songs that continue to resonate far beyond the decade in which they were recorded. In Valencia, they didn't lean on reputation—they simply played one great song after another, and the crowd responded in kind. It was one of those festival sets where everything clicked: the location, the weather, the audience and a band still enjoying every minute of being on stage. Sometimes that's all a great concert needs. Words and photos: Rhyan Paul

Rick Astley could have coasted through a set of 80s nostalgia, collected the applause and called it a night. Instead, he delivered one of the biggest crowd-pleasers of FAR València. Performing at Marina Norte on Thursday night, the British pop legend reminded thousands that great songs never go out of fashion when they're sung by someone who still believes every word. At 60, Astley remains a phenomenal live performer – his voice is powerful, his stage presence effortless and his enthusiasm completely infectious. From the opening moments, the audience was his. Hit after hit rolled across the Valencia waterfront, with fans singing every lyric back at him. The inevitable explosion that greeted Never Gonna Give You Up was one of the loudest moments of the evening, but this was never a one-song show. Astley has spent the last decade quietly rebuilding his reputation as a genuine musician, songwriter and frontman, and it showed. Backed by a razor-sharp band, he mixed timeless classics with newer material that sat comfortably alongside the songs that made him famous. There were no gimmicks, no oversized production tricks and no need for them. Just a performer who knows exactly how to command a stage. What makes Astley such an enduring figure isn't simply the catalogue – it's the personality. Warm, self-aware and genuinely funny, he chatted with the crowd like an old friend, laughing at himself one minute before delivering another flawless vocal the next. It's a combination that's impossible not to like. In an era when so many heritage acts lean heavily on memories, Rick Astley continues to earn his place on festival stages. Valencia didn't just witness a trip back to the 80s; it saw an artist who still performs with the hunger of someone determined to prove he belongs. Mission accomplished!

Fresh from sharing stages with The Libertines and riding a wave of momentum that's gathering serious pace, the Kent trio return with Roll Up Your Sleeves – three-and-a-half minutes of swagger, sweat and guitar-driven euphoria that refuses to sit still. From the opening riff, the track grabs you by the collar. The guitars bite, the rhythm section drives like it's late for the last train home, and frontman Wez King's vocal carries just the right balance of grit and melody. It's loud without becoming messy, catchy without feeling manufactured and packed with the kind of chorus that's destined to become a live favourite. There's a touch of early Arctic Monkeys attitude, hints of Libertines chaos and the widescreen ambition of bands like Catfish and The Bottlemen, but Tres Kings avoid becoming a tribute to their influences. They've developed a sound that feels unmistakably their own—raw, energetic and completely built for packed venues with pints flying through the air. Lyrically, Roll Up Your Sleeves carries a surprisingly reflective heart beneath all the noise. It's about owning your mistakes, picking yourself up and getting on with life, but thankfully it never disappears into self-indulgence. Instead, it delivers its message with clenched fists, big hooks and enough energy to power a festival stage. Recorded at The Albion Rooms under the watchful ears of Jason Stafford, the production strikes the perfect balance between polish and grit. Every instrument punches through the mix without sanding away the band's live-wire chemistry. After a run of standout singles, festival appearances, sold-out shows and support slots that continue to get bigger, Tres Kings no longer feel like a band knocking on the door. They're already halfway through it. Roll Up Your Sleeves isn't just another indie anthem; it's a statement of intent from a band playing with confidence, momentum and absolutely no intention of slowing down. If this is the calibre of what's still to come from their forthcoming EP, Tres Kings could be one of the most exciting British guitar bands to watch over the next 12 months. For more information: Tres Kings

For nearly three decades, Belle and Sebastian have occupied a world entirely of their own, crafting songs full of wit, vulnerability and beautifully observed stories that have inspired generations of musicians without ever demanding the spotlight. On Saturday 18 July, they arrive at FAR València for what could be one of the standout gigs of the summer—not because of fireworks or giant video screens, but because great songs never go out of fashion. Set against the backdrop of Marina Norte, the Glasgow band will perform their landmark 1996 album If You're Feeling Sinister in its entirety before returning for a second set drawn from one of indie music's richest catalogues. It's a rare chance to hear an album that helped define a generation, played from beginning to end, exactly as it was written. For many fans, it's the musical equivalent of revisiting an old friend. Others will be discovering why this record continues to appear on lists of the greatest indie albums ever made. While nostalgia may bring people through the gates, Belle and Sebastian have never been a band content to live in the past. Their live shows have a warmth and spontaneity that keeps every performance feeling alive, balancing quiet introspection with moments of genuine joy. Stuart Murdoch remains one of Britain's finest storytellers, proving that songs about ordinary people often leave the biggest impression. Opening the evening is Xoel López, whose reputation as one of Spain's most gifted songwriters has only grown stronger with time. Touring behind his latest album, Caldo Espíritu, López has mastered the art of writing songs that feel deeply personal while connecting with audiences on a universal level. His blend of folk, rock and Latin influences makes him the perfect artist to ease the crowd into what promises to be a memorable evening. There's something fitting about this pairing. Neither artist relies on gimmicks. Neither needs spectacle. They simply write exceptional songs and trust them to do the heavy lifting—a refreshing approach in an era where bigger often tries to pass for better. FAR València has built its reputation by bringing world-class artists to the city's waterfront, and this double bill feels like another inspired booking. It isn't aimed at the casual festival-goer looking for the loudest chorus or the biggest production. It's for people who still believe lyrics matter, melodies linger, and an hour and a half in front of a great band can make the rest of the world disappear. On Saturday night, the Mediterranean provides the backdrop. Belle and Sebastian provide the soundtrack. That's more than enough. For last minute tickets and more information: FAR