Guitarricadelafuente and Rusowsky put the final cherry on top of a decaffeinated B Festival

BarcelonaTo the rhythm of Guitarricadelafuente and Rusowsky, two of the –already international– benchmarks of the new Spanish musical and artistic generation, Festival B put an end to the 2026 edition with a bittersweet feeling due to the ups and downs experienced over the three days, but also of continuity. The Barcelona festival, which was once again held at the Parc del Fòrum, continues to be a benchmark event for urban music and a thermometer of the new emerging sounds that, over the years, end up jumping to the mainstream. But, unlike the previous edition, this time the event, extended to three days, seems to have lost steam. Same young audience, but less colorful and daring than in other years in their dress, with a clear predominance of black, less festive atmosphere a priori and with the novelty of an increasing mass of English-speaking spectators.

Mushka, Jimena Amarillo, Sanguijuelas del Guadiana and Alosa were some of the proposals that passed through the four stages spread around the venue during three days of album presentations, end of cycles and new beginnings. From Thursday, closer to the essence of the festival, to Friday of the virals, before arriving at Saturday of the mainstream, Festival B delivered, but without the forcefulness expected after last year's lineup, with Judeline, Amaia, Ralphie Choo and Barry B as headliners, who have been accompanied by virality in recent months.

Friday of contrasts

After an inaugural Thursday marked by the naturalness of Jimena Amarillo, the solidity of Natalia Lacunza and the funk of the Valencians Mala Gestión, the second day arrived with a more commercial menu. Mushka, Leïti and Yung Beef stole the show, while artists like Ultralone, Akriila and MVRK showed off their productions. Leïti remembered Palestine during the concert with the presence of several flags, alternating between Catalan and Spanish, and Stereo Madness offered one of the most solid proposals of the day, with an instrumental exhibition of eighties cosmik funk that the audience celebrated and danced to without hesitation.

D. Valentino mobilized the audience with Mikasa, Fvck and Soltera, before giving way to Claudio Montana and Juicy Bae and, finally, to Mushka. The artist from Vilassar offered a well-rounded concert, accompanied by a very solid band and her reference producer, Roots, on guitar. Ouineta and Julieta completed the party before the entire main stage sang Colgando en tus manos, by Carlos Baute and Marta Sánchez. A generational classic very far from the festival's style, but one that no one hesitated to sing along to. Yung Beef, on the other hand, closed the night with an irregular performance and a notable playback.

A perfect Saturday to finish

The third and final day was kicked off by Barcelona-based Gavina.mp3, with a much more powerful, emotional, and rock-oriented concert than their surprise appearance the day before. A complete change of pace with Alosa, who, with an almost acoustic and 100% instrumental proposal, lowered the pulse and mesmerized the audience with the eight instruments on stage.

A new surprise concert, this time by Alizzz, who was one of the festival's headliners last year. Energetic and forceful, he managed to get an audience that was already heading towards the different stages to delay their departure to stay for the performance of the producer who has made the figure of C. Tangana, among others, great.

From the energy of Alizzz to the sad ballads of Pablopablo, who focused all eyes on the main stage, where dozens of fans had been waiting for hours for Guitarricadelafuente and Rusowsky. Before the two protagonists of the day, Badalona native Maria Arnal gave an intimate yet powerful vocal exhibition, amplified by the movements of the dancers accompanying her.

It is nine o'clock sharp at night, and the man of the moment appears on the main stage of Festival B. Guitarricadelafuente, doubly established as a singer-songwriter with Spanishleather (2025) and as the star of La bola negra (2026), the film by Los Javis, opens with Full time papi. He is followed by about fifteen songs chosen so that the rhythm does not drop for a second. Calypso, Pipe dream, and Guantanamera play, before Agua y mezcal, the viral hit, resonates throughout the venue.

The power of the bass, the voice of the audience tracing the lyrics, the most fanatic ones with their eyes closed to feel a little closer to the Valencian singer-songwriter. The connection is such that, when the repertoire ends, no one leaves. Absolutely no one. Called back by the audience, whom he also won over after maintaining Catalan throughout most of the concert, he performs an encore of two songs. BABIECA! has just unleashed an audience that enters a first ecstasy before the arrival of Rusowsky and the imagery of one of the albums of the summer.

With a staging equivalent to that of his solo concerts, the Madrid singer-songwriter wanted to close his tour in Barcelona after months of touring with the release of Daisy (2025). He began to the rhythm of Johnny Glamour in a declaration of intent, although the energy did not regain all its strength until the final stretch. The initial technical problems did not prevent a demonstration of why Rusowsky is one of the figures who have already crossed borders: Altagama, 4 daisy, Sophia and Pink+Pink marked a slower first section; Liit, Bby Romeo and Gata, a more romantic one; and Mwah:3, Malibu and Dolores served as a final encore.

To the rhythm of the two artists who best represent the current moment of national music, Festival B lowered the curtain on an edition that was longer, more irregular and less surprising than the previous one, but which maintains intact its capacity to be a showcase for the sounds that, sooner or later, will end up setting the national and international musical agenda.