The Powerpuff Girls' Primavera Sound closes with record crowds

The year of the Powerpuff Girls will also be remembered as the record attendance at Primavera Sound, which brought together a total of 293,000 attendees across all the concerts and events held throughout the week. The sold-out mark reached five months before the festival has grown into a daily attendance of 71,000 across the three days at the Parc del Fòrum. Translated into the vile metal scene, this enormous influx of people will bring more than €300 million back to Barcelona. "It's been a historic edition that has made Barcelona the epicenter of music for a week," said Alfonso Lanza, co-director of the festival, praising the Parc del Fòrum as "the best venue in the world to host a festival" and boasting about Primavera Sound's ability to stage major productions such as those by Sabrina Carpenter and FKA Twigs. Read also Primavera Sound closes with a record 293,000 attendees Sergio Lozano Amid the euphoria of the organizers and the joy of an audience comprised of 65% foreigners, the third and final day of the event (next day, June 4-6, 2026) came to a close with Chappell Roan as the finale. The redheaded "supergirl!" rocked the Primavera esplanade with her drag party from the first notes of "Super Graphics Ultra Modern Girl," an explosive opening followed by "Femininomenon," which turned the rest of the performance into a melee of jumps and screams. Shielded by an all-female band, the evening took place in a fanciful and colorful setting of gothic ruins, where Roan appeared dressed as a good witch to perform the exercise in exhibitionism and shamelessness that was already hinted at in her surprise appearance during Charli XCX's concert. The songs from the Missouri native's only album, The Rise and Fall of a Midwest Princess, provided a party with festive peaks like the perky adolescence of Hot to Go or After Midnight, with that Backstreet Boys-esque feel and all the hallmarks of mainstream pop. The guitar-driven gallop of seventies-era Barracuda added spice to a full party menu that included the camp flow of Red Wine Supernova, to the delight of the tens of thousands of people gathered in search of the diva's greatest hits, with the warblings of Pink Pony Club now becoming the unofficial anthem of the new queer queen. The Cadiz singer Judeline yesterday at Primavera Sound Ana Jiménez The final day of the festival brought other highlights, including Kim Deal and her debut solo album. The former Breeders and Pixies member took the stage accompanied by nine musicians, all necessary to develop the melodies of her debut solo album, which took up the first part of the concert. The presence of such a large band took the performance from an almost orchestral scale to intimate moments rendered with violin strings, as in the case of Big Ben Beat. But once the album was presented, the ever-cheerful Deal went into festival mode, reminiscing about The Breeders with Safari, Invisible Man, or the guitar-driven Cannonball before hanging up her bass and concluding with Gigantic, arranged for trumpet, violin, and cello. Others with new material are Fontaines DC, who in five years have gone from small clubs to being considered a benchmark of post-punk, a rapid path that finds its latest chapter in the album Romance, with which they took over from Idles as standard-bearers of post-punk. The self-titled cut, redolent of The Cure's darker side, opened the Dubliners' turn, defending their latest work by applying themselves to the hits "Here's the Thing" and "Starbuster," as well as to already well-known tracks such as "Jackie Down the Line" and "Big." Read also Sabrina Carpenter brings songs and entertainment to Primavera Sound Ramon Surio Amaia also rises to the top of her game. After participating in the previous edition with Stela Maris, she arrived this Saturday backed by an orchestra, in a performance that felt special for her. In addition to the songs from her latest album, the Pamplona native didn't forget past moments like "Quedará en nuestra mente" (Questwill in our minds) and "Santos que no te pinté" (Saints I didn't paint you), a version that is now essential in her concerts. Another version that threatens to reach the same level is "Although it seems a lie" by Papá Levante, although it didn't reach the collective ecstasy of "Tengo un pensamiento" (I have a thought), which drew applause from the locals, a minority at a festival with a majority of Spanish speakers on and off the stage that places Barcelona at the center of music every year.