Carolina Durante, the Madrid quartet known for their raw energy and punchy riffs, delivered a show that felt almost as much a declaration of intent as a performance. They shared a schedule with Tame Impala and Cigarettes After Sex, and when they stepped onto the secret Ouigo stage, the mood was set long before the first note. Diego Ibáñez, the band’s frontman, admitted there was a moment of nerves, a playful fear of getting slapped by a moment that can only happen when a crowd is ready to go feral. Yet the moment the first chords hit, it was clear: Primavera Sound had found its next loud, unapologetic voice. The Madrid foursome didn’t just play their set; they stamped it with certainty, delivering a knockout punch of confidence and a relentless, unitary directive: we sound sharper than yesterday. A steady march from track to track became a relentless propulsion, a crowd-chanting river that confirmed what many had hoped to hear from a band on the cusp of bigger stages. The opening salvo was a fierce cover that felt like a mission statement from the start, as they threaded through a bold, Beastie Boys-inspired burst of energy with Sabotage, instantly signaling that they were willing to shake up expectations and ride the adrenaline of live quick-change dynamics.
Natural heirs to Los Nikis in the eyes of many followers, Carolina Durante has crafted a distinctive live vocabulary that turns every show into a noisy, late-night karaoke session. Ibáñez’s charisma as a frontman is undeniable, a magnetic presence whose stage persona alternates between reckless punk exuberance and theatrical storytelling. At moments, he dives into the crowd, not to gawk at spectators but to invite them into the performance, turning the audience into an essential part of the show. The band’s chemistry is a core strength; each member feeds the others with a sense of purpose that makes the whole feel greater than the sum of its parts. The physicality of their performance adds a visceral layer to the music, translating studio energy into a live surge that audiences can feel in their bones. It isn’t just about playing well; it’s about inhabiting the moment and letting that electricity travel through the crowd, line by line, riff by riff.
Setlist choices underscored the group’s confident identity. Tracks like Aaaaaaa#$!& starting in steamroller mode, Farm School, Urbanitas, and Famous in Three Streets built a relentless pace that rarely paused for breath. Other moments—Graveyard and Juanita’s Songs—showcased a sly humor and a willingness to blend the sharp edge of their punk roots with lighter, almost melodic hooks that keep the energy buoyant. The inclusion of Night of the Living Dead hinted at a playful willingness to push the crowd into a feverish, cathartic release, while a surprise appearance by Santiago Barrionuevo of El Mató a un Policía Motorizado on Blank Space added a cross-pollination that delighted attendees. The band’s crowd-pleasing instincts are evident in the way they skim across genres within a single set, balancing tongue-in-cheek bravado with moments of genuine musical punch. Even Perdona gets a lift here, a reminder that their catalog isn’t just about one loud anthem but a growing suite of songs that invite multiple kinds of engagement. Critics note how the show, while fully embracing festival chaos, never loses the thread of its own identity, a sign that Carolina Durante has earned a space where they can experiment without losing contact with the core audience that helped them rise. The closing arc—cleverly shifted into anthemic, cathartic mode—feels almost inevitable, a culmination that leaves the room buzzing with the afterglow of a performance that felt both intimate and colossal at once.
Some observers might argue that the band is tethered to their breakout hit Cayetano, a concern that surfaces in larger festival narratives where a single track can become the axis around which expectations orbit. Yet Primavera Sound’s setting—an environment that often basks in a playful, self-aware Ayusismo—also provides a stage for the group to stretch that initial spark into a broader, more nuanced arc. The risk of sounding repetitive is real when a festival embraces a certain vibe, but Carolina Durante uses that ambience to sharpen their voice rather than merely echo it. The performance demonstrates a maturity in choosing moments that showcase growth without abandoning the ferocity that got them noticed in the first place. In this light, Cayetano becomes less a crutch and more a touchstone—an anchor that anchors the band’s evolution while inviting listeners to explore what lies beyond the first hit. The overall impression is clear: this is a band actively shaping its trajectory, not merely riding a trend, and their Primavera appearance serves as a bold introduction to a broader audience that’s ready to follow wherever they lead.
In the end, the verdict is straightforward: this is a new favorite for many who witnessed it. The performance didn’t just entertain; it asserted a persona and a future. Carolina Durante arrived with a sound that’s both unapologetically loud and oddly intimate, a combination that resonates across a crowd that wants to sing at the top of its lungs and still feel the heartbeat of a band that believes every chorus matters. The night wasn’t just good; it was a declaration that this Madrid quartet has found a powerful path forward—one that promises more vivid shows, more fearless experimentation, and a growing hold on an audience that thrives on music that feels essential, immediate, and undeniably alive.