Mondo Bizarre Magazine Amazing Sounds & Other Delights, Radio Show, Raquel Pinheiro, YéYé Radio

Amazing Songs & Other Delights #100 – The Poetry edition II by Raquel Pinheiro

Marianne Faithfully & Warren Ellis © Rosie Matheson

My radio show Amazing Songs & Other Delights is on edition #100 – The Poetry edition II is broadcasted Monday 05 & 12 October, 3-4pm (London time) on Yé Yé Radio: yeyeradio.com (or on the app).

I love poetry. Two recent birthday projects/presents by The Mild Ones. one for Brett Anderson’s birthday, the other for Richard Oakes’ birthday have me reading poetry. On the second instance The House Martin purpose written haiku by me for Richard.

There have been poems of mine put to music by among others, Francisco Silva (Old Jerusalem/The June Carriers/Velho Homem) and João Diogo Zagalo (Silver & Scout, Vox Mambo, Dead Violets, The Lone Ranger) and my Poem #80 turned into the song Lucid One by Francisco Silva.

Amazing Songs & Other Delights #100 – The Poetry edition II has my own poetry sang by others, said/read my me, changed into a song

The Latin word for poem is carmen, hence Bizet’s Carmen in the voice of Maria Callas.

William Blake serves the lyrics of The Doors’ End of the Night, is named in The The’s Some Days I Drink My Coffee By The Grave of William Blake, and the inspiration subject of Patti Smith’s My Blakean Year.

Lorca comes in Leonard Cohen’s adaptation of Lorca’s Pequeño vals vienés, Take This Waltz. One of my favourite poems T.S. Eliot’s The Lovesong of J. Alfred Prufrock is on
Sibylle Baier’s Says Elliott.

Eminem’s Stan (Long Version) ft. Dido, and Rowland S Howard’s Autoluminescent gives another dimension of poetry and sounds.

Dietrich Fischer Dieskau singing Der Lindenbaum (The Linden Tree) from Schubert’s Die Winterreise (Winter Journey) a dark folk song by Wilhelm Müller arranged by Friedrich Silche, takes us back to the classical world.

Johnny Marr’s All in a Life from his new album The Age of Everything mixes dark, sharp, mystical, upbeat, with soaring haunting backing vocals by Meredith Sheldon. Both Johnny and Meredith have a song each on Amazing Songs Other Delights #99 – The Luminous edition.https://mondobizarremagazine.com/2026/09/19/amazing-songs-other-delights-99-the-luminous-edition-by-raquel-pinheiro-on-ye-ye-radio-monday-21-28-september/

The House Martin, and haiku for Richard Oakes by Raquel Pinheiro

In the cliff and the cave
The House Martin nested
Then, to the city it moved to

Tracklist:
01: Raquel Pinheiro – Autopsicografia (Fernando Pessoa)
02: Maria Callas – Carmen live (from Bizet’s Carmen)
03: Marianne Faithfull & Warren Ellis – Ozymandias (an adaptation of Shelley’s poem)
04: The Doors – End of the Night (lyrics from William Blake’s Auguries of Innocence)
05: Suede – Heroine (Byron’s She Walks in Beauty 1st lines)
06: Francisco Silva & Raquel Pinheiro – Lucid One
07: Eminem – Stan (Long Version) ft. Dido
08: Francisco Silva & Raquel Pinheiro – Poem 43
09: The The – Some Days I Drink My Coffee By The Grave of William Blake
10: Patti Smith – My Blakean Year
11: Leonard Cohen – Take This Waltz (an adaptation of Lorca’s Pequeño vals vienés)
12: Rowland S Howard – Autoluminescent
13: João Diogo Zagalo & Raquel Pinheiro – Poem 51
14: Sibylle Baier – Says Elliott (lines from T.S. Eliot’s The Lovesong of J. Alfred Prufrock)
15: Dietrich Fischer Dieskau sings Der Lindenbaum from Schubert’s Die Winterreise (Wilhelm Müller arranged by Friedrich Silche)
16: Johnny Marr – All in a Life
17: Raquel Pinheiro – The House Martin, an haiku for Richard Oakes

You can read about Amazing Songs & Other Delights #05 The Poetry edition
https://mondobizarremagazine.com/2021/07/23/amazing-songs-other-delights-5-the-poetry-edition/ and listen to it here:
https://mondobizarremagazine.com/2021/07/28/amazing-songs-other-delights-5-the-poetry-edition-by-raquel-pinheiro-ye-ye-radios-mixcloud/

All previous shows on mixcloud:
www.mixcloud.com/infoyeye/ | www.mixcloud.com/MondoBizarreMagazine

Mondo Bizarre Magazine Amazing Sounds & Other Delights, Radio Show, Raquel Pinheiro, YéYé Radio

Amazing Songs & Other Delights #100 – The Poetry edition II by Raquel Pinheiro

Marianne Faithfully & Warren Ellis © Rosie Matheson

My radio show Amazing Songs & Other Delights is on edition #100 – The Poetry edition II is broadcasted Monday 05 & 12 October, 3-4pm (London time) on Yé Yé Radio: yeyeradio.com (or on the app).

I love poetry. Two recent birthday projects/presents by The Mild Ones. one for Brett Anderson’s birthday, the other for Richard Oakes’ birthday have me reading poetry. On the second instance The House Martin purpose written haiku by me for Richard.

There have been poems of mine put to music by among others, Francisco Silva (Old Jerusalem/The June Carriers/Velho Homem) and João Diogo Zagalo (Silver & Scout, Vox Mambo, Dead Violets, The Lone Ranger) and my Poem #80 turned into the song Lucid One by Francisco Silva.

Amazing Songs & Other Delights #100 – The Poetry edition II has my own poetry sang by others, said/read my me, changed into a song

The Latin word for poem is carmen, hence Bizet’s Carmen in the voice of Maria Callas.

William Blake serves the lyrics of The Doors’ End of the Night, is named in The The’s Some Days I Drink My Coffee By The Grave of William Blake, and the inspiration subject of Patti Smith’s My Blakean Year.

Lorca comes in Leonard Cohen’s adaptation of Lorca’s Pequeño vals vienés, Take This Waltz. One of my favourite poems T.S. Eliot’s The Lovesong of J. Alfred Prufrock is on
Sibylle Baier’s Says Elliott.

Eminem’s Stan (Long Version) ft. Dido, and Rowland S Howard’s Autoluminescent gives another dimension of poetry and sounds.

Dietrich Fischer Dieskau singing Der Lindenbaum (The Linden Tree) from Schubert’s Die Winterreise (Winter Journey) a dark folk song by Wilhelm Müller arranged by Friedrich Silche, takes us back to the classical world.

Johnny Marr’s All in a Life from his new album The Age of Everything mixes dark, sharp, mystical, upbeat, with soaring haunting backing vocals by Meredith Sheldon. Both Johnny and Meredith have a song each on Amazing Songs Other Delights #99 – The Luminous edition.https://mondobizarremagazine.com/2026/09/19/amazing-songs-other-delights-99-the-luminous-edition-by-raquel-pinheiro-on-ye-ye-radio-monday-21-28-september/

The House Martin, and haiku for Richard Oakes by Raquel Pinheiro

In the cliff and the cave
The House Martin nested
Then, to the city it moved to

Tracklist:
01: Raquel Pinheiro – Autopsicografia (Fernando Pessoa)
02: Maria Callas – Carmen live (from Bizet’s Carmen)
03: Marianne Faithfull & Warren Ellis – Ozymandias (an adaptation of Shelley’s poem)
04: The Doors – End of the Night (lyrics from William Blake’s Auguries of Innocence)
05: Suede – Heroine (Byron’s She Walks in Beauty 1st lines)
06: Francisco Silva & Raquel Pinheiro – Lucid One
07: Eminem – Stan (Long Version) ft. Dido
08: Francisco Silva & Raquel Pinheiro – Poem 43
09: The The – Some Days I Drink My Coffee By The Grave of William Blake
10: Patti Smith – My Blakean Year
11: Leonard Cohen – Take This Waltz (an adaptation of Lorca’s Pequeño vals vienés)
12: Rowland S Howard – Autoluminescent
13: João Diogo Zagalo & Raquel Pinheiro – Poem 51
14: Sibylle Baier – Says Elliott (lines from T.S. Eliot’s The Lovesong of J. Alfred Prufrock)
15: Dietrich Fischer Dieskau sings Der Lindenbaum from Schubert’s Die Winterreise (Wilhelm Müller arranged by Friedrich Silche)
16: Johnny Marr – All in a Life
17: Raquel Pinheiro – The House Martin, an haiku for Richard Oakes

You can read about Amazing Songs & Other Delights #05 The Poetry edition
https://mondobizarremagazine.com/2021/07/23/amazing-songs-other-delights-5-the-poetry-edition/ and listen to it here:
https://mondobizarremagazine.com/2021/07/28/amazing-songs-other-delights-5-the-poetry-edition-by-raquel-pinheiro-ye-ye-radios-mixcloud/

All previous shows on mixcloud:
www.mixcloud.com/infoyeye/ | www.mixcloud.com/MondoBizarreMagazine

Mondo Bizarre Magazine Concert Reviews, Concerts

Heavenwood – Thirty Years Of … – Coliseu Box, Porto, 22.09.2026.

© Adriano Santos/Caminhos Metálicos

words: Raquel Pinheiro
photos: Adriano Santos/Caminhos Metálicos; Raquel Pinheiro & Rui Moura/Mondo Bizarre Magazine

I week ago I was sitting in the front row, right in the middle of the stage, when Heavenwood began their 30th anniversary concert at the Coliseu Box in Porto.

And what a place to see them.

© Raquel Pinheiro/Mondo Bizarre Magazine

The stage was framed by beautiful sculptures by Helder Cabral, creating something that felt entirely at home with Heavenwood. It was theatrical, completed by the backing vocals and elegant movements of Beatriz Mariano and Sandra Oliveira, without ever taking away from the songs and music. It gave the concert another, ethereal, fairies-and-deities dimension.

I have known Heavenwood since the very beginning, when they were still Disgorged, and have watched them travel a very long way from those early days. Thirty years is a considerable stretch of time for any band. Standing there watching them, the number itself became less important than what was happening in the room.

Heavenwood are often described as melodic heavy metal, and there is certainly a great deal of melody in their music. But there is groove too. A strong physical movement underneath the songs that makes them work not only as something to listen to, but as something to inhabit.

From the beginning, the set moved through different periods of their history, with Death, Moonlight Girl and Morning Glory Clouds giving way to The Empress, The Moon and Since The First Smile, beautifully sung by Beatriz Mariano.

© Adriano Santos/Caminhos Metálicos

And then there was the Tarot.

This was particularly amusing for me because Tarot had already been appearing repeatedly in my own life in the days leading up to the concert. I pull a card every day, by hand, from my Giger Tarot, and The Star has been the card that has appeared more than any other over the past four years.

Then, there I was, at a Heavenwood concert celebrating 30 years and found myself surrounded by The Empress, The Moon, The High Priestess, The Sun, The Hanged Man and The Stars, as the band moved through the music of The Tarot of the Bohemians cycle.Sometimes life does have a sense of humour.

The Hanged Man brought Sandra Oliveira to the stage for lead vocals, adding another change of texture to the evening, while Ricardo Dias dos Santos, Eduardo Sinatra and Walter Teixeira carried the band through a set that had both weight and atmosphere.

© Adriano Santos/Caminhos Metálicos

And the sound. Oh! The sound! By the latter part of the concert it was so powerful that I could feel the floorboards moving with it, and the vibes and frequencies emanating from the stage wrapping me.

I was also having a rather wonderful time air-drumming.

My the eldest of my brothers, who is an actual drummer, was beside me tapping his legs to the music, while the drummer on the other side of the aisle was air-drumming too, even more enthusiastically than him. So there I was, sitting in the middle, flanked by two drummers and joining in.

© Adriano Santos/Caminhos Metálicos

On the encore there was a great singalong to the magistral and catchy Suicidal Letters, and by the time the curtain was about to fall, Heartquake arrived, and the room had changed completely.

Everyone was standing up and dancing.The seated concert had become a moving room.

That is one of the best things about seeing a band that has been around for thirty years. The history is there, certainly, but it is not a museum piece. It is alive when the songs still move people, when old songs are sung back at the stage, when a room full of people gets up and dances.

Heavenwood’s music has always carried a particular atmosphere, gothic, dark, melodic, poetic, sometimes symphonic, sometimes heavy as hell without ever losing itself.

At the Coliseu, with Helder Cabral’s sculptures surrounding the stage, it had the space to become something else again.

This was not simply a band’s concert marking thirty years.It was Heavenwood inhabiting three decades of music in one of Porto’s most special concert venues.

© Adriano Santos/Caminhos Metálicos

For those of us who have been there for part of Heavenwood’s history, there was the pleasure of looking around and seeing how far they have travelled.

From Disgorged to Heavenwood. From the beginning to the Coliseu.

Thirty years later, still playing, blasting it, making people sing and dance.And that, really, is quite something.

© Rui Moura/Mondo Bizarre Magazine

Heavenwood: Ricardo Dias dos Santos – founder/guitarist/composer/vocals
Band Members: Eduardo Sinatra – drums
Walter Teixeira – guitar
Special Guests: Beatriz Mariano and Sandra Oliveira – backing vocals and lead vocals on Since The First Smile (Beatriz Mariano), The Hanged Man (Sandra Oliveira)
Sculptures: Helder Cabral

Setlist:
Death
Moonlight Girl
Morning Glory Clouds
The Empress
The Moon
Since The First Smile – lead vocals Beatriz Mariano
13th Moon
The Lightning-Struck Tower
Shadowflower
The High Priestess
The Sun
The Hanged Man – Lead vocals Sandra Oliveira
Rain Of July
The Stars
Frozen Images

Encore:
Suicidal Letters
Heartquake

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

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

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

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

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

Mondo Bizarre Magazine Concert Reviews, Concerts

Sean Nicholas Savage, Lovers & Lollypops, Porto, 18.05.2026.

© Mondo Bizarre Magazine/António Carvalho

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

Attending a concert by Canadian singer-songwriter Sean Nicholas Savage is like discovering a hidden gem. The modest stage of Lovers & Lollypops seemed too small for everything he delivered in just over an hour.

His exuberant presence, his larger-than-life poetry, his attention towards the audience, his virtuoso and expressive voice are just parts of a larger whole that is difficult to describe. His electronic pop, heavily indebted to the eighties, reveals itself as confessional, honest and with a dose of apparent naivety, where joy and melancholy, loss and gain, mystery and revelation, pleasure and pain coexist, sometimes within the same song.

Whether in ballads or upbeat music, the classic themes of love – the euphoria of passion, the discovery of the other, the broken hearts – are dominant and served in catchy and well-crafted melodies, like many of the pop classics. Sean’s excellent technical mastery of his voice, including a delightful falsetto, doesn’t take away any of the moment’s authenticity, as if he were pouring his heart out and offering it to the audience.It was almost impossible to take your eyes off this magnetic, barefoot figure.

Besides the privileged ones in the audience, Clara Phends on synthesizers and Max-Elie Laroche on electronic drums joined him in this brief, intimate journey. Sean covered a representative sample of his prolific discography, with some emphasis on his latest album The Knowing, a record he is very proud of, so he told me after the concert.

He even granted a request from the audience, performing half of Chin Chin, and finished with one of his favourites, the single It’s Happening. Thank you, beautiful freak!

There’s a photo gallery of the concert on our Instagram

© Mondo Bizarre Magazine/António Carvalho