Imagine stepping into a film where every scene pulses with energy, sarcasm, and adrenaline. Jepards, from Fafe, have crafted this universe with Pretty Kitsch!, their latest album. It is a sonic journey through a hyperconnected youth, navigating between image and intention, a desire to experiment, and the intensity of a world spinning to the rhythm of an endless scroll.

    The album carries the DNA of 90s Britpop — the sarcasm of Blur, the audacity of Oasis, and the danceable lyricism of Pulp. Jepards transform these references into something modern and irresistible. Riffs explode like neon lights in a city at night, basslines wrap around the skin, drums quicken the heart. Each track feels like a cinematic long take of pure intensity.

    The lyrics function as a cinematic diary: frenetic, provocative, and clever. Confessional spoken-word, explosive post-punk energy, and lyrical moments reminiscent of Jarvis Cocker or Alex Turner. The music carries you, makes your body react, your mind race, and your emotions overflow.

    Pretty Kitsch! is a soundtrack of sound and light, designed to experience Portuguese rock in an epic, cinematic, and vibrant way. Every track is an experience, every chord an invitation to enter the world of Jepards.

    Plug in your headphones, turn up the volume, and let yourself be carried away. The world of Jepards is waiting for you.

Written By Sofia Reis

    There are bands whose power comes from volume, excess or spectacle. The xx have always existed in the opposite space: a world built on silence, restraint and the emotional weight of what is left unsaid. Since the release of their debut album xx in 2009, the London trio have created a sound where intimacy becomes something massive, proving that a whisper can sometimes reach further than a scream.

    At Primavera Sound Porto, The xx returned to Parque da Cidade carrying the weight of a catalogue that has become one of the defining sounds of the last fifteen years. Their appearance was one of the most anticipated moments of the festival, not only because of the strength of their songs, but because it marked the return of a band many had been waiting to experience together again. Since their last concerts as a group, fans had followed the individual journeys of Romy Madley Croft, Oliver Sim and Jamie xx, discovering their solo work and the different directions each member explored — but nothing quite compares to the feeling of seeing The xx as a complete band on stage.

    Their return was not simply a reunion with the past, but a reminder of why their music has remained so influential: because behind the minimal arrangements, the spaces between the notes and the understated performances, there has always been an extraordinary emotional intensity.

    The story of The xx has always been built around balance. Between Romy Madley Croft’s luminous melodies, Oliver Sim’s deeper and more introspective voice, and Jamie xx’s unique ability to transform simplicity into atmosphere, the band created a language that felt instantly recognisable. Their music was never about filling every space; it was about understanding the power of leaving room for emotion to breathe. That approach could have been difficult to translate to a festival environment. The intimacy of The xx has always belonged to darker rooms, closer audiences and moments of quiet concentration. Yet at Primavera Sound Porto, that vulnerability became their greatest strength. Instead of trying to compete with the scale of a festival stage, the band invited the audience into their own world.

    The performance opened with “Crystalised”, a song that immediately transported the crowd back to the beginning of the band’s journey, before moving through different chapters of their career with tracks such as “Say Something Loving”, “Islands”, “Angels” and “Night Time”. The set continued through the emotional landscape that has always defined The xx, with “Sunset”, “Fiction”, “Shelter”, “Infinity” and “VCR” showing how naturally their songs have survived the passing of time. One of the most fascinating aspects of The xx’s return is the way their individual journeys have become part of the band’s identity. Jamie xx’s evolution as a solo artist and producer, Romy’s exploration of a brighter and more expansive pop universe, and Oliver Sim’s deeply personal songwriting have all added new colours to the group’s collective sound. Rather than weakening the connection between them, those different paths have enriched what The xx can represent today. The inclusion of “I’ll Take Care of U”, the Gil Scott-Heron and Jamie xx collaboration, and the reinterpretation of “Shelter” through Jamie xx’s live remix, showed a band willing to look beyond nostalgia while remaining faithful to their original essence.

    Watching The xx live is also a lesson in the importance of chemistry. There is a unique conversation between the three members, a musical dialogue where every gesture matters and every pause has meaning. Nothing feels unnecessary. Every sound, every movement and every moment of silence exists for a reason.

    At Primavera Sound Porto, that precision did not make the performance feel distant; it created a connection. The audience was not simply watching a band perform familiar songs. They were witnessing a group that understands exactly what makes those songs special and refuses to dilute that emotion. The xx have always been a band of contrasts: electronic yet organic, fragile yet powerful, minimalist yet unforgettable. Their music lives in the space between two voices, between a beat and a silence, between personal memories and collective experiences. Those contrasts came together once again. The songs that introduced them to the world still carried the same emotional weight, while the perspective gained through years of individual exploration gave the performance a new depth. More than a return, The xx’s Primavera Sound Porto concert felt like a continuation. A reminder that some bands do not need to reinvent themselves constantly because their original vision was strong enough to keep evolving naturally.

    In a festival built around discovery and movement, The xx created something different: a moment of stillness. And sometimes, in the middle of all the noise, that is exactly what people are looking for.

Words by Sofia

Photos by Hugo Lima

     The Kneecap story was never built on technical perfection or a carefully manufactured image. The Belfast trio took the opposite route: they reached a global audience through chaos, provocation and an identity that cannot be separated from the reality of where they come from. Formed by Mo Chara, Móglaí Bap and DJ Próvaí, Kneecap transformed Irish-language hip-hop into a cultural force, combining humour, social commentary, electronic influences and a punk-like energy that made them impossible to ignore. At a time when many bands attempt to make their identity more universal, Kneecap have done precisely the opposite: they have embraced everything that makes them specific. The Irish language, the history of Northern Ireland, political tensions and Belfast culture are not simply background elements in their music; they are the foundation of an artistic vision that has found an audience far beyond the borders where it was born.

    At Primavera Sound Porto, it was already past midnight when Kneecap stepped onto the Vodafone Stage. The late hour did nothing to reduce the anticipation; quite the opposite, the venue was completely packed, with a predominantly young crowd between the ages of 18 and 30, ready for an experience that would be far more than a straightforward rap concert. Unlike other performances at the festival where different generations came together to celebrate musical memories from previous decades, the feeling surrounding Kneecap was different. This was not a band being rediscovered through its past or a legacy being revisited; this was a group at the centre of its own moment, representing a generation that has found in its music a mixture of identity, rebellion and celebration.

    Seeing Kneecap live is to understand that music is only one part of what they do. There is a theatrical dimension, an almost anarchic energy and a constant sense of confrontation. Yet behind the humour, the excess and the provocative attitude lies a very clear message: the defence of the Irish language, the cultural affirmation of Northern Ireland and a political vision that is never hidden or softened.

    Kneecap’s greatest achievement has been transforming subjects that could have restricted a band to a regional context into a universal language. Not everyone in the audience understands every word delivered in Irish Gaelic, but very few fail to understand the intention, the energy and the urgency. The language, rather than becoming a barrier, has become one of the group’s greatest strengths.

    Musically, Kneecap brought to Porto the explosive combination that has made them one of the most singular acts in contemporary music. The performance opened with “Éire go Deo”, an immediate statement of the Irish identity that lies at the heart of the band, before moving through different stages of their career with songs such as “Get Your Brits Out”, “Guilty Conscience”, “Fine Art” and “H.O.O.D”. If “Get Your Brits Out” represents the group’s most provocative and politically charged side, “H.O.O.D” reveals the connection to street culture and hip-hop that helped make them internationally recognised. Along the way, songs such as “FENIAN” and “Big Bad Mo” showed a band that continues to explore its identity without losing the chaotic energy that has always defined them.

    The power of Kneecap lies precisely in this unlikely combination: lyrics in Irish Gaelic, hip-hop rhythms, rave influences and a punk attitude. Live, that mixture stops feeling like a calculated provocation and becomes a collective celebration, where even those who do not understand the language can feel the message through the intensity, humour and commitment of the performance.

    Part of the Kneecap phenomenon also comes from the way they have transformed their own history into a central element of their music. Belfast is not merely a backdrop; it is a constant presence. Political tensions, questions of national identity and the defence of a culture that has been marginalised for decades are all part of the group’s narrative. But Kneecap reject solemnity: they use humour, irony and provocation to communicate a message that could easily become heavy.

    That ability to balance entertainment with political engagement is one of the reasons the band has attracted such a diverse audience. At Primavera Sound Porto, there were fans who knew every word, but also those who arrived simply out of curiosity and were ultimately won over by the intensity of the performance. Communication may begin in a specific language, but the energy of a concert exists beyond translation. Musically and culturally, Kneecap represent a new way of thinking about hip-hop. They do not attempt to fit into the traditional structures of the genre; instead, they blend rave, electronic music, street culture and punk aesthetics, creating a sound that belongs as much in a nightclub as it does on a festival stage. That freedom is precisely what allows them to connect with different audiences.

    At a time when many bands attempt to build a carefully controlled global image, Kneecap have taken the opposite path. Authenticity has become their greatest strength. The controversies, the criticism and the political positions are all part of the package, but above everything else there is a band with an extraordinary stage presence and a rare ability to transform a concert into a collective experience.

    Ultimately, the impact of Kneecap at Primavera Sound Porto did not come only from the songs or the messages. It came from the feeling of witnessing a band that believes deeply in what it is doing. A band that transforms identity into rhythm, history into energy and cultural resistance into celebration. Kneecap are not simply bringing Irish culture to new audiences. They are proving that music remains one of the most powerful ways to express who we are, where we come from and what we believe in.

Words and photos Sofia Reis

    Some bands measure their greatness by the number of records they have released. Others, in today’s world, prefer to count it in millions of streams and social media followers. Texas Is the Reason, however, have always existed outside those metrics. With just one studio album, they built a legacy that has crossed decades and continues to resonate far beyond the brief period in which they were together. Their return to Primavera Sound Porto was more than just another date on a reunion tour; it was a meeting between a generation and one of the defining chapters in the history of emo and post-hardcore.

    At Parque da Cidade, where three days of alternative music brought together different eras and generations, Texas Is the Reason found an audience that reflected that same diversity. Among those who grew up with Do You Know Who You Are? were listeners who discovered the band many years after their initial break-up, drawn in by the influence they continue to have on countless contemporary artists. That meeting point between memory and discovery became one of the defining aspects of the performance, a reminder that some songs simply refuse to age because they continue to find new ears.

    Without relying on elaborate visuals or a grand stage production, the New York quartet allowed the music itself to take centre stage. Opening with “If It’s Here When We Get Back It’s Ours”, the band immediately stepped into the world of Do You Know Who You Are?, an album that remains remarkably vital almost three decades after its release. Over the course of roughly 55 minutes, they revisited the essential moments of their concise but influential catalogue, including songs such as “Johnny on the Spot”, “The Magic Bullet Theory”, “Blue Boy” and “Nickel Wound”, highlighting the unique balance between post-hardcore urgency and melodic sensitivity that shaped their identity.

    The closing stretch of the set brought “The Day’s Refrain” before “A Jack with One Eye” delivered the final statement of a performance built around a body of work that continues to inspire successive generations of musicians. The decision to follow an almost identical setlist to the other dates of their 2026 European tour revealed a clear intention: not to return to the past in search of reinvention, but to celebrate the songs that established Texas Is the Reason as one of the most influential names in 1990s American alternative music.

    At a time when many reunions attempt to justify their existence through new material or dramatic reinvention, Texas Is the Reason chose the opposite route, trusting the strength of a catalogue that, despite its limited size, has never lost its relevance. Perhaps that is because some bands never needed an extensive discography to leave a lasting mark. They needed only one album, a handful of songs, and the honesty with which they always delivered them.

    Within a festival defined by the meeting of different generations, Texas Is the Reason’s performance became a bridge between distinct eras of alternative music. Not because it attempted to turn the past into a simple exercise in nostalgia, but because it reminded us that some records reveal their true significance only with time. Do You Know Who You Are? is one of those records. And at Primavera Sound Porto, those songs once again found the place where they have always belonged: in front of an audience ready to listen, regardless of the decade in which they first discovered them.

    In an era where music is increasingly measured through algorithms, numbers and fleeting trends, one of the most compelling aspects of this festival was seeing different generations connected by a band with such a small yet influential body of work. Perhaps that is Texas Is the Reason’s greatest achievement: proving that relevance is not measured in statistics, but in the ability to continue reaching new listeners almost thirty years later.

Words by Sofia Reis

Photos by Hugo Lima

    That philosophy continues to define every corner of the event. It is visible in the absence of unnecessary distractions, in the way the programme is curated rather than simply assembled, and in an atmosphere that feels remarkably free from the performative culture that dominates so many modern festivals. Primavera welcomes everyone. Long-time record collectors, curious newcomers, groups of friends, solo travellers and families with young children all find their place here without ever feeling that the festival has compromised its identity to accommodate them.

    Inside Porto's vast City Park, music remains the main character, that simple idea shaped the opening day of Primavera Sound Porto 2026 just as it has every year since the festival first opened its gates.

    The first day arrived beneath an unforgiving summer sun. Temperatures climbed steadily throughout the afternoon and every patch of shade quickly became valuable real estate. Yet even here the festival's careful planning showed itself. The abundance of trees, resting areas and green spaces meant there was always somewhere to pause before setting off once more towards the next stage.

    As daylight slowly softened and the Atlantic breeze finally drifted inland, the entire site seemed to exhale. People settled onto the lawns, conversations became longer and the pathways gradually filled as thousands of festivalgoers made their way across the park without urgency. There was no frantic rush to tick artists off a schedule. Instead, the evening unfolded at its own pace, carried by the quiet excitement of people who knew the next few days would bring new discoveries, long-awaited reunions with favourite bands and performances that would stay with them long after the weekend had ended.

    It is impossible to talk about Primavera Sound Porto without talking about its setting. City Park is far more than a backdrop. It shapes the festival itself. Unlike many large-scale events where navigating the site can become an endurance test, Primavera remains refreshingly easy to explore. The distances between stages feel carefully judged, allowing audiences to move comfortably without missing entire performances simply because of geography. Wide open lawns offer room to breathe, whether stretched out beneath the trees between concerts, sharing food with friends or simply watching the constant movement of people flowing through the park. The food village once again reflected the festival's broad outlook, offering everything from local specialities to international cuisine alongside vegetarian and vegan options. Rather than overwhelming the musical programme, these spaces naturally became places to pause before returning to what had brought everyone there in the first place.

    Music remained the centre of gravity throughout the site.

    Walking through City Park also meant hearing Europe in miniature. Portuguese blended effortlessly with Spanish, English, French, German and Italian as visitors from across the continent once again made Primavera Sound Porto one of the Iberian Peninsula's most international festivals. Some had been returning for years. Others were experiencing the festival for the first time. Yet they all appeared to share the same instinct. There was no need to rush. Every performance deserved the time to reveal itself on its own terms. That same philosophy extends to families, something that continues to distinguish Primavera from many festivals of comparable scale.

    The children's area once again proved to be one of the site's most welcoming spaces, offering creative workshops, games, performances and activities throughout the day. At its heart sits Mini Primavera, a dedicated stage where younger audiences experience live music in an environment designed entirely for them.

    While parents move between stages, children are invited to discover artists, take part in creative activities and create some of their earliest memories of live performance. It is an initiative that says a great deal about the festival's ambitions. Rather than expanding at the expense of its character, Primavera Sound Porto continues to broaden its audience while remaining entirely faithful to what made it distinctive in the first place. The music itself began early.

    One of Primavera's greatest strengths has always been its ability to place different musical languages alongside one another without ever making the programme feel fragmented. The opening afternoon offered another example of that balance.

    Portuguese artists were given a prominent place from the outset. Emmy Curl opened proceedings on the Estrella Damm Stage with a performance that immediately settled the festival into its rhythm. Inês Marques Lucas followed on the Vodafone Stage, while PAUS and Vaiapraia both brought their very different approaches to the Primavera Stage, reaffirming the festival's continued commitment to Portugal's own musical landscape. As the audience steadily grew throughout the afternoon, the programme expanded naturally with it.

    Nation of Language delivered one of the day's most accomplished performances on the Estrella Damm Stage. The New York trio have built their reputation on immaculate songwriting shaped by shimmering synthesisers and melodies that feel simultaneously nostalgic and contemporary. Live, those qualities found even greater clarity. There was no excess in their presentation, no attempt to overwhelm through production. Instead, every song was allowed the space to breathe. The relationship between band and audience developed quietly across the set until the entire performance acquired an effortless momentum. Without demanding attention, Nation of Language gradually became one of the afternoon's defining highlights.

    Elsewhere, Oklou brought an altogether different atmosphere to the Primavera Stage. Her performance unfolded with remarkable restraint, allowing electronic textures and understated pop melodies to emerge gradually rather than announcing themselves immediately. The set rewarded patience, drawing listeners into its carefully constructed world without ever feeling distant or inaccessible.

    Soon afterwards, the mood shifted completely. Over on the ZYN Stage, rusowsky demonstrated exactly why he has become one of the most intriguing figures in the new wave of Spanish pop. His music comfortably ignored traditional genre boundaries, moving between pop, electronic music and urban influences with complete confidence. Relaxed, charismatic and entirely at ease, he connected particularly strongly with the younger audience gathered in front of the stage, delivering one of the day's most enjoyable performances.

    As evening settled across City Park, the festival entered another gear.

    Big Thief arrived on the Estrella Damm Stage carrying the weight of considerable expectation, and quietly exceeded it. Few contemporary bands understand the emotional power of restraint quite like Big Thief. Rather than filling every available space, they trust silence almost as much as sound. That instinct transformed their performance into one of the opening day's defining moments. Adrianne Lenker's voice carried effortlessly across the audience, intimate without ever feeling fragile. Around her, every member of the band seemed entirely committed to serving the songs rather than themselves. Nothing felt hurried. Nothing felt exaggerated. For long stretches, thousands of people stood almost completely still. In a festival environment where distraction often feels inevitable, Big Thief achieved something increasingly uncommon. They held an audience through nothing more complicated than exceptional songs performed with complete conviction. It was one of those rare festival performances where the scale of the event briefly disappeared, leaving only the music. The emotional intensity established by Big Thief gave way to an altogether different kind of immersion as Ethel Cain stepped onto the Vodafone Stage.

    Over the past few years, Hayden Anhedönia has become one of the most compelling voices in contemporary alternative music, not through grand gestures or carefully engineered spectacle, but through an ability to build entire worlds inside her songs. Live, that sense of scale becomes even more apparent. Her set unfolded patiently, almost cinematically. Each song emerged from the last with quiet confidence, allowing the audience time to settle into its atmosphere before gradually opening into moments of greater weight and intensity. Rather than chasing dramatic peaks, Ethel Cain allowed tension to accumulate naturally, creating a performance that demanded complete attention from beginning to end.

    As midnight slipped into the early hours, the festival's mood shifted once again.

    Where Ethel Cain had invited reflection, KNEECAP invited release. The Belfast trio took over the Vodafone Stage with the confidence of a band fully aware of the momentum surrounding them. Their rise over recent years has been fuelled as much by sharp political commentary as by an exhilarating blend of Irish-language rap, electronic music and club culture, and both elements were present in abundance throughout their set. From the opening moments, the connection with the audience was immediate.

    The crowd responded to every lyric, every beat and every provocation with an energy that rarely dipped across the entire performance. The mosh pits expanded, chants echoed far beyond the front barriers and the atmosphere became increasingly communal as the set gathered pace. Yet reducing KNEECAP to pure intensity would miss what makes them so compelling on stage. Beneath the humour, the provocation and the chaos lies a group with a remarkable instinct for controlling the rhythm of a live performance. They know precisely when to accelerate, when to pause and when to allow the audience to carry the momentum themselves.

    By the time they left the stage, the sense of collective release was unmistakable. If Big Thief had provided the evening's stillness, KNEECAP supplied its pulse.

    The honour of closing the opening day belonged to The xx. Few reunions on this year's line-up had generated quite the same anticipation. Years may have passed since the trio last toured extensively together, but the affection surrounding the band has remained remarkably intact. Their records continue to occupy a unique place within British alternative music, balancing intimacy and restraint in a way that has influenced an entire generation of artists.

    That distinctive identity translated seamlessly onto the Estrella Damm Stage, there was no attempt to reinvent themselves or inflate the scale of the performance. Instead, Romy, Oliver Sim and Jamie xx trusted the qualities that have always defined their music. The production remained understated throughout. Soft lighting moved carefully across the stage without overwhelming it, while the visual design echoed the band's characteristic minimalism. Every element appeared carefully considered, never distracting from the songs themselves.

    What emerged over the course of the set was a reminder of just how timeless their catalogue has become. Tracks that first appeared more than a decade ago still carried the same emotional clarity, finding new meaning within the open surroundings of City Park. Romy's crystalline guitar lines intertwined effortlessly with Oliver Sim's measured vocals, while Jamie xx continued to demonstrate why he remains one of the most inventive musicians of his generation, shaping each song with remarkable precision while never allowing technique to overshadow feeling.

    The audience responded in kind. There was little need for spectacle when thousands of voices quietly filled the spaces between the songs, creating moments that felt intimate despite the scale of the festival surrounding them.

    It was a closing performance built not around dramatic finales or oversized production, but around confidence in the material itself. It proved to be exactly the ending the opening day deserved.

    As the final applause faded into the night, people slowly began making their way through the illuminated pathways of City Park. Some lingered beneath the trees, reluctant to let the evening end. Others quietly discussed the performances they had just witnessed while already comparing notes for the days still to come.

    The atmosphere leaving the site spoke volumes, There was satisfaction rather than exhaustion. Excitement rather than spectacle.

    In an era when many festivals seem determined to become larger, louder and increasingly crowded with distractions, Primavera continues to move in the opposite direction. It has never relied on excess to define its reputation. Instead, it has built something far more enduring: a festival where careful curation matters more than algorithms, where audiences are encouraged to discover unfamiliar artists alongside established names, and where every concert is given the time and space to find its own audience.

    That philosophy has become increasingly valuable. The opening day of Primavera Sound Porto 2026 served as another reminder that some festivals are remembered for their headlines, while others are remembered for the music itself, like Primavera Sound Porto.

    Its first day offered everything that has come to define the festival over the years: thoughtful programming, an audience willing to embrace discovery, a setting unlike any other in Europe and a succession of performances that rewarded patience rather than demanding instant reaction. As the weekend continues, we will be publishing dedicated reviews of several of the festival's standout performances, taking a closer look at the artists who shaped this year's edition.

    In the meantime, follow us on Instagram, where we'll be sharing a gallery capturing the faces, moments and atmosphere of an opening day that once again demonstrated why Primavera Sound Porto remains one of Europe's most distinctive celebrations of live music.

    Because here, perhaps more than anywhere else, the music still comes first.

Words by Sofia Reis
Photography by Hugo Lima

    Num final de tarde em Lisboa, a Galeria Zé dos Bois voltou a metamorfosear-se num verdadeiro templo de confrontação sonora e libertação avassaladora. O espaço preparava-se para acolher uma noite onde o industrial, o power electronics e o ruído puro assumiriam o controlo absoluto da narrativa, ditando as regras de uma experiência que se queria física, emocional e transformadora. Perante o público surgiram duas visões distintas, mas profundamente complementares, sobre a forma como o som pode ser utilizado como arma de catarse. Entre falhas técnicas convertidas em combustível criativo e uma entrega física levada ao limite, a Vox Pop Music Zine testemunhou uma noite de transcendência ruidosa.

    A abrir as hostilidades, Andlos Otukt subiu ao palco trazendo consigo a promessa de uma viagem densa, abrasiva e envolvente. Desde cedo, alguns problemas técnicos insistentes procuraram interferir com a imersão da atuação, testando os nervos tanto do projeto como da própria mesa de som. A tensão instalou-se por momentos no espaço, tornando evidente o desafio que se colocava perante o artista. No entanto, longe de permitir que os contratempos definissem o rumo da performance, Andlos Otukt absorveu essa energia e canalizou a frustração diretamente para a sua expressão artística.

    Cada obstáculo acabou por ser integrado na própria intensidade do momento. A resiliência artística falou mais alto, impondo-se sobre as limitações circunstanciais, e o público captou imediatamente essa vibração. O que poderia ter sido um fator de dispersão transformou-se numa demonstração de compromisso e atitude. A receção da plateia acabou por ser calorosa e profundamente solidária, convertendo aquilo que começou como um desafio técnico numa vitória conquistada através da perseverança e de uma genuína ética underground.

    Se Andlos Otukt travou uma batalha com as máquinas, Margaret Chardiet, mente e corpo por trás de Pharmakon, surgiu para as dominar e para subjugar a audiência através delas. O que se seguiu ultrapassou largamente a definição convencional de concerto. Foi uma performance artística e física de proporções titânicas, uma demonstração de controlo, vulnerabilidade e intensidade raramente testemunhada com tal grau de entrega.

    Pharmakon assinou uma atuação absolutamente memorável. Desde o primeiro segundo, Chardiet utilizou o palco da ZDB como uma extensão direta da sua própria anatomia, como se o espaço, os equipamentos e o seu corpo formassem um único organismo em permanente combustão. Saltava e batia os pés no chão com uma violência rítmica quase ritualística, fazendo com que as vibrações das tábuas do palco se propagassem pela estrutura da sala e ecoassem diretamente no peito de quem assistia.

    Cada impacto dos seus pés parecia despoletar uma nova vaga de frequências industriais esmagadoras. O som não era apenas ouvido; era sentido fisicamente, percorrendo os corpos presentes como uma corrente elétrica. A força da atuação criava uma sensação de pressão constante, como se cada movimento desencadeasse uma nova descarga de energia sobre a audiência.

    Com uma frequência quase hipnótica, Pharmakon abandonava a relativa segurança dos seus sintetizadores e cabos para descer até ao público. Rejeitando qualquer distância confortável entre intérprete e espectadores, Chardiet mergulhava diretamente na multidão. Misturando-se entre os presentes, cara a cara com quem a rodeava, entregava-se por completo ao momento e às pessoas à sua volta, transformando a barreira invisível entre artista e espectador numa comunhão intensa de gritos, suor e magnetismo puro.

    A atuação adquiriu então uma dimensão quase ritual. O palco deixava de ser um território delimitado para se expandir por toda a sala, dissolvendo fronteiras e envolvendo cada pessoa presente na mesma corrente emocional. Foi uma performance crua, despida de pretensiosismo e de filtros, onde o corpo da artista se tornou o principal instrumento de transmissão de uma dor e de uma beleza profundamente eletrónicas. Cada gesto, cada vocalização e cada movimento pareciam transportar simultaneamente violência e vulnerabilidade, caos e controlo.

    No final, quem saiu da ZDB fê-lo com os ouvidos a zumbir e com a certeza inequívoca de ter assistido a um daqueles momentos raros em que a música industrial se liberta do peso dos discos e da reprodução mecânica para ganhar presença física diante dos olhos do público. Durante algumas horas, o ruído deixou de ser apenas som e transformou-se em matéria viva, carne, metal, suor e pulsação, assumindo uma forma impossível de reproduzir fora daquele instante.

Texto e fotografia de Antonio Colombini

    A noite que juntou os Tara Perdida e João Pedro & Os Almendras no LAV foi uma noite daquelas que tanto nos fazem reviver com saudade como celebrar o presente. Desde cedo, a sala encheu-se de rostos familiares, de amigos que se reencontravam ao som de histórias comuns, de gerações diferentes unidas por um mesmo património musical. No ar pairava a sensação de que algo especial estava prestes a acontecer e, na realidade, estava.

    Quando João Pedro & Os Almendras subiram ao palco, a noite começou por abrir uma porta para a memória coletiva do punk português. João Pedro Almendra ocupa um lugar singular na história da música nacional. Dos Ku de Judas aos Peste & Sida, passando pela sua ligação aos primeiros tempos dos Censurados e pelos vários projetos que construiu ao longo de mais de quatro décadas, o seu percurso confunde-se com o próprio crescimento do punk em Portugal. A sua voz, a sua escrita e a sua atitude ajudaram a moldar a identidade de um movimento que encontrou nas ruas de Lisboa uma linguagem própria e duradoura.

    Essa herança fez-se sentir desde os primeiros momentos do concerto. Acompanhado por uma banda coesa e inspirada, Almendra conduziu o público por um repertório que percorreu diferentes capítulos da sua carreira. As canções surgiam como páginas de uma história comum, cantadas com a maturidade de quem conhece profundamente o peso das palavras e a força que elas continuam a ter.

    João Pedro & Os Almendras têm, nesta fase, apresentado ao vivo temas que fazem parte do vasto repertório de João Pedro Almendra, permitindo ao público revisitar algumas das canções que marcaram a sua carreira e que ocupam um lugar especial na história do punk português. Paralelamente, a banda encontra-se a preparar temas originais, que darão identidade própria a este projeto, conciliando a herança de um percurso ímpar com uma nova etapa criativa.

    Em palco, João Pedro Almendra revelou toda a experiência acumulada ao longo de décadas de concertos. A sua presença combinou serenidade e intensidade, transformando cada interpretação num momento de proximidade genuína com a audiência. A comunicação fluiu naturalmente, criando um ambiente caloroso que aproximou músicos e público desde os primeiros acordes.

    Os Almendras acompanharam essa energia com enorme competência, construindo uma atuação vibrante, equilibrada e emotiva. A cada tema crescia a sensação de que a sala assistia a muito mais do que uma abertura. O concerto ganhou dimensão própria, sustentado pela qualidade das canções, pela entrega dos músicos e pelo respeito que o percurso de Almendra continua a inspirar.

    Havia também algo de profundamente simbólico naquele encontro. Para muitos dos presentes, João Pedro Almendra e os Tara Perdida representam muito mais do que bandas. Representam uma parte importante da banda sonora de várias gerações. As canções de João Pedro Almendra, primeiro nos Peste & Sida e depois nos vários projetos que foi abraçando ao longo dos anos, marcaram o crescimento do punk nacional. O mesmo aconteceu com os Tara Perdida, cujos discos acompanharam adolescências, amizades, descobertas musicais e alguns dos momentos mais marcantes da cultura punk portuguesa.

    Voltar a ouvir ao vivo muitas das músicas que fazem parte do percurso de João Pedro Almendra foi também revisitar uma parte essencial da história do punk português. O seu contributo para o género é incontornável, sendo uma das figuras que mais influenciou o seu crescimento e afirmação em Portugal. Estas canções continuam a atravessar gerações, mantendo intacta a força, a autenticidade e a capacidade de unir quem as escuta.

    Ao longo das décadas, as músicas de ambos passaram de geração em geração, encontrando novos ouvintes sem perderem a sua essência. Ver estes nomes partilharem a mesma noite significou assistir ao encontro de diferentes capítulos de uma história comum, construída através de canções que continuam a unir pessoas de idades e percursos distintos.

    Quando os Almendras terminaram a sua atuação, o aplauso prolongado da sala refletiu essa ligação especial. Era evidente que estávamos a celebrar o punk nacional e era apenas o inicio da noite.

    Pouco depois, as luzes voltaram a diminuir e uma onda de entusiasmo percorreu o LAV. Os Tara Perdida entraram em palco recebidos como velhos companheiros de viagem. Trinta anos depois da sua formação, a banda continua a ocupar um lugar privilegiado no coração do público português, reunindo em torno das suas canções diferentes gerações de fãs, não é fácil uma banda abranger tantas gerações de fãs e os Tara conseguem-no. Desde os primeiros acordes instalou-se uma energia contagiante. O alinhamento percorreu várias fases da carreira da banda, recuperando temas que marcaram épocas distintas e que continuam a encontrar eco numa audiência que conhece cada palavra, cada refrão e cada melodia. A sala transformou-se rapidamente num enorme coro coletivo, onde palco e plateia partilharam a mesma emoção.

    Os Tara Perdida apresentaram-se com a segurança de quem construiu um percurso sólido e consistente. As guitarras mantiveram a intensidade característica da banda, a secção rítmica impulsionou cada canção com força e precisão, e a voz conduziu o público por uma viagem emocional feita de celebração, identidade e pertença.

    A força do concerto nasceu precisamente dessa relação especial entre a banda e os seus seguidores. Cada música parecia carregar uma memória diferente para quem a escutava. Havia sorrisos de reconhecimento, abraços espontâneos, punhos erguidos e vozes que cantavam em uníssono. A comunhão entre palco e plateia tornou-se um dos momentos mais bonitos da noite.

    Mais do que assinalar uma data redonda, os Tara Perdida celebraram a permanência de uma identidade construída ao longo de três décadas. As canções continuam atuais porque transportam emoções universais, porque falam de amizade, resistência, pertença e liberdade. Valores que permanecem vivos em cada concerto e em cada geração que descobre a banda. Foi uma noite que celebrou a memória sem ficar presa ao passado. Uma noite que homenageou os pioneiros e valorizou o presente. Uma noite onde João Pedro Almendra e os Tara Perdida lembraram a todos porque continuam a ser referências incontornáveis da música portuguesa.

    Acima de tudo, foi uma celebração de uma cultura, de uma comunidade e de um espírito que continua vivo. Um espírito que atravessa décadas, resiste ao tempo e encontra sempre novas vozes para continuar a cantar.