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

Forget polished pop and predictable playlists. 16 Toneladas is turning up the volume on Saturday 18 July with a triple-header that celebrates everything loud, fast, raw and gloriously independent. Featuring Radioactivas, Licor de Fardacho and Valencia's own Ukelele Zombies, this promises to be one of the most explosive nights of the summer for fans of punk, garage and no-nonsense rock 'n' roll. Leading the charge are Radioactivas, a ferocious five-piece whose sound takes its cues from punk royalty including L7, Babes in Toyland, The Cramps, MC5 and The Stooges. Hailing from Barcelona's underground scene, they bring razor-sharp riffs, riot grrrl attitude and enough energy to shake the foundations of the venue. Joining them are Licor de Fardacho, one of the Valencian Community's hardest-working rock bands. Blending classic rock swagger with modern grit, the band have built a loyal following through relentless touring and powerful live performances. Their songs are packed with streetwise lyrics, infectious hooks and the kind of honest rock 'n' roll that refuses to follow trends. Flying the flag for Valencia are Ukelele Zombies, the garage-punk trio who have been tearing through stages since 2011. Their latest album, Desastre, perfectly captures their frantic blend of rock 'n' roll, garage and punk. Fast, funny and gloriously chaotic, they're the sort of band that leaves audiences sweaty, smiling and wanting one more song. It's another reminder of why 16 Toneladas remains one of Valencia's essential live music venues. While bigger arenas chase stadium-sized productions, Ricardo Micó's beloved rock club continues to champion underground artists, homegrown talent and unforgettable nights where the music does all the talking. If your idea of the perfect Saturday night involves crushing guitar riffs, pounding drums, cold beers and a room full of people who still believe rock 'n' roll is best experienced at full volume, then this is where you need to be. Three bands. Three different flavours of punk and rock. One unforgettable night. See you down the front! For tickets and more information: 16 Toneladas

Thousands of fans looking forward to seeing UB40 featuring Ali Campbell at the Conciertos de Viveros on Wednesday night have been left disappointed after organisers were forced to cancel the concert following the declaration of a red weather alert for extreme temperatures in Valencia. The decision came after the Valencia City Council, following recommendations from emergency authorities and weather forecasts from Spain's meteorological agency (AEMET), concluded that public safety had to come first. With temperatures forecast to exceed 40°C, combined with the possibility of strong winds and dangerous heat conditions, organisers had little choice but to pull the plug. In a statement, organisers confirmed that protecting the public, artists, crew and everyone working behind the scenes was the absolute priority. Information regarding ticket refunds will be released in the coming days. It is a frustrating outcome for fans and another reminder that live music, despite all its power, is ultimately at the mercy of nature. Unfortunately, these situations are becoming less unusual. Across Europe, festivals and concerts are increasingly being disrupted by prolonged heatwaves, wildfires, storms and other extreme weather events. Scientists continue to warn that climate change is increasing both the frequency and intensity of these extremes, presenting new challenges for outdoor events and the people who attend them. As disappointing as this cancellation is, it also serves as an important reminder to take the current weather seriously. If you're in Valencia or elsewhere in Spain during this heatwave: Stay hydrated by drinking water regularly. Avoid prolonged exposure to the sun during the hottest hours of the day. Check on elderly relatives, neighbours and anyone vulnerable. If possible, stay indoors or seek air-conditioned spaces during peak afternoon temperatures. No concert is worth risking your health. The hope now is that UB40 will be able to return to Valencia soon and give fans the celebration they were eagerly waiting for. Until then, music lovers will simply have to wait for cooler days—and hope that adapting to our changing climate becomes as much a priority as planning the next great concert. For more information: Conciertos De Viveros

In just one month, Aúpa Lumbreiras!! returns to Villena for one of the most anticipated comebacks in Spanish rock history. The excitement has been nothing short of extraordinary—the festival sold out within days of tickets going on sale, proving that the appetite for one of Spain's most beloved rock gatherings has never faded. From 13–15 August, the Polideportivo Municipal will once again become the spiritual home of punk, rock, ska and metal as thousands of fans descend on Villena for three unforgettable days of noise, unity and re For thousands of fans, Aúpa Lumbreiras has always been more than a festival. It's a family reunion for everyone who believes music should have something to say. It's where battered leather jackets, battle vests and raised fists are worn with pride, where generations of fans stand shoulder to shoulder, and where every chorus becomes an anthem. The 2026 return boasts a colossal line-up featuring Evaristo, Soziedad Alkoholika, El Drogas, The Toy Dolls, La Pegatina, Boikot, Def Con Dos, Narco, Reincidentes, Talco, Porretas, Marky Ramone, Los de Marras, Segismundo Toxicómano and more than 50 bands spread across three relentless days of live music. The festival's organisers have stayed true to the spirit that made Lumbreiras legendary. Three stages will keep the music flowing almost continuously, ensuring there is barely a moment to catch your breath between bands. Whether your soundtrack is classic punk, ska, hardcore, metal or street rock, there will always be another reason to charge towards the next stage. Villena itself is preparing for another unforgettable August. The city has become one of Spain's true homes of heavy music, hosting some of the country's biggest rock festivals and attracting fans from across Spain and beyond. For one weekend, its streets, bars and campsites will be filled with the unmistakable soundtrack of distorted guitars, passionate singalongs and lifelong friendships. For many, this year's edition represents something even bigger. It's the rebirth of one of Spain's most iconic festivals—a celebration of resilience, community and the enduring spirit of underground music. Aúpa Lumbreiras isn't chasing trends or reinventing itself. It's returning to remind everyone why it became legendary in the first place. The countdown has begun. Just one month remains until Villena once again becomes the loudest town in Spain. If you were lucky enough to grab a ticket before they disappeared in record time, you're about to be part of a piece of Spanish rock history. Aúpa Lumbreiras is back. Sold out. Loud as ever. And ready to remind everyone why legends never die. For more information: Aúpa Lumbreiras!!

The Paris-born singer-songwriter has spent years chasing the spirit of American soul, blues and gospel, travelling thousands of miles in search of the music that shaped him. This November, he returns to Spain with a brand-new album and a collection of songs that prove authenticity still has a place in modern soul. Following the release of his highly anticipated third album, Outsider, Tiwayo will embark on a six-date Spanish tour, bringing his deeply emotional live show to Santiago de Compostela, Bilbao, Barcelona, Madrid, Valencia and Seville. Valencian fans can catch him at 16 Toneladas on 15 November, one of the country's finest venues for intimate live performances. Produced by Grammy Award-winning guitarist and Black Pumas mastermind Adrián Quesada, Outsider represents a defining moment in Tiwayo's career. Recorded in Austin, Texas, at Quesada's Electric Deluxe Studios, the album brings together an impressive cast of musicians, including members of Black Pumas, acclaimed guitarist Doyle Bramhall IIand soul singer Kendra Morris, creating a record that feels timeless while remaining unmistakably contemporary. Nicknamed "The Young Old" after a Louisiana blues musician was stunned by the contrast between Tiwayo's youthful appearance and his weathered, soul-soaked voice, the French artist has always been something of an anomaly. France isn't the first country that springs to mind when discussing classic Southern soul, yet Tiwayo has quietly become one of Europe's most authentic voices in the genre. His journey has earned admiration from musical heavyweights including Norah Jones, Marcus Miller, Tony Viscontiand Don Was, while sharing stages with artists such as Curtis Harding, Cody Chesnutt and Marcus Miller himself. Previous albums Desert Dream and The Gypsy Soul of Tiwayo established his credentials, but Outsider feels like the album where everything falls into place. Rather than chasing polished retro nostalgia, Tiwayo embraces the grit and humanity that made classic Southern soul so compelling. Songs like "I've Got To Travel Alone", "Up For Soul", "Sunshine Lady", "Dark Skies" and the moving "Daddy Was Born With The Blues" explore freedom, loss, hope and resilience through rich arrangements and heartfelt storytelling. Every track is anchored by Tiwayo's remarkable voice—warm, weathered and filled with genuine emotion. The collaboration with Adrián Quesada has elevated his songwriting without sacrificing the raw honesty that defines his music. The result is an album that feels deeply personal yet universally relatable, balancing irresistible grooves with moments of quiet reflection. For anyone who appreciates the timeless sounds of Otis Redding, Al Green, Leon Bridges, Black Pumas or Curtis Harding, Tiwayo offers something refreshingly authentic. He isn't trying to recreate the past—he's carrying its spirit into the present. When Tiwayo steps onto the stage at 16 Toneladas this November, audiences can expect far more than a concert. They can expect an evening of soul performed with conviction, warmth and heart by an artist who has built his career one journey, one song and one unforgettable performance at a time. Sometimes the greatest soul music comes from the most unexpected places. With Outsider, Tiwayo proves that great music knows no borders. For more information: Tiwayo For Valencia tickets: 16 Toneladas

Valencia's live music scene never stands still, and on Friday 31 July, one of the city's most respected venues serves up another unforgettable night as Helen Helen and Las Víctimas Civiles take over 16 Toneladas for a double bill packed with grit, humour and fearless rock 'n' roll. Leading the charge are Helen Helen, the transatlantic duo made up of Honor and Monty, blending American roots, country, punk and garage rock into what they proudly describe as "super honky-tonk." With nothing more than guitar, drums and an abundance of attitude, they deliver songs that are raw, infectious and impossible to pigeonhole. Their stripped-back approach proves that you don't need a wall of amplifiers to make a serious racket—you just need great songs and plenty of swagger. Joining them are Las Víctimas Civiles, one of Spain's most unique underground bands. Born from Barcelona's counter-cultural movement during the anti-Iraq War protests of the early 2000s, the group combines carnival punk, spoken-word poetry and razor-sharp social commentary into something entirely their own. Fronted by poet Héctor Arnau alongside musicians with roots in acclaimed Valencian outfit Arthur Caravan, the band balance biting political satire with dark humour and irresistible rhythms, creating performances that are as thought-provoking as they are entertaining. The pairing couldn't be more fitting. Both bands thrive outside the mainstream, embracing authenticity over convention and celebrating music that feels spontaneous, unpredictable and gloriously alive. Expect a night where Americana rubs shoulders with punk, poetry collides with rock 'n' roll and every song carries its own unmistakable personality. There's also no better setting than 16 Toneladas, a venue that has become synonymous with Valencia's thriving independent music scene. Week after week, its stage welcomes everything from international touring artists to Spain's most exciting underground acts, cementing its reputation as one of the city's true homes of live music. If your idea of a perfect Friday night involves polished pop and predictable playlists, this probably isn't for you. But if you like your music loud, honest, offbeat and full of character, Helen Helen and Las Víctimas Civiles promise one of the most intriguing gigs on Valencia's summer calendar. Expect big riffs, sharp wit, infectious energy and the kind of atmosphere that reminds you exactly why small venues remain the lifeblood of live music. For tickets and more information: 16 Toneladas

There comes a point when a band stops being "one to watch" and starts becoming the band everyone wants to see. For Ultraligera, that moment has well and truly arrived. The Madrid outfit stormed Jardines de Viveros this weekend with a sold-out performance that confirmed what many have suspected for months: Ultraligera are no longer the future of Spanish rock—they're its exhilarating present. The Valencia show, part of the band's hugely successful Lapsus tour, became the first completely sold-out concert of this year's Conciertos de Viveros series, underlining the remarkable rise of one of Spain's fastest-growing rock bands. Sharing the bill with Argentina's Conociendo Rusia and Valencia favourites Sr. Aliaga, Ultraligera arrived with confidence, swagger and a catalogue that's growing stronger with every release. But it wasn't just the songs that captivated the audience—it was the chemistry. Every riff, chorus and soaring melody landed with the conviction of a band completely comfortable on a major stage. Their new material from Lapsus has pushed the group into heavier, more ambitious territory. Bigger guitars, sharper songwriting and emotionally charged lyrics have added fresh bite to a sound that already blended indie rock with alternative edge. The gamble has paid off spectacularly, with critics praising the band's bolder direction and fans embracing a louder, more uncompromising Ultraligera. That evolution was on full display in Valencia. The crowd sang every word, arms stretched skyward as wave after wave of anthemic choruses echoed around the historic gardens. It wasn't simply another stop on a summer festival circuit—it felt like a band announcing that they're ready to headline the country's biggest stages. Few young Spanish rock acts have built momentum quite like Ultraligera. Their relentless touring schedule, electrifying live reputation and fearless musical progression have transformed them from underground favourites into one of the hottest tickets in the country. Their 2026 tour continues to gather pace with appearances at FIB, Low Festival, Cooltural Fest, Vive Latino España and many more major events across the summer. As the lights came down over Jardines de Viveros, one thing was unmistakably clear: Ultraligera aren't simply riding a wave of popularity—they're creating one. Spanish rock has found another standard bearer, and if Valencia was anything to go by, the Lapsus era is only just beginning. Words and photos: Rhyan Paul

Jardines de Viveros, July 12 2026: The concert started with a sonic blast as they opened with Instinction, their early 80’s charting Spandau Ballet hit single. Riding the crowd’s welcoming energy, next was To Cut a Long Story Short, the band’s very first hit single, and Highly Strung. Another great single. Vitality best describes Hadley as he connected with fans. The night was a celebration of the songs loved from the synth-pop/ New Romantics era. Embedded memories and a few fresh new songs together. Both his voice and the band’s playing were impeccable. Settling in, Hadley sang a newer song Alibi then back to favorite Spandau Ballet hits Only When You Leave and Only The Pride. The latter’s arrangement was only the guitar and keyboards making it sparse and centering on Hadley’s voice. Turn Me On was a mellower tune. Then the classic Round and Round. His vocal range was as strong as when these songs were first recorded. I’ll Fly For You entered with a smooth groove after the string of ballads. New Brand New preceded a cover of Queen’s Somebody to Love. After Soul Boy, Hadley performed a new solo song Walk of Shame. A brilliant latin groove and a lyrical story of seduction leading to that walk we all dread. By now blood was running hot priming fans for the dance-floor classic Chant No. 1. Hadley made his affection clear for his fans and they responded right back. The night ended up with the biggest of Spandau Ballet hits: Lineline, True and Gold leaving fans with the grandest for last. Tony Hadley has a great long career and is still exploring. His voice is vibrant. He is a consummate vocalist and a classy entertainer. Check him out to enjoy both old classics and newer recordings. Well worth it. Words and photos: Philamonjaro

If "Worst Taste In Men" is any indication of what's to come from The Haunt's forthcoming album Ghost, then Anastasia and Max Haunt aren't just turning up the volume—they're sharpening every edge of their already formidable sound. Opening with an ominous pulse before detonating into a wall of crunching guitars and thunderous drums, the track wastes no time announcing its intentions. It sits comfortably between modern alternative rock, industrial pop and hard rock, but never feels trapped by genre. Instead, it thrives on contrast: huge hooks collide with razor-sharp riffs, while moments of vulnerability are swallowed by waves of controlled chaos. Anastasia Haunt is the undeniable centre of attention. Her vocal performance shifts effortlessly from smoky restraint to full-throttle defiance, delivering every lyric with conviction and emotional bite. She doesn't simply sing the song—she inhabits it. The frustration, sarcasm and empowerment running through the lyrics feel authentic rather than manufactured, giving the track an emotional weight that lingers long after the final chorus. Musically, Max Haunt deserves equal praise. The guitar work is muscular without becoming overbearing, layering heavy, grinding riffs with melodic textures that stop the song from descending into predictable hard-rock territory. The production is polished but retains enough grit to keep everything sounding dangerous, allowing every instrument room to breathe while maintaining relentless momentum. What makes "Worst Taste In Men" particularly effective is its sense of scale. The verses simmer with tension before exploding into enormous, arena-sized choruses that feel tailor-made for festival crowds. It's catchy without sacrificing heaviness—a balance many bands chase but few genuinely achieve. Fans of Halestorm, Bad Omens, Spiritbox, The Pretty Reckless and Bring Me The Horizon's more melodic moments will find plenty to love here, but The Haunt are rapidly carving out a distinctive identity of their own. Their blend of cinematic atmosphere, bruising rock dynamics and fearless songwriting feels increasingly confident. With more than 40 million streams behind them and a reputation forged on relentless touring, The Haunt have been steadily building towards this moment. Worst Taste In Men suggests that Ghost could be the record that propels them onto an even bigger stage. Verdict: Fierce, infectious and unapologetically loud, Worst Taste In Men is a blistering slice of modern alternative rock that proves The Haunt are no longer a band to watch—they're a band arriving at full force. For more information: The Haunt

For more than four decades, El Café de la Plaça in Carcaixent has been one of those rare places. Since opening its doors in 1982, it has evolved into far more than a neighbourhood bar. It has been a meeting point for artists, musicians, writers, dreamers and locals, earning a reputation as one of La Ribera's most beloved cultural institutions. Under the passionate stewardship of owner Enric Casassús, El Café has once again become a thriving home for live music, proving that intimate venues remain the beating heart of Spain's grassroots music scene. On Saturday 18 July at 20:30, that tradition continues as Elena & Brothers welcome acclaimed harmonica player and vocalist Greg Izor for what promises to be one of the standout blues nights of the summer. The line-up is packed with musicians who know exactly how to make authentic roots music breathe. Greg Izor, whose reputation has grown steadily across the international blues scene thanks to his soulful harmonica playing and expressive vocals, joins forces with Elena Castejón on vocals and flute, José Luis Ulloa on bass, and Josep Carbonell on drums. Together they create a sound steeped in classic Chicago blues, Southern soul and vintage rhythm and blues, while bringing enough personality to ensure the music never feels like nostalgia. This is music played with conviction rather than imitation—warm, loose, deeply human and built for audiences who appreciate musicians listening to one another as much as performing. That spirit perfectly matches El Café itself. Walk through the doors and you quickly understand why so many touring musicians leave talking about the venue. There is no barrier between performer and audience. Conversations continue long after the final encore. New friendships are made over beers and wine. It feels less like attending a concert and more like becoming part of a community. Much of that atmosphere comes from Enric Casassús himself. Throughout the years he has championed independent musicians, giving local talent and international artists alike a stage where music takes priority over commercial spectacle. His belief that live music should be accessible, intimate and welcoming has helped make El Café one of the most respected small venues in the Valencia region. In an era increasingly dominated by giant arenas and algorithm-driven playlists, places like El Café remind us why live music matters. They offer authenticity, spontaneity and the chance to experience world-class musicians from just a few metres away. For blues lovers, roots music fans and anyone simply looking for an unforgettable Saturday evening, Elena & Brothers with Greg Izor promises exactly the kind of performance that has become synonymous with El Café—passionate, soulful and impossible to fake.

Some songs demand your attention from the first note. Others slowly work their way under your skin. Daytura's latest single, "The River," somehow manages to do both, arriving like a freight train powered by vintage rock 'n' roll swagger and modern indie ambition. If their debut EP Echoes announced a band with enormous potential, "The River" is the sound of that potential becoming a reality. From the moment the opening guitar riff tears through the speakers, it's obvious Daytura aren't interested in following trends. Instead, they look backwards to move forwards, borrowing the grit, groove and swagger of classic '70s rock before injecting it with enough youthful energy to make it feel completely fresh. The result is a track that sounds equally at home blasting from a battered vinyl record or shaking the foundations of a festival main stage. The band's ambition to capture the warmth and soul of vintage recordings is fully realised. Rather than polishing every rough edge away, "The River" embraces them. The guitars snarl with glorious imperfection, the rhythm section drives relentlessly forward, and every instrument is given room to breathe. It's a refreshingly organic production in an era where too much rock music feels overproduced and sanitised. At the heart of the song is Sam Britton's commanding vocal performance. Britton delivers the lyrics with conviction rather than theatrics, finding that sweet spot between raw emotion and classic rock bravado. His voice carries just enough grit to sell the song's themes of resilience and perseverance without ever sounding forced. It's the kind of performance that makes you believe every word. Musically, Daytura wear their influences proudly without becoming trapped by them. There are flashes of Free, Bad Company, Led Zeppelin and early Kings of Leon, yet the band never feels like a tribute act. Instead, they channel the spirit of classic rock into something distinctly their own. The chorus is where everything truly comes together. Big enough to fill an arena, memorable enough to stay lodged in your head long after the song finishes, it captures exactly what great rock music should do—make you want to turn the volume up rather than down. It's impossible not to imagine thousands of festival-goers singing it back at the band this summer. Lyrically, the river becomes a simple but effective metaphor for persistence. Water doesn't stop for obstacles; it simply finds another route. It's an image that mirrors Daytura's own rapid rise over the last two years, building a reputation through relentless touring, standout festival appearances and an unwavering commitment to live performance. That live experience can be heard throughout the recording. Unlike many modern rock releases that feel assembled in a computer, "The River" sounds like four musicians feeding off each other's energy in the same room. There's an undeniable chemistry between the band members, and it's this sense of authenticity that gives the track its punch. The accompanying music video reinforces that feeling perfectly, mixing electrifying live footage with candid behind-the-scenes moments from rehearsals, festivals and life on the road. Rather than presenting an overly polished image, it captures Daytura exactly as they are—a hardworking band earning every opportunity through sweat, passion and miles travelled. Following international radio support, a well-received debut EP and an increasingly impressive list of festival appearances, "The River" feels like the next significant step in Daytura's evolution. There are echoes of classic rock greatness running through every second of the track, but what makes "The River" exciting is that it never feels like nostalgia. Instead, it reminds us why guitar music continues to endure: because when it's played with this much heart, soul and conviction, it never goes out of style. If "The River" is any indication of what's to come, this is a band rapidly outgrowing the "ones to watch" tag and becoming one of the UK's most exciting rising rock acts. For more information: Daytura

Some bands rely on nostalgia to fill a venue. Garbage remind you why they became one of alternative rock's defining bands in the first place. On Wednesday night, the legendary four-piece delivered a blistering performance at Conciertos de Viveros, transforming Valencia's beautiful Jardines de Viveros into a cathedral of distorted guitars, pounding rhythms and unapologetic attitude. More than thirty years after they first exploded onto the music scene, Garbage proved they remain every bit as compelling, relevant and electrifying as ever. As darkness settled over the historic gardens, anticipation reached fever pitch. Then, with little fanfare, Garbage walked onto the stage. The roar that greeted Shirley Manson, Butch Vig, Duke Erikson and Steve Marker made it immediately clear that Valencia had been waiting a long time for this moment. From the opening notes of "There's No Future in Optimism," the band established the tone for the night. It was loud, confident and utterly captivating. Garbage have always balanced industrial grit with irresistible melodies, and live, that chemistry feels even more potent. Every guitar riff hit with precision, every electronic texture added another layer of atmosphere, and the rhythm section drove the set forward with relentless momentum. At the centre of it all was Shirley Manson. Few frontwomen possess her combination of charisma, intelligence and sheer stage presence. Dressed in trademark style and radiating confidence, Manson owned every inch of the Viveros stage. Her voice has lost none of its emotional power, effortlessly moving between whispered intimacy and full-throttle defiance. She remains one of rock's great communicators, connecting with the audience as naturally between songs as she does during them. Behind her, producer and drummer Butch Vig reminded everyone why he's one of modern rock's most influential figures. His drumming was powerful yet remarkably controlled, while Steve Marker and Duke Erikson layered waves of shimmering guitars and electronic textures into the unmistakable Garbage sound. The setlist struck the perfect balance between celebrating the band's extraordinary catalogue and showcasing their continuing creativity. Classics like "I Think I'm Paranoid," "Stupid Girl," "Cherry Lips (Go Baby Go)," "When I Grow Up" and "Push It" ignited huge singalongs, while newer material sat comfortably alongside the hits, proving Garbage remain a band looking forwards rather than living in the past. The emotional high point arrived during the encore. As the unmistakable opening chords of "Only Happy When It Rains" echoed across Viveros, thousands of voices immediately joined in. It was one of those magical concert moments where artist and audience become inseparable, transforming a beloved alternative anthem into a communal celebration. The production matched the band's cinematic sound perfectly. Dynamic lighting painted the stage in deep blues, crimson reds and stark whites, enhancing the atmosphere without distracting from the musicians themselves. In the intimate surroundings of Jardines de Viveros, every song felt larger than life while retaining the closeness that makes the venue one of Spain's finest outdoor concert spaces. Perhaps the most striking aspect of the evening was how contemporary Garbage still sound. Their fusion of alternative rock, electronica and sharp pop hooks remains remarkably fresh, and songs written three decades ago continue to resonate with astonishing force. There was never any sense of a band going through the motions. Every performance felt committed, urgent and alive. As the final applause echoed through the trees and fans drifted into the warm Valencian night, there was a shared feeling that they'd witnessed something more than a greatest-hits show. At Conciertos de Viveros, Shirley Manson and company delivered exactly what great live music should: passion, power and a reminder that truly exceptional bands never go out of style. Words and photos: Rhyan Paul