Love to Rock is officially back. After a rain-hit edition that forced last-minute cancellations, Valencia’s essential music-and-gastronomy festival returns with renewed energy — and its first confirmations for 2026 already set the tone. Taking over La Marina de València on 2 and 3 October 2026 , Love to Rock will celebrate its seventh edition , once again blending cutting-edge live music with a high-end culinary experience that has become a hallmark of the festival. The first artists announced? Ginebras, Depedro, Niños Bravos and León Benavente — four names that perfectly reflect Love to Rock’s balance of pop immediacy, lyrical depth and live power. More bands and DJs will be revealed in the coming months, filling the festival’s three stages: Dársena, Pérgola and Gastro . Freshly added to the bill, Ginebras arrive as one of Spain’s most vibrant pop bands. The Madrid quartet have built a distinctive indie-pop universe fueled by autobiographical lyrics, humour and pure charisma. Closing out 2025 with the release of “Mi diario” , the first single from their upcoming third album (due in 2026), Ginebras reveal a tougher, more rock-driven edge — sharper guitars, heavier bass, pounding drums and lyrics loaded with restless energy. Depedro continues to tour Un lugar perfecto (2023), an album rooted in memory, emotional geography and the beauty of simplicity. Blending Latin-rooted sounds with his unmistakable personal touch, Jairo Zavala delivers songs that whisper rather than shout — music that finds meaning in restraint. His Love to Rock performance promises to be one of the festival’s most intimate and resonant moments. Formed in 2012 by some of Spain’s most respected musicians, León Benavente quickly became festival staples after their debut album. Now touring their fifth record, Nueva sinfonía sobre el caos (2024), the band brings sharp, concise songs that are classic in structure yet bold in execution — danceable, hedonistic, reflective and built to hit hard live. Niños Bravos are the new supergroup on the block, featuring members of St. Woods, Jack Bisonte, Alavedra and Tiburona. Formed in late 2023, they deliver garage-flavoured pop packed with sarcasm, everyday mishaps and private jokes turned into crowd-chanting anthems. With infectious choruses and undeniable stage chemistry, their live shows are already earning a reputation for pure good vibes and party-ready energy. Alongside the lineup reveal, Love to Rock has confirmed two special launch parties to kick-start the road to October. 31 January at La Pérgola , featuring Derby Motoreta’s Burrito Kachimba and Llobarros 9 May at 16 Toneladas , starring Los Romeos Two events that perfectly capture the festival’s spirit — music, celebration and community. Tickets for the launch parties and main festival are already available via lovetorockfestival.es

WARM UP Estrella de Levante 2026 keeps turning the heat up. The Murcia festival has unveiled a major new wave of confirmations that pushes its lineup into must-attend territory, adding Soulwax, Rusowsky, Ladilla Rusa, La La Love You, Amore, Biznaga, Deadletter, Karavana, La Paloma, VVV (Trippin’you), 1111, Bclip, Flaca and Neoverbeneo . These 14 names join an already stacked bill featuring Fatboy Slim, Guitarricadelafuente, Carlos Ares, León Benavente, Viva Belgrado and more, shaping a bold, eclectic lineup that reflects the pulse of contemporary music — from cutting-edge electronics to urgent guitars, pop catharsis and club-ready chaos. Leading the announcement are Soulwax , one of the most influential electronic acts of the last two decades. The Belgian duo of brothers Stephen and David Dewaele remain, in 2025, a benchmark for innovation and sheer live power. Blurring the lines between techno, acid, synth-punk and rock, Soulwax’s meticulously crafted live shows are full-body experiences — hypnotic, explosive and festival-level by design. Representing the sharp edge of Spain’s new pop wave is Rusowsky , a defining voice of emotionally charged, experimental pop. Producer, songwriter and all-round auteur, his sound fuses mutant pop, lo-fi electronics and generational storytelling. With recent releases and collaborations cementing his status, Rusowsky arrives as one of the most vital figures in Spain’s alternative pop landscape. Ladilla Rusa bring irreverence, humour and dancefloor irony, continuing their run as modern-day pop cult heroes with euphoric, tongue-in-cheek anthems built for mass singalongs. La La Love You , meanwhile, arrive at peak form, armed with feel-good pop-punk hits, viral choruses and a live show that thrives on pure connection and melody. Local talent shines through Amore , the project of María Moreno Martínez. Following the release of her debut album Top, Hits, Ballads, etc… , Amore delivers adventurous, genre-fluid pop rooted in emotional honesty and creative freedom — a homegrown highlight with national reach. Few bands capture contemporary urgency like Biznaga , whose sharp-edged rock fuses melody, political bite and unfiltered attitude.From the UK, Deadletter land in Murcia as one of Europe’s most exciting new post-punk acts, bringing intensity, provocation and the momentum of their upcoming album Existence Is Bliss . Karavana continue their rise as generational storytellers, pairing guitar-driven anthems with immediacy and emotional punch. La Paloma add tension and elegance, delivering dark, cathartic songs shaped by post-punk, noise and emotional restraint. Few projects blur guitars and rave culture like VVV (Trippin’you) . The Móstoles trio channel post-punk, trance, mákina and garage into a confrontational, physical live experience that has become essential for a new generation.Madrid collective 1111 push electronic experimentation forward with a collaborative, shape-shifting approach, while Bclip, Flaca and Neoverbeneo round out the announcement with forward-thinking pop, underground electronics and radical performance energy. With this new wave of artists, WARM UP Estrella de Levante 2026 strengthens its commitment to diversity, risk and artistic quality — bridging international heavyweights and local voices, established names and emerging talent, emotional depth and full-throttle dancefloor release. Murcia once again stakes its claim as one of Spain’s most vital cultural meeting points. Limited-capacity passes now on sale Two-day passes for 1–2 May are available from €65.99 (while allocation lasts) at warmupfestival.es .

Valencia didn’t hesitate. Fito & Fitipaldis’ concert at Roig Arena on 24 January is officially sold out, and the speed of it says everything you need to know. No gimmicks, no nostalgia bait—just one of Spain’s most loved rock bands returning to the road and a city answering in unison: we’re in. This isn’t just another full house. It’s a statement. A reminder that when Fito Cabrales and company announce a return, people listen—and then they buy tickets fast. Fito & Fitipaldis don’t trade in trends. They trade in truth. For more than two decades, their songs have lived in bars, cars, bedrooms and back pockets across Spain. Tracks like Soldadito marinero, La casa por el tejado and Por la boca vive el pez aren’t just hits—they’re emotional reference points. Led by the unmistakable presence of Fito Cabrales, the band has always walked a fine line between rock grit, blues swagger and lyrical vulnerability. That balance—equal parts street-wise and soul-deep—is exactly why their return with the Aullidos Tour has landed with such force. The Aullidos Tour marks Fito & Fitipaldis’ long-awaited return to live performance after more than two years away from the stage. Absence, in this case, hasn’t cooled demand—it’s supercharged it. The sold-out status of the Valencia date confirms what fans already knew: this tour isn’t a victory lap, it’s a re-ignition. Adding fuel to the fire is the promise of new material from their upcoming album, El monte de los aullidos. Fresh songs will sit alongside the classics, not as interruptions but as proof that this band still has something urgent to say—and still knows how to say it loud. That this sell-out happens at Roig Arena feels symbolic. Valencia’s newest major venue has quickly positioned itself as a heavyweight on the national touring circuit, and hosting a sold-out Fito & Fitipaldis show cements that status. With its modern design and arena-scale ambition, Roig Arena offers the kind of setting this band now demands: big enough for mass singalongs, intimate enough for emotional punch. On 24 January, every chord, every lyric, every shared shout back to the stage will be amplified by the fact that everyone in the room fought to be there. If you’ve got a ticket, you’re holding gold. If you don’t, you’ll be hearing about it the next day—through hoarse voices, blurry videos and the collective buzz that only a truly special concert leaves behind. 24 January. Roig Arena. Sold out.Fito & Fitipaldis are back, and Valencia has already answered the call.

Saturday night. January 3rd. Valencia.The amps are warm, the beer is cold, and cancer is about to get yelled at. Welcome to Punk Rock Contra el Cáncer, a benefit gig that doesn’t whisper hope or light candles — it cranks the volume until the walls sweat. This isn’t charity-core with acoustic guitars and sad faces. This is three bands, a DJ, a Loco Club full of bodies, and every last euro hurled directly at the Spanish Association Against Cancer. No suits. No speeches. Just riffs. If you know Valencia, you know Loco Club isn’t a venue — it’s a pressure cooker. A room that smells like spilled beer, bad decisions and excellent memories. Doors at 7pm, and from that moment on, the place becomes a community bunker where punk does what punk has always done best: stand up, shout back, and refuse to shut up. Eat in the venue. Lose your voice. Leave better than you arrived. THE HAWAIIANS Pop-punk versions. Flamenco attitude. Mallorca roots.These maniacs take songs you thought you knew and kick them into the pit wearing Hawaiian shirts and zero respect for genre borders. Fun, fast, and dangerously catchy. SPIN-OFF Melodic hardcore from Valencia.This is the sound of clenched fists and open hearts — hooks sharp enough to draw blood, choruses made to be screamed by strangers who suddenly feel like family. KILL THE PRESIDENT Hardcore punk. Valencia. No apology.The name tells you everything. Short songs. Big punches. The kind of set that leaves you drenched, bruised, and grinning like an idiot. Just when you think you’re done, C.F.G. & Punk DJ Set takes over.Because the only thing better than a benefit gig is not going home afterward. Expect classics, chaos, and that moment where someone yells “one more” and nobody disagrees. Oh — and there’s a merch giveaway by Willshop, because punk karma is real. Punk doesn’t cure cancer.But community funds research.Noise raises money.And one packed room screaming into microphones can do more than silence ever could. This is punk rock doing its damn job.See you in the pit. For tickets and more information: Loco Club

If music could paint a sunset, it would look like this: warm tones of son cubano, eye-catching rhythms that lift your feet, and voices steeped in decades of Caribbean soul. This 4 January 2026, Valencia is set to experience exactly that when Estrellas De Buena Vista y Más bring their Live in Havana Tour to the brand-new Roig Arena for an unforgettable night of rhythm, heritage, and pure musical magic. Founded in 2021 with the mission to keep the legacy of the legendary Buena Vista Social Club alive and thriving, Estrellas De Buena Vista y Más is much more than a band — it’s a cultural force. Under the expert direction of Pancho Amat, one of the world’s most celebrated tres players, this vibrant ensemble blends original members of the Buena Vista legacy with fiery new talent, crafting a sound that honors the past while exciting the present. Their Live in Havana Tour is a celebration — part pilgrimage, part party — stretching across Europe and beyond, with audiences everywhere surrendering to the infectious energy of Cuban classics and fresh interpretations. Even if you’ve never set foot in Cuba, this show promises to make you feel like you’ve walked right off the streets of Old Havana: Timeless Classics, Live Again – Expect the rhythms and melodies that put Cuban music on the global stage, performed with passion and precision. Modern Masters Meet Legends – A dynamic mix of seasoned veterans and fiery young musicians breathe life into every note. Cultural Immersion – This isn’t just a concert — it’s a full-blooded fiesta, a sensory trip through the heart and soul of Cuba’s musical heritage. Whether you’re a longtime fan of Latin sounds or simply someone searching for a night where music feels alive, this concert promises to be one of the season’s most spectacular cultural experiences. The backdrop for this musical odyssey is none other than Roig Arena, Valencia’s breathtaking new multi-use venue — a space designed for major artistic showcases and large-scale events. With state-of-the-art acoustics and an atmosphere built for celebration, it’s the perfect palace for Cuban rhythms to come alive. For tickets and more information: Roig Arena

By the time the doors opened at the Roig Arena on the afternoon of December 13th, Valencia already felt like it was leaning into a collective act of remembrance. Locos Por La Música is not a nostalgia trap so much as a living archive — a touring celebration of Spanish pop and rock that refuses to be embalmed. At the Roig Arena, the concept expanded to arena scale: seven hours of uninterrupted music, seven acts, and a crowd spanning generations, from original fans who lived these songs the first time around to younger converts who know them by heart thanks to car stereos, family parties and an inherited emotional memory. The Roig Arena continues to assert itself as one of Valencia’s most important new cultural infrastructures. Purpose-built, modern, and acoustically adaptable, it managed the difficult task of hosting a marathon event without ever feeling unwieldy or impersonal. Sightlines were clear, sound remained consistent across the space, and logistics — no small feat for a multi-artist bill — ran with impressive efficiency. Unlike older venues that buckle under the weight of legacy acts and long runtimes, Roig Arena felt designed for exactly this kind of event: celebratory, high-capacity, and emotionally charged. It didn’t just host Locos Por La Música — it framed it. Opening duties fell to Girasoules, a band whose reputation as tireless live performers precedes them. Formed in the early 2000s, Girasoules have built their career on melodic pop-rock infused with Mediterranean warmth and festival-ready choruses. While they may not carry the same mainstream legacy as later acts on the bill, their role was crucial: setting the tone. Their set was energetic and unpretentious, rooted in upbeat rhythms and sunlit hooks that eased the audience into the day. Rather than attempting to compete with the weight of history that would follow, Girasoules played to their strengths — immediacy, groove, and connection. As an opener, they succeeded in transforming early arrivals into active participants rather than passive spectators. Few bands in Spanish pop history have navigated intimacy and provocation quite like Amistades Peligrosas. Emerging in the early 1990s, the duo became known for their emotionally charged songs, lyrical tension, and a dynamic that blurred the line between romance and confrontation. Hits like “Estoy por ti” and “Me quedaré solo” are still emotionally loaded decades later. At Roig Arena, their performance leaned into that dramatic core. The crowd responded with a mix of reverence and release, singing along not just to melodies but to memories. Amistades Peligrosas reminded everyone that Spanish pop has always had a darker, more emotionally complex undercurrent — and that those songs still land with precision. When La Guardia took the stage, the atmosphere shifted toward classic, radio-era Spanish pop-rock. Formed in Granada in the early 1980s, La Guardia are forever linked to La Movida’s afterglow, with songs like “Mil calles llevan hacia ti”etched into the national consciousness. Their set was tight, confident, and unapologetically melodic. There is something timeless about La Guardia’s songwriting — earnest without being naive, romantic without excess. At Roig Arena, their performance felt like a communal exhale, a reminder of an era when pop-rock ruled the airwaves and sincerity was a strength rather than a liability. Los Rebeldes brought swagger to the afternoon. Founded by Carlos Segarra in Barcelona in 1979, the band has long fused rockabilly, classic rock ’n’ roll and streetwise attitude into a distinctly Spanish voice. Their catalogue is built for live performance, and decades on, that hasn’t changed. At Roig Arena, Los Rebeldes injected the lineup with grit and rhythm. Upright bass lines, sharp guitars and a sense of perpetual motion kept the crowd moving. They didn’t just play songs — they embodied a lifestyle, a reminder that Spanish rock has always had grease under its fingernails and hips firmly in motion. As the unmistakable voice of La Unión, Rafa Sánchez carries one of the most iconic legacies in Spanish pop. Since the mid-1980s, his voice has been synonymous with elegance, drama and sonic sophistication, particularly through timeless tracks like “Lobo-hombre en París.” Performing solo but backed by a tight live band, Rafa Sánchez delivered a set steeped in atmosphere. His vocals remain expressive and controlled, and the audience reaction bordered on reverent. This was less a concert moment and more a collective acknowledgment of how deeply embedded his songs are in Spain’s cultural DNA. By the time Revolver appeared, the day had matured into something heavier, more reflective. Led by Carlos Goñi since the late 1980s, Revolver occupies a unique space in Spanish music — part rock band, part songwriter’s confessional. Their music has always been about emotional clarity, introspection and lyrical honesty. At Roig Arena, Revolver’s set felt expansive and cinematic. Songs unfolded patiently, allowing melodies and lyrics to breathe. Goñi’s presence anchored the performance, reminding the audience that Locos Por La Música isn’t only about hits — it’s about songs that accompany lives, heartbreaks and long drives. Closing the night were Seguridad Social, the perfect choice to bring the marathon to a euphoric conclusion. Formed in Valencia in 1982, the band has always blended rock, punk, ska and Latin rhythms with a sense of humour and social commentary. Their live shows are famously chaotic, joyful affairs. At Roig Arena, they turned nostalgia into celebration. From “Chiquilla” to their more ska-driven anthems, the arena erupted into movement. Seguridad Social didn’t just close the festival — they detonated it, leaving the crowd exhilarated, hoarse and smiling. Locos Por La Música at Roig Arena wasn’t simply a festival — it was a curated journey through decades of Spanish pop and rock history, staged with care and respect. The Roig Arena proved itself a vital new home for large-scale cultural events in Valencia, while the artists reminded everyone why these songs have survived changing trends and technologies. Seven bands, seven eras, seven hours — and not a wasted moment. In a time obsessed with novelty, Locos Por La Música made a powerful case for memory, melody and the enduring power of a great song played loud, together, in a room full of people who still care. Words and photos: Rhyan Paul

Silverstein were celebrating 25 years of noise, but on Wednesday night in Austin, the Toronto veterans were sharing the stage with a lineup that framed the genre’s past, present, and future in real time. The final leg of their 25 Years of Noisetour paired them with Thursday, Free Throw, and Australian upstarts Bloom, transforming what could have been a straightforward anniversary victory lap into a multi-generational survey of post-hardcore’s evolving shape. Austin had been notably absent from the tour’s earlier legs, a point vocalist Shane Told acknowledged from the stage while reflecting on the band’s early DIY runs through Texas. He referenced formative shows at the original Emo’s, grounding the night’s spectacle in the kind of rooms where Silverstein first earned their stripes. The band may be long removed from those relentless touring cycles, but the spirit behind them still hovered over the evening. Bloom opened the show after traveling from Australia, bringing the heaviest sound on the bill. Their set was tightly packed and unflinching, delivered with the urgency of a band intent on making their moment count. There was no attempt to ease into the room—Bloom played like a group determined to leave an impression. Free Throw followed, and for a noticeable portion of the crowd, they were the emotional center of the night. The Nashville-based band represented the more intimate, lyric-driven side of the genre, connecting immediately through sincerity rather than volume. Frontman Cory Castro wore a Thursday shirt, a quiet acknowledgment of the lineage on display. With over a decade of steady touring and releases behind them, Free Throw embodied the DIY ethos that continues to sustain emo at the grassroots level. Thursday’s appearance carried its own weight. Leaning heavily on the material that helped define the early-2000s post-hardcore boom, Geoff Rickly used the stage to reaffirm the band’s values before opening with “Signals Over the Air.” The crowd’s response was instant and deeply familiar. Songs like “Understanding in a Car Crash” and “War All the Time” didn’t function as nostalgia so much as reminders of why Thursday remain one of the genre’s most essential voices. In many ways, they served as the connective tissue of the night, linking Silverstein’s origins to the newer bands carrying the torch forward. Silverstein took the stage following a brief video montage tracing their early years, with Told narrating clips of basement shows and Myspace-era snapshots with self-aware humor. The set unfolded in reverse chronology, beginning with newer material and steadily moving backward through the catalog. Opening with “Negative Space” and “Drain the Blood” showcased how refined the band’s modern sound has become, while tracks like “Bad Habits” and “Infinite” demonstrated how naturally the newer songs coexist with longtime favorites. One of the night’s most effective moments arrived unexpectedly: a fleeting nod to My Chemical Romance’s “Helena,” played just long enough to trigger collective recognition before vanishing. It worked less as fan service than as a timestamp—a shared cultural reference point for the era that shaped much of the room. The closing stretch leaned fully into Silverstein’s earliest work. “Already Dead” and “Smile in Your Sleep” landed with renewed force, followed by an encore that opened with an acoustic “My Heroine.” Nothing felt padded or excessive. Each song served a clear purpose, completing the band’s story in reverse. By the end of the night, the bill avoided the bloat that often accompanies anniversary tours. The sounds varied, but the core ethos remained consistent. Silverstein may be marking the end of a chapter, but the evening made clear that post-hardcore’s future is broader, more global, and still very much alive. Words and photos: Victor Gonzalez

Valencia has its monuments, its traditions, its rituals. But only one structure in this city carries the quiet swagger of something that doesn’t need to shout to be iconic: La Pèrgola . A modernist pavilion crouched right where the sea shakes hands with the land, it’s less a building and more a stubborn piece of Valencia’s musical DNA — a place that stays standing even when the waves come in snarling. For decades, La Pèrgola has been the city’s unofficial temple of sound. Generations of Valencians grew up knowing it not as an architectural detail but as a place where music simply happens : warm, noisy, communal, and unmistakably ours. Nearly ten years ago, when someone had the audacity (or madness) to propose an outdoor concert series in winter — on Saturday mornings, no less — it sounded like a borderline psych experiment. But Valencia does eccentric ideas the way other cities do cafés: with enthusiasm, stubbornness, and an almost unreasonable confidence. From that beautiful act of civic risk-taking emerged a cultural model unlike anything in Spain: close to 200 concerts , more than 300 artists , and nearly 250,000 attendees over its lifespan. A sonic collage of indie, punk, folk, surf, psychedelic, classic rock, local heroes, national giants, newcomers, cult legends — all woven into a community space where the breeze carries the bassline and the sunlight dances off guitar strings. La Pèrgola became Valencia’s musical lung, pumping fresh air into the city week after week. Even when the world shut down during the pandemic, when stages everywhere went dark and culture went into survival mode, La Pèrgola stood its ground. Outdoors, spaced out, cautious — but alive. It was the first venue in Spain to bring live music back, a lighthouse in the cultural blackout. La Pèrgola returns once again for 2026, unchanged in spirit, louder in meaning. This year’s edition continues its mission with absolute clarity:a festival made by and for Valencians, a declaration that this is a music city , a place where culture doesn’t trickle down — it erupts from the ground upward. From January to May, the lineup reads like a joyful, chaotic love letter to the national scene: Derby Motoreta’s Burrito Kachimba , Llobarros Repion , Diamante Negro Camellos , Joseluis Aurora & The Betrayers , Helen Helen Sandra Monfort , Esther Al Dual , Los Coronas Pony Bravo , Johnny B. Zero A special R.E.M. 45th anniversary tribute with Oscar Briz & Planet 8 Los Estanques y El Canijo de Jerez Wau y los Arrrghs!!! , Tumba Swing Rupatrupa , Intraperlo Viva Belgrado , Bestia Bebé It’s not just a schedule — it’s the city’s pulse written out in band names. La Pèrgola isn’t trying to be trendy, international, or algorithm-friendly. It’s something rarer: authentically, defiantly local, a cultural ritual that belongs to Valencia because Valencia made it possible. The sea will keep crashing.The city will keep changing.But La Pèrgola?La Pèrgola plays on — and the whole of València Music City moves to its rhythm. More info at concertsdelapergola.es .

Sound the alarms, hide the breakables, and stretch your neck muscles, Valencia — because we’re officially one week away from Strawberry Hardcore detonating 16 Toneladas like a Molotov cocktail packed with riffs, sarcasm, and 20 years of unresolved punk trauma. This isn’t just another gig on the December conveyor belt.This is the return of a mutant beast that’s been sleeping under the city like some radioactive mascot of the Spanish underground. Strawberry Hardcore — the pioneers, the instigators, the melodic hardcore misfits who rewired the national punk scene back in 2001 — are back in the ring and swinging harder than ever. Born from the temporary ashes of Def Con Dos, they were the band that fused breakneck punk speed with street-level storytelling: all grime, all guts, no filters. Their early days gave us the cult banger “Perdido en Silent Hill,” because of course they were the first ones deranged enough to turn a survival-horror fever dream into a punk anthem. They even opened for Bad Religion before some of today’s “punk” fans could tie their own Doc Martens. The lineup is basically a tattooed battering ram: César Strawberry snarling at the mic like the godfather of chaos (Def Con Dos) Samuel Barranco on bass, precision-loaded and nasty (Def Con Dos, XpresidentX) Mara Gilbert as second voice, slicing harmonies like she’s sharpening knives (Def Con Dos) Álex Ménez bending the guitar into weaponry (Kubika) Fernando Arce beating the drums like they owe him money (XpresidentX) They’re rolling into 16 Toneladas on December 18 , ready to rip open their full catalogue, dig their claws into our collective nostalgia, and baptize us with their brand-new single, “Punk Forever in the World,” the first shard from their upcoming third album. And before the main blast?Valencia’s own Pink Socks will be there, delivering their patented bullying punk — the kind of opening set that feels like being shoved into a locker filled with feedback and cheap beer. So if you’ve been sleepwalking through December, wake up, you coward. We’re seven days out from Strawberry Hardcore turning 16 Toneladas into a sweat-soaked shrine to melodic chaos. This is the week to dust off the boots, crack the neck, and prepare your body for choices your chiropractor will question. For tickets and more information: 16 Toneladas

Gandía isn’t ready. Nobody is.Because after nearly a decade of silence, La Gossa Sorda — the legendary Pego war machine of Valencian protest music — is marching back onto the battlefield. And the only festival they’re blessing in 2026? Pirata Beach Fest, that four-day summer hurricane where sunstroke meets revolution and where thousands of sand-covered degenerates yell their politics through half-warm beer. This is no nostalgia cash-grab. This is a return from exile, a band stepping back into the arena because the world has become stupid enough, dirty enough and dangerous enough to require their voice again. Vocalist Josep Nadal said it best:“Above the mud and ashes you can hear the footsteps of an animal that returns.”Well, Gandía is about to hear the roar. La Gossa’s new tour, A Tornallom, promises to do what their music has always done — grab society by the collar, shake hard, and dare it to pretend everything is fine. For the Pirate crowd, this is holy ground: the first and only chance to see them on a Valencian festival stage in 2026. One night. One shot. Zero excuses. It’ll be a historic set, a full-blooded run through decades of hymns — the kind of concert where the entire Polígono Benieto might spontaneously levitate from collective adrenaline. From “Esbarzers” to the deep-cut rabies of La Polseguera, it’s the return everyone’s been whispering about since 2016 — half believing, half afraid to jinx it. Pirata Beach Fest didn’t stop with La Gossa Sorda. Oh no. They went full-berserk on this second lineup advance. Joining the returning giants are: Sanguijuelas del Guadiana Lia Kali Figa Flawas (their ONLY Valencian Community gig) Hoke And that’s on top of the earlier avalanche: La Fúmiga, Evaristo, Molotov, The Tyets, Talco, Non Servium, Mägo de Oz, Boikot, Obús, and an ever-growing parade of misfits, militants, punks, rappers, fusion freaks and Mediterranean noise-sorcerers. Forty bands deep and they’re still not done. More names incoming. Prepare your liver accordingly. From July 8 to 11, Gandía becomes the centre of the universe — or at least the loudest corner of it. Pirata Beach Fest has become one of Spain’s summer heavyweights, equal parts music marathon, beach pilgrimage and temporary autonomous party-state. Held just minutes from the sea, the festival turns the Benieto industrial zone into a lawless music republic, complete with rock, rap, miscegenation, fusion, and whatever else the Valencian scene throws at the sun. Every year it grows. Every year it mutates. Every year it gets closer to hitting critical mass and exploding into a nation-sized mosh pit. Pirata Beach Fest has made one thing clear: Valencia isn’t just part of the Spanish music map — it’s the engine room. Valencian bands are everywhere on this lineup, pulsing through the festival like a second heartbeat.Auxili, Doctor Prats, Malifeta, El Diluvi, Naina, Me Fritos & The Gimme Cheetos — the whole regional artillery on full display. La Gossa Sorda returning after ten long years.Their only festival show in the entire País Valencià.A lineup stacked deep with well-armed musical insurgents.And Gandía turning itself, once again, into the Mediterranean capital of righteous chaos. Pirata Beach Fest 2026 is already a storm — and the wind hasn’t even picked up. Tickets? They’re out there.On the official website.Waiting for you... For more information and tickets: Pirata Beach Fest

Deleste Festival is coming back to Valencia next May, and it’s not tiptoeing in quietly — it’s kicking the gates off the Jardines de Viveros and swaggering straight into the city’s bloodstream. On the 22nd and 23rd of May 2026, the festival once known for its refined, boutique cool is gearing up for what looks suspiciously like a full-blown psychedelic street riot disguised as a cultural event. And the moment the lineup dropped, the air in Valencia shifted — like the collective twitch of a city that knows it’s about to have a very loud, very colourful weekend. At the centre of this year’s hurricane is the return of Primal Scream , celebrating the 25th anniversary of XTRMNTR — one of the most politically radioactive, blood-pumping records to ever detonate inside the indie universe. Their history with Valencia goes way back: they’ve scorched stages here before, but this feels different. This feels like the band coming back to reclaim territory, to shake the Viveros trees until the parrots fall out and the ground vibrates under “Shoot Speed Kill Light.” For long-time Deleste fans, it’s the kind of booking that sends you stumbling back through memories of earlier editions — those late-night deliriums at Espai Rambleta, the years when the festival felt like a secret whispered between friends, the intimate shows where you found yourself five metres from a band you thought you’d only ever see in dreams or documentaries. Deleste has always been the oddball of Valencia’s festival season — the one that curates rather than accumulates, the one that doesn’t need a thousand acts because the ten it picks can melt your face off one by one. This year is no exception. Apparat will bring the kind of electronic melancholy that feels like discovering an abandoned chapel inside your own chest. Kerala Dust will drag the night into a humid, neon-lit trance that smells like diesel, incense and bad decisions. Holy Fuck — still one of the best band names ever committed to posters — promise a set that will probably short-circuit half the power grid. Los Invaders will stir the local chaos, and Billy Nomates will do what she does best: stand alone, defiant, and louder than entire cities. What Deleste does brilliantly — and keeps doing, year after year — is fuse the international with the hyperlocal, the cutting-edge with the “were you even alive when this song came out?” nostalgia. You get music, gastronomy, art, and those drifting festival conversations that feel profound at the time but usually end with someone spilling vermouth on their shoes. And you get it all inside one of Valencia’s most beautiful open-air spaces, where palm leaves, warm nights and feedback blend into something that feels like a communal hallucination. More artists are still to be revealed, but even now the message is clear: Deleste 2026 is shaping up to be one of its strongest editions yet. It’s the festival you go to when you want the whole sensory package — not just concerts, but atmosphere, attitude, and the delicious danger of losing track of time entirely. If Valencia needed a soundtrack to kick summer into motion, Deleste just handed it a double-barrelled one. And with Primal Scream back in town to finish what they started years ago, you can expect the Jardines de Viveros to shake like they’ve got a heartbeat of their own. For more information: Deleste Festival

Madrid, brace yourself. On December 27th, 2025, the feral Navarrese punk commandos known as Lendakaris Muertoswill storm La Riviera one final time before vanishing into that dreaded rock-and-roll purgatorio they’re calling an “indefinite hiatus.” A polite way of saying we’re off to blow up the world elsewhere. This isn’t just another gig. This is the last stand, the final rally of a band that’s spent two decades spitting gasoline on Spain’s political bonfire and then lighting the match with a grin. Lendakaris don’t just play punk — they weaponise it, hurling sarcasm, speed and a blasphemous sense of humour directly at the nation’s temples of hypocrisy. Aitor Ibarretxe — that whirlwind of throat-shredding fury and baffling cardio endurance — leads his troops into La Riviera as part of their XXI Anniversary Tour, though “anniversary” feels too civilised a word. Think less “silver jubilee,” more “riot in a fireworks factory.” And with the band’s looming disappearance, the whole thing suddenly feels like a wake where the corpse keeps jumping off the table to yell “Gora España!” just to upset the relatives. Fans are already treating this Madrid show like the last chopper out of Saigon. This is the final guaranteed chance to scream “Oso Panda,” “ETA dale al botón,” and all those gloriously unhinged micro-anthems that made Lendakaris the unofficial national therapy for anyone allergic to bullshit. And there are many. Because their legacy — beyond the breakneck riffs and the lyrical Molotov cocktails — is simple: they made punk fun again. Dangerous again. Stupid, brilliant, necessary again. They turned the country’s political migraines into two-minute bursts of joyous chaos, proving you can critique the entire sociopolitical apparatus while laughing so hard you choke on your own cerveza. So on December 27th, La Riviera won’t host a concert — it’ll host a canonisation. A ritual. A glorious, sweaty, pogo-pit baptism marking the end of an era nobody was ready to lose. Tickets are being hunted down like black-market relics, because nobody wants to wake up the next day realising they missed the final blast from the loudest, rudest conscience Spain ever produced. If this is goodbye, it’ll be delivered with boots, distortion, and the pure distilled stupidity/genius that only Lendakaris Muertos can conjure. After that? Silence. Or maybe the world ending. Hard to tell with these guys. Either way — be there when the detonator clicks. You can read our interview with Aitor here: Aitor Ibarretxe And find out more about the band here: Lendakaris Muertos