Some tribute songs are weighed down by grief. Others celebrate a life so vividly that the sadness gives way to something far more powerful. LIREDEL's latest single, "Babe Don't Miss A Beat," belongs firmly in the latter camp—a fearless, heart-on-sleeve anthem that refuses to mourn quietly. Written in memory of her close friend Sarah Stanley, one of the UK's most passionate champions of grassroots music, the track is less an elegy than a rallying cry. It's loud, unapologetic and bursting with the kind of life Sarah herself was known for. Rather than dwelling on loss, LIREDEL captures the spirit of someone who inspired others to take chances, speak up and never stop believing in emerging talent. Musically, "Babe Don't Miss A Beat" wastes no time making its presence felt. Punchy guitars crash into driving drums, while shimmering synths weave through the mix to create something that feels both contemporary and timeless. Clever stop-start production keeps the song constantly moving, injecting an urgency that mirrors its message. It's rock music with pop instincts and soul at its heart—equal parts swagger and sincerity. At the centre of it all is LIREDEL's remarkable voice. Influenced by legends including Etta James, Nina Simone and Ella Fitzgerald, while drawing modern inspiration from the emotional intensity of Alanis Morissette and Amy Winehouse, she possesses a vocal style that's entirely her own. There's a smoky jazz richness in her lower register, but when the chorus arrives, she lets loose with the kind of powerhouse delivery that demands your full attention. She knows when to roar and, equally importantly, when to pull everything back into moments of quiet vulnerability. It's a performance that feels lived rather than simply sung. Lyrically, the song succeeds because it avoids predictable sentimentality. Instead of focusing solely on absence, LIREDEL writes about legacy—the idea that someone can continue to inspire long after they're gone. Every line feels rooted in genuine affection, transforming personal memories into something universally relatable. Anyone who's ever lost someone who encouraged them to believe in themselves will find something familiar here. The production deserves equal praise. There's an infectious energy running throughout the track that makes repeat listens inevitable. The guitars bite, the rhythm section drives relentlessly forward, and the layered instrumentation gives the song a widescreen feel without overwhelming its emotional core. It's polished without losing its grit, emotional without becoming melodramatic. What makes "Babe Don't Miss A Beat" especially compelling is its refusal to become defined by tragedy. Instead, it celebrates authenticity, resilience and the joy of living life without compromise. It's a song about carrying someone forward rather than leaving them behind, and that positivity gives it an uplifting quality that's surprisingly rare in tribute songs. For those who knew Sarah Stanley, this will undoubtedly be an emotional listen. For everyone else, it's simply an excellent rock song with a huge heart and an even bigger message. With "Babe Don't Miss A Beat," LIREDEL has created more than a tribute. She's delivered a celebration of friendship, music and the enduring impact one person can have on an entire creative community. Powerful, uplifting and impossible to ignore, it's her strongest release to date—and one that Sarah Stanley would undoubtedly have been proud to champion. You can listen here: Liredel

In an era where vulnerability has become something of a currency in indie music, it's easy to mistake confession for depth. Mia Van de Loo's latest single, "upstream," arriving on 5 August, reminds us that genuine honesty still cuts through the noise. This isn't a song trying to manufacture intimacy—it earns it. Built around warm acoustic guitars, understated cello and production that knows exactly when not to get in the way, "upstream" feels like the musical equivalent of sitting around a dying campfire long after everyone else has gone to bed. There's nowhere for either the artist or the listener to hide, and that's precisely what makes it so compelling. The Nashville-based singer-songwriter has spoken about writing the lyrics from diary entries she penned as a teenager, and that authenticity is impossible to miss. Rather than rewriting her younger self through the lens of adulthood, Van de Loo allows those insecurities to remain beautifully intact. The result is a song that captures the awkward, universal search for identity with remarkable emotional precision. Opening with the striking line, "There's a better me inside of you," "upstream" immediately establishes its central conflict: the exhausting habit of searching for validation in everyone except yourself. It's a feeling that almost anyone who's struggled with imposter syndrome or self-worth will recognise. Rather than offering neat solutions, Van de Loo simply sits with the discomfort, allowing the uncertainty to breathe. That's where the song's greatest strength lies. Too many singer-songwriters mistake sadness for sophistication. Van de Loo understands that the most affecting songs don't just describe emotions—they invite listeners to inhabit them. Every lyric feels conversational, as though she's letting the audience read pages that were never intended to leave her diary. Musically, restraint becomes the song's secret weapon. The acoustic arrangement is beautifully judged, allowing subtle cello lines to drift through the mix like quiet thoughts that refuse to disappear. There's a cinematic quality to the instrumentation without ever tipping into melodrama. Earlier production ideas reportedly leaned towards something more eclectic and heavily layered, but stripping the song back was unquestionably the right decision. The sparse arrangement gives every lyric room to land, making the emotional weight feel all the more immediate. Van de Loo's voice is equally impressive. There's no unnecessary vocal gymnastics or over-singing—just a warm, intimate delivery that carries quiet conviction. She sings with the confidence of someone who understands that sincerity is often more powerful than perfection. The chorus is particularly effective, balancing melancholy with quiet determination. The recurring image of choosing to "swim upstream" transforms what could have been a simple metaphor into something more profound: accepting that self-discovery rarely follows the easiest route. It's a subtle but memorable hook that lingers long after the final note. Lyrically, "upstream" explores familiar themes—belonging, comparison, identity and purpose—but avoids cliché by refusing to simplify them. The song acknowledges that growing older doesn't necessarily mean becoming more certain of who you are. In fact, one of Van de Loo's most refreshing perspectives is her admission that she feels less certain at 23 than she did at 15. That honesty gives the song an emotional maturity beyond its years. There's an undeniable influence of contemporary indie folk artists who favour intimacy over spectacle, but Mia Van de Loo is already carving out a voice that feels distinctly her own. Her songwriting has an effortless conversational quality, while the folk-pop framework provides enough melodic warmth to ensure the emotional themes never become overwhelming. If her debut EP open book introduced an artist unafraid to wear her heart on her sleeve, "upstream" feels like the next logical step—a richer, more assured piece of songwriting that trusts simplicity over embellishment. At just over three minutes, it never overstays its welcome, yet it leaves a lasting impression. That's the hallmark of a well-crafted song. In a musical landscape increasingly driven by algorithms, instant hooks and social media moments, "upstream" is refreshingly patient. It asks listeners to slow down, to reflect and perhaps to recognise a little of themselves in someone else's story. Sometimes the most powerful songs aren't the loudest. They're the ones that quietly tell you you're not alone. For more information: Mia Van de Loo

More than half a century after they helped invent hard rock, Deep Purple walked onto the stage at Conciertos de Viveros on Tuesday night with absolutely nothing left to prove—and proceeded to prove everything anyway. Against the idyllic backdrop of Valencia's Jardines de Viveros, one of Britain's greatest rock exports delivered a performance that wasn't driven by nostalgia, but by the simple fact that they remain an astonishing live band. Age may have softened the edges of the faces on stage, but not the fire in the music. There are legacy acts who tour because people want to relive the past. Deep Purple still sound like they're chasing the next great gig. By the time the lights dropped, Viveros had become a sea of black T-shirts, faded denim and generations of fans united by songs that have become part of rock's DNA. Teenagers stood beside fans who probably saw the band in their 1970s heyday. That's the thing about Deep Purple—the music doesn't belong to one generation anymore. It belongs to rock itself. Before the legends arrived, King Sapo set exactly the right tone. The Madrid quartet delivered a swaggering, blues-soaked set that wore its classic rock influences proudly without ever sounding derivative. Their heavy grooves, sharp musicianship and confident stage presence won over the early arrivals with ease. In an era when support acts are too often ignored, King Sapo felt like a genuine discovery rather than background music before the headliners. Then came Deep Purple. No oversized production designed to distract from the music. Just five musicians walking onto a stage, plugging in and reminding everyone why they've survived every trend the music industry has thrown at them. From the opening blast, the chemistry was undeniable. Ian Gillan no longer attacks the impossibly high notes that defined Machine Head with youthful abandon, but he doesn't need to. His voice now carries something arguably more valuable—character. Every lyric feels lived-in, every phrase delivered by someone who has spent decades inside these songs rather than simply performing them. Behind him, Ian Paice remains one of rock's great unsung heroes. His drumming is still a lesson in controlled power—never flashy for the sake of it, always serving the groove, always pushing the band forward. Watching him is like watching someone breathe. It looks effortless until you realise almost nobody else can do it. Roger Glover anchored the low end with the understated confidence of someone who's forgotten more about rock music than most musicians will ever know. Then there was Don Airey. The keyboard wizard refused to let the Hammond organ become a museum piece, filling the night with dizzying solos, bursts of classical virtuosity and enough joyful improvisation to remind everyone that Deep Purple have always been as much a jam band as a hard rock institution. And on guitar, Simon McBride continues to silence anyone who wondered whether anyone could fill the shoes left by Steve Morse—or before him, Ritchie Blackmore. McBride isn't trying to recreate history. He's writing his own chapter. His playing was explosive, melodic and fearless, adding fresh energy to songs that have been played thousands of times without ever sounding tired. That's perhaps the evening's greatest achievement. Deep Purple refuse to become their own tribute band. Instead, every classic is treated like a living thing—stretching, evolving and breathing differently every night. Songs weren't simply performed; they were explored. Extended instrumental passages became conversations rather than showcases, each musician listening as much as playing. The setlist was, naturally, stacked with classics. Highway Star still feels like the blueprint for speed metal. Space Truckin' remains gloriously ridiculous in all the right ways. Lazy became an excuse for musical gymnastics, while Perfect Strangers carried the same dark grandeur it did four decades ago. And then there was Smoke on the Water. There may not be a more recognisable guitar riff in rock history, and judging by the eruption that followed those opening notes, Valencia agreed. Thousands of voices sang every word beneath the warm summer sky, turning Viveros into one enormous choir. It's easy to become cynical about songs that have entered popular culture to this extent, but when they're played with this much conviction, the cliché disappears. All that's left is the undeniable power of a great rock song. The production wisely avoided excess. Lighting enhanced the mood rather than overwhelming it, leaving the musicians—not the technology—to command attention. In a world obsessed with spectacle, it was refreshing to watch a band whose greatest special effect remains its ability to play. Throughout the night, the setting itself became part of the experience. There's something uniquely magical about Conciertos de Viveros, where towering trees frame the stage and the Mediterranean night air seems to soften even the loudest riffs. It's one of Spain's great concert venues—not because it's the biggest, but because it feels intimate enough to make nights like this personal. When the final notes rang out and the band took their bows, nobody rushed for the exits. Fans lingered, soaking in the feeling that they'd witnessed something increasingly rare: a legendary band refusing to behave like one. Deep Purple aren't preserving rock history. They're still making it. And on a glorious Valencian summer night, Conciertos de Viveros wasn't just hosting another concert. It hosted a reminder that the greatest rock bands never really become heritage acts—they simply keep finding new ways to make the walls shake. Words and photos: Rhyan Paul

Few songwriters have blurred the boundaries between rock, folk, Celtic tradition and poetic storytelling quite like Mike Scott. For more than four decades, the Scottish musician has led The Waterboys through one of the most adventurous and unpredictable careers in modern music, creating songs that have become timeless classics while constantly refusing to stand still. On Thursday 3 September 2026, Scott returns to Valencia's Roig Arena with what promises to be one of the city's standout concerts of the year. Better still, it's the band's only Spanish performance of 2026, making it an essential date for music lovers across the country. From the explosive grandeur of The Whole of the Moon and This Is The Sea to the earthy, Irish-inspired brilliance of Fisherman's Blues, Mike Scott has spent his career creating music that feels both deeply spiritual and gloriously alive. His songs have inspired generations of artists while earning The Waterboys a reputation as one of the greatest live bands in Europe. Rather than simply revisiting old favourites, Scott continues to evolve. The band's acclaimed recent album Life, Death and Dennis Hopper proved that creativity remains at the heart of The Waterboys, blending ambitious songwriting with fearless experimentation. The Valencia show arrives as part of The Fisherman's Blues Revue, a special production celebrating the band's landmark 1988 album Fisherman's Blues—widely regarded as one of the defining folk-rock records ever made. For this unique tour, legendary violinist Steve Wickham returns alongside acclaimed American songwriter Steve Earle, creating an expanded eight-piece line-up that promises to recreate—and reinvent—the magic of the Fisherman's Bluesera. Scott himself has described these concerts as having the potential to become "some of the greatest shows in The Waterboys' history." The celebrations also coincide with the release of Atlantic Rain, an expansive triple album featuring previously unheard recordings from the original Fisherman's Blues sessions, offering fans an unprecedented glimpse into one of the band's most creative periods. Following two sold-out performances at the venue, The Waterboys are stepping up to the main Roig Arena for a larger-scale production. Their previous Valencia appearances proved the city's growing love affair with Mike Scott's music, with audiences embracing everything from the euphoric singalong of How Long Will I Love You to the transcendent finale of The Whole of the Moon. Expect an evening where soaring rock anthems collide with Celtic reels, soulful ballads and moments of breathtaking improvisation—all delivered by musicians who have spent decades perfecting the art of live performance. What makes Mike Scott so compelling isn't simply his extraordinary catalogue—it's his refusal to become a heritage act. Every tour, every album and every performance feels like a new chapter rather than a victory lap. That restless creativity has kept The Waterboys relevant for over forty years, and it remains the driving force behind every concert. For long-time fans, this is a chance to hear one of rock's most influential catalogues performed by its original visionary. For newcomers, it's the perfect introduction to a band whose music has lost none of its power, passion or sense of adventure. On 3 September, Valencia won't just be hosting another concert. It will be welcoming one of the great storytellers of modern music—and a live band still capable of delivering something genuinely unforgettable. We recently caught up with Mike for a chat and asked him a few questions that the fans here in Valencia had emailed in to us. Here is what he had to say: Valencia audiences have clearly embraced The Waterboys. After selling out previous Roig Arena dates, you're returning for your only Spanish show of 2026. What has made the connection between the band and Valencia so special? It’s always been so and I don’t know why! The Valencia audience has always struck me as being very wild and emotionally liberated. Something in our music has resonated with that and we are very grateful for it. We have always loved to play in Valenica, from our very first shows in 1989. It’s always a show we look forward to when we are on tour. We might play 30 shows in the UK – some will be great, some not so great. Then we come to Valencia and everything is wild! We are very happy to have the only Spanish Waterboys gig in 2026 here in Valencia - why Valenica and not Madrid, Barcelona or somewhere else in Spain? We would have been very happy to play Madrid and Barcelona, but we had a very limited amount of time where we could get everyone together. It’s not getting The Waterboys together – Steve Wickham is coming back to play fiddle, Steve Earle is joining us, and this really was the only date in a limited window of time. For the Fisherman's Blues Revue you'll be joined by Steve Wickham and Steve Earle. What do those musicians bring to the songs, and how different can fans expect this show to be from a standard Waterboys concert? Steve Wickham was The Waterboys amazing fiddler for any years, and he played on the original Fisherman’s Blues album. So, he will be bringing that sound and spirit – the sound of his fiddle and the spirit of his musical partnership with me. Steve Earle brings his own artistry and songs, and he brings the sense of being a brother troubadour and that will add another element to the show. The upcoming Roig Arena show is centred around The Fisherman's Blues, an album that has become almost mythical in the Waterboys catalogue. Why do you think that record continues to resonate so deeply nearly four decades after its release? It’s an album where freedom was the core characteristic. It was a record made with complete freedom. We didn’t care what was popular in the world, we didn’t care what people where listening to, we didn’t care what the record company thought. We didn’t care what the fans thought, all we cared was that the record was good they could enjoy it. We didn’t care if they had expectations of what our music should be like, we were going to do what we wanted. So it was just a wonderful freedom and that freedom extended to the way we wrote and recorded the music. It’s an album full of that free spirit. You've spent decades travelling, writing and performing around the world. Is there a particular song in the Waterboys catalogue that means something completely different to you today than when you first wrote it? “This Is The Sea” probably. I still appreciate the central meaning of the song – it’s about someone who has found themselves at a crossroads in their life and realises a different set of solutions are required if they are to move forward. The song still has that meaning, but I have updated it in the last six or seven years, the tune is quite different, and I have updated a lot of the lyrics so it now addressing current social issues in the world. I now enjoy playing it more than I ever did before. The Waterboys have evolved through so many musical incarnations over the years. Looking back, what do you think has remained the constant thread running through everything you've created? Well obviously, me and my songwriting but it’s also to do with the way I have relationships with the musicians and the understanding I have with them. The musicians who stick around, who last more than one album – especially the ones who last for five, six or more and are with me for many years. These are musicians who I have an unspoken understanding with; there is like a telepathy between us. I prefer not to give musicians a lot of instructions as to what they should do, I like them to come up with their own parts and to play from their own personality. A lot of what I do as a bandleader, is to allow that to happen without controlling it. That is a constant dynamic in The Waterboys. Many younger artists cite The Waterboys as an influence. When you listen to modern folk, rock and Americana artists, do you hear traces of your own musical DNA in what they're doing today? I only hear it occasionally. Yeah, do hear it sometimes and I find it very flattering that The Waterboys have had an impact on people and they have been inspired. If you could sit down with the Mike Scott who formed The Waterboys in 1983, what's the one thing you'd tell him about the journey that lies ahead? Well, my younger self needed a big piece of advice which was “Trust yourself – all the answers you need will be inside you; you will feel them in your belly. If something is wrong you will get a wrong feeling in your belly, if something is right you will get a right feeling in your belly. Obay those feelings. When fans walk out of Roig Arena after The Fisherman's Blues Revue, what do you hope they're feeling? What is the experience you want people to take home from that night in Valencia? Well, I hope before the gig they feel a lot of anticipation and excitement. We are not going to come out and play The Fisherman’s Blues from track one to the end. That would be too boring for The Waterboys. We will be playing songs from the album and that era, we will be playing Steve Earles songs as well and lots of other classic Waterboys songs, but with that kind of spirit. It’s going to be a really fantastic show! You are 40 years deep into The Waterboys and still going strong, looking and sounding incredible on stage. Where do you see yourself in ten years’ time? Dunno!! I guess in ten years’ time a lot of the artists from the previous generation will have stopped and the people my age (I will be 77) will still be playing and we will become the elder statesmen. It’s going to be a really interesting time. I didn’t think I many ambitions left, but then this morning I was thinking how much I would like to record in one of those classic Los Angelese studios where they made all the great records from the 1960’s. So I researched it and I found “Ocean Wave Studios” it still exists (now called east West Studios) and also “Sound City Studios”. I have made a decision this morning that the next Waterboys album is going to recorded in LA in one of those studios. If you could perform with anyone – Dead or Alive – who would it be? Most of the artists I wished I could play onstage with are musicians who have passed on, like Nicky Hopkins the piano player. I would have loved to play with Nicky Hopkins. He was around for the first twenty years or so of The Waterboys career, but in those days, I never really thought of playing with guys from the previous generation even though I loved the records they made. Nicky Hopkins played on “Jealous Guy”, which is one of my favourite tracks – it’s absolutely off the scale beautiful. But at the time I probably wouldn’t have considered myself worthy of him playing with us. If he was still around, I would hire him in a heartbeat! I would like to play with Bob Dylan. Actually, I have played with Bob Dylan! I played with him in 1985 in a recording studio and that was good fun! But I would like to play with him on stage, that would be really cool. And finally, a quick message for the fans. We love the fans in Valencia and we are really grateful to you all for sticking with us all these years and giving us so many amazing nights. We are proud to coming back and we will see you all in September! For tickets and more information: Roig Arena Words, interview and photos: Rhyan Paul

If you're looking for blistering guitar solos, deep Texas grooves and the kind of blues-rock that demands to be played loud, clear your diary for 7 July. Rising American guitarist Paul Val is heading to 16 Toneladas in Valencia for what promises to be one of the hottest club shows of the summer. Hailing from Texas, Paul Val has rapidly established himself as one of the most exciting new names on the modern blues-rock scene. Drawing comparisons with legends like Stevie Ray Vaughan, ZZ Top and Johnny Winter, Val combines old-school swagger with contemporary energy, delivering performances packed with jaw-dropping guitar work, soulful vocals and irresistible grooves. His reputation has been built the old-fashioned way—earning it on stage. Selling out iconic Austin venues including Antone's, the Continental Club and C-Boy's, and appearing at major festivals across the United States, Val has become renowned for electrifying live performances that are as technically impressive as they are emotionally charged. The Valencia date forms part of his eagerly anticipated European tour, which follows a string of acclaimed performances across Spain and France. With every show, Paul Val continues to prove why he's regarded as one of the brightest emerging talents in contemporary blues-rock, winning over audiences far beyond his Texan roots. There's no better setting for his explosive sound than 16 Toneladas, one of Valencia's premier live music venues and a favourite among touring international artists. Its intimate atmosphere guarantees fans will experience every soaring solo, every gritty vocal and every thunderous riff up close. The venue has built a reputation for showcasing exceptional live talent, and Paul Val looks set to add another memorable night to its rich musical history. Expect an evening fuelled by scorching guitar heroics, Southern soul, blues authenticity and modern rock attitude. Whether you're a lifelong blues fan or simply appreciate world-class musicianship, this is the sort of concert that reminds you why live music still matters. One thing is certain: when Paul Val plugs in at 16 Toneladas, Valencia is in for a masterclass in Texas blues-rock. For last minute tickets and more information: 16 Toneladas

After spending the past decade carving out their own lane between alternative rock, electronica and hip-hop, MISSIO return with Love & Heartbreak, an album that feels both like a homecoming and a bold step forward. Revisiting the brooding electronic DNA of their breakthrough debut Loner, the Austin duo have crafted their most emotionally immersive and sonically ambitious record to date. Written remotely across a series of Airbnb hideaways around the world, the album carries an unusual sense of intimacy despite the physical distance behind its creation. That isolation seeps into every track, creating a record that explores love in all its intoxicating highs and devastating lows without ever slipping into cliché. Opening with Dreams before launching into the razor-sharp pulse of Daggers and the already familiar Bleed, the album wastes no time drawing listeners into its shadowy world. The centrepiece, Dopamine Kisses, perfectly captures MISSIO's ability to balance infectious hooks with emotional vulnerability, while tracks like Self Deprecation, With a Cigarette and I Keep Running reveal a band unafraid to expose every crack beneath the surface. Matthew Brue's vocals remain the emotional anchor throughout, shifting effortlessly between whispered confession and explosive catharsis, while David Butler's production wraps each song in layers of cinematic synths, industrial textures and pounding beats. The result is a soundtrack that feels equally suited to late-night headphone listening or the climactic scene of a psychological thriller. What makes Love & Heartbreak particularly compelling is its honesty. Rather than chasing radio trends, MISSIO lean into raw emotion, exploring the euphoria of falling in love alongside the wreckage left when everything falls apart. It's a deeply personal album that somehow manages to feel universally relatable. Having amassed more than 1.5 billion streams and built a fiercely loyal international following, MISSIO have long proven they're far more than an underground alternative act. Love & Heartbreak only strengthens that reputation, showcasing a band confident enough to revisit its roots while expanding its sonic universe into something bigger, darker and more cinematic than ever before. Love & Heartbreak is a haunting, emotionally charged collection that reminds us why MISSIO remain one of alternative music's most distinctive voices. Equal parts electronic noir, modern rock and deeply human storytelling, this is an album that rewards repeat listens—and one that lingers long after its final note fades away. Listen here: Missio

The countdown is officially on. In just two weeks, one of Britain's most influential and enduring pop acts will return to Valencia as Pet Shop Boys bring their spectacular Dreamworld: The Greatest Hits Live tour to the Roig Arena on 23 July. For fans of Neil Tennant and Chris Lowe, this is far more than another concert—it's the duo's first performance in Spain in 2026, and one of only two Spanish appearances on the tour, making Valencia a must-visit destination for lovers of sophisticated synth-pop. Nearly two decades after their last performance in the city, Pet Shop Boys are back with a production that has been celebrated across the world as one of the finest live shows currently on the road. Dreamworld is exactly what its title promises: a dazzling journey through forty years of timeless songs, theatrical visuals and electronic pop perfection. Audiences can expect an extraordinary setlist packed with classics including West End Girls, It's a Sin, Always on My Mind, Go West, Domino Dancing, Suburbia, What Have I Done to Deserve This?, Left to My Own Devices and many more. It's a celebration of one of the most remarkable catalogues in British music—a soundtrack that has filled dancefloors and festival fields for four decades. Since emerging in the mid-1980s, Pet Shop Boys have become the most successful British duo in chart history, scoring 22 UK Top 10 singles, four UK number ones, and 15 studio albums while continually reinventing themselves without ever losing their unmistakable identity. Their concerts have long blurred the boundaries between pop music, theatre and contemporary art, with collaborations involving internationally renowned creative figures including Derek Jarman, Zaha Hadid, Es Devlin and Tom Scutt. The result is a live experience that is every bit as visually captivating as it is musically unforgettable. The Dreamworld tour has received rave reviews from critics around the globe, with NME calling it "an exultant two-hour celebration," while The Times described the show as "smart, stylish, sometimes moving, often euphoric." The production has also been hailed as one of the greatest live pop spectacles of recent years, earning widespread five-star acclaim. The concert is another landmark event in the Roig Arena's inaugural summer programme. With a concert capacity of up to 20,000 people, Valencia's spectacular new venue has quickly established itself as one of Spain's premier destinations for world-class live entertainment, attracting major international artists and unforgettable productions. With just two weeks remaining, anticipation is building rapidly for what promises to be one of the biggest concerts of the summer. Whether you're a lifelong fan or discovering their music for the first time, Dreamworld offers the chance to experience forty years of iconic songwriting, innovative performance and timeless pop brilliance in a truly spectacular setting. Pet Shop Boys perform at Roig Arena, Valencia, on 23 July 2026. If there is one concert that proves great pop music never goes out of style, this is it. For tickets and more information: Roig Arena

Some songs grab your attention with bombast. Others quietly creep under your skin and refuse to leave. Cat Nova's debut solo single, "Parallel World," firmly belongs in the latter category—a beautifully understated slice of atmospheric indie pop that proves some stories are worth waiting fifteen years to tell. Built around an elegant piano arrangement and wrapped in shimmering production, "Parallel World" immediately establishes a mood of melancholy, longing and quiet reflection. Rather than chasing obvious hooks, Cat Nova allows emotion to drive the song, creating something intimate yet cinematic that lingers long after the final note fades away. Her voice is the record's greatest strength. Delicate without ever feeling fragile, it carries every lyric with genuine conviction, capturing the conflicting emotions of a relationship that was, in her own words, "impossible to live with and impossible to leave." It's heartbreak told not through melodrama, but through honesty—a quality that makes every line feel authentic. There are echoes of artists such as The Cure, Garbage and Cigarettes After Sex woven into the song's DNA, but "Parallel World" never feels derivative. Instead, Cat Nova blends those influences into a sound that is unmistakably her own, balancing dreamlike indie textures with thoughtful songwriting and understated elegance. Knowing the story behind the release only adds another layer of intrigue. After spending years away from music to complete a doctorate, write a book and build a successful career as a clinical psychologist, Cat Nova has returned not as someone trying to recreate the past, but as an artist enriched by life experience. That maturity shines throughout the track, giving it an emotional depth that many debut releases struggle to achieve. The production, handled by Jason Stafford at The Albion Rooms in Margate, is equally impressive. Every instrument is given room to breathe, allowing the piano, subtle arrangements and Nova's expressive vocals to remain the emotional centrepiece. It's polished without sacrificing intimacy—a difficult balance that the recording achieves with ease. Most impressive of all is the confidence of the songwriting. Rather than relying on overproduction or dramatic flourishes, Cat Nova trusts the melody and the story. It's a brave approach, and one that pays off beautifully. The result is a song that feels timeless rather than fashionable, recalling the emotional honesty that made so much alternative music of the late '90s and early 2000s so enduring. If "Parallel World" is any indication of what's to come from her forthcoming EP, Cat Nova's return to music could prove to be one of the year's most rewarding discoveries. This is not simply a comeback—it's the beginning of an exciting new chapter from an artist who has found her voice all over again. Elegant, emotionally resonant and quietly captivating, "Parallel World" is a debut that doesn't shout for attention—it earns it. Listen here: Cat Nova

There are few artists capable of making a 15,000-capacity arena feel as intimate as a small theatre, but Kany García achieved exactly that at Roig Arena in Valencia. Bringing her acclaimed "Puerta Abierta" tour to the city, the Puerto Rican singer-songwriter delivered a deeply personal performance that blended heartfelt storytelling, flawless musicianship and the songs that have made her one of Latin music's most beloved voices. The evening began in style with a warm and engaging opening set from fellow Puerto Rican singer-songwriter Tommy Torres, whose soulful performance perfectly set the tone for what was to come. His surprise return to the stage later in the evening would prove to be one of the night's biggest highlights. Kany wasted no time in captivating the audience, opening with "García", a powerful declaration of identity and authenticity. New material including "DPM" and "Una Vida Buena" showcased the strength of her latest album, while the audience responded with enthusiasm from the very first note, singing along and hanging on every word. One of García's greatest strengths has always been her ability to connect with listeners, and throughout the evening she transformed Roig Arena into an intimate conversation. Between songs she spoke warmly with the crowd, sharing stories, laughter and moments of reflection that made every fan feel part of something truly special. Tracks from her latest album, including the title song "Puerta Abierta" and "La Mala Era Yo", sat comfortably alongside the classics that have defined her remarkable career. A beautiful acoustic rendition of "Para Siempre" brought the arena to a standstill before the audience erupted into a mass singalong during the much-loved "Que Te Vaya Mal." The acoustic section was one of the concert's standout moments, featuring emotionally charged performances of "Fuera de Servicio," "La Siguiente," "Confieso" and "Lo Que En Ti Veo." The atmosphere reached another level when Tommy Torres returned to join García for a moving duet of "Quédate," drawing one of the loudest ovations of the evening. Alone at the piano, García demonstrated the full power of her songwriting with stirring performances of "Huir" and "Titanic," the latter using the tragic voyage of the famous ocean liner as a poignant metaphor for love and heartbreak. It was a reminder that her greatest instrument isn't just her voice—it's her ability to tell stories that resonate with audiences across generations. The closing stretch was a celebration of everything that has made Kany García one of the most respected artists in Latin music. A medley featuring "Aunque Sea Un Momento," "Soy Yo," "Hoy Ya Me Voy" and "Alguien" had the audience singing every lyric before "Te Lo Agradezco" delivered one of the night's most uplifting moments, its message of growth and gratitude striking a powerful chord. After briefly leaving the stage, García returned for an emotional encore featuring "La Culpa" and the triumphant "Tierra Mía," bringing an unforgettable evening to a fittingly heartfelt conclusion. Combining exceptional musicianship, emotional honesty and an unmistakable connection with her audience, Kany García once again proved why she remains one of the most compelling live performers in Latin music today. For everyone inside Roig Arena, the doors opened by "Puerta Abierta" led to an evening they won't soon forget. Words and photos: Rhyan Paul

There are gigs where the audience politely applauds from their seats, and then there are afternoons like this at El Café in Carcaixent, where before long almost everyone is on their feet, dancing, singing and celebrating together. La Orquesta Pinya transformed Enric's much-loved venue into one giant neighbourhood fiesta, filling the room with infectious rhythms, huge smiles and the kind of atmosphere that reminds you exactly why live music is so important. From the opening song, the band had the local crowd in the palm of their hands. Families, regulars and first-time visitors packed the venue, clapping along from the very first notes before the irresistible grooves eventually drew people onto the dance floor. By the second half of the show, there wasn't much sitting down happening at all. It was impossible not to be swept along by La Orquesta Pinya's boundless energy. Blending Mediterranean rhythms, folk traditions and party vibes with effortless musicianship, the band created a feel-good soundtrack that perfectly suited a warm summer afternoon. Every song seemed to invite another round of dancing, another chorus sung at full volume and another excuse to raise a glass with friends. Much of the magic, however, comes from Enric, whose passion for live music has turned El Café into one of the Ribera's true cultural gems. Week after week he continues to bring outstanding local musicians to Carcaixent, creating a welcoming space where artists and audiences feel equally at home. That sense of community was everywhere you looked, with musicians chatting to audience members between songs and neighbours coming together to enjoy another unforgettable afternoon. The biggest compliment you can pay any live performance is that nobody wanted it to end. As the final songs rang out, the applause was loud, heartfelt and thoroughly deserved, with many in the crowd already asking when La Orquesta Pinya would be returning. Events like this prove that you don't need huge arenas or festival stages to experience something special. Sometimes all you need is a fantastic band, an enthusiastic local crowd, a welcoming venue and an owner who genuinely believes in the power of live music. Once again, El Café delivered exactly that—and Carcaixent danced the afternoon away. Words and photos: Rhyan Paul

Valencia, 30 de junio de 2026.- La leyenda de la música británica Rod Stewart ha actuado esta noche en el Roig Arena ante más de 12.000 personas en el que ha sido su único concierto en España este año. A sus 81 años, el artista ha ofrecido un recital vibrante en el que el público ha coreado de principio a fin un repertorio repleto de grandes éxitos. El concierto ha arrancado con “Infatuation”, el tema de los años 80 que aborda una atracción intensa y casi irracional, marcando el inicio de una noche cargada de energía. A lo largo del show, Stewart ha repasado algunos de los temas más emblemáticos de su trayectoria, como “Forever Young”, un canto a vivir con libertad y mantener la esencia joven; la atrevida “Tonight I’m Yours” o “Hot Legs”, una de sus composiciones más sensuales. Tampoco han faltado clásicos como “Maggie May” o “Young Turks”, que han sido recibidos con entusiasmo por un público muy entregado. El repertorio también ha incluido algunas de las versiones más icónicas del artista, que forman parte inseparable de su universo musical, como “Jolene” de Dolly Parton, “Have I Told You Lately” de Van Morrison, “The First Cut Is the Deepest” de Cat Stevens o la reinterpretación de Stewart de “It’s a Heartache”, popularizada por Bonnie Tyler. Acompañado por su banda y tres coristas, Stewart ha demostrado sobre el escenario que su carisma y su capacidad para conectar con el público permanecen intactos, en un directo que ha combinado elegancia, presencia escénica y potencia musical. El concierto ha culminado con un tramo final de gran intensidad en el que han sonado temas como “Proud Mary”, el mítico “Do You Think I’m Sexy” y “Love Train” de The O’Jays, remarcando que el buen rock no entiende de edades.

On 20 August, the walls of Roig Arena are set to shake as one of the most influential heavy metal bands of all time brings its thunderous live show to Valencia. Judas Priest, pioneers of British heavy metal and architects of the genre for more than half a century, will headline a colossal night alongside Australian hard rock powerhouse Airbourne and German metal legend Dirkschneider. There are legendary bands, and then there is Judas Priest. Formed in Birmingham in the late 1960s, Priest helped define what heavy metal would become. From the groundbreaking British Steel and Screaming for Vengeance to Defenders of the Faith and the blistering Painkiller, the band created a catalogue packed with songs that have inspired generations of musicians. Their unmistakable twin-guitar attack, Rob Halford's soaring vocals and leather-and-studs image became the blueprint for countless metal bands that followed. Even after more than 50 years, a Grammy Award, induction into the Rock & Roll Hall of Fame and millions of records sold worldwide, Judas Priest continue to perform with remarkable power, most recently riding high on the success of Invincible Shield. But this isn't simply a Judas Priest concert—it's a celebration of heavy metal across three generations. Opening the evening are Airbourne, Australia's loudest exporters of straight-ahead hard rock. Often compared to AC/DC thanks to their explosive riffs, relentless energy and beer-soaked, no-nonsense approach, Airbourne have built a reputation as one of the most electrifying live bands on the planet. Their high-octane performances are pure adrenaline, making them the perfect band to ignite the Roig Arena crowd before the main event. Also joining the bill is Dirkschneider, fronted by the unmistakable Udo Dirkschneider, the iconic founder and original voice of Accept. This tour celebrates the 40th anniversary of the classic album Balls To The Wall, one of heavy metal's defining records. Udo's instantly recognisable rasp remains one of metal's great voices, and fans can expect a set packed with timeless anthems from one of Germany's most influential heavy metal catalogues. The concert also marks another milestone for Roig Arena, Valencia's spectacular new world-class venue, which has rapidly established itself as one of Spain's premier destinations for major international touring artists. Designed to deliver exceptional acoustics, immersive production and an unforgettable fan experience, the arena continues to attract some of the biggest names in global music—and few come bigger than Judas Priest. Whether you've been raising your fists to "Breaking the Law", "Living After Midnight" and "You've Got Another Thing Comin'" for decades or you're discovering the Metal Gods for the first time, this promises to be one of the loudest, heaviest and most unforgettable nights on Valencia's 2026 concert calendar. For tickets and more information: Roig Arena