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.
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.
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.
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.
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”.
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
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)
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.
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.
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!
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
words: Marcos Leal (edited by Raquel Pinheiro) photos: Telma Mota
Primitive Reason’s concert a week ago at Hard Club was far more than a return to the stage, it was a statement of vitality.
The band celebrated the 30th anniversary of Alternative Prison, an album that shaped the Portuguese alternative scene and continues to resonate powerfully across generations. In addition to the songs from the celebrated album, the setlist included other classic songs, and even a previously unheard live one: Sancaro (The Death of the Gaupameis).
The classic lineup – Brian Jackson, Guillermo de Llera,Jorge Felizardo, Mark Cain, and Abel Beja – reunited once again. From the very first minute, the chemistry felt intact, the presence was powerful, and the energy was contagious, making Hard Club pulse with excitement, especially among those who had lived Alternative Prison in the prime of their youth, now in their fifties and parents themselves.
The band’s signature fusion – rap, punk, hardcore, reggae, and ska – proved it still works and still spreads its infectious energy. The audience, made up of longtime fans and newcomers alike, responded with intensity, creating the kind of atmosphere Primitive Reason have always cultivated: participatory, loud, and emotional.
I watched with a smile as that generation jumped and moshed as if they had stepped back in time, despite the intense heat inside the packed Hard Club Room 1. Sweat and nostalgia were everywhere.
All the members of the band showed musical cohesion and a strong sense of unity, clearly surprised and energized by the audience’s displays of devotion. Drummer Jorge Felizardo even joined the crowd for a mosh. Not even the small technical issues at the start – particularly with Brian Jackson’s vocals – disrupted the performance.
The concert was part of a larger celebration that also featured bands like Bad Tomato and Hetta. These choices reinforced the dialogue between generations and the lasting influence of Primitive Reason on Portuguese alternative music.
A memorable concert, filled with history, energy, and identity. Primitive Reason proved they remain relevant, intense, and capable of setting a room on fire like few portuguese bands can.
For those who grew up with Alternative Prison, it was a journey back in time; for those discovering them now, a revelation.
The band ended both performances revitalized and with a clear desire to return to the stage soon.
words: Paulo Carmona (freely translated by Raquel Pinheiro) photos: Paulo Carmona
For those who, like myself, enjoy live music, I have this question: Is there anything more pleasurable than going to see a concert by a band you know little or almost nothing about and being surprised by a bomb of energy, good vibes, interaction, commitment, and high-quality musical competence? I guess not!
The Scots Humour are what you call: A hell of a band!
They come on stage with the nonchalance of a bunch of kids and leave it with the mojo of first-rate rockers who have accomplished their mission with distinction.
The room was far from full, perhaps half capacity. Fortunate were those who left their homes on a Thursday night and headed to Maus Hábitos in Porto to welcome them.
Humour’s post-punk is contagious and electrifying. Powerful guitars, a well-marked and sustained bass, cohesive and distinctive drums, and a delirious voice. And up to this point, everything is within what one might expect from a band operating in this field.
The difference lies in the composition, the dynamics, the truth of the lyrics and the performance. Everything very well achieved and finely honed.
The agony of the riffs in the verses gives way to warm, soothing melodies in the choruses, in a kind of emotional roller coaster. This can be heard in almost every song, from Neighbours, with which they opened, through Memorial and Dirty Bread, to Plagiarist, with which they closed the concert.
The name of this band could not be more fitting. The band’s kindness and friendliness win over the audience.
In conversation with the band’s good-humoured frontman – Andreas Christodoulidis – I asked him what drives them in this world of songs. His answer was unequivocal: “We want to give the audience good songs, full of energy, good lyrics, and with that get some good feelings going. That’s what we’re here for.” If that was their intention, they achieved it even better than they imagined, because that was exactly what I witnessed.
The Divine Comedy made a stop on their current tour at Casa da Música, in Sala Suggia – the orchestra room. The band is promoting their latest, beautiful album Rainy Sunday Afternoon, one of my favourite records of 2025.
If I was asked to describe them to someone who has never heard them, my first description would be baroque pop, which fits particularly well with Victory For The Comic Muse (2006), from which they played my beloved A Lady Of A Certain Age. Baroque pop can also be applied to Achilles, the concert opening song. But, The Divine Comedy are more than that.
Neil Hannon took to the stage in hat, sunglasses, jacket, fronting the band, and it was the beginning of a wonderful musical evening that started with Achilles.
By the end of the third song, When The Lights Go Out, off go the hat and the sunglasses. “I got to take this off”, says Hannon, and removes the glasses. Quickly and playfully questioning the audience: “Are you sleepy?”; Audience: “No.”; “Are you drunk?”; Audience: “No!”
I Want You sees him crouched between the keyboards and the drum kit. The elegant Lady Of A Certain Age, here faster than on record, follows, with me singing along, then “And now for probably my most intellectual song” introduces the upbeat, danceable At The Indie Disco. Neapolitan Girl sees me dancing on my seat.
Mar-A-Lago is lounge hour. Neil has a bar/cocktail station, prepares cocktails for the band, and a glass of wine for Tim Weller, the drummer, while introducing his extraordinary fellow musicians (I’m still marvelling at Simon Little): Andrew Skeet (keyboards), Ian Watson (keyboards, accordion, backing vocals), Simon Little (bass, backing vocals), Tosh Flood (guitar, backing vocals), Rosie Thompson (violin) and the aforementioned Tim Weller (drums).
The audience claps enthusiastically every time a drink is delivered to a band member. For himself, Neil pours red wine. From here onwards things become even more enthusiastic.
There will be Neil on his knees on stage; Neil stepping out of the stage walking in front of the front row, falling to the floor, seating up, sitting on the front row – during Our Mutual Friend – and lots of talking: “Thank you front row. If I ever go too far just call me out. You’re free to dance if you want, to move around, I don’t care. It’s more fun”.
And a dancing party starts by the stage, that will end up fully crowded. I’m the only person dancing in the press/guests box, perched on the heights of a wall. Which is a ton of fun, matching what is going down below.
The Heart is a Lonely Hunter, a beautiful romantic song, calms things down a little, and there are now people seated between the front row and the stage: “It’s good you’re sitting down there. It’s like Woodstock”. It kind of is. 🙂
Absent Friends is raising his glass to the audience time and to call on us: “Come on everybody, let’s share the experience.” Down there everyone stands up and dances. Generation Sex not only has an incredibly more partying audience, but the band sound getting louder. Which continues with National Express, the end of the main part.
For the encore we’re treated to To The Rescue, the poignant Invisible Thread, and a delirious finale with Tonight We Fly. And, indeed, flew we did.
The band: Neil Hannon – vocals, guitar, tambourine Andrew Skeet – keyboards Ian Watson – keyboards, accordion, backing vocals, Simon Little – bass, backing vocals Tosh Flood – guitar, backing vocals Rosie Thompson – violin Tim Weller- drums
Setlist: Achilles The Last Time I Saw the Old Man When the Lights Go Out All Over Europe Assume The Perpendicular Rainy Sunday Afternoon I Want You A Lady Of A Certain Age At The Indie Disco Neapolitan Girl Mar-a-Lago by the Sea Bang Goes The Knighthood Our Mutual Friend I Like Bad Ambassador The Heart is a Lonely Hunter Other People Absent Friends Becoming More Like Alfie Generation Sex National Express To The Rescue Invisible Thread Tonight We Fly
words: Paulo Carmona (freely translated by Raquel Pinheiro) photos: Telma Mota
It was an intense, youthful, irreverent, dynamic and joyous concert from start to finish.
Almost without interruption, with very little chatter, and no hidden agendas.
This Californian quartet knew exactly what they had come for and did not hold back. They delivered everything they had to give in just under an hour, treating their audience to energetic surf rock infused with plenty of that neo-punk edge characteristic of many North American West Coast bands.
Heavily distorted, striking guitars, a strong and present bass, and an immensely energetic, tightly played and incredibly powerful drum kit. It’s a recipe that never fails.
The first assault came with Way Too Much, Idiot, King Of a Beach and Tarantula. Nathan Williams, the project’s founding member, is effusive and provocative. He urged the crowd to split down the middle, only to then charge at one another. It worked perfectly. The mosh and the slam took over Mouco, and the rest is well known. For a few moments, we are all teenagers again.
A special mention for Nine Is God, a very well-structured and captivating song. They closed their set with Green Eyes and took their leave beneath enthusiastic applause, though without an encore. It is what it is, and that’s perfectly fine.
words: Paulo Carmona (freely translated by Raquel Pinheiro) photos: Telma Mota
I could have begun this article with any of the following titles: The Art of Knowing How to Be on Stage; The Magic of Rock’n’Roll; A British Rocker à la Carte; or The Fever of a Friday the 13th at the End of a Storm. Any one of them would have suited Miles Kane’s concert at the Hard Club in Porto.
But I’ll start by saying that I witnessed one of the finest performances I have had the pleasure to see in recent times, because Miles Kane is utterly captivating on stage. All that mojo spills from every pore of his skin. He wants to be loved and idolised by the audience — and he achieves it with a chameleon-like passport in shades of fine French champagne.
He offers the back of his neck to the crowd at the front, to be stroked like a pampered cat, but always in moderation. Then he erupts with every song, exuding the attitude of a wild, untamed Baudelaire. He smiles, sending sensual sparks with every movement, and his guitar is a lunatic that seems intent on reaching multiple climaxes, so excited is it.
It all began the very moment he set foot on stage, launching into Electric Flower, Rearrange, Trouble Son and Cry on My Guitar, and continued seamlessly, supported by his backing band, who give him the space to shine, until he closed with Come Closer. Naturally.
He thanked the crowd, thanked them again, distributed greetings, autographs, and love to his fans, and withdrew with poise, swagger, and the style of a true artist. And he truly is one.
words: Paulo Carmona (freely translated by Raquel Pinheiro)photos: Telma Mota
So Young, So Young … The Youth Play take to the stage to enjoy themselves, and that sense of enjoyment comes through in every song.
They walked on stage with an introverted, introspective air, but the mood shifted quickly.
The frenetic cadence of their alternative rock ’n’ roll -characteristic of post-punk bands operating within this sonic register – takes effect almost immediately. This British band further embellishes its sound with flashes of abrasive shoegaze.
Diego Bracho, on vocals and guitar, smiling and self-assured, delivers chords in a tightly sequenced rhythm, supported by vocal lines rich in upper-mid tones and firmly grounded low registers. He combines ethereal, looping vocals with layers of distorted guitar.
He communicates effortlessly with the audience and remains constantly in motion. He did not hesitate to leave the stage and merge with the crowd at Mouco. The desired effect was achieved, as bodies responded in kind.
Harrison Ballard, on lead guitar, makes it scream in sharp, piercing melodies, while Alex Hanrahan on bass blends syncopated rhythms with solid, dependable structures whenever weight is required. Finley Bruce is the band’s driving force. With a dense, low-end drum sound, he imposes exactly what is needed for The Youth Play’s sound to be what it wants to be.
They opened with Castle, May Be This Was All For Us and Wild Flowers, moved through On Fire and After a Moment, and closed with Cowboy, A Fair Life, Sunday and If We Just Ever Were. A blend of older material alongside newer songs from Someday, Forever, their 2025 album.
After the concert, the band stayed on to spend time more closely with enthusiastic fans in an adjacent space. A genuinely generous gesture from the members of The Youth Play. It is rare to see, but it should happen far more often.
Mondo Bizarre Magazine 