They began by paying direct homage to the groups they admired, recreating songs from legendary bands like La Gossa Sorda, Aspencat, Obrint Pas, and Txarango. Over time, those outfits handed the baton, and today they lead a Valencian-language music scene performed entirely in Valencian. La Fúmiga launches its 2025 L’estiu d’Austràlia tour, taking them to major festivals and local fiestas across the País Valencià and Catalonia. Among their stops, a standout performance is scheduled for Friday, March 28, at the Parque Canyar de les Portelles in Mutxamel, within Primavera al Parc. Sandra Monfort and Quinto from Alicante will share the bill with them.
To reflect on the evolution of this Valencian band, which moved from a footnote in festivals to the main draw of those events, Artur Martínez takes a long phone call in which the group’s demands as Valencian-language performers, their current state, and the need to “go south” to defend a language that still receives little institutional support—and seems more at risk today—are debated.
They have moved from paying homage to their influences in live performances to leading the Valencian-language music scene. How have they lived this evolution from within?
They answer with steady humility: their fans remain the same enthusiasts who once followed those groups, and they believe that popularity should come from the audience and the music itself. They continue living as they always have, aware of how their songs travel, and they support new projects that follow the same narrative thread, hoping the momentum never stops.
The core of the scene’s growth is questioned as the veteran bands fade away. Is it hard to sustain a project like this?
They acknowledge the sector remains fragile. There is very little room because supply is limited, making it tough for groups to stay viable. It would be beneficial to see gradual improvements, especially given the sacrifices involved in dedicating life to music, such as constant travel and the accompanying sense of instability. The moment demands balance between pursuing a dream and safeguarding one’s future.
And what did they choose to do?
They have always looked after their backs, yet they are among the few acts that have flourished, with the possibility of making music a full-time pursuit. Still, they have not abandoned their prior lives and continue working while pursuing their artistry.
Why stay cautious?
Perhaps out of fear. Looking back, they see what happened to peers and do not want to repeat the same. They hope future generations feel that pursuing music is a path worth taking. For now, they have not taken that leap, because the prospect inspires serious respect.
Today they stand as leaders of a scene. Does the constant demand from audiences wear them down?
They see it as a gift for any musician to have a full tour calendar before the first show. Fatigue would bite if one did not love performing. They still enjoy live work, a trait they carried from their street days as a wind band. Emotionally the benefit outweighs the risk, and performing remains a source of energy.
Does the audience feel that fatigue when attending many concerts?
For them, every tour is a different experience. The shows are frequent, and both the audience and the performers can tire. It is crucial that each performance remains fresh, that the sense of anticipation stays alive, and that a concert never becomes repetitive. The audience deserves that what they lived last July is not exactly the same as what they will experience this July. It is their own initiative, yet it also resonates with their followers. Even within a single tour, each event differs due to setting, company, or moment.
And that evolution is mirrored in the professionalization of their music. They are no longer the same as the artists who sang Karrasketon.
They are glad to hear that their perception mirrors the band’s internal view. It isn’t about radical changes; it’s about growth and learning. Their third album Tot està per fer marks the culmination of a sound they wanted to achieve, even without consciously aiming for it. Espremedors and Fotosíntesi were essential steps toward reaching this point.
And it has been accomplished with self-management.
Indeed. They feel that for the first time this band can present a product that does not envy big, inflated projects backed by labels and radio. They have learned to craft music over the years, because making pop with their wind-and-brass culture is not easy.
Some critics say they avoid politics. Do they agree?
First, it seems that singing in Valencian automatically invites a political message. In their case, the group carries a clear, embedded message in every track. When Espremedors addressed contemporary love, they challenged prevailing ideas. When El preparat is sung, they critique the monarchy with irony and sarcasm. Their language uses music as a vehicle, and interpretation is personal. It excites them that children in País Valencià schools learn values through their songs. For them, that is political.
Does the constant focus on every word wear them down?
They admit it can be trying to face the sharp glare from the internet ecosystem, yet they choose to respond with honesty. Although some skeptics say they have too many messages, others insist they are delivering a vital voice. They have learned to endure criticism without retreating from their path.
Is using Valencian a political act?
They always say Valencian should be used by whoever wants to. The real goal would be for institutions to promote it, acknowledging that the language remains endangered and needs support. They hope to avoid political measures that oppose it. In terms of linguistic discourse, they see themselves as the group who has pushed this defense the most.
Is it special to go south to spread their music?
Yes, and in more ways than one. They prioritize heading south over visiting places where everything is already in place. They have long believed the south still has much to gain linguistically, proving that a language can be shared across regions just as strongly as in Castellón or Valencia. They make it a point to ensure the south is part of the journey. The response from audiences has been remarkable, with shows drawing 1,500 people singing in Valencian. They are committed to weaving the north, south, east, and west into a single cultural fabric.