Mondo Bizarre Magazine Concert Reviews, Festivals, Reviews

Sonic Blast 2026 – Praia da Duna dos Caldeirões,Vila Praia de Âncora – Recap

© Mondo Bizarre Magazine/Ricardo Silva

Sonic Blast Fest 2026: More Than Just a Festival, It’s an Annual Tradition

words: Joana Coelho
photos: Ricardo Silva

Every August, the quiet coastal stretch of northern Portugal transforms into an international sanctuary for heavy underground music. Sonic Blast Fest has long carved out a unique identity in the European festival circuit: an event where the laid-back rhythm of Atlantic ocean breezes, pine forests, and beachside culture collides head-on with a wall-of-sound lineup spanning stoner, doom, hardcore, psych-rock, and extreme metal.

The 2026 edition arrived with huge momentum, boasting yet another completely sold-out gathering and drawing dedicated fans from different countries to witness a lineup that balanced rare classic reunions, explosive international debuts, and underground trailblazers.

This was not merely a sequence of individual concerts, but an immersive multi-day marathon testing the endurance and enthusiasm of its audience. By the time the gates fully swung open, the 2026 gathering set out to prove once again why its signature “Beach and Riffs” motto remains an unmatched Summer experience.

Capela Mortuária © Mondo Bizarre Magazine/Ricardo Silva

Day 0: Setting the Bar High

The festival grounds roared to life early with a warm-up day that felt significantly busier than in previous years. The heavy turnout was felt immediately around the intimate Third Stage, where photographers and fans navigated a packed pit to catch the opening salvos. Wizard Master had the honor of warming up early arrivals, setting the stage for Spin the Skull, who delivered the first major surprise of the night with catchy hooks and driving riffs that ignited immediate mosh pits.

Capela Mortuária carried that momentum forward with a barrage of straightforward thrash, elevated by a double-guest appearance – the frontmen of both Vai-te F*der and Besta joined the stage to lend their vocals. Headliners Bongzilla closed out the night with a dense wall of sound, alternating between moments of raw crushing power and dragged-out sludge passages. Paired with a massive rush on official merch that saw several designs sell out before midnight, Day 0 established a high-standard precedent for the marathon ahead.

Deafheaven © Mondo Bizarre Magazine/Ricardo Silva

Day 1: High Energy and Unforgettable Moments

Official festivities opened on the Third Stage with Free Ride delivering stoner-tinged heavy rock to a remarkably full early-afternoon crowd. Following travel logistics that saw Elephant Tree step up to an earlier slot – performing a raw, stripped-back set as a trio following guitarist Jack’s absence – the festival hit its full stride. Australia’s Clamm brought high-velocity garage punk to the Second Stage, but it was Trash Talk who delivered what many hailed as the show of the day. Making their Portuguese debut to a heavily international crowd, the hardcore outfit unleashed absolute chaos, complete with massive circle pits, a seated audience section, and the frontman crowd-surfing all the way from the accessible viewing platform back to the stage.

Turbonegro © Mondo Bizarre Magazine/Ricardo Silva

Day 2: Heavyweight Titans Take the Podium

As the day progressed, Midnight brought daylight banter and maximum adrenaline, handing out beers from the stage, inviting fans into the photo pit, and leading a massive singalong to Satanic Royalty. Frankie and the Witch Fingers delivered a masterclass in psych-garage virtuosity before Deafheaven took the First Stage as night settled in. Acting like a master puppeteer, the frontman held the crowd spellbound through hypnotic soundscapes, continuous mosh pits, and the festival’s first encore, while teasing a new album on the horizon. Chat Pile delivered crushing noise-rock laced with stand-up-style movie trivia, Snapped Ankles turned the Second Stage into an experimental dance party from the middle of the crowd, and late-night sets from Mephistofeles and Madmess kept the grounds alive past 3:30 AM.

Friday opened on a spacey note with Jesus The Snake on the Second Stage, offering a hypnotic synth-prog buffer for fans recovering from Day 1. Hög quickly picked up the tempo with fast riffs and a new track preview, while Clamm returned for a second weekend set to fill in for a last-minute Dead Meadow cancellation.

Thrash veterans Voivod drew a massive turnout to the Second Stage, sharing fistbumps with the front row during an intense performance, paving the way for Conan’s caveman battle-doom to trigger continuous crowdsurfing and a massive circle pit on the First Stage. Street-punk legends The Casualties tore the Second Stage apart, with their frontman leaping directly into the pit. Kylesa’s triumphant return marked a major peak in festival attendance, bringing dual-drum sludge power. Headliners Turbonegro sparked pure euphoria with a sailor-hat-clad crowd singing All My Friends Are Dead in unanimous chorus, delivering what was considered by the majority as the standout set of the day.

Late into the night, festival veterans Deathchant proved once again why Sonic Blast has truly become their home away from home. Having graced the festival stages multiple times over the years, the heavy rock outfit commanded an absolute crowd-favorite reception, delivering a raw, explosive performance and highlighting their brand-new single “Enemy” – released that very day from their upcoming album Kova. Goya and an industrial electronic late-night party from N8NOFACE pushed the remaining energy straight through to 3:00 AM.

High On Fire © Mondo Bizarre Magazine/Ricardo Silva

Day 3: A Grand Finale

The final day opened to an eager, energetic crowd. Summer Of Hate and Primitive Ring got the early afternoon moving before Margarita Witch Cult brought heavy fuzz doom to the First Stage. Necrot delivered a dark, ferocious wake-up call on the Second Stage, blending old-school death metal with underground crust punk roots and urging security guards to get to work as crowdsurfers flooded the front. Greek stoner-rockers 1000mods ignited massive singalongs, paying tribute to Ozzy Osbourne with a cross bearing his name during “Overthrown,” while Teen Mortgage made a fierce Portuguese debut packed with strong political statements and earning enthusiastic cheers from the audience at the end.

The battle for the day’s podium came down to two monumental First Stage performances: Elder captivated a spellbound audience with sprawling heavy psych riffs that sparked a non-stop wave of crowdsurfers, while High On Fire delivered an unstoppable performance featuring Converge drummer Ben Koller behind the kit. Following an electronic shift with ADULT. and a heavy doom debut from Early Moods – which survived a brief late-night rain shower – Ungraven brought the marathon to a close on the Third Stage with crushing sludge.

Counting Down to the 15th Milestone

As the final amplifiers powered down and the hum of distortion faded into the early morning air, festivalgoers began their slow trek back toward the campsites and coastal roads. The 2026 edition succeeded not only in delivering dozens of world-class performances, but also in cementing the deep sense of community that turns this festival into a cherished annual ritual. Over four days, thousands of fans shared mosh pits, ocean dips, late-night dance parties, and heavy riffs, proving that the spirit of heavy underground music is as vital and unified as ever.

However, this edition also brought into focus the festival’s own phenomenal success. Year after year, Sonic Blast continues to experience exponential growth, and with another completely sold-out edition, the sheer density of attendees created noticeable friction during peak movement between stages. Highlighting the growing consensus among festivalgoers that the event may well deserve a venue upgrade – a larger, better-optimized space capable of accommodating its burgeoning crowd without sacrificing comfort or flow.

Now, as the dust settles and reality sets back in, everyone is already feeling the inescapable post-Sonic Blues. Leaving behind a trail of ringing ears, salt air, and unmatched memories, fans are already eagerly counting down the days until next Summer. All eyes turn toward the Portuguese coast once again, where Sonic Blast Fest will celebrate its landmark 15th anniversary milestone edition.

There are photo galleries of Sonic Blast 2026 on our Instagram: http://www.instagram.com/mondobizarremagazine/

Reviews: Day 0 Warm-Up, 05.08.2026; Day 1, 06.08.2026; Day 2, 07.08.2026; Day 3/, 08.08.2026;

Turbonegro Fans at Sonic Blast 2026 on Mondo’s Instagram

© Mondo Bizarre Magazine/Ricardo Silva



Mondo Bizarre Magazine Concert Reviews, Concerts, Festivals

Sonic Blast 2026 – Day 3, 08.08.2026, Praia da Duna dos Caldeirões,Vila Praia de Âncora.

High On Fire © Mondo Bizarre Magazine/Ricardo Silva

This is our final daily coverage of Sonic Blast 2026 at Praia da Duna dos Caldeirões,Vila Praia de Âncora.

words: Joana Coelho
photos: Ricardo Silva

Opening the First Stage on the final day of Sonic Blast Fest, Summer Of Hate took on the challenge of kicking off the afternoon, stepping in for the previously announced Levitation Room. Performing to a smaller, early crowd that was clearly feeling the physical toll of a three-day marathon, the band gradually warmed up the audience as more festivalgoers trickled in, closing their set on a lively, high-energy note.

Over on the Second Stage, Primitive Ring drew a noticeably larger turnout. Bringing a potent mix of heavy, groove-driven riffs, their catchy hooks got the afternoon crowd moving and setting a more active pace for the day.

Margarita Witch Cult © Mondo Bizarre Magazine/Ricardo Silva

Margarita Witch Cult then took over the First Stage, greeted by a strong and eager crowd. Delivering their signature blend of heavy, fuzz-drenched stoner doom and classic heavy metal riffs, the band brought a noticeably more powerful sound to the stage. The frontman persistently encouraged the crowd to start headbanging, and the audience delivered in full force throughout the set.

Things took a dark and ferocious turn as Necrot stormed the Second Stage, unleashing a wave of dark, heavy energy that proved to be the exact wake-up call the crowd needed. Bringing an intense brand of old-school death metal deeply rooted in early underground crust punk, the band’s sonic weight hit with maximum impact.

Luca Indrio, their frontman, made a nostalgic nod to their 2018 show in Porto before driving the audience into wild circle pits, continuous mosh pits, and constant crowd surfing. Joking that the security guards hadn’t done anything all day and needed some work to do, the band proved that despite their style standing out from the rest of the festival line-up, extreme metal fits right into Sonic Blast’s diverse celebration of heavy music.

1000mods © Mondo Bizarre Magazine/Ricardo Silva

As the sun began to set, 1000mods hit the First Stage with maximum energy, instantly getting the crowd jumping to their infectious stoner-rock anthems. The Greek outfit commanded a massive response, with the audience singing along to every guitar riff in unison, throwing down wild circle pits, and crowding the front row with non-stop crowdsurfing.

Dani Go. (bass and vocals) jokingly claimed it was their very first time at the festival, later paying homage to Ozzy Osbourne during the track Overthrown, accompanied by a cross bearing the legendary musician’s name displayed on the background screen, before wrapping up a set packed with roaring singalongs.

Facing a brief ten-minute delay due to pedalboard technical difficulties, Teen Mortgage made their Portuguese debut on the Second Stage. Wasting no time, the duo opened their high-velocity garage-punk set with strong political statements, shouting “Free Palestine” and voicing clear support for women’s rights before blasting through a fast, aggressive performance that earned loud, enthusiastic cheers from the audience at the end.

Elder © Mondo Bizarre Magazine/Ricardo Silva

As the grounds reached absolute capacity, Elder took the First Stage for one of the most anticipated sets of the entire festival. Without relying on lengthy public interaction, the progressive heavy psych titans unleashed a wave of colossal, earth-shaking riffs and soaring melodies, captivating the spellbound audience in a sprawling sonic journey that seemed to transcend the space-time vortex itself.

The sheer weight of their performance ignited a constant flow of crowdsurfers riding over the sea of hands, firmly positioning the set as a top contender for the best show of the day.

That battle for the day’s podium was fiercely shared with High On Fire, who delivered a pulverising, unstoppable performance on the First Stage. Featuring Converge drummer Ben Koller behind the kit, the metal titans didn’t need much stage banter as their crushing heavy riffs spoke for themselves. The crowd went wild – quite literally on fire – triggering intense mosh pits and a constant wave of crowdsurfers throughout the entire set.

Offering a complete change of pace on the Second Stage, Adult brought their dark electronic wave sound to the night. Featuring a dynamic duo of a female vocalist and a synthesizer player, their driving industrial beats had the late-night crowd dancing and moving to a completely different rhythm.

Adult © Mondo Bizarre Magazine/Ricardo Silva

Past 2:00am on the First Stage, Early Moods made another memorable debut in Portugal, with the frontman immediately hyping up the crowd the moment he stepped into the spotlight. The doom/heavy metal band didn’t stop moving for a single second, also taking a moment to voice “Free Palestine.” Midway through their set, an unexpected burst of rain sent the majority of the audience running toward the covered Third Stage tent, but the shower was short-lived and the late-night party quickly resumed.

Closing out the festival at the Third Stage around 3:30am, Ungraven brought the marathon to an end. However, their slow, crushing sludge pace left some in the audience questioning whether it was the ideal choice to wrap up three days of non-stop, heavy concert endurance, as many fatigue-stricken festivalgoers struggled to keep up with the slow-tempo finish.

As the final amps powered down and the crowd began their slow trek home, another memorable chapter of Sonic Blast Fest drew to a close. Leaving behind a trail of ringing ears, ocean breezes, and unmatched memories, this edition laid the perfect groundwork for what lies ahead: next year, the festival will celebrate its landmark 15th anniversary, promising an unforgettable milestone edition that will undoubtedly bring the heavy music community together once again on the coast.

There are photo galleries of Sonic Blast 2026 on our Instagram: http://www.instagram.com/mondobizarremagazine/

Reviews: Day 0 – Warm Up, 05.08.2026; Day 1, 06.08.2026; Day 2, 07.08.2026: Recap

Turbonegro Fans at Sonic Blast 2026 on Mondo’s Instagram

© Mondo Bizarre Magazine/Ricardo Silva

Mondo Bizarre Magazine Concert Reviews, Concerts, Festivals

Sonic Blast 2026 – Day 2, 07.08.2026, Praia da Duna dos Caldeirões,Vila Praia de Âncora.

Turbonegro © Mondo Bizarre Magazine/Ricardo Silva

Our coverage of Sonic Blast 2026 continues. Tomorrow we will bring you the report of the festval’s last day.

words: Joana Coelho
photos: Ricardo Silva

Day 2 of Sonic Blast 2026 kicked off at the Second Stage with Jesus The Snake, who mesmerized the early afternoon crowd with their hypnotic blend of progressive synth-rock and spacey passages. A decent crowd gathered to take in the performance, with many festivalgoers taking the opportunity to ease into the afternoon while still recovering from the intense marathon of Day 1.

Offering an immediate contrast, Hög took the stage with a barrage of fast riffs and heavy rock, injecting a burst of energy that quickly invigorated the fans as they arrived. Confirming that a new album is right around the corner, the band treated the crowd to a brand-new track from the upcoming record.

Over on the First Stage, the afternoon brought a sudden lineup change due to a last-minute cancellation by Dead Meadow. Stepping in on short notice were Australia’s Clamm, returning for their second performance of the festival after playing Day 1.

With the crowd initially taking advantage of the shaded areas to rest – and having already caught their set the day before – the turnout started modest, but the grounds filled up significantly as their punk-rock set unfolded, culminating in a well-deserved encore, devilering a performance that was considered by many as better than the day before.

Voivod drew a massive turnout, with the Canadian sci-fi thrash veterans instantly warming up the audience as they launched into a set that quickly generated headbanging and loud singalongs across the Second Stage. Despite the vocalist mentioning he was dealing with a headache, the band delivered a relentless performance, and energy peaked near the end with the musicians sharing fistbumps with fans in the front row.

Up next, Conan delivered a massive, intensely packed set. Bringing their trademark caveman battle-doom with crushing weight and agonizingly heavy vocals, the British trio had the crowd completely engaged from the first note. The performance triggered massive headbanging, continuous crowdsurfing, and a massive circle pit that tore through the crowd towards the end, all set against mesmerizing visuals projected on the backdrop.

Kylesa © Mondo Bizarre Magazine/Ricardo Silva

Despite brief sound issues right at the start, street-punk legends The Casualties wasted no time tearing the Second Stage apart the moment they kicked off. Demanding movement from the get-go, the band ignited a wild circle pit by their second song, greeting the audience in Portuguese with a loud “Como vocês estão?”. The crowd responded with overwhelming enthusiasm as the frontman leaped off the stage, plunging directly into the middle of the pit before climbing back up to finish the chaotic set.

Hailing as one of the most anticipated acts of the entire festival, Kylesa made a triumphant return, hitting the stage with pure heavy sludge power. Delivering their charismatic, dual-drum-driven sound, the band marked the festival’s first performance led by a female vocalist. Expectedly for a Friday night, attendance peaked dramatically during their set, with the grounds feeling noticeably more packed than on any previous day.

Crowd at Turbonegro © Mondo Bizarre Magazine/Ricardo Silva

Following a minor ten-minute delay – the first real schedule bump of the day – Turbonegro took the stage as the night’s absolute headliner. Dressed in their signature glam-punk style, surrounded by a sea of fans wearing sailor hats, the Norwegian deathpunk icons were met with an explosive reception. The band shared a brief nod to their history, with Thomas Seltzer recalling his first visit to Portugal 40 years ago, before tearing through a set that reached absolute euphoria when the entire crowd sang All My Friends Are Dead in unanimous chorus. Delivering an encore, the band delivered what was considered by the majority to be the best show of the day.

Deathchant kept the adrenaline at a maximum, stepping out to a fully packed Sonic Blast grounds. Pushing the crowd to give everything they had left, the heavy rock outfit delivered an explosive, raw set, highlighting their brand-new single Enemy – released that very day from their upcoming album Kova. Calling Sonic Blast their “home away from home,” the band fed off the audience’s unmatched energy.

Moving to the Third Stage at around 2:00 AM, Goya delivered heavy, fuzz-laden stoner doom to a remarkably large and surprisingly energized late-night crowd, keeping the festival’s heavy momentum rolling well past midnight.

Closing out the night at 3:00 AM, N8NOFACE delivered a wildly unique finale, blasting the grounds with a chaotic fusion of industrial electronic beats, synth-punk, and raw, growling vocals. Despite the extreme hour, the energy remained sky-high, turning the front of the stage into a massive, late-night dance party to wrap up an unforgettable Day 2.

There are photo galleries of Sonic Blast 2026 on our Instagram: http://www.instagram.com/mondobizarremagazine/

Reviews:
Day 0 Warm-Up, 05.08.2026; Day 1, 06.08.2026; Day 3, 08.08.2026; Recap

Turbonegro Fans at Sonic Blast 2026 gallery at Mondo’s Instagram

© Mondo Bizarre Magazine/Ricardo Silva

Mondo Bizarre Magazine Concert Reviews, Concerts, Festivals

Sonic Blast 2026 – Day 1, 06.08.2026, Praia da Duna dos Caldeirões,Vila Praia de Âncora.

Deafheaven © Mondo Bizarre Magazine/Ricardo Silva

Our coverage of Sonic Blast 2026 goes on and we keep bringing you daily reports of the festival.

words: Joana Coelho
photos: Ricardo Silva

The first official day of the 2026 edition of Sonic Blast Fest opened with Free Ride that stepped out to a remarkably full Third Stage right from the early afternoon. Delivering a set packed with psychedelic, stoner-tinged heavy rock, the band drew intense headbanging and a great reception from the crowd, making for a perfect festival kickoff.

Meanwhile, travel-related logistical issues with Clamm caused a last-minute schedule shift, leading Elephant Tree to step up and play an earlier slot. Due to health issues that prevented guitarist Jack from traveling, the British group was forced to perform as a trio.

Even without their usual vocal harmonies and offering a raw, stripped-back take on their signature melodic stoner/sludge sound, the band offered a sincere apology for the situation, and the sympathetic crowd welcomed the performance with open arms.

When Clamm later took to the Second Stage, the Australian group brought their energetic fusion of punk and garage rock, unleashing high-octane, danceable riffs full of attitude as the grounds and the audience were just beginning to warm up.

Trash Talk ultimately crowned themselves as the standout band of the day in what was their absolute debut in Portugal, drawing a significantly larger crowd. A quick question from the frontman during the set revealed that the vast majority of those watching were international festivalgoers.

Trash Talk © Mondo Bizarre Magazine/Ricardo Silva

The blistering speed of their hardcore unleashed the day’s first and most intense mosh pits. The interaction was relentless: the vocalist managed to get nearly the entire crowd sitting on the ground, commanded massive circle pits, and threw himself into the pit multiple times, with the guitarist joining the chaos as well. The peak moment arrived near the end when the frontman crowd-surfed all the way from the accessible viewing platform back to the stage.A performance many hailed as the show of the day.

Bringing midnight straight into the daylight hours, the trio Midnight never slowed down for a single second. The vocalist/bassist kept up constant banter, kicking things off by handing out two beers to the front row the moment he stepped on stage.

Packed with jokes, he encouraged fans to storm right into the photo pit to enjoy the show without hesitation, and later had the entire crowd belting out a massive singalong to Satanic Royalty. The energy reached its absolute peak when they dropped You Can’t Stop Steel four tracks in, keeping the crowd’s adrenaline at maximum capacity until the final note.

The explosive powerhouse Frankie and the Witch Fingers then took over with their infectious mix of psych-rock, fierce garage, and funk-infused stoner grooves. Driven by heavy riffs, rapid rhythms, and mesmerizing virtuosity, they set the mood perfectly for the evening ahead.

As the night settled in Deafheaven took to the First Stage to deliver what turned out to be one of the most acclaimed sets of the day, easily rivaling Trash Talk for the top spot. Blending hypnotic soundscapes with an intense, restless physical performance where no musician stood still for a second, the frontman controlled the audience like a master puppeteer without needing lengthy speeches.

As the only band of the festival so far to perform an encore, their set featured continuous mosh pits and a massive circle pit. Closing out the show, the vocalist confirmed they would return to Portugal with new music, teasing a new album on the horizon.

Sharing the First Stage Chat Pile performed for a crowd that was starting to show signs of fatigue, yet still responded enthusiastically to the band’s crushing sound. The spotlight was entirely on the frontman, who maintained non-stop interaction with the crowd, delivering a set filled with movie trivia and a vibe akin to stand-up comedy.

Snapped Ankles © Mondo Bizarre Magazine/Ricardo Silva

Closing out the Second Stage, Snapped Ankles divided opinions across the grounds. Coming out of the London post-punk scene with a post-apocalyptic, experimental edge, the group delivered danceable, tribal beats while clad in their signature forest-spirit outfits adorned with lights. Their frontman interacted heavily with the audience, venturing off the stage and stepping directly into the middle of the crowd to share the energy up close.

Returning after their appearance the night before, Bongzilla delivered a rock-solid set, though their slower, dragged-out sludge passages felt heavier on an audience dealing with late hours and long hours of continuous music.

Well into the early morning hours, Argentina’s Mephistofeles brought their dark, fuzz-drenched doom and stoner riffs with a heavy Electric Wizard vibe, proving to be one of the most anticipated acts of the night despite the late hour.

To close out the day’s marathon, Portugal’s Madmess were welcomed with a storm of cheers and enthusiastic applause. Presenting their progressive psychedelic rock filled with sprawling instrumental journeys and cosmic solos, they proved the incredible endurance of the festival’s crowd, even with a set time starting at 3:30am.

By the time the final feedback faded into the night air, Day 1 had cemented Sonic Blast 2026 as a relentless celebration of heavy music, leaving a exhausted yet hungry crowd ready for whatever chaos the next days would bring.

There are photo galleries of Sonic Blast 2026 on our Instagram: http://www.instagram.com/mondobizarremagazine/

Reviews: Day 0 Warm-Up, 05.08.2026; Day 2, 07.07.2026; Day 3, 08.08.2026; Recap

Turbonegro Fans at Sonic Blast 2026 on Mondo’s Instagram

© Mondo Bizarre Magazine/Ricardo Silva

Mondo Bizarre Magazine Concert Reviews, Concerts

Silly Boy Blue – 33 Porto, Porto, 20.06.2026.

© Mondo Bizarre Magazine/Ricardo Silva

Swing on a Summer Afternoon, or the Great Panoply of Rock ‘n’ Roll

words: Paulo Carmona (edited by Raquel Pinheiro)
photos: Ricardo Silva

On 20 June, Silly Boy Blue took to the stage at number 33 on the iconic, almost mythical Rua de Sá da Bandeira, right in the heart of Porto, for what felt like an intimate yet celebratory gathering among friends, invited guests, their audience, and a handful of curious passers-by.

The musical landscape of the band inhabits is no stranger to us – indie rock with a healthy dose of Britpop, together with all the subgenres that naturally gravitate around it.

That said, Silly Boy Blue have its own sound, its own alchemy, and its own style, something that is by no means easy to achieve within the broad ecosystem of that musical universe.

I would like to highlight, from the outset, the vocal work of every member of the quartet. Their voices work together seamlessly, reaching a remarkably high standard of execution. Outstanding.

From Again and Again, through Away We Go, Did You Say Something, This City and Man on a Wire, to Jesus, Temptation and By The Window, the band remains cohesive throughout, navigating a melodic carousel of crescendos and diminuendos that are at times intense and abrasive, at others introspective and bittersweet.

If we close our eyes, we hear a band of gifted young musicians. If we open them, we see a group of grown men who still have all the mojo exactly where it belongs. Funny guys.

© Mondo Bizarre Magazine/Ricardo Silva
Mondo Bizarre Magazine Concert Reviews, Concerts

YHWH Nailgun – RCA Radioclube Agramonte, Porto, 18.06.2026.

© Mondo Bizarre Magazine/Ricardo Silva

words: António Carvalho (edited by Raquel Pinheiro)
photos: Ricardo Silva

It was before a nearly full audience that the New Yorkers YHWH Nailgun returned to northern Portugal, after their debut at the Mucho Flow festival last November. Despite being dubbed by an American publication as “the last good band left in New York” (an exaggerated title, in my opinion), it’s clear from the first minute that there’s a spark of originality in their sound.

It’s difficult to define, but it seems easy to categorize it somewhere between post-punk and noise, a wide field in which some no wave bands from their city moved in the eighties. Their music is strongly anchored in Sam Pickard’s drumming, with its fast, elaborate and highly percussive rhythms (the use of rototoms helps immensely), inviting bodies to move.

Zack Borzone’s guttural voice and stage presence are other key elements, although the words he utters are difficult to understand. The sound of Saguiv Rosenstock’s highly processed guitar, achieved with a huge array of distortion pedals, is angular and dissonant, functioning almost like a second voice.

© Mondo Bizarre Magazine/Ricardo Silva

Dissonance is also present in Jack Tobias’ synthesizers, in a tone that is sometimes urgent, sometimes serene. The combination of these elements, meticulously interpreted, ever present and full of shifts and small explosions, results in something that confirms the cliché “first you find it strange, then it becomes ingrained.”

They began by playing their second album, released weeks ago, which curiously is only 11 minutes long and has 10 tracks, all around the minute mark. I even think they played it in its entirety, just like the tracks from their debut album that came after, released last year.

Zach immerses himself in his lyrics, as if exorcising inner demons, which contrasts with his angelic and contemplative pose between songs, looking at the faces in the audience. In less than an hour, they left people wanting more, as if they could deliver it and we could process it.

They have a somewhat mysterious and haunting appeal (perhaps that’s why the legendary 4AD recently signed them) and are the result of a successful experiment, such is the unique and cohesive outcome.

They’re not a band for the masses, but there will certainly be a vast minority who will want to get to know them and exchange strangeness for familiarity.

There’s a photo gallery on our Instagram: http://www.instagram.com/mondobizarremagazine/

© Mondo Bizarre Magazine/Ricardo Silva

Mondo Bizarre Magazine Concert Reviews, Concerts

I’A’V – Lovers & Lollypops, Porto, 18.06.2026.

© Mondo Bizarre Magazine/Ricardo Silva

I’A’V – Lovers & Lollypops, Porto, 18.06.2026.

words: Paulo Carmona (edited by Raquel Pinheiro)
photos: Ricardo Silva

Everything seemed suited to the project’s sound. The atmosphere, the space, the audience, and the time of the show.

It was just after 7.45pm when I’A’V entered the venue to present one of the most original Portuguese projects I have heard in recent years.

They came to present their first work: Volatile Poem, and I want to begin with the instruments used: cello, transverse flute, samplers and voice.

The sonic world of this project, featuring Inês Malheiro, Arianna Casellas and Violeta Azevedo, brings us fresh, atmospheric, spiritual and soothing environments. They navigate calm waters of musical poetry, blended with soft colours and gentle breezes.

Very well prepared and perfectly coordinated with each other, they create a symbiosis of musicality, with richly crafted arrangements and beautifully explored silences where the music breathes and lives by itself. The vocalisations evoke the songs of sirens: calm and seductive.

At the end of the enchantment, I had the opportunity to speak with the members of the project, who shared with me that when they came together to create this work, they were aware that they were three people with different musical structures and distinct languages. It was through this fusion of experiences and life journeys that they naturally connected, creating their own identity.

Without pressure, without preconceived ideas. They allowed the music to flow naturally, and the project’s sound took shape.

A toast to symbiosis! It is from ideas and fearless experimentation that things like this emerge.

There’s a photo gallery on our Instagram: http://www.instagram.com/mondobizarremagazine/

© Mondo Bizarre Magazine/Ricardo Silva
Mondo Bizarre Magazine Concert Reviews, Concerts

Alex Lazaro – Lovers & Lollypops, Porto, 16.06.2026.

© Mondo Bizarre Magazine/Ricardo Silva

Percussion as Structure and Movement

words & photos: Ricardo Silva

On 16 June, the intimate venue operated by Lovers & Lollypops in Porto hosted a performance by percussionist Alex Lazaro, who presented material from Alocades, his first solo release.

The concert formed part of the venue’s ongoing programme dedicated to contemporary experimental and exploratory music, continuing the independent promoter’s long-standing commitment to emerging and unconventional artistic practices.

Lazaro approached the evening with a performance centred on percussion not merely as a rhythmic device but as a primary compositional language. Working with instruments including marimba, vibraphone and rototom, he constructed pieces that balanced repetition, texture and movement.

Rather than relying on conventional song structures, the performance unfolded through gradual developments in timbre and dynamics, creating a listening experience that emphasised detail and spatial awareness.

Throughout the set, the physical dimension of performance remained central. The relationship between body, instrument and sound became an integral part of the presentation, with gestures and movement contributing as much to the visual identity of the concert as the music itself. The result was a performance that occupied a space between concert, sound art and choreography, allowing audiences to engage simultaneously with sonic and physical forms of expression.

© Mondo Bizarre Magazine/Ricardo Silva

The acoustics and proximity offered by the Lovers & Lollypops venue proved particularly suited to the material. Subtle resonances, sustained tones and rhythmic shifts could be perceived with clarity, reinforcing the immersive character of the compositions. The setting encouraged attentive listening and highlighted the intricate relationships between the various percussive elements employed during the performance.

While Alocades serves as Lazaro’s first solo statement, the musician is already recognised for his collaborative work, most notably alongside Colombian composer and producer Lucrecia Dalt.

That experience is reflected in an approach that favours sonic exploration over genre conventions, combining contemporary percussion techniques with a broader interest in texture and atmosphere. The Porto performance demonstrated how those influences have been adapted into a distinct artistic language centred on percussion as both musical and performative expression.

The concert also reflected the broader curatorial identity of Lovers & Lollypops.

Alex Lazaro’s appearance in Porto was therefore more than a presentation of new material. It offered a focused exploration of percussion as a multidimensional practice, one in which sound, movement and space interact continuously.

In a programme increasingly defined by curiosity and experimentation, the concert stood as a concise example of the type of work that continues to find a home within Porto’s independent music community.

© Mondo Bizarre Magazine/Ricardo Silva

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Mondo Bizarre Magazine Concert Reviews, Concerts, Reviews

Father John Misty, Coliseu, Porto, 02.06.2026.

© Mondo Bizarre Magazine/Daniela Tedim

words: Paulo Carmona (edited by Raquel Pinheiro)
photos: Daniela Tedim

Ladies & Gentlemen — welcome to the celebration of sound.

I cannot remember attending a concert at the Porto Coliseum, and there have surely been well over fifty by now,with such outstanding sound. And this is precisely where I want to begin. Credit must be given to the entire team of musicians and technicians who allow us to experience music in its purest and most beautiful state.

Father John Misty appeared on stage in all his musical splendour, surrounded by musicians capable of performing at the very highest level of what I consider quality music.

What happened there was magic. It was moving, overwhelming, and capable of making the hairs stand up on the head of even a centenarian with no hair left to stand. Everything in that music was perceptible, everything was tangible, everything was everything.

A consummate performer, possessing the natural poise of his essence as a cult artist, he wandered across the stage like a siren whose song captivates the audience with a visceral diplomat’s passport.

With a set built around 21 songs from his already long career, which from the very first second sent the audience, who almost completely filled the Coliseum, into raptures, there was no shortage of favourites such as Mr Tillman, Chateau, Buddy’s Rendezvous, Mental Health, the joyfulness of Novel contrasting with the nostalgic introspection of Magic Mountain and the agonised, warlike energy of Payoff in flashes of rhythmic poetry. She Cleans Up, of course, and finally the magnificent Mahashmashana.

That scarlet red backdrop, the deep blue tones and the lighting did the rest, and everything was simply… just perfect!

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© Mondo Bizarre Magazine/Daniela Tedim
Mondo Bizarre Magazine Concert Reviews, Concerts, Reviews

Bombino, Casa da Música, Porto, 31.05.2026.

© Mondo Bizarre Magazine/Daniela Tedim

With All The Feeling and Soul In The World

words: Raquel Pinheiro
photos: Daniela Tedim

Presenting songs from his latest album, Sahel (2023), Bombino returned with the hypnotic blend of desert blues and rock that has made him one of the most distinctive guitarists of his generation.

Often described as a pioneer of Tuareggae, a fusion of traditional Berber rhythms and rock and roll, Bombino sings and writes primarily in Tamasheq. Watching him perform, however, labels quickly become secondary to the experience itself.

The concert began acoustically. Bombino, accompanied by drummer Corey Wilhelm and a bassist whose name sadly escaped me, eased the audience into the evening with gentle rhythms and fluid melodies. Dressed in traditional Tuareg garments, the trio immediately established an atmosphere that felt both intimate and expansive.

The first songs unfolded with graceful ease. The bass remained smooth and steady beneath Bombino’s singing, while the guitar moved between delicate flourishes and syncopated desert-blues patterns. There were occasional vocal exclamations, almost calls carried on the wind, and moments where the music shifted unexpectedly between melancholy and propulsion.

One particular acoustic number began like a lament, only to transform into something far more rhythmic. What fascinated me was the contrast between the apparent mournfulness of the voice and the increasing momentum generated by the guitar and percussion. It created a tension that felt both ancient and modern.

As the instrumental passages expanded, Bombino and the bassist repeatedly moved face to face, exchanging phrases with a distinctly rock-and-roll energy. The chemistry between them was one of the evening’s recurring pleasures, while Corey Wilhelm’s drumming provided a powerful foundation throughout.

Then came the transition that many in the audience had been waiting for.

The acoustic guitar was set aside and Bombino plugged in.

Instantly we entered the territory for which he is best known: electric desert blues infused with the spirit of Hendrix.

Bombino has often spoken about learning guitar by watching videos of Jimi Hendrix and Dire Straits, and while the influence is present, what emerges is unmistakably his own voice. The economy of movement is remarkable. There are no unnecessary gestures, no theatrical flourishes. The hands move sparingly, yet the sound that emerges is immense.

Addressing the audience in French, Bombino thanked everyone for their support and spoke about the years since his previous visit. The response from the crowd was warm and immediate.

From there the concert steadily gathered momentum. Traditional melodies intertwined with psychedelic textures. Guitar and bass once again found themselves in conversation, sometimes duelling, sometimes dancing around one another. The bassist was extraordinary. More than once I found myself writing the same note in my notebook: “that bass, that bass, that bass.”

One particularly exhilarating piece felt almost like a desert cavalcade. The bass groove was irresistibly danceable, the drums drove relentlessly forward, and Bombino’s guitar soared above it all with long, electrifying solos that somehow felt both effortless and deeply rooted.

As the evening progressed, the audience became increasingly animated. The bassist joked in English that he knew everyone wanted to dance and apologised for the chairs. It was a fair observation. Before long people were standing, moving and swaying wherever space allowed.

I eventually joined those dancing along the upper steps at the side of the auditorium. Down by the stage, one audience member repeatedly appeared, danced enthusiastically and then disappeared again, becoming a small performance within the performance.

The later part of the set moved through a variety of moods. There were moments of traditional singing, extended instrumental passages, slower and almost jazzy sections, and long stretches where the audience clapped along with the rhythm section while Bombino explored melodic pathways on guitar.

By the end, the entire room was on its feet.

© Mondo Bizarre Magazine/Daniela Tedim

One of the final highlights featured a wonderfully grooving drum solo followed by an equally captivating bass feature. Bombino stepped back, danced, and allowed his bandmates to take centre stage before all three musicians returned to a hypnotic, almost primeval groove that felt as though it had emerged directly from the desert itself.

For the encore, Bombino returned alone. Guitar in hand, he began with a solitary groove and a series of twanging phrases before the bassist and drummer gradually rejoined him. It was a fitting ending: a reminder that, whether acoustic or electric, intimate or expansive, Bombino’s music ultimately rests on the power of rhythm, groove and connection.

Desert blues may be the term most often attached to his music, but on this evening it often felt just as much like a rock concert. Not because it abandoned its roots, but because it embraced them with such confidence that they could converse effortlessly with Hendrix, psychedelia, groove and pure rock-and-roll energy.

And judging by the number of people dancing by the end, the audience understood that perfectly.

© Mondo Bizarre Magazine/Daniela Tedim