Even before the music begins, the excitement in Madrid is palpable. The eighth edition of Mad Cool feels more than just a milestone; it signifies a festival now confidently settled into its rhythm. The evolving venue retains its vibrant chaos, and the line-up showcases an impressive mix of different generations, while the crowd, armed with reusable cups and sunburned skin, clearly knows what kind of weekend awaits them. With our feet on the artificial grass and nothing but blue skies, we plunge in.
DAY ONE
The festivities kick off on the Ouigo stage with Blondshell from New York, whose ascent continues to gain significant traction. Although her second album introduced more depth and sonic variety, this performance embraces a gritty immediacy that combines new influences with the raw energy of her self-titled debut. Tracks such as ‘Sepsis’ are powerfully impactful live—both bruising and brilliant—as she transmits her pain through distortion, showcasing a composure that highlights her genuine talent.
As the sun begins to set, Gracie Abrams takes the stage, her light voice riding the breeze and somehow amplifying it. There is a subtle strength in her performance, particularly in ‘Blowing Smoke’, but an unanticipated power outage disrupts what started as a poised, carefully paced set. While lesser artists might have faltered, Abrams seizes an acoustic guitar, jumps into the crowd, and provides an intimate, spontaneous performance that transforms an obstacle into an opportunity.
Not everyone manages setbacks with equal grace. Iggy Pop storms off during a song but soon returns, shirtless and unabated, delivering a compelling lesson in rock heritage. The Stooges tracks are electric; the audience sings ‘The Passenger’ with the fervor of a hymn. It’s iconic, cathartic, and at 78, he remains a punk legend.
Later, Muse takes the stage to replace Kings of Leon, descending onto the main stage with the impact of a meteor. Their performance is a theatrical spectacle—Matt Bellamy glides through metal-infused breakdowns and apocalyptic choruses with unrestrained joy, while the new single ‘Unravelling’ fuses cyberpunk aesthetics with prog aspirations. Classics like ‘Supermassive Black Hole’, ‘Knights of Cydonia’, and ‘Uprising’ strike with laser-like precision—coupled with a production setup reminiscent of a Marvel villain, their electrifying presence feels both earned and essential.
In contrast, Weezer adopts a more modest approach to their legacy. “Are we headlining?” Rivers Cuomo jokes with characteristic humility as they perform a 1am greatest hits set aimed at the rock dads and reformed emos in the crowd. From ‘Buddy Holly’ to ‘Say It Ain’t So’, it’s a joyfully unpretentious time capsule—and its lack of extravagance doesn’t diminish its significance.
DAY TWO
Day two opens with Benson Boone, who energetically flips across the stage to a devoted crowd. He possesses the vocal range, presence, and a polished collection of radio-friendly hits. However, while his stage charisma evokes a Gen-Z Freddie Mercury, the songwriting still falls a bit short compared to the spectacle. His latest single ‘Mystical Magical’ exemplifies this: a track aimed at the charts, yet with concerning undertones. With more lyrical depth, Boone could evolve into something beyond a figure of algorithmic fame and the narrative he currently shies away from—there's potential there, but also something missing.
In sharp contrast, Alanis Morissette is someone who doesn’t need to prove herself. Her entrance is preceded by a somewhat extravagant mini-documentary, but as soon as she steps on stage, it’s evident that we’re witnessing someone whose honest storytelling has reshaped pop music. Dressed in leather and defiantly joyful, her classic tracks from Jagged Little Pill land with the impact of a generational exorcism. Songs like ‘You Oughta Know’ resonate as deeply now as they did three decades ago.
Later, San Diego’s Almost Monday infuses the Mahou tent with infectious pop hooks, euphoric energy, and undeniable charm, while Jet remind the main stage of their garage rock prowess, particularly with the electrifying start of ‘Are You Gonna Be My Girl?’ The TikTok-to-stage pipeline also brings a surprisingly strong performance from Artemas, whose falsetto carries hits like ‘if u think i’m pretty’ with nuance that transcends the app’s limitations.
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Even before the music begins, there's an excitement in the air of Madrid. The eighth edition of Mad Cool seems to signify more than just an achievement—it's a testament to a