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Liet International festival throws all English songs to reward creations in minority languages
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The Catalan group Pomada won the first competition in 2002, but since then no Spaniard has returned to bring victory. This year, Roger Argemí of Barcelona and Carolina Rubirosa of Pontevedra aim to do just that.
The debate over language in music has never been sharper. If a piece can cross borders with a melody, can it still carry the heart of a culture if most lyrics are in a language that is not widely spoken? When Benidorm Fest sparked controversy over Tanxugueiras’ nomination, many wondered whether songs in regional or minority languages could win broad acclaim. The question remains: would a European song register with strong ties to Basque, Catalan, Galician, or other peninsular languages still gain top recognition if English occupied only a portion of the lyrics?
Consider Basque phrasing such as a line about turning everyday moments into a crowd-pleaser or Catalan lines that pledge uniqueness and authenticity. The idea, however, is not merely to translate words. It is to explore what lies behind them: the culture, the history, and the music that gives those words life. Liet International, sometimes described as a festival for minority languages, emphasizes a crucial point: the words matter, but the broader message matters even more.
This festival marked its thirteenth edition after beginning in Tønder, Denmark, in 2002 as a way to continue a long-standing Frisian song tradition. What started as a regional event expanded to encompass the entire European continent. The aim has always been to celebrate linguistic diversity for two decades, aligning with principles similar to the European Charter for Regional or Minority Languages.
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The guiding rule in Liet International is simple: language should not be a barrier to emotion, culture, and shared human experience. The repertoire showcases a spectrum of languages—Vepsian, Udmurt, Welsh, Irish, Lappish, Friulian, Asturian, Corsican, Mordovian, Arbereshe, Faroese, Breton, Ladino, Cornish, and more. Catalan has a historic place as a pioneer among winners, yet the competition welcomes many voices—each adding a distinct flavor to Europe’s musical mosaic.
Historically, Sabadell group Ointment swept with a folk-tinged piece that resonated with both juries and audiences. Now, two decades later, the duo Pomada, and a Barcelona-inspired artist, Roger Argemí, seek to reaffirm Spain’s presence at the festival. Carolina Rubirosa from Pontevedra joins this pursuit, carrying Galician to the stage alongside Catalan. Rubirosa notes that Liet International provides a valuable platform for sharing experiences and learning from peers, while Argemí emphasizes updating Catalan music to fit modern, global sounds. The challenge, he says, is to present a fresh language that stays true to regional roots.
The festival’s format asks for vitality rather than a strict national triumph. There is no national qualifier, and any group can propose a project to represent a language. The organization reviews submissions and selects acts through a negotiation that respects the rules. Over the years, the event has traveled to diverse hosts—from Leeuwarden to Östersund, Lorient, Oldenburg, and Gijón—each venue helping to extend the reach of minority-language music. The value lies in elevating endangered languages and presenting them in contemporary musical styles, from folk to pop, rock, and even hip-hop.
Carolina Rubirosa describes Liet International as a grand showcase that warrants ongoing effort and recognition. She believes the platform allows artists to exchange ideas and cultivate new projects across borders. Roger Argemí adds that updating Catalan music with a wide, global sound can be challenging, yet it opens doors to richer collaborations. The duo sees their participation not just as a bid for victory but as a chance to demonstrate the adaptability of regional music within modern genres.
In recent years, the momentum from Liet International echoes Tanxugueiras’ impact at Benidorm Fest, hinting that songs in regional languages may increasingly find a place on national and international stages. Roger anticipates Catalan influence rising in future competitions, perhaps even on larger stages. He notes he contributed to works that bridged Catalan heritage with broader pop sensibilities, a move aimed at widening the appeal without sacrificing authenticity. Carolina echoes the sentiment: the emergence of Galician and other languages on major platforms enriches the musical landscape and invites broader participation from diverse communities.
The two artists emphasize that the festival’s value lies in cultural visibility, linguistic preservation, and cross-genre exploration. It is not a simple contest; it is a dynamic space where regional traditions meet contemporary expression. Will they or other Spaniards triumph again? The path remains open, as long as artists stay committed to honest storytelling and creative risk-taking. The future of Liet International looks bright, with more audiences discovering the beauty and resilience of minority languages through song. This ongoing exchange of sound and story continues to remind listeners that music can unite people beyond words, celebrating diversity as a shared human rhythm.