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There are gigs, and then there are nights where reality gets chewed up, spat out, and replaced with sweat, glitter, cheap beer, and something dangerously close to transcendence. What went down at 16 Toneladas with Pink Socks and Orkesta Paraíso was very much the latter. Pink Socks didn’t so much start the night as kick the door off its hinges. No polite warm-up, no easing in—just a blast of scrappy, neon-streaked punk energy that felt like someone had shaken a crate of influences (garage rock, indie sleaze, drunk karaoke confidence) and hurled it directly at the front row. They played like a band with nothing to lose and everything to prove, which is exactly where the magic lives. There was something gloriously unhinged about it—vocals teetering between control and collapse, guitars slashing through the room like broken glass, rhythms that felt like they might fall apart but never quite did. The crowd, initially hovering in that cautious pre-headliner stance, quickly abandoned all dignity. By the third song, the floor was moving. By the fifth, it was a mess of limbs, laughter, and beer sloshing dangerously close to electrical equipment. Pink Socks didn’t just warm up the room—they rewired it. And then, just when you thought things couldn’t escalate further, Orkesta Paraíso arrived like a technicolour fever dream. Described—accurately—as “five showmen in full flight,” the band have built a reputation for turning gigs into full-blown spectacles, blending punk rock and rock urbano with theatrical absurdity. That description barely scratches the surface. Masked, costumed, somewhere between lucha libre and end-of-the-world cabaret, they didn’t take the stage so much as detonate on it. From the first chord, it was clear this wasn’t going to be a gig you watch—it was one you survive. Musically, Orkesta Paraíso deal in high-octane reinterpretations—punk classics, rock urbano staples, the kind of songs that already carry a built-in sense of rebellion. But live, those songs become something else entirely. They stretch, mutate, explode. A familiar riff suddenly becomes a chant. A chorus becomes a mass singalong. A breakdown becomes an excuse for half the crowd to end up on stage (invited or otherwise). At one point, it felt less like a concert and more like a riot being choreographed in real time. If Orkesta Paraíso are the spark, the crowd is the accelerant. This wasn’t passive consumption—it was participation. Arms around strangers, voices shredded from shouting lyrics, bodies colliding in that beautiful, unspoken agreement that this is what we’re here for. The line between band and audience dissolved early and never came back. Someone lost a shoe. Someone else found religion. There’s something about 16 Toneladas that makes nights like this feel inevitable. Low ceiling, sweatbox acoustics, just enough space to be dangerous—it’s a room built for friction. And friction is exactly what this night thrived on. By the time Orkesta Paraíso hit their final stretch, the place felt like it might lift off entirely—equal parts gig, party, and controlled demolition. Pink Socks lit the fuse. Orkesta Paraíso blew the roof off. What you got in return was something messy, loud, chaotic, and completely alive—a reminder that live music, at its best, isn’t about precision or perfection. It’s about losing yourself somewhere between the first chord and the last scream. And on this particular night in Valencia, nobody left with themselves fully intact. Which is exactly how it should be. Words and photos: Rhyan Paul

There’s something slightly surreal about live music at midday—sun high, beers cold, breeze rolling in—and yet somehow things are about to get loud. That’s the magic of the Concerts de La Pèrgola: a daytime ritual where Valencia swaps hangovers for guitars and heads straight to the coast. On March 28, the formula hits peak cool. At La Pérgola de La Marina, right on the edge of the Mediterranean, this isn’t just a gig—it’s a sunlit collision of vintage rock ’n’ roll swagger and reverb-drenched surf. Doors swing open late morning, the crowd drifts in with vermouth energy, and by 12:00 the amps are already humming. Al Dual steps up first—not just a musician, but a full-blown time traveller. His obsession with 50s and 60s American sound isn’t cosplay—it’s precision. Twanging guitars, rockabilly swing, and that unmistakable vintage tone pulled straight from the DNA of early electric music. The guy doesn’t play retro—he lives in it. And just when you’re fully locked into that groove, the tide shifts. Enter Los Coronas—Spain’s undisputed kings of instrumental surf rock. No vocals, no distractions—just shimmering guitars, cinematic energy and waves of sound that feel like a Spaghetti Western crashing into a beach party. Active since the early 90s, they’ve built a reputation for turning any stage into a rolling, sunburnt, instrumental riot. Together, it’s a double bill that makes ridiculous sense: rockabilly roots meeting surf-soaked escape. Grit meets glide. Dust meets saltwater. But this is bigger than just two bands. The whole Concerts de La Pèrgola series has quietly become one of the most essential cultural rituals in Valencia—Saturday mornings reimagined as communal, open-air celebrations of sound, food and sunlight. So expect a crowd that’s equal parts die-hard music heads, curious wanderers and people who just came for “one drink” and accidentally stayed all day. Expect dancing before lunch. Expect that golden-hour glow arriving way earlier than it should. Because this isn’t a late-night crawl.It ’s a daytime escape. And for a few hours by the sea, nothing else exists but guitars, sunshine and the slow, perfect burn of a Valencian Saturday done right. For more information and tickets: La Pèrgola

Set against the lush, sun-drenched beauty of the Jardín Botánico de Cullera, Músiques i Art al Botànic once again proved that live music hits differently when it’s wrapped in nature, good food, and a crowd that actually wants to be there. This isn’t just another concert series—it’s a full-sensory Mediterranean experience, where art, music and community blur into one long, golden afternoon. From the moment the first notes cut through the warm air, it was clear this was going to be one of those special days. A big, buzzing crowd packed the gardens—families, music heads, curious wanderers—all pulled together by the promise of live sound in a setting that feels miles away from the everyday. The atmosphere wasn’t just lively, it was electric, the kind that builds slowly and then suddenly erupts into something unforgettable. At the heart of it all, Nasty Boogie delivered a set that perfectly matched the surroundings—loose, soulful, and alive. Their groove-heavy blend of blues, boogie and rhythm & blues rolled effortlessly through the gardens, locking into rhythms that felt tailor-made for open skies and swaying trees. Every note carried, every riff landed, and the audience gave it straight back, turning the whole space into a shared pulse. Then came a standout moment: a guest appearance from Maria Carbonell, who stepped in and elevated the set even further. Her presence added a fresh dynamic—her voice weaving through the band’s sound with ease, lifting key songs into something richer, fuller, and genuinely memorable. It wasn’t just a cameo; it felt like a collaboration that belonged to the moment. And just when you thought it couldn’t get better, the music gave way to one of the event’s most beloved traditions: the legendary paella party. Completely sold out (no surprise there), it turned the post-show glow into a full-on celebration. Plates piled high, conversations flowing, and that unmistakable feeling of a community coming together over food, music and shared experience. It’s this blend—live performance followed by communal feast—that defines Músiques i Art al Botànic as something far deeper than a gig. Because that’s the real magic here. It’s not just about what happens on stage—it’s about everything around it. The setting, the crowd, the music, the food. All of it combining into a day that feels effortless, authentic and completely alive. In a world of overproduced events and rushed schedules, this is something rarer: a reminder that sometimes the best afternoons are the ones where you slow down, look around, and realise you’re exactly where you’re meant to be. Words and photos: Rhyan Paul

On March 21, Loco Club played host to one of the most quietly powerful and emotionally resonant nights the city has seen in recent months, as the Chicas Fuertes Tour rolled into town. Bringing together Aurora Beltrán and Nat Simons, the show wasn’t just a concert—it was a statement of intent, a celebration of legacy and evolution, and a vivid reminder of the enduring force of women in Spanish rock. At its core, the Chicas Fuertes Tour is a rare kind of double bill. Rather than splitting time or softening edges for cohesion, both artists deliver full, uncompromising sets of their own material, before joining forces in a shared finale. It’s a format that feels generous and ambitious, offering the audience two complete artistic worlds in a single night. This structure speaks volumes about the ethos behind the tour: collaboration over competition, celebration over hierarchy. There is no headliner here—only mutual respect between two artists from different generations who have each carved their own path through Spain’s rock landscape. Opening the night was Aurora Beltrán, a figure whose influence on Spanish rock is impossible to overstate. Best known as the voice of Tahúres Zurdos, Beltrán brings decades of experience—and an enviable catalogue—to the stage. Her set unfolded as both a retrospective and a reaffirmation. Classic songs were delivered with the authority of someone who has lived them, while selections from her solo career added depth and introspection. There’s no need for theatrics here—Beltrán commands attention through sheer authenticity. Her voice, still rich with character, carries the weight of history without ever feeling burdened by it. Opening the evening, she set a tone of emotional honesty and quiet strength, drawing the audience in early and holding them there. In a venue as intimate as Loco Club, every lyric felt magnified, every note deliberate. It was a masterclass in presence—subtle, grounded, and deeply affecting. Taking the stage second, Nat Simons built on that foundation and pushed the night into a more expansive, electrified space. A figure who has steadily carved out a reputation as one of the most compelling voices in contemporary Spanish rock, Simons blends Americana, indie, and classic rock influences into something distinctly her own. Live, that translates into a set that balances vulnerability with defiance. Songs like “Lights” and “Felinas” landed with emotional precision, while newer material hinted at an artist still evolving, still hungry. Backed by a tight, road-tested band, her performance carried a sense of forward motion—an artist not just honouring tradition, but actively reshaping it. Where Beltrán drew the audience inward, Simons expanded the room outward, lifting the energy without losing any of the emotional weight established earlier in the night. It was a perfectly judged progression. Much of the night’s success can be attributed to the setting. Loco Club has long been one of the city’s most respected live music venues, known for its exceptional sound and close artist-audience connection. This was exactly the kind of show the venue was built for. There’s nowhere to hide in a room like this—no distance between performer and audience, no dilution of energy. Every guitar note cut cleanly through the air, every vocal nuance landed with clarity. The crowd, attentive and engaged from start to finish, became an active participant rather than a passive observer. While both individual sets were strong enough to stand alone, it was the collaborative moments that elevated the evening into something truly special. When Aurora Beltrán and Nat Simons shared the stage, the generational divide dissolved, replaced by a shared language of rock and roll. These moments felt spontaneous, celebratory, and deeply human—less like a rehearsed encore and more like a genuine meeting of musical minds. It’s here that the spirit of Chicas Fuertes became fully realised: not just strength as an individual trait, but as something amplified through unity. What made this Valencia stop so compelling was its sense of purpose. This wasn’t nostalgia, nor simply a showcase of contemporary talent. It was a dialogue between past and present—a recognition of the groundwork laid by artists like Beltrán and the new paths being forged by voices like Simons. In a musical landscape often driven by trends and fleeting moments, Chicas Fuertes Tour felt grounded, intentional, and refreshingly sincere. It celebrated not just women in rock, but the enduring power of authenticity, collaboration, and artistic conviction. By the time the final notes rang out inside Loco Club, there was a palpable sense that something meaningful had taken place. Not just a great gig—but a reminder of why live music matters in the first place. For more information: Nat Simons

Seven days out, the noise is already starting. Posters slapped on bar walls, group chats lighting up, WhatsApps flying at 2am—plans made, broken, remade. Because Llos Festival isn’t just another date in the calendar. It’s the kind of one-day, no-sleep, full-send experience that turns a quiet Valencian town into a distorted, sweat-soaked, bass-heavy hallucination. On March 28, Aielo de Malferit flips the switch again. Industrial estate by day, sonic battleground by night. Rock, rap-metal, punk, and whatever the hell else they can throw at you—this thing doesn’t ease you in, it grabs you by the collar and drags you straight to the front row. 16:30. Gates open. First beer. First mistake. By 17:00, Gargall are up—early slot, no mercy. Expect raw energy, zero crowd politeness, and that feeling of “oh yeah, this is happening.” Then at 18:25, Kamikazes come in hot. Fast, loud, chaotic—perfect for when the sun’s still up and people are just starting to lose control. 19:50 brings Cactus , and this is where things start to lock in. The groove deepens, the pit widens, and suddenly you realise you’re not leaving early. 21:20—things get serious. Sons of Aguirre & Scila step up, dragging rap, metal and pure confrontation into the mix. Sharp, political, and heavy as hell, they’re one of the festival’s defining punches. 23:00— Malifeta . Local fire, big energy. By now the crowd’s fully gone—arms in the air, voices shot, feet wrecked. 00:40—and here comes Narco . No prisoners. Industrial rap-metal legends doing what they do best: turning a crowd into a riot without actually starting one. 03:20— Reina Mora take over, shifting the mood into something darker, looser, more hypnotic. The kind of set where time stops making sense. 04:15— Santy Mataix closes it out. Or tries to. Because by this point, nobody really wants it to end. The hardcore remain—the beautiful, broken survivors of a full-throttle festival night. This is the fifth edition of Llos, and it’s no longer a hidden gem—it’s a spring ritual for the Valencian underground. A collision of scenes, sounds and people who show up for the music but stay for the chaos. You don’t go to Llos Festival to watch politely from the back.You go to lose your voice, your sense of time, maybe your friends for a few hours—and find them again at sunrise. Seven days to go. Hydrate now. Sleep while you can. For last minute tickets: Llos Festival

The first thing you notice isn’t the stage, or the lights, or even the roar—it’s the sheer scale of it. Over 13,000 voices crammed into the cavernous Roig Arena, all waiting for one man to step into the spotlight. And when Dani Fernández finally does, he doesn’t ease into the night — he launches into it! This is La Insurrección Tour , and Valencia just got hit full force. Opening with the anthemic punch of “Todo Cambia” and sliding straight into “Clima Tropical,” Fernández wastes no time setting the tone. It’s urgent, electric, and just a little bit chaotic—in the best possible way. When he bellows, “Valencia, ¿hemos venido a pasarlo bien o no?” , the response is seismic. Thirteen thousand people shouting back in unison. No hesitation. No restraint. This isn’t just a gig—it’s a collective release. Early in the set, the mood pivots. Fernández delivers a deeply felt tribute, first revisiting “Supersubmarina” by Supersubmarina, before shifting into a fragile, emotional take on “Si te vas,” honouring Robe Iniesta. It’s a moment that cuts through the noise—a reminder that beneath the stadium-sized hooks lies real emotional weight. But make no mistake, this night belongs to the crowd as much as the artist. Tracks like “Si tus piernas,” “Dile a los demás,” and “Oaxaca” (lifted from his latest record La Jauría ) are sung back word-for-word, the audience transforming into a surging, unified choir. Every lyric lands. Every chorus explodes. Then come the curveballs. “Disparos” sets the stage for the first surprise of the night as Gabi Montes storms onstage, injecting raw swagger into a raucous duet of “Cariño, suéltate el pelo.” It’s loose, loud, and gloriously unpolished—a shot of adrenaline right when the set threatens to peak too early. And just when you think you’ve got the rhythm figured out, Fernández flips the entire script. Midway through “La trama principal,” he disappears into the crowd, dissolving the barrier between performer and audience. Suddenly, he’s not up there—he’s in it , surrounded, human, reachable. It’s one of those moments that turns a concert into something mythic. Then comes the night’s most unexpected shift: an acoustic interlude from a platform in the middle of the arena floor. Stripped-back, intimate, almost conspiratorial. A delicate cover of Maná’s “Si no te hubieras ido” hushes the arena, before “Y si lo hacemos” keeps things suspended in that rare, quiet magic. For a few minutes, 13,000 people hold their breath. Of course, it doesn’t last. Back on the main stage, Fernández raises the stakes again, bringing out Carlos Ares for a stirring version of “Peregrino.” It’s a meeting of voices that feels both spontaneous and perfectly timed—a reminder of the collaborative spirit threading through modern Spanish pop-rock. By the time “Bailemos” and “Me has invitado a bailar” close the night, the arena is spent—sweaty, hoarse, euphoric. It’s the kind of ending that doesn’t so much conclude as combust. And here’s the kicker: he’s doing it all again. Fernández returns to the Roig Arena on April 18, and—no surprise—it’s already sold out. After that, he plans to step back, take stock, reconnect. But if this show proved anything, it’s that right now, Dani Fernández isn’t just riding a wave—he is the wave! For tickets and more information: Roig Arena

Valencia’s live scene thrives in the cracks between genres, in sweat-soaked rooms where jazz collides with funk, where nostalgia meets reinvention, and where musicians and audiences blur into one living, breathing organism. At the centre of that ecosystem sits Black Note Club — a venue that has quietly but persistently become one of the city’s most vital musical arteries. Tucked away on Calle Polo y Peyrolón, Black Note Club isn’t chasing trends—it’s shaping them. Since opening its doors in 1993, the club has hosted thousands of concerts, building a reputation as a haven for both emerging talent and seasoned performers across rock, soul, funk, jazz and beyond. Step inside and you’ll find a space that feels purpose-built for connection: intimate, acoustically tuned, and technologically upgraded to deliver high-quality live sound and visuals without losing its underground soul. But what really defines Black Note is its rhythm—multiple shows every week, often multiple shows per day, creating a rolling programme that feels less like a schedule and more like a heartbeat. At the core of the club’s identity are its legendary jam sessions—events that don’t just showcase talent but actively create it. Every Thursday, the venue transforms into a time machine for the Hot Jazz Jam Session , a long-running gathering dedicated to traditional jazz and swing. Anchored by a resident band and coordinated by local musicians, it invites players of all levels to step up and join the conversation. This isn’t background music—it’s participatory culture. Trumpets, saxophones, guitars and voices weave together in spontaneous arrangements, echoing the spirit of early New Orleans while keeping things resolutely Valencia. The atmosphere is loose, inclusive, and electric—equal parts gig and community ritual. Then there’s The Groove Jam , typically held on the first Thursday of the month, where the focus shifts from swing to deep-pocket funk, soul and fusion. Expect elastic basslines, exploratory solos and a dancefloor that doesn’t ask permission. Together, these sessions form the backbone of Black Note’s identity: a place where music isn’t just performed—it’s lived in real time. Beyond the jams, the club’s upcoming programme reads like a love letter to musical diversity. One standout is a live show from The Hot Notes , the house band behind the jazz sessions, delivering a more structured but no less energetic dive into swing, rhythm & blues and classic jazz repertoire. Meanwhile, nights like SIMPLY 80’s lean hard into Valencia’s clubbing heritage, reviving the spirit of the Ruta Destroy era with a setlist packed with acts like U2, The Cure and Echo & The Bunnymen. It’s part gig, part time capsule, and entirely designed for collective nostalgia. Elsewhere, La Banda del Pop brings a polished, high-energy tribute to mainstream pop-rock, tapping into a vein of shared memory with a show built around “the best music of your life.” And for those craving something more contemporary, electronic tribute nights channel the spirit of acts like Daft Punk and The Prodigy into immersive, live-driven club experiences—blurring the line between DJ culture and band performance. Add to that genre-hopping acts like Els Forats—mixing cumbia, calypso and funk—and you begin to see the full spectrum: Black Note doesn’t curate a scene, it hosts multiple scenes simultaneously. One of the most striking aspects of the club is its openness. This isn’t a velvet-rope venue—it’s a platform. Whether you’re a seasoned player, a rising local act, or someone stepping onto a stage for the first time, Black Note offers a rare kind of accessibility. As one local sentiment puts it, the club is simply “the best option” for live music in Valencia—an opinion echoed across the city’s grassroots music community. That accessibility extends to audiences too. Early evening shows allow younger fans to experience live music, while late-night sessions dive into deeper, more immersive territory. Ultimately, what sets Black Note Club apart isn’t just its programming—it’s its philosophy. The club operates as a cultural ecosystem, supporting musicians, fostering collaboration and maintaining a relentless commitment to live performance. With concerts running Wednesday through Saturday and jams anchoring the week, it offers something increasingly rare: consistency. You don’t just go to Black Note for a specific show—you go because you trust that something worth hearing will be happening. In a city packed with venues, Black Note Club stands out by refusing to stand still. Its forthcoming events reflect a venue in constant motion—swinging between genres, generations and moods, but always anchored in the raw, irreplaceable energy of live music. If Valencia has a musical soul, chances are it’s passing through this room at some point this week. For more information: Black Note Club

There’s something deeply satisfying about a band that knows exactly who they are—and Black Hats sound like they’ve locked into their groove and thrown away the key on “Witness To Everything.” Built on a bassline that slinks rather than struts, the track wastes no time pulling you into its tight, restless orbit. There’s a distinctly British tension running through it—reggae-inflected low-end colliding with jittery, almost paranoid drum patterns—before those guitars kick in like a barbed-wire jolt to the system. It’s sharp, it’s urgent, and it absolutely refuses to sit still. If you hear echoes of The Jam in the DNA, you’re not wrong—but this isn’t retro cosplay. “Witness To Everything” feels wired for 2026: twitchy, politically aware, and emotionally charged. There’s a push and pull at its core—hope sparring with disillusionment—that gives the song real bite beneath the hooks. Vocally, it walks that perfect line between cool detachment and barely-contained frustration, delivering lyrics that feel both observational and personal—like someone documenting the chaos in real time and realising they can’t stay passive forever. It’s that “something’s got to give” energy, bottled and shaken. Production-wise, the band’s collaboration with Sam Williams continues to pay off. Everything hits with clarity and intent: no wasted space, no over-polishing—just lean, kinetic momentum that lets the groove and the grit do the talking. What really lands, though, is how complete the track feels. It’s got movement, tension, release—and crucially, replay value. The kind of song that sneaks back into your head hours later, uninvited but very welcome. As part of their upcoming four-track release, “Witness To Everything” doesn’t just hold its own—it sets a high bar. If this is the direction Black Hats are heading in, they’re not just knocking on the door anymore—they’re already halfway through it. Turn it up. Pay attention. Sit back and enjoy. You can listen here: Black Hats

Brace yourself, Benidorm. The hairspray is flammable, the riffs are loaded, and your liver has just filed a formal complaint. On May 23, 2026 , the glorious concrete cathedral that is the Auditorio Julio Iglesias becomes ground zero for a full-throttle, no-nonsense, zero-apologies celebration of Spanish rock royalty as the Iberia Festival fires up its next chapter—and honestly, subtlety has left the building. This isn’t your “sip a craft beer and nod thoughtfully” kind of festival. This is a “lose your voice by 7pm and make new best friends in the smoking area” situation. Front and centre is the eternal punk hurricane Evaristo , a man who doesn’t so much perform as detonate. Expect righteous chaos, shouted anthems, and at least one moment where you question your life choices—in a good way. Then comes the gravel-throated legend himself, El Drogas , carrying decades of rock history like a battered leather jacket that somehow still looks cooler than anything you own. His addition to the 2026 lineup has already sent fans into a mild frenzy —and frankly, it’s justified. Need more? Of course you do. Reincidentes are rolling in with their politically-charged, fist-in-the-air anthems, ready to turn the crowd into one giant, sweaty choir. Meanwhile, Def Con Dos (yes, those chaos merchants) promise a set that will feel like a riot disguised as a party. And just when you think you might need a breather—nope. Sekía step up, bringing fresh fire and proving this isn’t just a nostalgia trip—it’s a living, breathing beast of a lineup. Set in the heart of Benidorm—that glorious mash-up of skyscrapers, sunburn, and questionable decisions—the Iberia Festival has built a reputation over more than a decade as a temple of Spanish pop-rock and punk energy . This 2026 edition? It feels like a statement. After setbacks in previous editions (including weather chaos that knocked plans sideways, the festival is back with something to prove—and it’s doing it the only way it knows how: louder, bigger, and with absolutely no chill. If your idea of a perfect Saturday involves volume, attitude, and a lineup that reads like a greatest hits of Spanish rock rebellion, then the Iberia Festival isn’t just an option—it’s a moral obligation. Just don’t plan anything important for the next day. For tickets and more information: Iberia Festival

Suncream? Check. Sunglasses? Check. Emotional readiness for two days of shouting lyrics with strangers while holding a lukewarm beer? Questionable—but that’s exactly the point. Welcome to Del Poble Fest, the Valencian love letter to live music, long afternoons, and the beautiful chaos of summer done properly. On June 19–20, 2026, the laid-back coastal calm of Tavernes de la Valldigna gets hijacked—in the best possible way—by a festival that’s basically what would happen if your local fiestas suddenly booked half of Spanish radio and turned the volume up to “regret.” This is only the second edition, but don’t let that fool you—the first one pulled in over 17,000 people, so the secret’s already out. Now it’s back, bigger, louder, and with a tan line. We’re talking a crowd-pleasing, arms-in-the-air, sing-every-word kind of lineup. Confirmed names include: Loquillo bringing pure rock ‘n’ roll swagger, Taburete serving up indie-pop anthems, Álvaro de Luna for emotional singalongs at sunset, Beret ready to break hearts and fix them again and just when you thought it couldn’t get more stacked, additions like Malú and Fangoria crank things up another notch. Set across a sprawling 25,000 m² site with two stages, VIP zones, and a dangerously tempting food setup, this isn’t just about music—it’s about the full sensory overload. There’s even a next-level street food concept thrown into the mix, because nothing says “festival” like debating life choices over gourmet burgers at 2am. While other festivals are busy building influencer zones and charging €12 for water, Del Poble Fest is leaning hard into something rarer: actual atmosphere. It’s designed to bring back that pueblo spirit—music, community, chaos, and the kind of night where you end up singing with someone you met 30 seconds ago like you’ve known them since 2003. Del Poble Fest isn’t trying to be the coolest festival in Spain. It’s t rying to be the most fun—and honestly, that’s a much better goal. For tickets and more information: Del Poble Festival

There’s a certain kind of band that feels like a clenched fist punching straight through the speakers — raw, urgent and impossible to ignore. Waterboarding School are very much that kind of band, and their new EP Steer Clear lands like a blast of compressed fury that refuses to let up from the first second to the last. Clocking in at just four tracks and around eleven minutes, Steer Clear wastes absolutely no time getting its message across. What the EP lacks in length it more than makes up for in attitude, energy and punch, delivering a tight, no-nonsense slab of punk-fuelled noise that feels built for sweaty basement gigs and blown-out speakers. The EP opens with “Functionality”, a track that immediately establishes the band’s sonic identity. Guitars slash through the mix with a gritty, distorted bite while the rhythm section barrels forward like a runaway train. The song feels restless and urgent, setting the tone for what follows: music that moves fast, hits hard and never hangs around long enough to get comfortable. Next comes “Living A Lie,” the shortest track on the record, but also one of its most explosive. At just over two minutes, it’s a burst of pure adrenaline — the kind of song that sounds like it was written to be shouted back by a packed room of fans pressed up against the stage. The third track, “Nonsense,” stretches things slightly but keeps the momentum firmly pinned to the floor. There’s a chaotic charm to the song’s structure: riffs collide, rhythms shift and the vocals ride the storm with snarling intensity. It’s messy in the best possible way — the sound of a band pushing their energy to the edge without ever losing control. The EP closes with “Complaints,” arguably the record’s most cathartic moment. The song pulls together everything that makes Waterboarding School compelling: jagged guitars, relentless percussion and vocals that sound like they’re being spat directly from the pit of someone’s chest. Across these four tracks, the band demonstrates a knack for packing maximum impact into minimal running time. There’s no filler here, no wasted moments — just fast, tight songs that feel deliberately built to be played loud and often. What makes Steer Clear stand out isn’t just the speed or the aggression — it’s the sense that Waterboarding School understand the spirit of underground punk. The EP has that DIY immediacy, the feeling that these songs were born in rehearsal rooms, late-night writing sessions and chaotic live shows rather than polished studio boardrooms. Yet at the same time the production has enough clarity to let every instrument punch through the mix. The guitars crunch, the bass rumbles underneath the chaos and the drums snap with a sharp, driving urgency that keeps the whole thing hurtling forward. Perhaps the most telling thing about Steer Clear is that the moment it ends, you immediately want to start it again. The EP’s four-track, rapid-fire format makes it feel almost like a concentrated shot of punk adrenaline — short enough to spin repeatedly, but powerful enough to leave a lasting impression. In an age of bloated albums and endless streaming playlists, there’s something refreshing about a band that keeps things lean, loud and unapologetically direct. With Steer Clear , Waterboarding School deliver exactly what the title promises: a blistering warning shot from a band that clearly isn’t interested in playing it safe. It’s fast, furious, and absolutely packed with attitude — the kind of EP that reminds you why underground guitar music still matters. Turn it up, let it rip, and don’t be surprised if you end up playing it three times in a row. For more information: Waterboarding School

In the last few years, a new wave of bands has been quietly reshaping the live music scene in Valencia — young, ambitious groups blending classic influences with modern energy. Among them, City Of Fury have quickly built a reputation as one of the city’s most exciting rising acts, a band whose sound and stage presence feel as comfortable in gritty clubs as they do on big festival stages. Formed in Valencia in late 2021, City Of Fury emerged from a shared love of British-influenced indie and alternative rock. The band is made up of Jordi Barell on lead vocals, rhythm guitar and synthesizers, Leandro Purry on lead guitar, Mark Elizondo on bass and backing vocals, and Adrián Blanco on drums. Together they have crafted a sound that blends driving guitar lines with analogue synth textures, giving their music a distinctly modern edge while nodding to the melodic swagger of classic UK indie rock. Although still a relatively young band, City Of Fury wasted little time getting serious about their music. Early recordings were tracked at LEMOB Studios in Kensal Green, London, a studio associated with producer Brendan Lynch, known for his work with acts like Primal Scream. The sessions produced a series of singles that established the band’s sonic identity — shimmering guitars, tight rhythms and a cinematic indie-rock atmosphere. City Of Fury’s reputation has grown rapidly thanks to a strong presence on the live circuit. In their early years the band became a familiar name across Valencia’s venues, playing shows at respected spaces such as Loco Club, where they shared bills with other rising acts on the Spanish indie scene. They have also appeared at events in venues like 16 Toneladas, performing alongside international acts and demonstrating their ability to hold their own on larger stages. One particularly notable appearance saw the band perform as an opening act at the legendary Mestalla Stadium, where they played ahead of Valencian artist Farga in front of a large audience — an impressive step for a group still early in their career. But perhaps their most high-profile support slot came when City Of Fury opened for Miles Kane at Sala Moon, placing them on the same bill as one of the UK’s most recognisable modern rock voices. Sharing the stage with Kane — a figure closely associated with the British indie revival through bands like The Rascals and The Last Shadow Puppets — felt like a natural fit for a band whose sound draws heavily from that same lineage. The band’s connection with Valencia’s culture was on full display on Friday 6 March, when City Of Fury delivered one of their most memorable performances yet on the terrace of the Hard Rock Cafe Valencia. High above the city streets, with crowds gathering below and the energy of the approaching Fallas celebrations already building, the band unveiled their new track “Let’s Burn.” The song is written as a tribute to Valencia’s most famous festival — a celebration of fire, art and community that defines the city every March. As the clock struck midnight, the band launched into the track while fireworks exploded across the Valencian sky, creating a surreal moment where music, tradition and spectacle collided. The terrace was packed, the crowd stretching across the square below, and the band delivered the anthem exactly as it was intended — loud, proud and full of local pride. “Let’s Burn” captures the spirit of Fallas: the build-up, the release, the flames and the collective celebration. Performed live with fireworks blazing behind them, it felt less like a gig and more like the soundtrack to the city itself. With their growing list of live appearances, polished recordings and a sound that bridges British indie attitude with Mediterranean energy, City Of Fury are quickly becoming one of the most talked-about new bands on the Valencian scene. From club stages to stadium events, from opening for international stars to debuting new music under the fireworks of Fallas, City Of Fury are building momentum fast. If the roar of the crowd on that Hard Rock Cafe terrace was any indication, the band’s journey is only just beginning — and Valencia may well have its next breakout rock act in the making. I managed to catch up with band members Jordi, Leandro and Mark after their gig at Hard Rock Cafe: Great to meet you guys in Person! You have quite a unique approach to music. I recently photographed you at a concert where you were supporting Miles Kane and I really enjoyed your sound, stage presence and energy and it was obvious the crowd did as well. Yeah, it was fun, it was just a really fun night! It was the typical support act – you get 5 minutes to sound check and then Bam! You are on stage performing. We had literally just got back from a great gig on London at The Dublin Castle, so we were just happy to be there and share our energy with the crowd! It was a crazy week - London then supporting Mile Kane! It was amazing to step on the stage at The Dublin Castle knowing how many great artists had played there before us!   Dublin Castle is a fantastic venue indeed! So, you played London, flew back to Valencia to support Miles Kane at Sala Moon and now we are here – I will let you guys explain where we are now and what has just happened! We are in the Hard Rock Café, and we have just had the privilege of performing our new song - which we wrote especially for Las Fallas - on the terrace overlooking the Plaza as the fireworks went off behind us!  So, a massive thank you to Vitto and The Hard Rock Café! We are all from overseas, none of us are Valencian and when we all arrived in Valencia, we were impacted by Las Fallas – so we had to write a song dedicated to it.  We are from Argentina and Australia - so being here in Valencia and witnessing Las Fallas has just been incredible. Why are you called “City Of Fury”? There is a band in Buenos Aires Called “Soda Stereo”, and they had a track called “En La Ciudad De La Furia” (In The City Of Fury) and that is the reason why we decided to name the band “City Of Fury”   Jordi and Leandro – you are both from Argentina and Mark you are from Australia. I guess Jordi and Leandro you may have crossed paths before forming the band, but Mark – how does Australia fit into the mix? Well, I was playing guitar at a gig and Jordi and Leandro where in the crowd. After the gig, I was like “I live down the road near the beach, everyone back to my house!”  - it was a summers day, we had beers a BBQ and we all started talking - from there the band was formed! With beer and meat, you can resolve anything!!!   How long have you all been here in Valenica? I’ve been here 15 years, and Jordi and Leandro have been here 7 years and 9 years. So, all of us quite a while and the band has been together 3 or 4 years  now.  We spend a lot of time creating music and thinking about music and we are a bit pedantic – well more pedantic than other people, so we have recorded songs, re-recorded songs, changed studios, changed producers – all in the search for our little niche and now we think we have definitively found it with our new studio and with Luis Martinez we are creating music we are really happy with.   So, what is next for City Of Fury? We want to release new music. We have an album on the way; we have 8 songs ready to be released. So, budget permitting hopefully in the next month or two we will start releasing more songs and keep on riding the wave. A new website is on the way, new merchandise and the album with be vinyl and digital. Our next gig is on May 23 rd and Rockstar in Benidorm and lots more coming after that. We have been to Benidorm before, and we are ready for the carnage!!!!    If you could support any band – dead or alive – who would it be? Oh man – that’s a hard one. We all have our personal dream gig – Oasis, Pink Floyd, The Clash – lets go with The Clash!   Pizza – Pineapple yes or no? (after a lot of arguing the following statement was released!) If it is American pizza, then yes. But if it is proper Pizza, hell no!!!   If you guys could go back to when you were starting out, what advice would you give you yourselves? It’s all good and just keep on going! And open your minds to all types of music. Find what you love and let it kill you!   Finally, a message for the fans out there – because until two weeks ago I had never heard of “City Of Fury” and now I am a massive fan! We love you and thank you – there is a lot more music coming and we are excited to share it with you.  Oh and buy merchandise! You can check out their music on Spotify here: City Of Fury Words and photos: Rhyan Paul