Yesterday, June 12, the most controversial and complicated Sònar started. On May 15, the daily jump published that Supersruct Entertainment, owner of the Sònar and several more Spanish festivals (the FIB, Viña Rock, Resurrection Fest, among others), had been acquired in 2024 by KKR, a Bulture Fund of American origin that operates in the territories illegally occupied by Israel in Palestine and has participation in Israeli military intelligence companies. As soon as explanations were requested from the festival, he replied with a generic and disappointing statement, which still worsened.
Then there have been new communiqués that Sònar has ended up condemning genocide in Palestine. It has even complied with a series of proposals by BDS (boycott, divestments and sanctions) and the Palestinian campaign for the academic and cultural boycott of Israel (Pacbi), such as giving up some sponsors. But that did not prevent many artists, among Elles Arca, to cancel at the festival, apart from numerous calls to boycott.
Although rumors suggested that the festival could get to cancel, it has continued. No advertising trace of controversial sponsors and with fewer actions. But apparently, without public loss. Personally, I did not want to go from entry. But after all the movements, as an informative way I was interested in seeing what happened at the Festival: if there was going to be a clear positioning of the festival, artists and public. Just yesterday was also a fairly infamous current day, nationally and internationally.
The balance? Among the public was a subtle and constant presence of claiming elements: pro-palestine t-shirts, scarves, badges, stickers condemning the genocide … although also much of the usual audience that comes to show off or have a good time, which does not imply non-positioning: the pro-palestinian proclamations and condemning the Israeli genocide were very jelly. With respect to Les Artistes, there was a lot of claim in the medium scenarios, but I did not see among those who click on Sònar Village. At least, during the moments I was there. Obviously, I could not be in all the actions, so something would escape me. And neither should this become a signal of “this yes, this is not.”
I arrive at 14.30, to see atmosphere. Everything is very quiet. At this time there are little people. Unsilence Gaza t -shirts are attached in the press zone and some Palestinian handkerchief at Sònar Village. The first claim comes as early as at 15.30. In Sònar Hall, Emotional girl A poster signed by Le Artista in Catalan, Spanish and English that says “This is a direct signaling to the occupation, apartheid and violence exerted by the genocidal state of Israel against the Palestinian people (…) both artists who have joined the boycott as we have decided to stay in the line-up have met with Pacbi, BDS and the organization of this event for Pacbi, BDs and the organization of this event for Pac. Get the demands (…).
A clear message, that at that time does not reach much public. The show “Emotional girl presents FDM” is more a performance than a concert to use. Accompanying of three ocher dancers, futuristic eighteenth -century clothing, displays its composable, dramatic synthetic pop, between white light flashes. A tribute to Arca and Sophie, but with enough from Judeline and Rosalia as well. An interesting and worked show.
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The two actions that interest me most overlap. In the hall, Chano Domínguez + Bronchiothey start in progressive-jazz-flamenco mode without further delay or posters, or ads in the hall. They carry a good band that includes trumpet and a singer. But I’m just ten minutes, because I want to see how it starts Alizzz In Park, presenting ‘reckless driving’. The space looks quite loose, of course it is just 17:15. His show is very basic: he, the band and few projections, which will take to appear. Start with ‘Lost Road’. Cristian and the atmosphere are somewhat bland, which does not mean that there is a hard core in the public chanting all, especially ‘no longer vouchers’ or ‘dawn’. In the middle of the action, therefore, for and speaks in Catalan: “Although I have already expressed myself in social networks (…) we already know the investment fund. I just want to say that: freedom for Palestine ‘. And it looks like a projection that says” Aturem the Genocidi “(we stop the genocide). And then he tells us:” The Sònar is also ours. Long live the Sònar, live the Baix Llobregat. ”And it starts, of course, with his anthem to the Baix, ‘that passes nen’. From this moment, as if he had taken a weight off, Christian is more animated, more loose, and his synth-pop version of ‘Before I die’ or ‘The encounter’. And the public responds with more heat.
Next, NoiaPortuguese DJ, is not for subtleties. Luce a Palestinian flag on the table and wears a T -shirt of the Palestinian National Team. Click hard and devilish speed. Among the already large public are Palestinian soccer shirts or more subtle attire: red shirt, combined with green skirt, black boots, watermelons … I leave it for a while because it has appeared surprisingly Todd Terry in programming and click on the Village. But yours is an official session: click its own remixes, there are several hits … everything is classic, comfortable. And among the public the environment is totally relaxed. I return to Noia to verify that you have even more public. Close with phrases of “Free, Free, Palestine!” Among the applause of people.
MCR-T In Park, it is the first one in which I see more foreign than native. He has not curled it much with the audiovisuals, since the generic announcement of the Sònar appears with the excavators. He looks nice and his ghetto rhythms are quite hard, but I leave it to return to Todd Terry and see that there is no novelty in the front. Next, FAFI ABDEL NOUR Click more atmospheric house, less cut, it flows better. At this time, the amount of audience is huge to be Thursday. It does not seem that the call to the boycott has penetrated a lot among the attendees. It gives me the feeling that, the later, bigger and more people, the less vindication.
But Sarra Wild From Glasgow comes to tell me not in Park. Shouts “Free Palestine!” As soon as you start. His shirt looks “Free Congo.” His session is fresh, queer and vigorizing: there are Arab rhythms, hip-hop, Africans. He leaves small speeches. Suddenly, posters begin to appear on the screen that happens the following message in English: “Sònar is owned by Supersruct. Supersruct is owned by KKR (…) KKR finances the Israeli genocide in Gaza. (…) KKR is based on destruction. We are all accomplices. But we are not impotent. Our money is not neutral. We chose who we benefit. Solidarity with Sònar workers.
Sarra Wild shows the joy of the fight. I abandon it for a moment to be able to see the end of Blawanbut I am a good cap in the hall, so I return with Sarra, which is with serious chubby, which changes to bollywood rhythms. Wild transmits a contagious joy, despite everything. Click ‘Born Slippy’ by Underworld, as saying “I come here” and Park comes a little down. It ends with phrases of “Free Free Palestine!” to the rhythm of submachine guns and music. “Independence One Day,” he tells us. The large gathered audience is quite delivered, some Palestinian flags and scarves appear. Today in the Sònar you artists that have been expressed have not been tibies at all.
