Enrique Bunbury recently opened a window of optimism for his vast fan base around the globe. In his weekly newsletter, where he answers questions from fans and shares updates on social networks, the Zaragoza singer cast a careful note: memorable phrases like tour and touring are not in his vocabulary. Yet he did offer a glimmer of possibility. He spoke of the potential to reinterpret his live show in a select set of cities, something currently on the table.
That hopeful message will surely lift the spirits of thousands who feared they might never witness Bunbury perform on a stage again. He also stressed that the health issue linked to his throat, tied to Propylene Glycol found in some stage fog, does not automatically signal a return to major touring. When asked whether this could pave the way for a tour to support the debut of a new Greta Garbo film soundtrack, Bunbury gave a clear answer: there will be no tour in the near future. The Aragonese artist was emphatic about that.
The singer reflected on the difficult period that followed his last touring cycle, noting that the challenges of the previous year and the subsequent shows left a lasting impact. He said that any decision about touring would not be made in the short term and that his life would likely steer toward other projects. His focus, he explained, remains on composing, recording, writing, and painting. The words echoed through the newsletter as he outlined a new personal path that centers on creativity beyond the concert stage.
Bunbury also spoke candidly about his health during the touring run after a long pandemic pause. He recalled the Mexico leg of the tour where a tightening sensation in his throat and persistent symptoms began to surface. He described a nighttime, compulsive cough that disrupted sleep, breathing difficulties, and a lingering sensation akin to sand in the lungs. He carried on through approximately five weeks of the Mexican dates, concluding the stop of that leg with a sense of completion, even as the path forward remained uncertain. The newsletter captured this moment as a turning point rather than a finale, signaling that the farewell could be reconsidered as circumstances evolve.
The narrative grew more complex once the United States dates arrived. Bunbury sought evaluation from several specialists and underwent tests aimed at pinpointing the root cause of the ongoing discomfort. The decision point came as he reached Chicago, where the plan to bid farewell began to shift. The artist chose to pause the farewell and reassess the future in light of medical findings and personal priorities that favored long-term well-being over a final curtain call.
New album on May 26
Glycol, a component often used in stage fog, has been a source of discomfort for Bunbury during live performances. He explained that the conditions of the stage environment, not the studio or ordinary home listening, trigger his symptoms. In other words, he can perform in controlled spaces where artificial smoke is absent, freeing him from the throat challenges that arise on large, fog-filled stages. This clarifies the practical reality of live performances while highlighting the difference between concert experiences and studio settings.
At present, the artist’s public schedule remains focused on future releases rather than a traditional tour. The next studio project, Greta Garbo, is slated for release on May 26, with its first single, Invulnerables, issued at the end of February and a second single, Alaska, arriving in mid-April. This direction suggests a shift toward studio work, storytelling through music, and a broader artistic project that extends beyond the live circuit.
Beyond music, Bunbury has continued to share his literary voice through a new volume of poetry. The second collection, MicroDosis, edited by Cántico, presents a diary-like reflection in which the artist contemplates experiences with microdoses of psilocybin over recent years. The confessional tone offers readers a glimpse into a creative mind exploring altered states as part of a larger artistic journey. This publication reinforces Bunbury’s multi-disciplinary approach, blending songcraft with prose and verse as part of an ongoing artistic quest.