A Noite do Cometa, OPO-LAB – Gabci + Bulha + Baleia Baleia Baleia + DJ Sets DJ a Boy Named Sue | Rodas, Porto, 16.05.2026.

Gabsi © Mondo Bizarre Magazine/António Carvalho

words: António Carvalho (edited by Raquel Pinheiro)
photos: António Carvalho & Telma Mota

A Noite do Cometa (The Night of the Comet Night) was a collective and multidisciplinary event planned by Rui Garcia some time ago. It aims to be an immersive underground culture experience, with bodies and minds present and stimulated.

The chosen location, like the format, is unconventional, belonging to a coworking space that was adapted for the purpose, where a somewhat mysterious corridor preceded the main chamber. Several stylized artistic and visual installations accompanied the entire night.

The musical part was continuous, with DJ sets by A Boy Named Sue and Rodas alternating with concerts.
The first performance on stage was by Gabci, author of an energetic one-woman show. Her well-trained voice, sometimes pop, sometimes in riot girl mode, is laid on a set of danceable rhythms and electronic melodies and atmospheres, filling the room along with her strong presence.

The concert ended with Inner Void, a duet with Cunhal Caveira.

Bulha © Mondo Bizarre Magazine/António Carvalho

Bulha, the band that includes organizer Rui Garcia, took to the stage shortly after the announced time. The pure energy of rock, guaranteed by the trinity of drums, bass, and guitar, is combined with a strong social and political message delivered by the two vocalists, who complement each other in register (between singing and declamation) and in posture, between the confrontation of Pedro Vasco Oliveira and the theatricality of Paulo Carmona. It was impossible to remain indifferent to this performance.

Baleia Baleia Baleia © Mondo Bizarre Magazine/Telma Mota

The last band was Baleia Baleia Baleia, already well known for their concerts, a dimension where they truly shine. The appeal is constant, whether through the verbal incitement of Manuel Molarinho, who moves among humor, love, and a lef-wing stance, or through the danceable punk imprinted by Ricardo Cabral’s drums and Molarinho’s distorted bass.

The result is a commotion in the audience, complete with mosh pit, mass chants, and an apotheotic ending with the band descending into the crowd and chanting “We can shout: let it pass!”, from Exorcismo.

The success of this event proves that, where there’s a will, there’s room and an audience for other ways of showcasing what’s happening in Porto’s underground culture. We look forward to the next edition.

There’s a photo gallery of A Noite do Cometa on our Instagram.

Rita Braga,  Radioclube  Agramonte, Porto, 14.05.2026.

© Mondo Bizarre Magazine/Vítor Neves

words: António Carvalho (edited by Raquel Pinheiro)
photos: Vítor Neves

Rita Braga says that, despite living in Porto since 2011, she doesn’t play often in her adopted city. She has traveled physically and musically to many corners of the world, but her latest album, Fado Tropical which she presented live at Rádio Clube de Agramonte is her first album entirely sung in Portuguese.

In the small spaces between songs, Rita explained its concept to the audience. She went back to the history and origins of fado, drew inspiration from research and literature dedicated to this theme (mainly A triste Canção do Sul), and brought many songs from that era (late 19th and early 20th centuries) back to the present day and to her peculiar style. The exotic mix of old melodies with instruments foreign to traditional fado (Rita’s inseparable ukulele, and Rui Rodrigues on the marimba, percussion, electronics, and the banjo) is harmonious, continuing to prove that fado is a permeable language.

© Mondo Bizarre Magazine/Vítor Neves

The projected images reflect this coexistence of eras, alternating between photos, posters, and period articles with black and white portraits of Rita, as well as her stage pose (that of old fado singers) and attire. Her high-pitched, fresh, and somewhat unpretentious voice, without the mannerisms and virtuosity often associated with fado, revives songs performed by Ercília Costa, Maria Alice, and Hermínia Silva in the 1920s and 1930s, where it is clear that several themes remain very relevant today.

A version of the classic Chão de Estrelas was also heard, accompanied by an old recording of Armandinho’s guitar, establishing a link between fado and its possible Brazilian origins.

At the end, Rita presented us with one of the original songs from the album, based on a poem by Catarina Santiago Costa. Special mention should also be made of the other musician on stage, Rui Rodrigues (or “Pacheco III,” as Rita nicknamed him, as a reference to Hermínia Silva’s guitarist).

there’s a short reel and a photo gallery of the concert on our Instagram.

© Mondo Bizarre Magazine/Vítor Neves

Noite do Cometa at OPO’LAB, Porto, Saturday 16 May

Baleia Baleia Baleia

Noite do Cometa is a unique event Saturday 16, stretching to the early hours of Sunday 17, at a special space with concerts by Gabci, Baleia Baleia Baleia and Bulha the band of our very own Paulo Carmona, and DJ sets by A Boy Named Sue and Rodas at OPO’LAB, Porto (Rua D. João IV 643), doors 9pm. Tickets: €16.50 Euros + taxes (online at Shotgun)

Schedule:
9pm: Doors/DJs
9:45pm: Gabci
10:30pm: Bulha
11:30pm: Baleia Baleia Baleia
00:30am: DJ a Boy Named Sue | Rodas
2:30am: The Comet Passed By

Bulha

Glyders, Lovers & Lollypops, Porto, 20.04.2026.

© António Carvalho/Mondo Bizarre Magazine

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

Lovers & Lollypops’ garage, transformed into a concert venue, was the chosen stage for Glyders, a three-piece from Chicago, performing in Porto.

It was a perfect setting. Garage rock is one of the distinctly American strands running through their sound, alongside southern rock, psychedelia, experimentalism, classic rock ’n’ roll, blues, and even country, all filtered in their own way.

The metronomic cadence of Miles Luttrell, the guest drummer on this tour, and the powerful bass lines of Eliza Weber form the rhythmic engine that carries Josh Condon’s guitar lines. He moves between melody and dissonance, between substance and explosion, between clarity and change, between a stable, conventional structure and sudden shifts in cadence and time signatures.
Over this, his somewhat cryptic lyrics take shape, supported and expanded by Eliza’s harmonies.

A sense of unity emerges, creating a deep fusion between band and audience, where bodies, legs, and heads respond instinctively. The ten tracks from their two albums sound more intense live, more elusive, even when played right in front of us.

There was even time for an uninterrupted guitar string change, met with enthusiasm by what Josh called a “very polite” audience, and for an encore with the long and multifaceted Steppin’ / Tell Me About the Rabbit.

Rock is alive. It crosses our path, then disappears in a cloud of dust.

© António Carvalho/Mondo Bizarre Magazine

Setlist:
Shoreline Maria’s Hunt (2023)
Hard Ride Forever (2025)
Smooth Walker Maria’s Hunt (2023)
Super Glyde Forever (2025)
High Time Maria’s Hunt (2023)
Moon Eyes Forever (2025)
New Realm Forever (2025)
Golden Hour Maria’s Hunt (2023)
Stone Shadow Forever (2025)
Geneva Strangemod Maria’s Hunt (2023)

Encore
Steppin’ / Tell Me About the Rabbit Forever (2025)

Photo gallery on our Instagram

Novos Românticos | Bastonada, RCA-Radioclube Agramonte, Porto 18/04/2026.

Novos Românticos © Mondo Bizarre Magazine/Vítor Neves

words: Paulo Carmona (freely translated by Raquel Pinheiro)
photos: Vítor Neves

Novos Românticos

A punch to the gut of the patriots. That’s what it is.

Any self-respecting lusitano, with a clear sense of their country’s history, recent or otherwise, will feel the almost unbearable weight of the stark, unvarnished reality served up by Novos Românticos. The silver platter is the sound, let that be clear.

This isn’t just music, it isn’t just musical aesthetics. It’s intervention, it’s agony, it’s the near-psychotic despair of someone who feels the weight of Portugalidade. Someone disillusioned with an Abril that seems ever more distant, with fewer and fewer reasons for pride.

Novos Românticos © Mondo Bizarre Magazine/Vítor Neves

David Félix is the man on duty, presenting himself to the audience as a kind of modern-day guru, fully prepared to press on the wound until it bleeds.

He carries an intrinsic ability to command attention: monochord vocal delivery, the sinuous movement of his body to the measured pulse of an electronic post-punk, hypnotic, corrosive, built on pre-recorded loops of guitar, drums, bass, keyboards, and samplers. He drifts across the stage, almost unsteady, faintly lascivious, but the message lands. That seems to be what drives them, and they achieve it with precision.

They performed material from across their repertoire, with a strong focus on their full-length work, Criptopátria. Worth highlighting are Pátria, Mesa Posta, and a very original version of the iconic Joy Division’s Love Will Tear Us Apart.

Bastonada @ Mondo Bizarre Magazine/Vítor Neves

Bastonada

Bastonada closed the night, delivering verbal and musical blows with their interventionist Electro Punk, edged with rap. It’s pure energy from beginning to end, without a moment’s respite.

They’re young, intense, sharp, and they fire off their songs as if the world were ending tomorrow.

The instruments are always front and centre, and their masked vocalist is a force of nature.

The insolent anger of their youth, combined with the level of competence in their instrumentation, points to a project with real substance and a great deal still to give. It will be interesting to watch.

Concert clips and photo galleries on our Instagram

PAUS, Teatro Aveirense, 16.04.2026.

© Mondo Bizarre Magazine/Telma Mota

words: Telma Mota (freely translated by Raquel Pinheiro)
photos: Telma Mota

On 16 April, it was a ‘Happy Day’ at the Teatro Aveirense, with the funeral march of PAUS.

Having announced their end, the band made their fourth appearance of the year in Aveiro with impact and a certain sense of occasion.

They presented their final album in full, in an uninterrupted 30-minute crescendo. As they have accustomed us, this work entitled Enterro is marked by intense, hypnotic and innovative pieces that combine old-school experimental rock sounds, with complex and repetitive rhythms, with touches of indie vocal lines and the psychedelic textures of post-rock.

However, at this stage, arguably more refined and mature, they decided to stop and die in a florid and controlled manner, celebrating their own funeral with a tour that will symbolically end on 19 November 2026, the date on which they began their journey 18 years ago.

© Mondo Bizarre Magazine/Telma Mota

In a relaxed register, they made a few pauses at the beginning and end of the concert, between better-known older songs, in some way justifying that it is far more interesting to die and bury PAUS with dignity than to pass away in a disordered manner.

Happily for me, as I prefer the band’s earlier phase, more visceral, raw and unrestrained, PAUS opened this concert with Mudo e Surdo and closed with Pelo Pulso, both from their first EP É uma Água

They said goodbye in style, with the intense rhythm of the Siamese drum set played by Quim Albergaria and Hélio Morais, and the striking sounds of Makoto’s bass and Fábio Jevelim’s keyboard. I stood there, clenched my teeth and tapped my foot, wishing only to be somewhere more suited to dancing and exorcising my demons. It is not often one is invited by the dead to their own funeral, but for those present it was certainly a smiling experience.

And they were PAUS. Fare thee well.

© Mondo Bizarre Magazine/Telma Mota

Photo gallery on our Instagram Instagram

Modern Nature, Mouco, Porto, 17.04. 2026.

© Mondo Bizarre Magazine/Vitor Neves

words: Paulo Carmona (freely translated by Raquel Pinheiro)
photos: Vítor Neves

Modern Nature performed as a trio, with Jack Cooper on vocals and guitar, Jim Wallis on drums, and Tara Cunningham on guitar and vocals.
And for anyone who thinks a band operating within alternative rock / indie pop rock, in contemplative, nostalgic worlds and a slow-motion cadence, might deliver monotonous or dull concerts, they are completely mistaken.

© Mondo Bizarre Magazine/Vítor Neves

Modern Nature are an excellent example of the opposite. With simple lines, without any kind of embellishing effects on the instruments, and an almost static stage presence, they gain in subtlety, in melodic richness, in soft worlds and warm breezes. The voices of Jack and Tara complement each other perfectly and draw us into a sweet, comforting calm, almost hypnotic. The drumming of Jim Wallis is magnificent, always exactly where it needs to be, carrying the melodies like a cradle rocked by maternal, steady hands.

© Mondo Bizarre Magazine/Vítor Neves

They came to present their most recent work, The Heat Warps, and of course a range of tracks representative of their essence. From Pharaoh, Things, and Radio, with which they opened, through Jetty, Performance, Liverpool, and December, they maintained the audience in perfect alignment, with masterful control and a shared sense of sonic richness and delight.

After a demanding and intense week, it was exactly what I needed to reconnect with the universe, serenely.

© Mondo Bizarre Magazine/Vítor Neves

Concert clip and photo gallery on our Instagram

Tinariwen | Calcutá, Casa da Música, Porto,  13.04.2026.

© Mondo Bizarre Magazine/Ricardo Silva

words: Raquel Pinheiro
photos: Ricardo Silva

© Mondo Bizarre Magazine/Ricardo Silva

Calcutá, composer and multi-instrumentalist Teresa Castro from Porto, presented her debut album Soon After Dawn. Opening with
Fleeting Grace an infinitum drone in crescendo, from which, at a certain point, voice-sounds began to emerge.

There’s a mélange of baroque music, folk, and experimental in Calcutá’s sound, carried by eerie, hypnotic vocals. The voice is like another instrument moving through the music.

Calcutá is sparse, atmospheric, slow, drifting. Adjacent in texture to Tinariwen, but not in pulse, and, to me, closer to Sigur Rós in feeling.

The last song performed, Run Come Rally, had a different feeling. Almost a ballad, with a beautiful, more grounded guitar presence.

© Mondo Bizarre Magazine/Ricardo Silva

This year, Tinariwen came to present their new album Hoggar, named after the mountains in the Algerian Sahara.

Hoggar was recorded in Tamanrasset, Algeria, and features José González singing in Spanish on Imidiwan Takyadam, and Solafa Elyas singing in Arabic on Sagherat Assani, alongside Abdallah Ag Alhousseyni, who moves between Tamasheq and Arabic.

Both Imidiwan Takyadam and Sagherat Assani were played, as well as four other songs from Hoggar: Amidinim Ehaf Solan, Erghad Afewo, Asstaghfero Allah, and N’ak tenere Iyat.

Tinariwen started slow with Alkhar Dessouf, but by the second song, Imidiwan Takyadam, the audience was already clapping along.

Clapping, standing up to dance, even moving into the side steps of the aisles, all became part of the performance, as is common in their concerts.

Whether as a sextet or septet, the band marveled with their syncopated rhythms, chants, and extraordinary use of three or four guitars, depending on the song.

Tempering the set between faster and slower moments, including the almost spoken Erghad Afewo, Tinariwen were as compelling as ever.

As José González sings in Imidiwan Takyadam we are all “navegando bajo lo mismo sol”.

© Mondo Bizarre Magazine/Ricardo Silva

Imidiwan Takyadam (feat. José González) English translation:

Tinariwen in Tamasheq
Friends,
See what has befallen you.
You’re scattered across
So many different lands
That you barely exist.
Have you forgotten your sisters,
Who you left behind,
Living under a hellish tyranny
That scalds every living heart?
This life is ever-changing,
And it prowls around those
Who are still alive.

José González
Don’t forget your sisters
Nor the mothers nor the daughters
With eyes cast to the ground
Sharing the same sky

Friends, lift your gaze
What are our chains?
Asking who we are
Sailing under the same sun

Looking at the same sky
Sailing under the same sun
Looking at the same sky
We live under the same sun

Asking who we are
Living under the same sun

© Mondo Bizarre Magazine/Ricardo Silva

Calcutá setlist:
Fleeting Grace (Soon After Dawn,2026)
Weep Valley (Over Night, 2017)
Eterno Retorno (Soon After Dawn,2026)
Mountain Valley (Soon After Dawn,2026)
Background of Purpose (Soon After Dawn,2026)
Run Come Rally (Soon After Dawn,2026)

© Mondo Bizarre Magazine/Ricardo Silva

Tinariwen setlist:
Alkhar Dessouf (Elwan, 2017)
Imidiwan Takyadam (Hoggar, 2026)
Le chant des fauve (Elwan, 2017)
N’ak tenere Iyat (Hoggar, 2026)
Kek Aghlam (Elwan, 2017)
Sagherat Assani (Hoggar, 2026)
Imidiwan Win Sahara (Aman Iman, 2007)
Asstaghfero Allah (Hoggar, 2026)
Amassakoul (Amassakoul, 2004)
Amidinim Ehaf Solan (Hoggar, 2026)
Tahoult (Emmaar, 2014)
Assawt (Amatssou, 2023)
Erghad Afewo (Hoggar, 2026)
Matadjen (Aman Iman, 2007)
Matenam (Amatssou, 2023)

Encore
Sastanàqqàm (Elwan, 2017)
Chaygibou (Amassakoul, 2004)

You can read our May 2025 review of Tinariwen concert at Casa da Música, in Porto here.

Photo galleries on our Instagram

Tame Impala | RIP Magic, Super Bock Arena, Porto, 04.04.2026.

Tame Impala © Mondo Bizarre Magazine/Ricardo Silva

words: Marcos Leal (edited by Raquel Pinheiro)
photos: Ricardo Silva

The opening act was Rip Magic who, despite showing real quality in their dance punk approach, deserved better sound conditions.

RIP Magic © Mondo Bizarre Magazine/Ricardo Silva

It was at the Super Bock Arena, in Porto that Tame Impala, aka Kevin Parker, kicked off their European tour presenting the new album Deadbeat. Live,

It couldn’t have started in a better way.
Both for the audience, who got to experience the concert in a smaller arena compared to other dates on the tour, and for Kevin Parker himself, who expressed how delighted he was with the warm and enthusiastic reception from the crowd.

On a Saturday night after a day that smelled like summer, the energy was already palpable upon arriving at the venue. Expectations were high, especially considering Tame Impala’s new album leans into a more electronic sound compared to previous releases.

As Kevin Parker stepped onto the stage and the first notes of Apocalypse Dream echoed through the arena, the crowd was swept into a psychedelic whirlwind of light and color. The rawer, more electronic new sound blended seamlessly with the classics everyone was eager to sing along to, and once again the stage design and lighting were nothing short of impressive. Elephant continues to prove itself an unshakable live anthem.

Tame Impala © Mondo Bizarre Magazine/Ricardo Silva

Kevin – who famously takes a quick bathroom break at every show – used that moment to reappear on a small circular stage in the center of the arena, decorated like an improvised living room.

There, he lay down surrounded by synthesizers and keyboards to perform the more electronic tracks from the new album, while the audience watched intently, bodies swaying.

Between songs, Parker didn’t hide his affection for the city. He said several times that he loved Porto and didn’t wanted to leave, perhaps the lingering effect of a sunset at Virtudes. The crowd’s reaction made it clear the feeling was mutual.

The final stretch was pure catharsis: Let It Happen turned the venue into a sea of lights and confetti, and The Less I Know the Better had the entire arena singing as if it were a generational anthem.

The farewell came with the first track unveiled from Deadbeat, End of Summer, perfectly delivering that sense of early nostalgia for a short but memorable summer, one that Tame Impala brought along for a visit to Porto.

Tame Impala © Mondo Bizarre Magazine/Ricardo Silva

Setlist:

  1. Apocalypse Dreams
  2. The Moment
  3. Borderline
  4. Loser
  5. Breathe Deeper
  6. Gossip
  7. Elephant
  8. Afterthought
  9. Feels Like We Only Go Backwards
  10. Dracula
    B-Stage
  11. No Reply
  12. Ethereal Connection
  13. Not My World
    Main Stage
  14. Let It Happen
  15. Nangs
  16. List of People (To Try and Forget About) [live debut]
  17. Alter Ego
  18. Piece of Heaven
  19. Eventually
  20. New Person, Same Old Mistakes

Encore:

  1. My Old Ways
  2. The Less I Know the Better
  3. End of Summer

Photo galleries on our Instagram

Suede, Super Bock Arena, Porto, 19.03.2026.

© Mondo Bizarre Magazine/Daniela Tendim

words: Paulo Carmona (translated and edited by Raquel Pinheiro)
photos: Daniela Tendim

Suede are like a top-quality Port. Once “vintage”, forever vintage. The years pass and the quality improves unequivocally. They never disappoint, never waver, never compromise. Whenever they step onto a stage they are completely focused, always ready to give their best, and their best is of a very high standard.

As it was at Super Bock Arena, in Porto, where they came to present their latest album – Antidepressants – to their newest friends and to those who have followed them for years. A quick glance around the room was enough to realise that Suede captivate every generation.

If Simon Gilbert and Mat Osman are the band’s unquestionable maestros, thanks to their experience and talent, cohesive and brilliant in their rhythmic execution, then Richard Oakes and Neil Codling provide the stylised melodies that shape and define the Suede sound.

As for Brett Anderson – the lead singer – he ought to be the subject of a scientific study. A remarkable performer, an absolute stage monster. He seems to run on batteries that never run out, radiating an emotional energy capable of stirring a bear in the depths of hibernation. I would say he is a teenager recycled at supersonic speed. The audience adores him, every gesture, every mannerism, every swing of his body.

From the setlist chosen for this show, it must be said that they swept across their vast repertoire, with particular emphasis on songs from the latest album — very well received by the audience, it should be noted — but also including the epic and iconic songs of old, songs that belong to all times. I would highlight Trash, Can’t Get Enough and Everything Will Flow, which drove the crowd into complete delirium, and, of course, The Beautiful Ones, which figuratively brought the whole arena down.

Brett did not confine himself to the pit and ventured straight into the middle of the crowd. Amid shouts, tears, applause, hugs and kisses, he somehow managed to slip back onto the stage to close the concert in total apotheosis.

Grab your glasses, and yell from the bottom of your lungs! Cheers, Suede!

© Mondo Bizarre Magazine/Daniela Tendim

The Band:
Brett Anderson – lead vocals
Mat Osman – bass
Simon Gilbert – drums
Richard Oakes – guitar
Neil Codling – guitar, keyboards, backing vocals.

Setlist:
Disintegrate
Antidepressants
Trash
Animal Nitrate
We Are the Pigs
Personality Disorder
Sabotage
New Generation
Filmstar
Can’t Get Enough
June Rain
She Still Leads Me On
Shadow Self
Trance State
The Wild Ones (acoustic Brett Anderson & Richard Oakes)
Everything Will Flow
So Young
Metal Mickey
Beautiful Ones
Dancing with the Europeans

© Mondo Bizarre Magazine/Daniela Tendim

Photo gallery on our Instagram