Estopa looks ahead with a bold, freer setlist for the upcoming tour
Two years ago this would have marked the tour and the 20th anniversary of the Fuego album, a milestone that now invites renewal rather than nostalgia. The duo intends to press on, keeping momentum and a live energy that invites the audience to participate, sing along, and share in a ritual of performance.
David Muñoz explains that the show will feature one of the era’s biggest hits from Fuego while weaving in a wider history of their work. Fans will hear familiar favorites and some songs that haven’t appeared in a long time, creating a spirit that centers on joy, connection, and spontaneous moments on stage.
Jose Muñoz adds that last year’s tour, held with reduced capacity and masks, shaped a leaner repertoire designed to prevent excessive crowd movement. The decision not to include Paseo because it encourages cuddling remains, but this time the duo plans a much wilder set, saving some tracks from the original demo era before the first album for special moments.
Like which songs will make the cut? One artist hints with a smile that surprises are best. A track called Princesa may make the cut—about the heartbreak of a very young relationship. It’s a naive, retrospective piece, reflecting how seeing their younger selves can be amusing. The music blends rumba with a ballad and carries a forward-looking energy.
An open-air Estopa concert without masks and distance is described as a powerful image of post-pandemic relief. Muñoz admits nervous anticipation, acknowledging an emotional component and a strong desire to reconnect with every audience member. The message guiding these concerts is simple: the performers want to see the fans again, face to face, without barriers.
Estopa avoids competitions, embracing genuine artistic exchange rather to entering contests like Eurovision
They collaborated briefly with Fito and Fitipaldis on Camiseta de rokanrol, and the pandemic era amplified their focus on collaborations, including Awakening with more recent partners. A new work with Beret is described as a significant portion of a forthcoming project, with a portion of the writing left to be completed in collaboration with him. A fragment of a song was sent via messaging app with instructions to finish it themselves, signaling a playful, direct approach to creation.
Another new song called Diablo is expected to be the first single from the next album, showcasing Bert’s influence and a direct, punchy style, with rap elements and a distinctive voice.
There was a time when collaboration with other writers hadn’t occurred for the duo. That is changing, with plans to work with Beret and other writers through modern messaging platforms. A future collaboration with C. Tangana is anticipated as well, signaling a broader, more varied creative horizon.
C. Tangana invited a collaboration on Ingobernable, but timing never aligned
When Tangana asked them to contribute to Governable, the duo admired the song yet felt it wasn’t the right moment for joint work. The period coincided with the worst days of the epidemic, making clarity elusive. The artists acknowledge that it would have been meaningful to collaborate, even as circumstances prevented it. There was a moment when Tangana stood with them at Sant Jordi and the moment helped them shed a lingering tension. Tangana described the collaboration as an intended foray for them, a sentiment that remains bittersweet.
There was even talk that half the album was written with Estopa in mind. The duo confirms that their origin came from nothing, and the resulting album was a landmark year for their careers. They also note Kiko Veneno, Calamaro, Ketama, and Drexler as influential writers whose distinct voices shaped their work.
Estopa’s performance history contributes to a broader cultural moment
When Tangana’s Sant Jordi concert unfolded, the duo found themselves unexpectedly swept into the moment. The experience included hearing fans clap as a relationship ended, a moment once called the golden minute of the show and linked to Tu calorro. They were surprised by a younger audience embracing rumba, a genre they’ve always connected with as a source of joy. The present Tangana blends rumba with other moods, and the audience seems to carry that rhythm in their genes.
The rumba continues to return, described as a cyclical force that defines the duo’s sound. Reflecting on their first album, they note how rumba wasn’t trendy then, yet their success grew through experimentation with other styles. The pair sees rumba as a catalyst that can be reshaped and reimagined, much like a contagious laugh that spreads through a crowd.
The pandemic period also contributed to new material, with eight new songs in the pipeline. Jose Muñoz has established a home studio for quiet demos, and work began in earnest as restrictions eased and rehearsals resumed. The period beyond quarantine offered a chance to reconnect and create without the same pressures as before.
There’s a cautious optimism for what comes next
Don’t expect the world to end before the next release. Plans were laid for a two-part project: a careful release of demo material featuring Princesa, Miríam, Sentir Different, and similar tracks with minimal production. The aim is to preserve the authenticity of the demos while eventually offering a more fully realized new album a few months later. The plan is to publish older material first, followed by fresh recordings, effectively creating a double release in staggered form.
The dynamic between 2023 and 2024 shifts from a rigid plan to a flexible approach that accommodates new collaborations and a broader tour schedule that could span Argentina, Chile, Uruguay, and now Venezuela. The hope is for long-term peace and continued creativity, with a reminder to live fully in the moment. The team agrees: the world should not end, and this weekend should be a sign of resilience and momentum.