#thecure — Public Fediverse posts

The Cure’s Robert Smith Slams FIFA’s World Cup Final Halftime Show: ‘Just F— Off’
#Variety #News #RobertSmith #TheCure #WorldCup

https://variety.com/2026/music/news/robert-smith-fifa-world-cup-halftime-show-1236815510/

The Cure’s Robert Smith Slams FIFA’s World Cup Final Halftime Show: ‘Just F— Off’
#Variety #News #RobertSmith #TheCure #WorldCup

https://variety.com/2026/music/news/robert-smith-fifa-world-cup-halftime-show-1236815510/

I will always think of Winnipeg from now on when I hear that song – they played it over and over at the King's Head Pub in Winnipeg. 💞

The Cure - "Lovesong" https://youtu.be/ks_qOI0lzho

#TheCure

I will always think of Winnipeg from now on when I hear that song – they played it over and over at the King's Head Pub in Winnipeg. 💞

The Cure - "Lovesong" https://youtu.be/ks_qOI0lzho

#TheCure

🔴 LIVE NOW ON VORTEX
📻 Vortex WaveSpiral 🌀 (Post Punk & Classical New Wave)
──────────────
🎵 The Cure - Friday I'm in Love

▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net

💬 Join us on Discord:
https://discord.gg/d82hJZBeDE

#VortexWave #TheCure #PostPunk #NewWave #90s

🔴 LIVE NOW ON VORTEX
📻 Vortex WaveSpiral 🌀 (Post Punk & Classical New Wave)
──────────────
🎵 The Cure - Friday I'm in Love

▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net

💬 Join us on Discord:
https://discord.gg/d82hJZBeDE

#VortexWave #TheCure #PostPunk #NewWave #90s

Friday I'm in Love .⋆♱
#TheCure
https://www.youtube.com/watch?v=lLikCHwbEzU

Friday I'm in Love .⋆♱
#TheCure
https://www.youtube.com/watch?v=lLikCHwbEzU

Asked #Google #AI a simple question yesterday, and the answer, as far as I can discern, was flat-out wrong: “The song "Fire in Cairo" by #TheCure is in the key of C♯ minor (C#m / D♭ minor).”

Asked #Google #AI a simple question yesterday, and the answer, as far as I can discern, was flat-out wrong: “The song "Fire in Cairo" by #TheCure is in the key of C♯ minor (C#m / D♭ minor).”

Just Like Heaven ๋࣭⭑
#TheCure
https://www.youtube.com/watch?v=1ASpBpT8bRQ

Just Like Heaven ๋࣭⭑
#TheCure
https://www.youtube.com/watch?v=1ASpBpT8bRQ

I don't care if Monday's blue
Tuesday's grey and Wednesday too
Thursday, I don't care about you
It's Friday, I'm in love
Monday you can fall apart
Tuesday, Wednesday break my heart
Oh, Thursday doesn't even start
It's Friday, I'm in love

#TheCure

#JustOneMoreDayASong
#HashTagGames

I don't care if Monday's blue
Tuesday's grey and Wednesday too
Thursday, I don't care about you
It's Friday, I'm in love
Monday you can fall apart
Tuesday, Wednesday break my heart
Oh, Thursday doesn't even start
It's Friday, I'm in love

#TheCure

#JustOneMoreDayASong
#HashTagGames

Mit #Harfe von Hand gezaubert:

"Just like Heaven" von #TheCure

Traumhaft

https://youtu.be/RuhcKCOCkks

Mit #Harfe von Hand gezaubert:

"Just like Heaven" von #TheCure

Traumhaft

https://youtu.be/RuhcKCOCkks

Menschen, die nach der Hälfte des Konzerts gingen – vielleicht absehbar?

#TheCure

Menschen, die nach der Hälfte des Konzerts gingen – vielleicht absehbar?

#TheCure

🔴 I'm live @ --> twitch.tv/maerchen1313 <-- from 3 – 8 p.m. EDT TODAY with Dark #80s & #90s & music-themed #minigames! See you there! 🖤🖤🖤 #streamer #musicstreaming #musicchannel #nowspinning #music #radio #LGBTQ #VTuber #ENVTuber #indiedev #oc #gaming #gamedev #gamingnews #thecure #art #theatre #DJ

🔴 I'm live @ --> twitch.tv/maerchen1313 <-- from 3 – 8 p.m. EDT TODAY with Dark #80s & #90s & music-themed #minigames! See you there! 🖤🖤🖤 #streamer #musicstreaming #musicchannel #nowspinning #music #radio #LGBTQ #VTuber #ENVTuber #indiedev #oc #gaming #gamedev #gamingnews #thecure #art #theatre #DJ

🔴 LIVE NOW ON VORTEX
📻 Vortex Rewind ⏪ (80s extended versions, maxi singles, long versions)
──────────────
🎵 The cure - Boys don't cry

▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net

💬 Join us on Discord:
https://discord.gg/d82hJZBeDE

#VortexWave #TheCure #PostPunk #NewWave #80s

🔴 LIVE NOW ON VORTEX
📻 Vortex Rewind ⏪ (80s extended versions, maxi singles, long versions)
──────────────
🎵 The cure - Boys don't cry

▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net

💬 Join us on Discord:
https://discord.gg/d82hJZBeDE

#VortexWave #TheCure #PostPunk #NewWave #80s

Olałem Openera, bo to Opener, ale przecież nie mogło być tak, że zupełnie pominę tegoroczną trasę The Cure. Stanęło więc na Berlinie i dwóch z trzech zaplanowanych tam koncertów. No i trochę żałuję, że nie zdecydowałem się na pełną "trylogię", mimo że i tak nie obyło się bez niespodzianek...

Największą z nich okazała się nieobecność Simona Gallupa, którego rozłożyło jakieś choróbsko i na scenie musiał zastąpić go jego syn, Eden. Dobrze, że chłopak już od jakiegoś czasu towarzyszył zespołowi na scenie i świetnie sprawdził się w roli pełnoprawnego basisty. Gallup senior to jednak nieodłączny fundament brzmienia The Cure, więc jego brak był odczuwalny. No i pierwszego dnia atmosfera w zespole była wyraźnie napięta, co komentował sam Robert, tłumacząc, jak długi i trudny był to dzień.

Całe szczęście drugi koncert był już zagrany na większym luzie (i bez małych wpadek, do których dochodziło w piątek). Bardzo mnie też ucieszyła reprezentacja "Pornography" w postaci "One Hundred Years", "A Strange Day" i "Cold". Szkoda, że panowie nie zaszaleli jeszcze bardziej ze zmianami w setliście, ale podejrzewam, że to kwestia braku czasu na próby z Edenem (zespół ewidentnie skupiał się na utworach, które miał już ograne z Gallupem juniorem na potrzeby jego poprzedniego zastępstwa w 2019 roku). Dlatego też pewnie zabrakło utworów z ostatniej płyty.

Mimo to muzycy byli w stanie nieco zróżnicować repertuar każdego wieczoru - i dlatego trochę mi przykro, że nie zostałem też na ten finałowy, kiedy z kolei sięgnęli po "Charlotte Sometimes" i rzadko grane "M", a także "Catch" oraz "Hot Hot Hot" z "Kiss Me Kiss Me Kiss Me".

Ale i tak nie mam co narzekać. W końcu usłyszałem na żywo "Disintegration" i "Prayers for Rain", których nie grali na żadnym z moich poprzednich koncertów. No i to wciąż jeden z najlepszych zespołów świata, a "From the Edge of the Deep Green Sea" z Reevesem Gabrelsem to absolutne mistrzostwo. Oby Simon szybko wyzdrowiał i nadarzyły się kolejne okazje do zobaczenia The Cure!

#thecure #muzyka

Olałem Openera, bo to Opener, ale przecież nie mogło być tak, że zupełnie pominę tegoroczną trasę The Cure. Stanęło więc na Berlinie i dwóch z trzech zaplanowanych tam koncertów. No i trochę żałuję, że nie zdecydowałem się na pełną "trylogię", mimo że i tak nie obyło się bez niespodzianek...

Największą z nich okazała się nieobecność Simona Gallupa, którego rozłożyło jakieś choróbsko i na scenie musiał zastąpić go jego syn, Eden. Dobrze, że chłopak już od jakiegoś czasu towarzyszył zespołowi na scenie i świetnie sprawdził się w roli pełnoprawnego basisty. Gallup senior to jednak nieodłączny fundament brzmienia The Cure, więc jego brak był odczuwalny. No i pierwszego dnia atmosfera w zespole była wyraźnie napięta, co komentował sam Robert, tłumacząc, jak długi i trudny był to dzień.

Całe szczęście drugi koncert był już zagrany na większym luzie (i bez małych wpadek, do których dochodziło w piątek). Bardzo mnie też ucieszyła reprezentacja "Pornography" w postaci "One Hundred Years", "A Strange Day" i "Cold". Szkoda, że panowie nie zaszaleli jeszcze bardziej ze zmianami w setliście, ale podejrzewam, że to kwestia braku czasu na próby z Edenem (zespół ewidentnie skupiał się na utworach, które miał już ograne z Gallupem juniorem na potrzeby jego poprzedniego zastępstwa w 2019 roku). Dlatego też pewnie zabrakło utworów z ostatniej płyty.

Mimo to muzycy byli w stanie nieco zróżnicować repertuar każdego wieczoru - i dlatego trochę mi przykro, że nie zostałem też na ten finałowy, kiedy z kolei sięgnęli po "Charlotte Sometimes" i rzadko grane "M", a także "Catch" oraz "Hot Hot Hot" z "Kiss Me Kiss Me Kiss Me".

Ale i tak nie mam co narzekać. W końcu usłyszałem na żywo "Disintegration" i "Prayers for Rain", których nie grali na żadnym z moich poprzednich koncertów. No i to wciąż jeden z najlepszych zespołów świata, a "From the Edge of the Deep Green Sea" z Reevesem Gabrelsem to absolutne mistrzostwo. Oby Simon szybko wyzdrowiał i nadarzyły się kolejne okazje do zobaczenia The Cure!

#thecure #muzyka

Electric Castle Festival 2026 🎶
📅 16.–19.07.2026
📍 Bontida, Romania
🎸 Indie / Rock / Pop · from €159.00

🔊 Twenty One Pilots, Teddy Swims, Chase & Status, The Cure & many more
🎧 Full playlist + 🎟 tickets: https://festivalplaylist.com

#ElectricCastleFestival2026 #Bontida #Romania #Indie #Rock #Pop #TwentyOnePilots #TeddySwims #ChaseStatus #TheCure #NothingButThieves #WetLeg #Electric2026 #festival2026 #festival #livemusic #lineup #musicfestival

Electric Castle Festival 2026 🎶
📅 16.–19.07.2026
📍 Bontida, Romania
🎸 Indie / Rock / Pop · from €159.00

🔊 Twenty One Pilots, Teddy Swims, Chase & Status, The Cure & many more
🎧 Full playlist + 🎟 tickets: https://festivalplaylist.com

#ElectricCastleFestival2026 #Bontida #Romania #Indie #Rock #Pop #TwentyOnePilots #TeddySwims #ChaseStatus #TheCure #NothingButThieves #WetLeg #Electric2026 #festival2026 #festival #livemusic #lineup #musicfestival

Wenn der Sonntag besser ein Freitag gewesen wäre – die Liebe, die ja an diesem Wochentag immer ist, und der Heimweg der Lektorin und so.

(mit
@RuthInkognito und
#DerMannDerLektorin)

#TheCure

Wenn der Sonntag besser ein Freitag gewesen wäre – die Liebe, die ja an diesem Wochentag immer ist, und der Heimweg der Lektorin und so.

(mit
@RuthInkognito und
#DerMannDerLektorin)

#TheCure

Die Bedingungen hätten nicht besser sein können. #TheCure auf der Parkbühne #Wuhlheide in #Berlin zu erleben war wirklich genial. Sound top! Stimmung und Atmosphäre, Wetter (leicht bedeckt, 24°C, leichter angenehmer Wind, trocken). 27 Songs. Snippet "Play for today"! #Konzert #Music

Setlist:
https://www.setlist.fm/setlist/the-cure/2026/parkbuhne-wuhlheide-berlin-germany-4b414326.html

Die Bedingungen hätten nicht besser sein können. #TheCure auf der Parkbühne #Wuhlheide in #Berlin zu erleben war wirklich genial. Sound top! Stimmung und Atmosphäre, Wetter (leicht bedeckt, 24°C, leichter angenehmer Wind, trocken). 27 Songs. Snippet "Play for today"! #Konzert #Music

Setlist:
https://www.setlist.fm/setlist/the-cure/2026/parkbuhne-wuhlheide-berlin-germany-4b414326.html

#TheCure Berlin night 2 audience recording - great show

https://youtu.be/BGmNiArR8Es

So, Berlin. Wir verlassen dich wieder. Das Konzert von #TheCure gestern war grandios.

Der Mensch an der Rezeption im Hotel das absolute Gegenteil.

Mehr #Berlin brauch ich dieses Jahr aber auch nicht.

🔴 LIVE NOW ON VORTEX
📻 Vortex Indie 🎸 (Indie pop, indie rock, classic rock)
──────────────
🎵 The Cure - Just like Heaven (2006 Remaster)

▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net

💬 Join us on Discord:
https://discord.gg/d82hJZBeDE

#VortexWave #TheCure #GothicRock #NewWave #80s

To get out of the kitchen sink.

#TooBusyTo
#HashTagGames
#TheCure

Awesome. Eddie Vedder performing Just Like Heaven from The Cure. Posting this so I can rewatch it daily.

https://youtu.be/OFqa1v6MhCU?si=pqF5Yk6hz6MmXebb

#EddieVedder #TheCure

Kann losgehen #thecure #wuhlheide #berlin

#Berlin Wuhlheide. #TheCure.

Nur alte Grufties auf den Rängen und ich finds gut.

On my way to Berlin to see #thecure

RE: https://mastodon.online/@TG_Esq/116900543313857051

This album is also a reminder why we need artists who are producing art about the experiences of getting older.

There's a lot of ageism in people's responses to music, as if the performers should strut around in their youth and vigour, singing about angst and sex, and go away when they begin to remind us that we all get old - if we're lucky.

From End Song:

I'm outside in the dark
wondering
how I got so old

#TheCure #music

Listening to Songs Of A Lost World, by The Cure.

Beautiful album. Heartbreaking. Beautiful.

#TheCure #NowListening

Noch Freitag, na dann... It's friday I'm in love - #TheCure in der Wuhlheide heute ❤️

🔴 LIVE NOW ON VORTEX
📻 Vortex WaveSpiral 🌀 (Post Punk & Classical New Wave)
──────────────
🎵 The Cure - Friday I'm in Love

▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net

💬 Join us on Discord:
https://discord.gg/d82hJZBeDE

#VortexWave #TheCure #PostPunk #NewWave #90s

Ich bin am Samstag beim Konzert von "The Cure" in Berlin. Meine Liebste ist leider leider verhindert. So plane ich mit dem Zug anzureisen. Nur der Rückweg lässt mich in Berlin stranden. Hat jemand bis die Bahn es am Morgen schafft wieder Verbindungen Richtung Rostock einen Platz für mich. Mag nicht alleine am Bahnhof sitzen...
#Berlin #Rostock #TheCure

Of all metal’s subgenres, doom remains one of the most welcoming to outside influences, often stretching its boundaries past lethargic, downtuned tempos of despair and dread. Spanish duo TodoMal1 embody that openness completely, drawing from a wide spectrum of styles to shape their unique blend of progressive doom. Formed by multi‑instrumentalists Christopher B. Wildman (Jade (live), ex-Asgaroth) and composer/producer Javier Fernández Milla (ex-Asgaroth), Ultracrepidarian (2021) and With a Greater Good (2023) pushed at the edges of classic doom with a big, cinematic approach rooted in the grandeur of Candlemass and the cosmic blues of Pink Floyd. Graveyards of Joy, their third record, closes the trilogy and marks their first expansion into a five-piece recording and live ensemble, joined by drummer Javier “Bud” Martínez (Jade), guitarist Javier Félez (ex-Teitanblood), and vocalist/keyboardist Cecilia Tallo (ex-Maud the Moth). And their contributions help unlock TodoMal’s most ambitious and articulate record to date.

Graveyards of Joy finds TodoMal pushing their sound into more progressive territories, with their immersive strain of atmospheric doom feeling far more melodic and balanced than their previous work. Juxtaposing processional tones with airy, luminous passages in a way that resists categorization, each song on Graveyards of Joy is incredibly dense yet no less urgent. “Mare Ignis” could have come straight from a Devin Townsend record, elevated by an expressive, gothic shimmer and reverb-drenched textures, while “Misericordiah” offers a moment of pure acoustic beauty before “Unholy” snaps back with brooding gothic rock heaviness and bright, pop-minded sensibility. Tallo’s lush choral backdrops (“Mare Ignis”), coupled with orchestral elements like horns (“Point of Coalescence,” “Mare Ignis”), violins (“Misericordiah”), Hammond-esque synths (“For Mercy”) and piano (“Graveyards of Joy,” “Lucid Nightmare”), create soaring, hook-laden melodies with an ethereal, dreamlike quality that lets the heavily layered arrangements feel deceptively lighter than they are, even in the face of Martinez’s thunderous drums, Felez’s chunky riffing and the record’s saturating production.

TodoMal excel at balancing darkness and light, constantly offsetting heaviness with melody and atmosphere. “Lucid Nightmare” leans into melodic allure without losing heft, pairing resonant guitars with Tallo’s bright piano and choral layers, while “Point of Coalescence” contrasts ominous horns and crushing riffs against airy vocals that keep the song from ever feeling too oppressive. The guitar work on Graveyards of Joy favors big, expressive solos and memorable phrasing, emphasizing emotional lift over technicality and adding another dimension to TodoMal’s cinematic, textured identity. “Deliverance” delivers the record’s most dynamic moment, moving from delicate acoustics into a massive, emotional swell, while “Humanised Gods” distills their approach into a punchy, hook- and synth-laden standout. Across Graveyards of Joy, TodoMal uses melody, orchestration, and texture to let the material surface for air before pulling you back into its darker depths.

Wildman’s vocal performance is one of Graveyards of Joy’s defining highlights, channeling a tone that lands somewhere between Jón Aldará’s (Iotunn, Barren Earth) soaring melodicism and Robert Smith’s (The Cure) emotive, gothic inflection. Instead of leaning into brutality, Wildman avoids growling entirely, opting for an indie-tinged, gothic rock delivery that softens and reshapes TodoMal’s traditional doom foundation. “For Mercy” evidences the full reach of his character, with an untethered vocal line floating above an upbeat acoustic guitar that initially feels awkward but quickly captures my admiration with its off-kilter charm. The track recalls the Violent Femmes in many respects and shows the breadth of the group’s influences. The duo also leans heavily on background harmonies and choral passages to amplify the material’s emotional weight, creating a soundscape that reveals new nuances with each listen. The production reinforces this, feeling enveloping and bright, and the concise runtime—aside from the sprawling “Deliverance” and the similarly lengthy closer—ultimately strengthens the record’s pacing.

Graveyards of Joy pulls all of its many ingredients into a layered, multifaceted whole that grows more rewarding with every listen. TodoMal’s twist on doom may feel occasionally strange, but it’s insanely stylish and unmistakably their own. It’s the kind of take that makes genre labels feel irrelevant because there is no denying this is simply great music. A couple of longer tracks could stand a trim, and a few endings land a bit abruptly, but those small quibbles fade quickly. What stays with you instead is the album’s accessibility, scope, and immensity. TodoMal may mean “all wrong,” yet Graveyards of Joy is anything but.

Rating: Great!
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Season of Mist
Websites: todomalband.bandcamp.com | facebook.com/todomalofficial
Releases Worldwide: July 3rd, 2026

Of all metal’s subgenres, doom remains one of the most welcoming to outside influences, often stretching its boundaries past lethargic, downtuned tempos of despair and dread. Spanish duo TodoMal1 embody that openness completely, drawing from a wide spectrum of styles to shape their unique blend of progressive doom. Formed by multi‑instrumentalists Christopher B. Wildman (Jade (live), ex-Asgaroth) and composer/producer Javier Fernández Milla (ex-Asgaroth), Ultracrepidarian (2021) and With a Greater Good (2023) pushed at the edges of classic doom with a big, cinematic approach rooted in the grandeur of Candlemass and the cosmic blues of Pink Floyd. Graveyards of Joy, their third record, closes the trilogy and marks their first expansion into a five-piece recording and live ensemble, joined by drummer Javier “Bud” Martínez (Jade), guitarist Javier Félez (ex-Teitanblood), and vocalist/keyboardist Cecilia Tallo (ex-Maud the Moth). And their contributions help unlock TodoMal’s most ambitious and articulate record to date.

Graveyards of Joy finds TodoMal pushing their sound into more progressive territories, with their immersive strain of atmospheric doom feeling far more melodic and balanced than their previous work. Juxtaposing processional tones with airy, luminous passages in a way that resists categorization, each song on Graveyards of Joy is incredibly dense yet no less urgent. “Mare Ignis” could have come straight from a Devin Townsend record, elevated by an expressive, gothic shimmer and reverb-drenched textures, while “Misericordiah” offers a moment of pure acoustic beauty before “Unholy” snaps back with brooding gothic rock heaviness and bright, pop-minded sensibility. Tallo’s lush choral backdrops (“Mare Ignis”), coupled with orchestral elements like horns (“Point of Coalescence,” “Mare Ignis”), violins (“Misericordiah”), Hammond-esque synths (“For Mercy”) and piano (“Graveyards of Joy,” “Lucid Nightmare”), create soaring, hook-laden melodies with an ethereal, dreamlike quality that lets the heavily layered arrangements feel deceptively lighter than they are, even in the face of Martinez’s thunderous drums, Felez’s chunky riffing and the record’s saturating production.

TodoMal excel at balancing darkness and light, constantly offsetting heaviness with melody and atmosphere. “Lucid Nightmare” leans into melodic allure without losing heft, pairing resonant guitars with Tallo’s bright piano and choral layers, while “Point of Coalescence” contrasts ominous horns and crushing riffs against airy vocals that keep the song from ever feeling too oppressive. The guitar work on Graveyards of Joy favors big, expressive solos and memorable phrasing, emphasizing emotional lift over technicality and adding another dimension to TodoMal’s cinematic, textured identity. “Deliverance” delivers the record’s most dynamic moment, moving from delicate acoustics into a massive, emotional swell, while “Humanised Gods” distills their approach into a punchy, hook- and synth-laden standout. Across Graveyards of Joy, TodoMal uses melody, orchestration, and texture to let the material surface for air before pulling you back into its darker depths.

Wildman’s vocal performance is one of Graveyards of Joy’s defining highlights, channeling a tone that lands somewhere between Jón Aldará’s (Iotunn, Barren Earth) soaring melodicism and Robert Smith’s (The Cure) emotive, gothic inflection. Instead of leaning into brutality, Wildman avoids growling entirely, opting for an indie-tinged, gothic rock delivery that softens and reshapes TodoMal’s traditional doom foundation. “For Mercy” evidences the full reach of his character, with an untethered vocal line floating above an upbeat acoustic guitar that initially feels awkward but quickly captures my admiration with its off-kilter charm. The track recalls the Violent Femmes in many respects and shows the breadth of the group’s influences. The duo also leans heavily on background harmonies and choral passages to amplify the material’s emotional weight, creating a soundscape that reveals new nuances with each listen. The production reinforces this, feeling enveloping and bright, and the concise runtime—aside from the sprawling “Deliverance” and the similarly lengthy closer—ultimately strengthens the record’s pacing.

Graveyards of Joy pulls all of its many ingredients into a layered, multifaceted whole that grows more rewarding with every listen. TodoMal’s twist on doom may feel occasionally strange, but it’s insanely stylish and unmistakably their own. It’s the kind of take that makes genre labels feel irrelevant because there is no denying this is simply great music. A couple of longer tracks could stand a trim, and a few endings land a bit abruptly, but those small quibbles fade quickly. What stays with you instead is the album’s accessibility, scope, and immensity. TodoMal may mean “all wrong,” yet Graveyards of Joy is anything but.

Rating: Great!
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Season of Mist
Websites: todomalband.bandcamp.com | facebook.com/todomalofficial
Releases Worldwide: July 3rd, 2026

https://www.europesays.com/be-nl/95394/ 11 onmisbare acts op de line-up voor Rock Werchter 2026 #AdrianQuesada'sTrioAsesino #BE #België #Belgium #BloodIncantation #BreakingNews #BreakingNews #DavidByrne #ElvisCostello&TheImposters #FeaturedNews #FeaturedNews #FkaTwigs #Gorillaz #headline #Headlines #Hoofdpunten #Jade #JessieMurph #KaeTempest #LatestNews #LatestNews #News #Nieuws #ReneéRapp #RockWerchter2026 #TheCure #TopStories #TopStories #Voorpaginanieuws #WolfAlice

https://www.europesays.com/nl/253440/ 11 onmisbare acts op de line-up voor Rock Werchter 2026 #AdrianQuesada'sTrioAsesino #Amusement #BloodIncantation #DavidByrne #Dutch #ElvisCostello&TheImposters #Entertainment #FKATwigs #Gorillaz #headline #Jade #JessieMurph #KaeTempest #Nederland #Nederlanden #Nederlands #Netherlands #NL #ReneéRapp #RockWerchter2026 #TheCure #WolfAlice

https://www.europesays.com/nl/252188/ 12 onmisbare acts op de line-up voor Rock Werchter 2026 #AdrianQuesada'sTrioAsesino #Amusement #BloodIncantation #DavidByrne #Dutch #ElvisCostello&TheImposters #Entertainment #FKATwigs #Gorillaz #headline #Jade #JessieMurph #KaeTempest #Nederland #Nederlanden #Nederlands #Netherlands #NL #ReneéRapp #RockWerchter2026 #TheCure #WolfAlice

https://www.europesays.com/be-nl/93338/ 12 onmisbare acts op de line-up voor Rock Werchter 2026 #AdrianQuesada'sTrioAsesino #Amusement #BE #België #Belgium #BloodIncantation #DavidByrne #ElvisCostello&TheImposters #Entertainment #FkaTwigs #Gorillaz #headline #Jade #JessieMurph #KaeTempest #ReneéRapp #RockWerchter2026 #TheCure #WolfAlice

📌 #50años del primer #homenajepopular a #GarcíaLorca, un #desafío al #régimenfranquista en #FuenteVaqueros
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