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.
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.
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.
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.
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.
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.
Unfortunately we don’t have a review of Urtiqa’s – Frederica Campos and Bruna de Moura – concert at Lovers & Lollypops. We have a wonderful photolog by Ricardo Silva on our Instagram: http://www.instagram.com/mondobizarremagazine/
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.
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.
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.
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!
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.
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.
