Moments before nine, Movistar Arena pulsed with energy. Thousands of voices were ready for more than a concert; they anticipated a renewal of something deeper. Tonight Quevedo returned to his hometown, the city that watched him grow before Gran Canaria claimed him as its own. Madrid, a stage where urban pop has long found its rhythm, welcomed him to its most sacred venue. And he, armed with his second studio album Buenas Noches, turning the night into a soundtrack of late hours and excess, arrived to show that his return was deliberate, not happenstance.
Quevedo stepped onto the stage with quiet confidence, yet the evening carried a heavy presence from the outset. Pyrotechnics lit the arena as massive screens projected visuals that reinforced the nocturnal vibe of Buenas Noches. In the front row, jerseys nodding to UD Las Palmas fluttered beside Canary flags, signaling that his bond with the land he calls home remains strong. In the audience, mothers with daughters, groups of friends, sharp-dressed brothers with sunglasses and beers in hand — all soaking in what many considered a historic moment.
The show opened with Kassandra, a dense, cinematic intro that set the tone for the night. Without pause, the thunderous beat of Duro launched the first surge of energy, and weaving into Chapiadora.com turned the venue into a shared dance floor.
With 14 Febreros, the excitement dipped briefly, but the crowd made up for it by singing every word. La 125 picked up the pace with a hypnotic groove, and Los Días Contados served as a perfect hinge between Quevedo’s harsher edge and his more melodic side. It wasn’t long before the first moment of luxury appeared on stage: Amaneció, performed with De La Rose and De La Ghetto, raised the temperature with a collaboration that works well on record but gains a new dimension live. The segment closed with Por Atrás, Halo and Piel de Cordero, all performed with La Pantera, and it felt like one of the most emotional moments of the night.
From there, more tracks that made fans sing with closed eyes emerged. Quevedo’s contemplative side surfaced in Que Asco de Todo and Noemú, while Te Fallé, performed with Sech, turned the stadium into a sea of phone lights as the crowd lit the night with their glow.
From there, more of the tracks that made fans sing with their eyes closed emerged. Quevedo’s contemplative side surfaced in Que Asco de Todo and Noemú, while Te Fallé, performed with Sech, turned the stadium into a sea of phone lights as the crowd lit the night with their glow.
Between Letting Loose and Dancing
The setlist was designed to sustain momentum while offering brief respites. Now and always and Dame soften the intensity without letting the atmosphere dip, before Buenas noches turns Movistar Arena into a vast nightclub once more. If there was a song suited for a shout-along, that was El Tonto, and at that moment Lola Indigo stepped onto the stage, one of the most celebrated guests of the night.
From that point forward, the show moved forward without hesitation. Sin Señal and Playa del Inglés kept Quevedo’s cadence, while La Flaca, a Pau Donés classic brought to life with Jordi Mena on guitar, was the big surprise nobody anticipated. This version wasn’t traditional; it was reimagined with a denser groove and a chorus where Quevedo delivered a cleaner, more assured vocal, signaling the vocal evolution he has undergone in the last year.
From there, more of the tracks that made fans sing with their eyes closed emerged. Quevedo’s contemplative side surfaced in Que Asco de Todo and Noemú, while Te Fallé, performed with Sech, turned the stadium into a sea of phone lights as the crowd lit the night with their glow.
From there, more of the tracks that made fans sing with their eyes closed emerged. Quevedo’s contemplative side surfaced in Que Asco de Todo and Noemú, while Te Fallé, performed with Sech, turned the stadium into a sea of phone lights as the crowd lit the night with their glow.
From there, more of the tracks that made fans sing with their eyes closed emerged. Quevedo’s contemplative side surfaced in Que Asco de Todo and Noemú, while Te Fallé, performed with Sech, turned the stadium into a sea of phone lights as the crowd lit the night with their glow.
From there, more of the tracks that made fans sing with their eyes closed emerged. Quevedo’s contemplative side surfaced in Que Asco de Todo and Noemú, while Te Fallé, performed with Sech, turned the stadium into a sea of phone lights as the crowd lit the night with their glow.
From there, more of the tracks that made fans sing with their eyes closed emerged. Quevedo’s contemplative side surfaced in Que Asco de Todo and Noemú, while Te Fallé, performed with Sech, turned the stadium into a sea of phone lights as the crowd lit the night with their glow.
From there, more of the tracks that made fans sing with their eyes closed emerged. Quevedo’s contemplative side surfaced in Que Asco de Todo and Noemú, while Te Fallé, performed with Sech, turned the stadium into a sea of phone lights as the crowd lit the night with their glow.
From there, more of the tracks that made fans sing with their eyes closed emerged. Quevedo’s contemplative side surfaced in Que Asco de Todo and Noemú, while Te Fallé, performed with Sech, turned the stadium into a sea of phone lights as the crowd lit the night with their glow.
From there, more of the tracks that made fans sing with their eyes closed emerged. Quevedo’s contemplative side surfaced in Que Asco de Todo and Noemú, while Te Fallé, performed with Sech, turned the stadium into a sea of phone lights as the crowd lit the night with their glow.
From there, more of the tracks that made fans sing with their eyes closed emerged. Quevedo’s contemplative side surfaced in Que Asco de Todo and Noemú, while Te Fallé, performed with Sech, turned the stadium into a sea of phone lights as the crowd lit the night with their glow.
From there, more of the tracks that made fans sing with their eyes closed emerged. Quevedo’s contemplative side surfaced in Que Asco de Todo and Noemú, while Te Fallé, performed with Sech, turned the stadium into a sea of phone lights as the crowd lit the night with their glow.
In the final stretch, everything was precisely planned. Guayar con Cualquiera and Shibatto delivered a strong rhythmic push, Iguales showcased its more experimental side, and Gran Vía, with Aitana adding extra luster onstage, made it clear that pop and reggaetón can coexist without forcing anything.
The lights dimmed and Buenas Noches began, leaving the audience feeling like the party was ending. Yet one last word remained: Mr Moondial / Quédate provided the finale to a night where Quevedo did not need fireworks to convince anyone, but they were present anyway. The Canarian artist stepped onto the stage with greater confidence, a crisper voice, and a performance that confirmed what many suspected: he is no longer a momentary artist but someone who understands how to play in the major leagues.
The transformation in Quevedo is evident. He exudes confidence, sings with clarity, and moves with a new stance. What began as a breakthrough on the urban scene now carries the certainty that a crossover path has been found. The Movistar Arena, with thousands still singing after the lights came up, left no doubt: the Canary Island artist has crossed a border with no intention of turning back.