Gabi Ruiz, the co-director of Spring Sound, told a reporter that the power balance inside the Barcelona City Council was not on the festival’s side. He described a clear disconnect, saying that the city’s two-party coalition did not welcome the event and did not see it as a valuable cultural offering. Ruiz pointed out that the municipality appeared reluctant about the project, suggesting that the festival was treated more as a nuisance than a cultural highlight. He acknowledged the reality that, in 2024, the festival would be staged elsewhere, specifically in Madrid, a decision that seemed to reflect the political mood in Barcelona at that moment.
During a conversation aired on Primavera Sound Radio on a Tuesday evening, the co-director did not disguise the lack of political backing in Barcelona. He stated that the council did not buy into the festival’s mission or its potential for the city’s cultural landscape. To him, the council’s stance indicated a belief that the event would not deliver the benefits that festival organizers envision, and it appeared more likely to be seen as disruptive than as a cultural asset worth investing in.
Ruiz also weighed in on the 2024 outlook. He referenced the impending 2023 elections and hinted that the final alignment of power would significantly influence whether the festival would stay or move. He suggested that if a prompt decision were required, the team would press forward with its extensive preparations, noting that there was a strong preference expressed by some to host both festival dates in Madrid rather than in Barcelona. The statement underscored a practical focus on keeping the two annual dates alive, even if that meant consolidating performances in Madrid. The underlying message was one of perseverance and a willingness to adapt to political realities while maintaining the festival’s operational momentum.
In Ruiz’s assessment, the support that the festival had managed to secure from the regional and national levels stood out in stark relief against the more tepid reception observed locally. He highlighted the unexpected warmth shown by the Community of Madrid and Madrid City Council, describing their acceptance as impressive and meaningful for the festival’s continuity. This external endorsement appeared to contrast sharply with the mixed reception from Barcelona’s own municipal leadership, suggesting that the political climate in Madrid was more conducive to the festival’s objectives and growth trajectory.
Despite the challenges and the less-than-rosy relationship with Barcelona’s political establishment, Ruiz emphasized the festival’s deep ties to the city and its residents. He articulated gratitude for the community that helped build the event, insisting that the festival owed much to Barcelona and its people. At the same time, he made a pointed distinction regarding the organizers’ obligations: while the festival valued its bond with the city and its supporters, it believed that the political class did not owe it any special credit, and in his view, the festival’s worth should be measured by cultural impact rather than political approval. The narrative conveyed a sense of resilience, with the festival prepared to navigate a landscape where political winds could rapidly shift the venue and the calendar, but never its commitment to delivering a robust cultural experience for audiences in Spain and beyond.