The lineup for Festival Estéreo Picnic 2025 (March 27-30) has been announced and tickets are already on sale here. They start from COP$500k for a single day, with four day passes starting at COP$1.8m and going up to COP$3.7m for full VIP. Prices will rise closer to the event.

As usual, the festival is a genre-spanning and eclectic mix of names, from maverick metalheads to Disney stars from different generations and pretty much everything else you could imagine in between. Festival Estéreo Picnic 2025 caters for every musical taste.

The 2024 edition took place in late March and was a roaring success. For the first time, the country’s most important musical event came to the heart of Bogotá. That was a game-changing moment for both the city and the festival.

If you’re in Bogotá around late March 2025, put this in your diary – and if you’re not, it makes a good reason to visit the city. It’s an incredibly well-run festival that attracts the beautiful people and the in crowd. While the headliners might be famous names, there’s a lot of gems hidden further down the schedule. You’ll find new favourites on the bill and have a hell of a time while you do so.

Colombia has a rich musical heritage with much to celebrate from the past, but what’s often overlooked is the creativity and dynamism of the current scene. While traditional music is still popular, Colombia has leading lights in techno, rock, hip hop and rap as well. These are often highly idiosyncratic and fiercely local scenes, putting their own spin on their genre. 

The sad decline of Rock al Parque post pandemic means that Festival Estéreo Picnic 2025 will be by far the biggest deal in the musical calendar next year, with only the (also excellent) Festival Cordillera providing any sort of competition.

Whether you’re going for a single day to see a specific artist or digging in for four freaky days of hedonism, it’s going to deliver. And now it’s in the centre of town, almost all the logistical problems have been knocked on the head.

It’s hardly a secret that Colombians know how to party – and Festival Estéreo Picnic 2025 will be testament to that. Thursday is usually a fairly chill day, but with a hardcore of cool kids staying late, whereas Friday sees those same kids really tear it into the wee hours. Saturday and Sunday attract much bigger and more mainstream parties.

Things start slowly, with plenty of opportunity to get right to the front for bands up until sundown or a little later. From there, it gets more hectic until the big performers finish up around midnight. Then, the tents and smaller stages are the places to be – drag acts, burlesque, DJs and surprise acts will keep you buzzing until sunrise. Or find a tree to mong out under.

Leading local lads/ladies

While the big name headliners shift a lot of tickets, the festival plays a key role in giving local acts a valuable platform to build their careers. Sadly, they often play to small crowds as bogotanos drag their heels in arriving to the parque but music lovers will find plenty of interesting sounds in the mid-afternoon.

Armenia are a criminally under-appreciated rock group that are worth arriving early for on Thursday. They have a solid local following, so it should be a good atmosphere. In a similar vein on Saturday are LosPetitFellas, another band that absolutely nail life in la nevera.

Arde Bogotá have a bombastic sound that suits the biggest of stages, even if it’s early day emptiness. Balthvus are funky and chill – perfect if they’re on in a blazing afternoon sun. Similar vibes too, from Oh’LaVille and Juliana Quedate Otro Día. 

More urban vibes come from the other side of the Magdalena with paisas Julianna and Granuja. Then there’s Motherflowers’ tropicalia, who we’re counting as local, although they hail originally from Venezuela. From Cali comes trap heavyweight Pirlo.

Lunalé has a delightfully light voice that floats on stripped-down melodies, as does Gabriela Ponce. We’ve nothing but love for the strength of both Briela Ojeda’s voice and lyrics – she’s performing with La Muchacha under the name Las Mijas and is not to be missed while Ela Taubert is a more traditional soft-rock balladeer.

A very different Ela, Ms Minus is an ethereal techno pixie who absolutely ripped her stage apart in 2022 – expect her to do the same again. Melov are less abrasive minimal techno if you’re on a comedown. 

Funk Tribu has completely transcended the local scene and is a global superstar, but he’ll get a rapturous homecoming so we’re counting him here. The same goes for Noise Mafia – another Colombian making waves internationally.

Traditional music isn’t to be sidelined either – Bogotá based cumbia fiend Felipe Orjuela is performing with Gato e’Monte on Friday and his own project the following day. Pacific music is Colombia’s most vibrant and interesting right now, so check out De Mar y Río to hear a whirlwind with wickedly wonderful woodwind.

The headline acts at Festival Estéreo Picnic 2025

Kicking things off on Thursday are irony enthusiast Alanis Morissette and Shawn Mendes for a day best described as eclectic. Foster The People are a little further down the bill, along with PabloPablo from Madrid. Moustachioed maestro Benson Boone makes it a good day for singer-songwriters.

Of course, the Estéreo Picnic party really gets started on Friday, which this year is when the rockers come to town. Alt-metal legends Tool share top billing with, errr, Justin Timberlake. Incubus and your old new favourite band The Hives are more heavyweight support, with techno pioneer Richie Hawtin providing the party music for later. 

The weekend proper sees things go more grab-bag mainstream with The Black Keys headlining on Saturday for rock fans. Nathy Peluso will keep Latin b-boys and girls happy and there’s plenty of interesting electronica in the shape of Justice and Charlotte de Witte. Wrapping things up is the eccentric St Vincent. Also playing are the Hermanos Gutiérrez, from (checks notes) Switzerland.

Closing things out on Sunday is Olivia Rodrigo, alongside Aussies Rüfüs Du Sol touring new album Inhale/Exhale. Chilean chartreuse Mon LaFerte always goes down well in Bogotá, and the relentlessly upbeat Cariño from Spain are worth a watch. Dublin’s finest Fontaines D.C. will be great. Then of course, there are the herds that will surely flock to Caribou.

With such an array of talent, this really is not a festival to miss. You might be able to catch some of the big foreign names elsewhere, but there’s so much on the bill that you won’t easily be able to see outside Colombia. Plus, it’s easy to get home now.

Festival Estéreo Picnic 2025 runs from March 27-30 in Parque Simón Bolívar, Bogotá. Tickets range wildly in price from COP$500,000 to COP$3,700,000 depending on access and days.

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Colombian-Canadian company Girovago doesn’t fit in any performative boxes. Though given their flair for circus, the group would probably jump out of – and perform on top of – any box we tried to put them into. With a mix of Afro-Colombian beats, Balkan tunes, circus and dance, BARKA’s audiences are in for a treat.

As a group, it’s Girovago’s first time in Colombia. But two of its members, Carmen Ruiz and Sebastián Mejía, are originally from Cali. Carmen took some time to talk to us before their trip. She said the group is excited about coming to Colombia and looking forward to sharing their art with as many people as possible.

“Me and Sebastián, we are both from Colombia,” she said. “We’ve been immigrants in Canada for over two decades and we have also travelled, sharing our dance and our music for many, many, many years. And that’s what inspired at first this creation.”

“When we started doing Gypsy Kumbia Orchestra, we were reflecting a lot about our nomadic way of life and how that changes and changed the communities that we visited,” says Ruiz. Those reflections sparked ideas around roots, nomadic ways, and mixing influences from all over the world. “We created Gypsy Kumbia Orchestra, which has always been an orchestra that mixes not just different music styles but also different art forms like dance and circus and theatrical staging. Performances that always bring in the participation of the audience.”

“We want to share our peace that brings joy and hope to this country that needs it so much,” she says. “And to learn from this experience, from the people, from their own paths in life.” 

The themes of travel and staying afloat are central to BARKA’s evolution. “That’s how we imagined BARKA,” she explains. “A BARKA that is travelling and bringing people from all over – together in one space. And how, collectively, we can possibly make sure that we stay on top of the water and not under the water. And that we come together as people, regardless of the storms that we might face in our lives.”

Don’t miss Girovago’s BARKA in Bogotá:

• 1 September, 3pm in Teatro El Ensueño: Tickets are available from tuboleta at COP$38,850 or COP$49,950. Tv 70 D # 60 – 90 sur.
• 4 September, 7pm in Teatro Jorge Eliécer Gaitán: Free open-air performance. Carrera 7 No. 22 – 47.
• 5 September, 8.30pm in Galería Café Libro del Parque de la 93: Tickets are available from their website at COP$50.000. Carrera 11 A # 93 – 42

BARKA: Art in movement

The group will perform in several Bogotá venues between September 1 and 5. They’ll also run dance, music, and circus workshops in Ciudad Bolívar with the Teatro El Ensueño. The group wants to inspire social change through performing arts, and the workshops and shows are one way they can do that.

“In this trip particularly we are engaging with the circus community of Ciudad Bolívar. It’s a vibrant community that we are very much looking forward to meeting and to exchange with them our experience and our knowledge,” said Ruiz. She explained that one of IDARTES’ goals in making the invitation was to bring some of the expertise in circus arts that Montreal is known for to the Colombian capital. 

The show will be an energetic spectacle that layers music upon dance upon circus performances. The group of 11 Canadian and Colombian artists have extensive experience in all three, and they’ll use their skills to take you on an extraordinary and possibly chaotic boat journey. 

Workshops are not the only way Girovago hopes to inspire change. As Carmen puts it, “Our core mojo is art in movement.” The idea is that the shows themselves will build a sense of possibility, of community – because movement itself is a powerful force. 

“We want to create art that makes people dance, first of all when they come to see our shows and in that way they experience movement and they experience joy. And they experience the beauty and the power of their own personal in-body experience,” Carmen tells me.

“When we are moving we are creating, we are making things differently, and that’s what we are hoping for,” she continues. “That we realise the challenges of our times, but that the challenge doesn’t paralyse us. On the contrary, it makes us keep this inspiration of moving towards new possibilities, to still creating and doing as we do a dance, with lightness, with joy, with open hearts and open bodies to live a better life together.”

There will still be time for arepas

The group will have a lot to fit in during their time in the Colombian capital. Even so, I was keen to know what Colombian food Carmen and Sebastián wanted to share with their crew. Carmen explained that Montreal is packed with culinary wonders from many cultures. Still, she says, “There is definitely something very different when you are tasting the food in the original place and tasting it charged with the experience of the surroundings.”

“So I’m looking forward to share arepas, empanadas, and just any food we can find in places, made by the people of Colombia,” she tells me. “And we are hoping to engage also with the people who are around us – sharing food and sharing the experience of being back in our country.”

Don’t miss the opportunity to see Girovago live when they are in Bogotá. You’ll need to buy tickets for the Teatro El Ensueño and Galería Café Libro shows, but the open-air performance at the Teatro Jorge Eliécer Gaitán is free. 

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Next week, the annual Petronio Álvarez festival will return to Cali, celebrating Colombia’s Pacific culture through food, drink, fashion and – most of all – music. Now in its 28th year, it is a huge celebration of Afro Colombian culture. 

The 2024 Festival Petronio Álvarez will run from August 14 to 19, in the Unidad Deportiva Alberto Galindo. The sports complex is expected to welcome over 500,000 people to listen to more than 1,200 artists. 

This year, 47 groups will be competing in the following categories: Marimba and traditional song, caucano violin, chirimía flutes, chirimía clarinets, and free style. The musicians come from Buenaventura, Guapi, Cali, Bogotá, Quibdó, Puerto Tejada, Tumaco, and Esmeraldas in Ecuador.

The history of Petronio Álvarez

Petronio Álvarez was a key figure in Pacific folk music, particularly for the song “Mi Buenaventura,” but he never received recognition in his lifetime. Putting the festival in his name is a way of honouring him and other artists who racism had all but written out of history. 

Colombia Visible says he was one of the greatest musicians and promoters of the music and folklore of the Colombian Pacific. So much so that he was known as the King of Currulao. The poet and composer never studied formally but spent much of his life traveling the Pacific coast and making music. He died in 1966, aged 52, from bone cancer. 

The first edition of the festival took place in 1997 and has grown exponentially since then, moving to its current location in 2012 after it grew too big for the previous venues. In addition to the music competition, there’s a strong educational element, with workshops for young people. 

Petronio Álvarez 2024: What to expect

Festival Petronio Álvarez 2024 will feature an incredible lineup of big names. Stage times haven’t been announced yet. But watch out for Nidia Góngora, Herencia de Timbiquí, Grupo Socavón, Grupo Saboreo, and more. There will also be some international guests such as Síntesis from Cuba and Didá from Brazil.

There will be music on all the stages throughout the day. Petronio is a competition, and the groups of musicians will be competing in several categories. The most powerful performances will happen towards the end of the night, so it’s better to arrive around lunch time (or mid afternoon) and be ready to stay until the end. Make time to wander around – there will be plenty of other things to see, including a Pacific fashion show.

Don’t miss the food

When you arrive at the festival, you’ll find lines of craft stands, a hall dedicated to Pacific food, and another space featuring viche. Organisers say there will be over 150 stands in total. Food-wise, you will find every possible combination of fish, shellfish, coconut, plantain, rice, and more. 

When it’s quiet, talk to the stall owners about their dishes. If you don’t know much about food from the Pacific region, you are in for a treat. The easiest way to find the best bites is to look for the stalls with the biggest queues. If you are feeling adventurous, look for pianguas – a type of clam or cockle. 

Look out for:

• Stews, especially with seafood and coconut, in the form of cazuela, sancocho, and sudado.
• Atollados, a stewed rice dish with meat, fish, and vegetables from the Valle del Cauca.
• Papas rellenas, balls of mashed potatoes stuffed with fish or meat and deep fried.
• Encocados, essentially various things cooked in coconut cream.

Celebrate viche

You can’t take two steps in Petronio without encountering viche. It’s brewed from sugar cane and a mix of herbs. If the labels are to be believed, it can cure all kinds of illnesses. Particularly sexual ailments. Many of the drinks also boast aphrodisiacal properties. Commercial viche used to be illegal, but that has changed and in recent years the spirit has become a lot more mainstream. There’s even a viche cocktail bar in Bogotá.

I am no expert. Like the food, the best way to learn about viche is to talk to the stall owners and taste the different types. Here are a couple of types you will find:

• Tomaseca, a slightly sweeter viche flavoured with cloves.
• Arrechón, this is made with condensed milk. Kind of like a creamy viche Baileys.
• Viche curao, which is usually packed with herbs and has a slightly bitter taste.
• ​​Pipilongo, brewed with a peppery spice called pipilongo.

Are Harry and Megan really going to be there?

Apparently so. It’s a strange choice of international invitee, given this is an Afro-Colombian festival. According to El Tiempo, they will be in Cali for one day to visit the festival and some other social initiatives. But thankfully the stars of the show won’t be the estranged royals. It won’t even be Francia Márquez, though she was pretty inspiring last year. This is about celebrating and appreciating the culture of communities in Colombia who are often sidelined and maligned. 

This year, local authorities in Cali also want to put an eco spin on the event. With COP16 around the corner, organisers say there will be a focus on recycling, sustainable fashion, and environmental preservation. 

What about the remates?

In previous years, I have been to the remates – kind of like an after party – where residents of predominantly Afro-Colombian neighbourhoods open their houses and play music through the night. It is an experience I will treasure. Part of the spirit of Petronio is passing the music down through the generations. That happens away from the main stage when the old folk make music with youngsters and everyone in between. 

Sadly, in some ways the remates have been the victim of Petronio’s success. Last year thousands of people – both tourists and locals – crammed into the alleyways between the houses. There were too many people. Lisandro Vallecilla Riascos, a musician and social leader, was killed in an altercation. Another man also died. If you want to go to a remate, be aware of where you are. And be prepared to leave if the streets are overcrowded. 

Festival do’s and don’ts

If you are visiting Petronio for the first time, this isn’t a music festival like, say, Festival Estereo Picnic or Lollapalooza. It is special in a whole different way. The Colombian Pacific is one of the most culturally diverse musical regions in the country, both maintaining tradition at Petronio and forging new paths with bands such as ChocQuibTown and Afro Legends.

Do

• Drink and share viche. Once you have a bottle, offer it to the people you meet. 
• Go hungry. That way you can try several different dishes and snacks. 
• Dance and join in. Get a white handkerchief from one of the many sellers and wave it along with the rest of the crowd.

Don’t 

• Get drunk. The viche will be flowing at the festival, but you won’t see a lot of drunkenness. 
• Forget sunscreen and water. It will be hot and you’ll need to stay hydrated if you want to last to the final acts.
• Forget to take cash. There aren’t any ATMs near the stadium and few places will take cards. 

As a foreigner, I am conscious of the fine line between appreciating different cultural traditions and invading or taking over. Petronio is my favourite festival in Colombia and one I’d recommend to anyone. Embrace the music. Talk to people and learn about an often overshadowed part of Colombian culture. Curiosity is often what keeps us on the right side of the line.

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Festival Estéreo Picnic 2024 was, put simply, a tremendous success. Coming home to Parque Simón Bolívar slap-bang in the middle of the city was a masterstroke, instantly removing the event’s biggest headache: transport. World-class talent abounded, with legends alternating with up-and-coming stars also making statements.

This is now a festival with all the bells and whistles. Like other global competitors, everything is cashless, meaning you pay via wristband. All eaters are well catered for, with veggie and vegan options. There’s a veritable plethora of things to do away from the stages and all the support such as drug testing and chill out spots.

Pricing was fairly on point. Most food places had prices slightly higher than in their restaurants, but the difference was a couple of mil rather than twice the price. Booze was relatively pricey at COP$16,000 and up for a can of beer but that served well to keep loutishness in check.

For an event of this size, things ran extremely smoothly throughout the weekend. Recharging the wristbands was fast and reliable (go here to reclaim leftover money); toilets were clean and plentiful with soap and water on hand; lots of areas to rest and recuperate; limited queues everywhere and easy entrance. The organisers even allowed people in with bottles for water refills.

Access and inclusion was also well organised – wheelchair users commented on the ease of navigating via tarmac paths and access was fully separated to allow direct passage to the mobility-restricted areas. Rainbow and Trans flags abounded and there was a safe space for victims of sexual abuse to make denouncements and receive advice/treatment.

Of course, there were a few hiccups, but that’s to be expected with tens of thousands of attendees. Some complained about water access. But it’s worth remembering that there were three free water fountains, where we wouldn’t expect any. Hardly a surprise to see lines waiting to refill bottles.

We’ve been critical of certain things in the past, but it’s hard to find any major faults with Festival Estéreo Picnic 2024 as the organisers seem to have nailed it this year. It’s not to say that it was perfect – large events always have issues – and of course it’s extremely expensive for many. However, it delivered value in abundance.

The music at Festival Estéreo Picnic 2024

The South American tour of Lollapalooza is essentially the template for Festival Estéreo Picnic, meaning that it can reliably attract properly world-class foreign artists, while the local talent pool is strong enough that there’s plenty of classy support acts.

Thursday

The first day was probably the most eclectic, swinging confidently through genres as a day with something for everyone. It was hard rock that stood out though, with King Gizzard and the Lizard Wizard providing the best performance and Limp Bizkit drawing the biggest crowd. Zhu’s set in the dance tent was also first rate.

Fred Durst’s mob literally had the ground shaking as that enormous throng pogoed in unison. Bizarrely dressed in a hi-viz jacket, Durst has lost a lot of his explosive energy but retains a certain charisma. Main stage headliners Kings of Leon were somewhat overshadowed with their plodding set and competent performance that lacked spark.

Before Limp Bizkit on the second stage was King Gizzard, who provided an absolute sonic masterclass of glorious sludgerock. Finishing the night was a limp performance from Bad Gyal. Bringing Spanish reggaeton to Latin America was a brave move, and it didn’t really pay off, simply coming across as a pale imitation.

Maca & Gero did a good job of opening the main stage, although they played to a sparse crowd. The third stage was by far the most interesting. Buha 2030 set down a hard rock (is it jazz infused?) marker, with Kiwis Leisure bringing a Madchester feel and Future Islands providing a dark synthpop finish. Only three bands, but such a sonic range. 

Friday

This was probably the day for cool kids. Visitor numbers were still low enough to feel part of something alternative and plenty of fashion kings, queens and gender non binary monarchs in the crowds. Arca was the single most fabulous show, bringing her hi-beat technopop to really set the third stage alight. A small stage featured a swing and all the performance art you can imagine.

The big stage headliners were solid all round. Sam Smith did what they do, captivating and connecting with the audience naturally, casually dropping in hit after hit throughout the show. James Blake was slightly more awkward, his posh-kid schtick didn’t really stick. Black Coffee finished off with a banging set that energised everyone as much as his namesake.

Over on the main stage, Phoenix were punctual and loud but not much more, with Greta Van Fleet being the first to really put some power in the stage, leaving things wide open for genre-hopping chameleon SZA. She didn’t disappoint, with a stage setup that mimicked a trawlerboat on the high seas replete with a buoy to lift her into the heavens.

The smaller stages were also packed with quality. Anamaría Oramas and Matar Fuma provided a solid start to the day before Okraa put on a fantastic display in the tent. All three suffered from audience ignorance as the festival took a while to get going. No such problems for Akriila, Overmono and Verraco later in the day, with Four Tet closing things out perfectly.   

Saturday

This was the day where the festival really hit its stride in terms of numbers, but also went a little more mainstream. Two rising reggaetonero stars dominated the day, Blessd absolutely tore through the second stage before Feid conquered the main stage.

Karol G’s fella has a big shadow to step out from, which he went a long way towards doing at Festival Estéreo Picnic 2024. A fleet of drones assembled in the sky to form a Colombian flag which then morphed into his grinning face logo. With awe suitably inspired, the lights came up to reveal a fantastic cartoony set. He went on to drop in cumbia and frequent references to medallo. Repetitive and bland music, but a superstar show.

Somewhat more low-key but just as inventive was El Kalvo on the third stage, mocking up a Bogotá street to pay homage to the city he loves. He also found time to call out the genocide in Gaza, collaborator Hi-Kymon running across the stage with a Palestinian flag.

In the dance tent, Penyair brought a rawer, scratchier take on hip-hop. Before them were guitarless trio Homie! who certainly made their groupies happy. It was dance that ruled though. The Blessed Madonna put on an assured set and various Kaputt DJs paid tribute to a sadly missed Bogotá icon. Nuclear Digital Transistor’s dark techno finish was the perfect cap to the night there.

Earlier in the day, Afro Legends opened the main stage powerfully by being both Afro and legends, with Fruko y Sus Tesos carrying on the traditionalist theme after them. Lolabúm and More were strong early bands, far more inventive than Grupo Frontera on the main stage, whose inoffensive MOR latin-rock makes them a sort of Mexican Coldplay. 

Also a bit flat were Placebo on the second stage, Molko’s lyrics a bit lost in an overpowered bass setup. They made little attempt to communicate with the crowd, standing in stark contrast to Blessd, who absolutely put on a show. Pyrotechnics and charisma set him up as a rising star. MIA also had her own “reggaeton moment,” calling up dozens of the audience to dance with her. Opening for Feid wasn’t easy, but she did a good job.

Sunday

By this point, everyone with multi-day wristbands was somewhat dazed and confused, but the lineup was strong enough to bring hordes of day-trippers, making for a bizarre mix throughout the crowd. Both The Offspring and Blink 182 rolled back the years in triumphant performances.

Formed before most of the audience were born, these two bands still have plenty in the locker. The Offspring were up first and the better of the two, ripping straight into classics, inspiring circle pits and doing extensive crowdwork. Blink had the fest’s biggest single audience but fewer songs to sustain it, not that anyone cared much. They managed to transfer their puerile banter pretty well into Spanish, if that’s a positive. 

La Etnnia took the day’s prize for the ‘Why won’t the organisers put local bands on big stages award.’ Thousands flocked to see them on the third (!) stage. Verito Asprilla provided a challenge there, while Los Dinosaurios Murerion Ayer and Volcán played the big stages early but had the quality to be much further up. 

Oblivion’s Mighty Trash came from Medellín but were faintly disappointing, as was Esteban Rojas. Kevin Kaarl from Mexico was somewhat better, but it was Arcade Fire that did the job of sustaining the post-Blink energy. Great closers, they had Bomba Estéreo on stage to sing ‘Fuego’ and were a calm bridge from the high to the comedown. 

At the end of it all, we were certainly tired and emotional, but also euphorically happy. This is now absolutely an event that fully deserves to be in the festival tourism conversation. It’s so well set up and run that even with no experience of Colombia, the Spanish language or Bogotá itself, you’ll find it easy to navigate. This also goes for Festival Cordillera later this year (September).

The real big draw of the event is simply that you’ll be able to see some really interesting bands that you’d have no chance of catching elsewhere. Add to that a clutch of globally famous stars and you have a potent combination. Plus, the Bogotá scene is enthusiastic and energetic, meaning rapturous responses to everyone.

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Okraa freewheels through a range of styles. He says, “I guess it’s electronic music. What I explore most is soundscaping, but I’m not stuck in a single genre. I like to experiment with all sorts of BPMs and the music can have very dancey vibes or be very ambient. I come from a creative space that feels very free.”

Of course, at an event like Festival Estéreo Picnic 2024, there’s a certain style, which he acknowledges too. “While I’m not a guy that wants to fit a mould, I also want to connect with people who aren’t familiar with the project which means finding a middle ground.”

“I’m still ironing out details, he says of his setlist. “I want to include a bit of everything I do. There will be some dark stuff, some ambient, there will be a lot of the electro, garage stuff. I’m still figuring it out. It’s definitely going to be beats-oriented, not just ambient. It’s not that sort of festival, I know that.”

Okraa may no longer be based in Bogotá, but it’ll always be home. “It feels great,” he says, to be back in the city. “The gigs [I played] last year were amazing, there was a massive connection with people, so I’m very excited. At the beginning of the 2010s, people seemed to want to give the local bands hard times so maybe it’s changing for the better.”

His soundscapes conjure up dark, ethereal, mysterious worlds with at times an almost spiritual quality. This is music that few people regularly associate with a country that has so much traditional music with deep roots.

I wonder how much musical tradition means to him. “It’s a funny one to answer,” he says. “Because in terms of the type of music I do, the UK is so important, but I’m Colombian, of course. I grew up listening to salsa and I’ve always been curious about Colombian traditional music, which I’ve experimented with.”

“I would be lying if I said cumbia was my biggest influence,” he continues. “But I love it. I love bullerengue too and so much other music and I feel very attached and identified to it. I feel that there are many ways of being Colombian. Six or seven years ago I thought I didn’t use a guaracha or something like that, that my music wouldn’t sound Colombian.”

He rejects fixed notions of national identity, commenting: “There’s this thing in Colombia, I had it at university, where people complain about artists trying to sound like they’re from the UK or US. They want you to use traditional instruments. I gave that a go, and I will continue, if it comes from a creative space and not pressure.”

Okraa has enough confidence to reject that pressure. He says, “I’ve definitely felt that sometimes, like could there be more gaita or whatever. It’s tough, because sometimes you feel like you should do more of that but right now I feel I shouldn’t.” He’s not wrong to resist – his music is an equally valid expression of his roots and sounds beautifully organic. 

Why Okraa came to London

He’s a philosophical and considered speaker, taking his time over answers and clearly self-reflective about his career. As a curious student of music, he was ready to search for new things: “By the time I left it felt saturated in terms of urban Latin music on radio and TV. Nothing wrong with that, but I wanted something new.”

Running away from problems doesn’t always work though, as he ruefully recounts: “The funny thing is, I wanted to move away from reggaeton and then when we went to Oxford Circus the first thing we saw was a store with a massive J.Balvin display. London goes reggaeton, I was like ‘Wow’.”

That wasn’t everything, of course, in a colossal cultural capital with dozens of venues: “That’s definitely one of the reasons I left, to find a new landscape, which London is great for because there are ambient music nights all through the week, and they’re packed if it’s good music, so I really enjoy that.”

“At first, it was that most of my favourite artists are from London, but now I think it’s a place where people are really into music. I can spend a whole afternoon at a record shop chatting to whoever’s there and find so much music. Much better than the Spotify algorithm, no offence to them.”

Okraa is also receptive to the behind-the-scenes nature of the business. “I’ve had the chance to learn so much about the industry too, how they run independent record labels which I think is something we can develop much more in Colombia. I don’t want to say there are no small independent labels, but you don’t have a Warp Records or Ninja Tune there.”

This is something he thinks could be a game changer for the local scene in terms of building something with long-term prospects. “I think it would be a great thing for the industry in Colombia to get more well managed and efficient independent labels.”

Of course, making music in a foreign country isn’t always easy: “It’s quite challenging, that’s for sure but there are loads of opportunities. You can keep trying until you find something that works, which I wouldn’t say is the same in Bogotá.” He’s clearly made the most of those chances.

He’s had similar experiences in terms of gatekeepers to traditional music: “I think both places to be honest with you, people try to put you in a little box as a Colombian. There’s a pressure when you’re outside your country to do whatever people think your country is.” That means no bongos and maracas, London philistines.

So how have the notoriously cold Londoners been with him? “More responsive than not, has been my experience,” he says. “People seem curious, especially at ambient music events.” He’s happy and enthusiastic, despite having also been on the wrong end of the famously scathing London wit. 

“The sarcasm I find really hilarious,” he says with a chuckle. “It’s a way of bonding I guess. At first, I would sometimes struggle with it, the harsher the banter the more they like you. Now it’s fine, I quite like it.” Classically British understatement there – he’s no doubt popular due to the sheer quality of his musical project. Don’t miss this one, at Festival Estéreo Picnic 2024 in Bogotá or That London later in the year.

Okraa plays at 5.45pm on Friday March 22 on the ColSubsidio stage at Festival Esteréro Picnic 2024 in Parque Simón Bolívar. Tickets still available here at time of publication.

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Whether it’s your first time at any event or if you’re a seasoned festhead who is new to Colombia, this guide will make your life easier. Festival Estéreo Picnic 2024 is a high-functioning event that is absolutely in line with modern music events around the world.

We’ve checked out the list of restaurants, bar prices and transportation options, all to save you time. Plus, links to some of the best local talent, when they’re on, full lineup guides, and even where to go if you or your mates are monged out.

Getting there and what to wear

The city is putting on extra nightly routes and services from the TransMilenio service until 4am. There are three different routes. One runs north, one to the centre and another towards Multiplaza. For the last three days, there’ll also be another northern route from Salitre El Greco TransMi station.

Arriving is easy enough. Both Simón Bolívar and Campín stations are not close but not too far. The entrance is at the Calle 60 / Carrera 60 roundabout. Get there with your wristband on and it shouldn’t take too long to get into the site unless you arrive with a mad crush.

Despite some rather optimistic claims from online services that it’ll be dry, poking your head out of the window tells you there’s a good chance of downpours at least on the first day. Take waterproofs if possible and plan to be in tents for some parts of the day. Layers make sense – it’ll be cold at night – and a small bag won’t be a problem either.

This being Bogotá, it’s also a good idea to bring sunscreen and sunglasses, both of which are merrily allowed in, as is makeup and minor tools like mascara pens. Unlike Rock al Parque, for example, you can stroll in with belts and all reasonable accessories. A bullet belt might be pushing it, but small chains are unlikely to be an issue.

It’s fine to bring in chargers and or powerbanks for your phone. But leave large scale recording devices at home and be aware that drones are certainly not welcome. You’re not allowed to bring in food and drink nor illegal drugs.

The Festival Estéreo Picnic 2024 bands:

Thursday

The weekend kicks off with probably the rockiest day of the lot. 90s megastars Limp Bizkit are Rollin’ up as headliners with Thirty SecondsTo Mars and Kings Of Leon acting as able undercards. For our money, though, it’s King Gizzard & The Lizard Wizard that are the pick of the first day.

The opening band of the whole festival on the big stage is Maca & Gero, who spoke to us about friendship and the festival. Elsewhere, Buha 2030 are opening things up with their definitely-not-jazz saxorock on the CeraVe stage.

Full lineup: Kings Of Leon, Limp Bizkit, Hozier, Thirty Seconds To Mars, King Gizzard & The Lizard Wizard, Bad Gyal, ZHU, Floating Points, Future Islands, Leisure, The Virginia Valley, Laura Pérez, Maca & Gero, Lucas Hill, Mala Bengala, Buha 2030, Mariscos and Wide Awake.

Friday

This is easily the most fabulous day. Sam Smith and SZA are divas on the two big stages with showstoppers such as Greta Van Fleet loving it up further down the bill. Venezuelan performance artist and superstar DJ Arca is a less familiar name to many but the standout talent of the day at 8.45pm on the CeraVe stage.

We’ve profiled Anamaría Oramas today, opening with her mad jazz strings and woodwind. Okraa spoke to us from That London where he’s carved out a name for himself as a leading light in the ambient electronica scene and Matar Fuma, a homecoming king reestablishing himself in la nevera.

Full lineup: SZA, Sam Smith, Greta Van Fleet, Phoenix, Black Coffee, James Blake, Proyecto Uno, Arca, Four Tet, Omar Apollo, Nothing But Thieves, Overmono, Irepelusa, Verraco, Homie!, Divino Niño, Sa!koro, Akriila, Okraa, Matar Fuma and Anamaría Oramas.

Saturday

We’re not going to be the cool kids today – it’s all about the big name on the bill, Placebo. M.I.A. is another top-rate talent and Feid does what he does well. It’s a stacked day throughout though, with the Blessed Madonna and Dillom on the way up and Fruko y Sus Tesos being genuine salsa megastars.

Local acts today more than rise to the challenge. There’s the big man of rolo rap, El Kalvo, Ecuadorian rockeros Lolabúm and the Pacific heavyweights that are Afro Legends, all of whom we’ve profiled. Add to that More and Penyair and throw in the DJ collectives Nuclear Digital Transistor and Kaputt Takeover to make sure you’ll dance till dawn.

Full lineup: Feid, Placebo, M.I.A., Grupo Frontera, Tainy, Fruko y Sus Tesos, The Blessed Madonna, Whomadewho, Kittin, Poolside, Penyair, Saiko, Dillom, Tornall, El Kalvo, Lolabúm, Nuclear Digital Transistor, Afro Legends, More, Laurél, Swing de Sasha, Kaputt Takeover.

Sunday

It’s a punk day to finish, with not one but two seminal Californian bands in the form of Blink-182 and The Offspring, who taught many to count in Spanish. If you’re not a punkero, the rolo hip hop sound is represented with La Etnnia and Nicki Nicole brings the fire from Argentina. If it’s just alliteration you like, throw in Kevin Kaarl too.

Local bands on the last day include Oblivion’s Mighty Trash, crossing the Magdalena valley to bring their low-fi sound to Bogotá. Then there’s Nariñense sensation Verito Asprilla and more rolo rap in Ruzto. Los Dinosaurios Murieron Ayer are the pick of the rolo rockers.

Full lineup: Blink-182, Arcade Fire, The Offspring, The Blaze, The Vaccines, Kevin Kaarl, Nicki Nicole, La Etnnia, YSY A, Yves Tumor, Latin Mafia, Oblivion’s Mighty Trash, Verito Asprilla, Ruzto, Los Dinosaurios Murieron Ayer, Selene, Volcán, Caballos de Fuerza, Esteban Rojas y DJ Lolita.

Food, drink and how to pay

It’s a cashless festival. Everything such as food and drink will go through your bracelet, which can be charged here or at points within the festival grounds or via Efecty. You may be able to use cash and/or cards at the stalls selling clothes and the like, but anything with long queues will be cashless only. This works well and is efficient, so don’t worry.

There are some 50 odd places to eat, with veggie options at nearly half of them and two fully vegan options in the form of Stankov and De/Raíz. This means there really is something for everyone at Festival Estéreo Picnic 2024. Prices are predictably high but not crazy.

Thankfully, you’re allowed to drink at the event, with bars pretty much everywhere. The range is pretty limited and they don’t want people getting smashed, so prices are high and servings small. You’ll be running $16,000 COP to $18,000 COP for a nacional beer, clocking in at 330ml or smaller. Thankfully, there’s a craft beer area with similarly priced drinks too.

For those that are planning on using drugs, there is an Oasis centre in which you can chill out, drink some free fresh water and get medical help if necessary. They can also scan your drugs to check it’s not cut with rat poison and both advise and educate on drug-related matters. This is great work and highly trustable.

And that’s it. Festival Estéreo Picnic is known as a mundo distinto in Spanish, and this certainly means that you’ll be ready to make the most of this strange world’s various pleasures and delights.

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No lyrics, lots of strings and a ton of creativity are the components of Anamaría Oramas’ strikingly different musical offering for Festival Estéreo Picnic 2024. Her unique sound stands apart from virtually everyone else on the bill.

Anamaría describes her music as “Jazz Colombiano, jazz inspired by the traditional music of the coasts. A lot of gaita, fandango, drums too.” It’s a dizzying whirl of exuberant melodies, with ethereal strings and woodwind crashing into heavy rhythms.

While the Colombian folkloric element is important, she’s adamant that it remains in the jazz camp. “It’s jazz because it has improvisation and modern elements too. Jazz allows for everything, even crazy things. There’s not a structure to a piece of work, so we’re always open to new things.”

Anamaría Oramas is the name of the band, but it’s a team effort, she says: “We are 4, with the woman I’m bringing in on drums. There’s a feminine essence that’s important for the team and for me. Not just on the stage, but also the whole chain of work behind the scenes.”

Her feminist sentiments are backed up by concrete actions, too: “With the money that I receive for work. I always like to give a high percentage to the feminine population. It’s important to involve women in the economy, not just to exhibit them on stage.”

Perhaps the most jazz thing of all is to totally remove the need for a singer, not even scat, which she acknowledges is not for everyone: “It’s instrumental music, which is pretty uncommon. In general people like to listen to vocals, but I’m not a songwriter, I’ve never gone into that world.”

At first, she takes the Colombian Mum explanation for eschewing vocals. “I don’t have lyrics porque no,” she says. But then she explains a bit more: “Lyrics can condition you into how you should feel. You might be listening to a melody that’s very joyful, but if the words are about death or whatever the song will make you feel sad.”

I ask if she might change that and she quickly slaps it down, stating with certainty: “For the moment no, I’m happy with what I’m doing.” Why change a winning formula, after all? For people willing to challenge themselves musically, Anamaría Oramas is a wonderful place to start, with her deep and complex sound.

Anamaría Oramas explains the importance of getting high

A lack of lyrics certainly doesn’t mean a lack of emotion. In fact, Anamaría sees it exactly the other way around, describing her work as, “Spiritual and with ritual.” She adds, “I really want my music to invite you to a ritual of the body, that invites you to dance. Movement connects you to the music through your body.”

She loves the freedom and individual connection with instrumental music: “I think it can refresh you because there aren’t so many words. I want my music to allow people to feel whatever they like, the interpretation is different for each person.” 

That freedom isn’t simply musical but also in terms of spiritual awakenings. “We have a strong connection to psilocybin and psychedelics,” she says with admirable candour. She continues, “The conscience that’s within me, I hope the music can transmit that.”

Is she saying that a tab of acid is the best way to unlock the secrets of her music? “Um…it could be!” she replies with a wink. “It’s an option. It’s not necessary, but it also helps. Drugs are fine, with responsibility, obviously. I don’t consume all drugs, but when I take acid it opens lots of cerebral paths that have helped me in life, with empathy and human relations.”

Her attitude to drug use is sensible, admirable and above all careful. She is clear that she’s not advocating abuse, but informed experimentation: “Good, responsible use at certain times, I recommend to many people. It allows you to make better communication with other humans.”

What is there to look forward to in her Festival Estéreo Picnic 2024 show? “I’m going to work with a VJ that works with themes like plants and yage. There’s a strong message and a lot of content. It’s going to be very psychedelic with lots of psilocybin.”

What better reason could there be to get down early on Friday for this irrepressibly irreverent jazz junkie? You certainly won’t find anyone else on the bill that sounds anything like Anamaría Oromas. It’s the lineup’s most interesting and experimental act by quite some distance.

Anamaría Oramas plays at 3.30pm on Friday March 22 on the CeraVe stage at Festival Esteréro Picnic 2024 in Parque Simón Bolívar. Tickets still available here at time of publication.

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Gero says, “That’s the most special part. Going with friends. That’s something that everyone going to Festival Estéreo Picnic 2024 will remember, that’s where the magic is in this festival.” There’s certainly a fair deal of musical magic in their work.

Musically, this pair use their voices to great effect, intertwining their different tones in a range of duets. Either can lead and this gives them the ability to take different paths when necessary. Their songs are always, however, characterised by a remarkable depth of feeling, whether that’s the hope of a first date or the melancholy of a collapsed relationship.

There’s an ethereal and light sound to much of their music, lending it a dreamlike quality. Maca isn’t sure, laughing as she says “It could be!?” Gero is more expansive, “We do live in our dreams – singing together, making music together, going to huge festivals. Living la vida loca!”

A new album is planned for later this year, but their relentless creative productivity is providing a problem, according to Gero. “We’re trying to close it out. We’re writing songs every week and we love each new song, so we’re trying to finish the album but there’s always a new song coming.” That sounds like one of those good kinds of problems.

I ask about favourites and Maca says she loves what they’re doing at the moment: “Right now it could be Primera Cita because it’s the last song we released.” Gero agrees, saying “I think also my favourite song is Primera Cita. It’s a different song, a new proposal.” It’s beautiful to see a band so proud of moving on and not looking back.

Gero makes it clear that they want to explore new sounds: “We try to refresh our music, and being able to make some music involving different countries in the world such as this special song, it’s Mexican music so we’re excited.” I wonder where might be next, and Maca jumps to say, “Spanish culture!” Gero adds, “American culture. From Argentina as well.”

Maca & Gero are gearing up for Festival Estéreo Picnic 2024

Maca loves the event and is hyped for Festival Estereo Picnic 2024: “It’s our first time. Very excited. It’s a huge festival, we’ve been to the festival in the audience to see artists we admire so it’s awesome to now be an artist at this festival.”

The festival is known for musical diversity, which seems totally on brand for Maca  & Gero, and she agrees wholeheartedly: “The variety of different music, genres, artists. You can go and dress like you want.” There really is something for everyone this year, with the lineup covering a range of styles both local and foreign.

Having both been with friends in the past, they have seen a whole slew of bands and artists. Gero says, “Lately I’ve been listening a lot to Martin Garrix, so I think he would be one of my top.” Maca agrees. It’s interesting that their first choice is someone so removed from their own sound.

For the show at Festival Estéreo Picnic 2024, they know they have to do the main stage justice. Maca is ebullient about their ability to rise to the occasion: “We’re going to have visuals and lights. It’s going to be a new show, nobody’s seen it before and we’re very excited about it.”

I wonder if that means we might hear things from the upcoming album, and she confirms: “It means new songs, yes.” She then teases some guest appearances, “Different musicians in different parts of the show but we can’t say who. You have to go and see it!”

They’re being called away to a radio interview now, so we have to wrap things up with a cheery farewell and smiles all round. Go and see them on Thursday afternoon at Festival Estéreo Picnic 2024, whether you’re with a group or going solo. After all, there are no strangers, just friends you haven’t met yet.

Maca & Gero play at 5.10pm on Thursday March 21 on the main stage at Festival Esteréro Picnic 2024 in Parque Simón Bolívar. Tickets still available here at time of publication.

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“The diversity that the Colombian Pacific has is represented in its music.”

Flowsiao, Afro Legends

The band speaks to us from Cali ahead of their trip to Bogotá, three on a single WhatsApp call. Musical maestro Flowsiao takes the lead to explain that, “Afro Legends are from the city of Cali but our essence comes from Chocó, the Colombian northern Pacific.” He’s accompanied by singers Sterling Delpa and Liam V. 

Many people consider Colombia’s third city to be a part of the Pacific, thanks to events like Petronio Álvarez festival, but Sterling disagrees. He says, “No, Cali is not Pacific. We are a Colombian Pacific band from the diaspora.” 

The region is fertile ground for musical innovation, deep roots providing a strong base for new sounds to flourish and thrive. Sterling confirms this, saying “We, as Colombian Pacific people, were born in music. Speaking from my experience, the importance of music is when people have something to say, whatever it might be.”

There are so many bands from the region, including such names as DawerXDamper, the Afrofuturist brothers we spoke to last year, La Pacifican Power, hip hop starlet Verito Asprilla, rapper Mabiland and of course, the megastars that are ChocQuibTown. These sit comfortably alongside traditionalists like Canalón de Timbiquí. 

While they are proud of other regional stars, Flow rejects the idea of a movement as such: “We’re all groups with different styles and genres. You’ll encounter different essences, lyrics, and rhythms. There’s no specific name for it, but there’s the same Pacific essence. The diversity that the Colombian Pacific has is represented in its music.”

Tradition and roots are evidently important to them but never exert a stifling influence. This is forward-looking music that builds on what has gone before rather than simply recreating it. Marimba rhythms from currulao snake in and out of electronic beats and rap or hip hop influences are evident. As Liam V says, “Traditional music reaches people more easily.”

They define themself as contemporary alternative music, sidestepping genre definition. Sterling attributes this to a need to speak: “The musical boom now is because people have something to say. If you look at it, there’s so much alternative music and it’s because people have to tell their story.”

Flowsiao explains their story as one of “ancestral influence and greatness.”  He says, “The music, the lyrics, the live performances always give us the symbolism of being kings and queens, gods and goddesses. That’s the legacy that comes from our roots, the work of teaching people with the lyrics of resistance that is aimed principally at Black people, but also for others because music is universal.”

Sterling builds on this: “With Afro Legends, we have sabrosura and resistance, those are the two lungs that power us. The sabrosura is that we dance, move, jump and enjoy the music. On this side, we show what we feel. But on the side of resistance is what we must say, for example with [the song] Negrito, where we want to educate people to change, peacefully and without violence.”

Afro Legends talk about racism in Colombia

That song Sterling references speaks to a contentious term in Colombia. Its use is often defended by non-Black people, but is generally viewed as extremely problematic in the Black community. Sterling explains: “People don’t ask your name, they say, ‘Ey negro, mi negrito’. What is this, ‘Ey negro’?”

“It’s about the objectification of Black people,” he continues. “For example, if you want to talk about a white or mestizo person you would say ‘el señor in the blue shirt’ but if it’s a Black person it’s just ‘el negrito in the blue shirt’. This is how the diminutive form is normalised.”

Flow agrees, saying, “The song is an invitation to call Black people by their names and not as things. It’s a criticism of the way society views Black people in a diminutive way. Instead of calling us by our names or asking for our names, they use these offensive terms to minimise us.”

I ask about racism in Colombian society and the answer is lightning fast from Flow. “Yes, It’s evident that Colombia is a racist country despite being multicultural and having a large Black population.” Sterling agrees, adding that “It’s a country where racism is normalised.” They pull no punches here, as uncomfortable as it may be for some to hear.

“First you get people to enjoy the rhythm, and then they listen to the lyrics. “

Sterling Delpa, Afro Legends

“More than the propaganda in social networks and on television,” Flowsiao tells me, “The reality is another thing. Black and Indigenous communities in Colombia have to work twice as hard as white and mestizo people, or those with privileges. Structural racism still exists. People say it’s [the term negrito] with affection, but it’s with dominance and privilege. This creates a vicious circle.

He continues, “Racism has been used as a tool to stop Black people taking certain positions or jobs. Through the years it has taken new forms of power, from enslaving people through to occupying spaces and using diminutive terms. Slowly, there are more collectives that are joining the fight for Black people’s rights and to stop others continuing to steal our spaces, both at a national and international level.”

Sterling continues the argument. “White and mestizo people grow up in a bubble where they’re always called señor, niño, whatever, something with humanity. But with a Black person, they always objectify us.” This is an angle that is rarely heard in mainstream Colombian culture, often made invisible and sidelined. Yet it’s clearly true and important as it speaks to the real, lived experience of so many Colombians.

Liam V says that Negrito is, “A necessary song for all Black people and we’ve had a positive reaction to it. We’re telling a truth that we’ve all experienced. For us, it’s necessary to say things as they are.” Sterling has also had positive feedback, “They say ‘Hey guys, thanks for talking about something real’.”

Looking to the future – Festival Esteréo Picnic 2024 and more

“Things are getting better,” says Flowsiao. “It’s a constant struggle, in 15, 20, 30 years, if we as Black people do not educate and empower ourselves, future generations will lose the fight and it will never end. So, thanks to those collectives and organisations that are doing the work of educating the boys and girls who are growing up now. The positive is that there are many who are empowering themselves now.”

Liam V jumps in here: “I will add that we have the task through our music day-to-day of fighting racism in all its forms. We’re here to tell that story.” It’s clear that the band as a whole see their music as important in the process. Sterling says, “First you get people to enjoy the rhythm, and then they listen to the lyrics. Hopefully, then they will reflect and think ‘Hey, I was doing something wrong’.”

Conversation turns to Festival Estéreo Picnic 2024 itself and they interrupt each other in their enthusiasm, Liam V winning out: “Exciting!” she says. “This festival is such a big stage for us. We’re really excited and very anxious. We want the public to be with us, to enjoy it, that’s the main aim, but also to teach. That’s the musical responsibility of Afro Legends.”

Sterling agrees. “Up on the stage, Afro Legends always bring the Colombian Pacific to the stage we’re on, so we’re bringing our ancestralidad to Festival Estéreo Picnic 2024, all this power. It’ll be a crazy experience.”

Liam V cuts back in to make sure no secrets are spilled, saying: “We have lights, outfits, styles, it’s going to be an impressive thing and you’ll see that it’s very impactful. We can’t give any spoilers about our show but there’s going to be important things there.”

They’re proud to be sharing the stage with some top talents, Flowsiao namechecks, “La Etnnia, Blessed Madonna, Black Coffee. So many people.” Sterling adds in some regional solidarity “Verito [Asprilla] is one of us, she’s from the Pacific to fly the flag high for the region, like us.”

To finish up, I ask them what they recommend for visitors to their beloved Cali. Sterling is quick to cite another Afro-Colombian musical legend “Nidia Góngora’s restaurant, Viche Positiva.” Flowsiao agrees “Any of the Pacific gastronomy, like ceviche – delicious!” 

He continues, “In the east of Cali you can find semilleros which are groups of women sharing knowledge, traditional music and medicine and so on. It’s sharing traditional and ancestral things from generation to generation, especially for Black people from the Colombian Pacific.”

When you have time, we highly recommend going to Cali, one of Colombia’s most interesting cities and the Pacific region in general, from Tumaco to Nuquí. However, in the short term, get yourself down to Festival Estéreo Picnic 2024 for a blast of Pacific sabrosura from Afro Legends. 
Afro Legends open the main stage of Festival Estéreo Picnic 2024 at 3pm on Saturday March 23 in Parque Simón Bolívar. Tickets still available here at time of publication.

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Deceptively youthful-looking, these rock hobbits have only recently come to Bogotá. Pedro explains, “Ecuador is having a difficult moment right now, so we recently arrived here. It’s a place where we feel relaxed and happy. It’s a scene with a lot of movement. It’s a cool moment for us as well to have this platform to put Ecuador in the spotlight ”

Their sound is sad art-rock, with whimsically wistful lyrics underpinned by strong, sometimes abrasively chopping guitars and insistent, urgent basslines hungrily driving the songs forward. They’ve been at this for a while – debut El Cielo was out in 2016, but it was Tristes Trópicos two years later that was their breakout, followed by two more pandemic albums.

Lolabúm took a slightly different turn with last year’s Muchacito Roto. From the jarring opening of Ecuaboi, with its D’n’B style sections and vocoder effects, it’s clear they’re going somewhere else. “Muchachito Roto is our tribute to Ecuadorian pop,” says Pedro. “It’s cool for us to play with that sound.” Martín agrees, adding, “And with our sound too, we’re in dialogue with the contemporary Ecuadorian sound.”

Songs like Nidi are closer to their previous work, an almost ambient lo-fi sound telling a heartbreakingly tender love song that finds the beauty in everyday experiences. This is still the sound of lovelorn teens, but continuing their musical development in a new direction. Wherever they go sonically, the lyrics will always be sensitive.

Transandino: the Lolabúm story

Martín is also enthusiastic about the move to Bogotá, adding: “It’s very inspiring to be here right now. That this festival exists and invites so many bands, including the locals, is so good. Not just Bogotanos either, but from all over Colombia. It’s a very cool platform.” The country isn’t just the capital for them, as they’re keen to point out.

“We’ve played in many parts of Colombia,” says Pedro, before reeling off a list of places they’ve performed. “It’s really diverse, you can be in Pasto, Bogotá or Medellín and they’re completely different places. We’ve been coming for many years to the centre of the country, it’s a part we’ve always liked of Colombia.”

There’s a lot of cultural crossover between the south of Colombia and Ecuador, says Pedro: “We share a lot of phrases with Pasto and that area, guagua, ñañito, things like that.” Martín explains with a grin that his favourite phrase from his homeland is chuchaqui, meaning hangover.

They clearly feel at home in Bogotá, as Pedro points out. “It’s a place that has always made us feel welcome. It’s also a really effervescent place, which I love. It can be good and bad – it sometimes feels rushed, but with a cool rhythm.” Martín chimes in to add, “The friendliness of the people too – they’ve really taken to us. I have the impression that we’ve always had good vibes here.”

Quito remains in their hearts, though, says Pedro: “It’s a city with a lot of colonial weight. Many churches and religious places. Public transport can be a problem too, even if now we have a Metro. Quito is a lot smaller than Bogotá, there’s less night time activity, people go to sleep much earlier.”

They clearly miss the music of home, as Pedro makes clear: “It’s a really creative scene, and very original too. All the projects, or at least the majority have their own sound. The sad thing is that it’s very complicated to do things like organise concerts because of all the permits etc. It’s really worth a look for anyone.”

When I ask what they miss about home, Martín is quick to cite the culinary delights of home, saying “Ecuadorian food is so delicious.” Pedro jumps in to add: “And volcanoes. And the heat of Guayaquil.” Martín concludes “Everything is so close. You can be on the beach or in the Amazon in five hours from the capital.”

Lolabúm have trekked the Inca trail through the Andes to reach Bogotá and play Festival Estéreo Picnic 2024. You only need to make a short ride across the city to check out the vibrant yet sensitive musical banquet they will lay on at the Picnic. Get down there to feast upon their wares.

Lolabúm play at 3.45pm on Saturday March 23 on the Adidas stage at Festival Esteréro Picnic 2024 in Parque Simón Bolívar. Tickets still available here at time of publication.

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