The final phase of the adult murgas competition has arrived. Today is a significant occasion as we discover the eight finalists set to perform on Friday, February 14, Valentine’s Day, at the Africa stage, concluding the 63rd edition of this event that first began in 1962. At 20:30 hours, with the same vibrant atmosphere as previous phases, the Mamelons graced the stage to showcase part of the performance that earned them the top spot in the children’s category.
Following them, we experienced a showcase from the seven murgas of the night, characterised once more by pointed critiques and irony rather than humour: neither Pico – nor Short, Chinchosos, Guachinquietas, After, Bambones, Sound, and Suffocated. As this phase concluded, we contemplated the urgent need to reassess organisational structures and scheduling. Four phases? Starting at 8:00 p.m.? Regardless, it’s clear that changes are required. At 02:15 hours, Daniel Álvarez and Emilia González delivered the final verdict. Thus, this Friday at 20:30 hours, we will enjoy a finale composed of, in this order, La Sonora, Zeta Zetas, Ironic, Chaladas, Guachinquiestas, Trapaseros, Bambones, and Mamelucos.
Nor Pico – Ni Short (1973)
Wandering through the streets of Toscal, I encountered a murga boasting a remarkable 52 years of history within the Carnival. The troupe led by Miguel Díaz kicked off this third phase with a rap tribute to its founder and its legendary parade, featuring a fresh musical arrangement. In their opening number, they targeted proponents of machismo and racists who overlook that the Canary Islands are lands of emigrants. Naturally, they aim their sights on those Canarians making efforts to enhance their Carnival while adopting ideas from Tenerife. As a clever move, they scrutinised salaries, housing costs, lack of opportunities, and the self-employed tax. They also called out those negotiating with animals while advocating for adoption. Meanwhile, Lolo Tavío’s were notably absent.
In their second piece, titled “Under Construction”, they sharply criticised both employers and politicians for neglecting the Canary Islands. They referenced ongoing projects such as the island’s ring road and La Rosa street, works that seem never-ending—unlike the hotels “sponsored by Bermúdez”. The murgas lamented issues like holiday homes, inadequate healthcare, overcrowded emergency services, and the overall pressures of land use while attempting to build their narrative. Neither the institutional freshness nor having Juan Bazzochi and Sebid González as lyricists has succeeded in reviving the glory days of the Murga. Understanding the lyrics remained a crucial part of the performance.
Chinchosos (1988)
There was great anticipation among the audience to see which character the Chinchosos would introduce this year, following their illustrious reputation in each edition. With references to “avatars” and a jab at the Canarian coalition during their opening, they delivered a parade that captivated everyone present. Has anyone truly lived without being Chinchoso at least once? They showcased the best of their performance.
In their inaugural theme, “From February to February I take out and store things in my trunk”, the murga artfully blended humour and critique while exploring the neglected items in that car space. Appearances included Primi from Bambones, Bermúdez in his underpants, and the Sports Union shirt “with which they clean tires”. They also targeted other politicians, like Rosa Dávila, “who asked me to sleep on the pavements.” A notable highlight was the increase in female participants; now do we wish to include them in the contest? “I’m going to shut it down,” thankfully, “and I’ll fill it with carnival.” They concluded their set accordingly.
A poignant moment arose for Paco Padilla and Alexis Hernández, the founders of what was once a prominent group. In their second piece, “Amaro Pargo, Corsair or Pirate?”, we were treated to the soloist embodying a pirate and the ship sailing across the stage—a truly beautiful sight during the procession.
Guachinquiets (2023)
They could easily have numbered 300 members. The Guachinquiets arrived led by Raquel Coello, presenting “in Zen mode” to criticise the comparisons they have endured with triquikonas since their inception. They shifted to a serious tone, targeting the City Council regarding the management of ticket sales. The phase commenced.
At times, their intensity reached overwhelming levels, leading to a somewhat jarring sound. They began the competition aptly with “A Real Issue”. Social criticism came to life on stage. Samuel, founder of the association “My superhero is you”, and Rosa, a resident of Ofra without an elevator and living on the sixth floor, shared emotional narratives. An impactful segment followed with a video of Rosa, recounting her experiences. On stage, a couple represented an African individual and a Canarian who arrived via Patera. They condemned racism while promoting multiculturalism: “Just because of his colours, he is not different; it’s racist nonsense.” Ultimately, the purest form of love—the love of a mother—was celebrated as the components paid an emotional tribute while taking centre stage.
Their second act, one of the most eagerly awaited of the night, bore the title “Toc, Toc, Theodora”. To heaven? No, to hell. Despite Naara Hernández’s unmistakable style, the performance suffered due to vocalisation issues, making the rhythm difficult to follow. Yet still, they sang, “If you didn’t get a clue, dear languages.” During one carnival night, this nun went out with a bang, and hell transformed in the process. She wished to be addressed as “Sor” or “Sorrita”, but Theodora prevailed. An Instagramer was born for all those “who can’t fit through the door”, and the horns were quite apparent. As the show concluded, they trembled with fear—abstaining from counting from 1 to 5 or uttering “Amen”, for then, a DJ Jonay and Theodora number would throw them into chaos. The audience leapt to their feet as they bade farewell to the opening performance. But that doesn’t equate to inciting laughter.
After (1995)
Celebrating 30 years in the carnival, this milestone represents success for them and for all those who have followed in their footsteps. Arriving in good spirits, Tati Rodríguez’s troupe commenced with a celebratory presentation for their anniversary. Their first theme featured a full letter dedicated to education that, if performed by another murga, would have had the audience on their feet. Their sound was polished, and their critique of overcrowded classrooms flowed clearly from beginning to end, highlighting that “cutting education is cutting future.” They concluded with recognition of educators while emphasising the significance of their mental well-being. “I am the mother of the system. Thanks to my dedication and tenacity, education remains alive,” asserted their leading members with a wink. Their critique was both elegant and socially relevant.
To follow, they presented an antithesis to the often-quoted phrase in the contest: “The Canary Islands are for sale.” Representing Ideaisla real estate, they pitched to sell La Palma and Lanzarote, having prepped eight verses to perform based on the jury’s decision. They went on to offer a 2-for-1 deal, promoting Tenerife and Gran Canaria. Their critical narratives touched upon issues like holiday housing, squatters, and the challenges of overcrowding in the islands, whilst also addressing palm tree situations and neighbourhood neglect. In the finale, they seized the chance to market various “characters,” including Rudy, the influencer”. Their improvement was commendable. Let’s hope they keep their presence in the contest. It’s a pleasure to listen to them.
Bambones (1982)
The blue tide stood to welcome Bambones. It’s impossible not to feel moved by their presence. They unveiled their fantasy, which, with utmost respect, resonates like a first presentation. A creation by Josué Quevedo. For a fleeting moment, one could believe they would lead with the now-famous chant, “I never change the march; mine is that of Bambones.” This presentation marked a historic moment in 2024.
Following this, their parade spoke volumes, needing little else to convey their message. Primi, a Duranos through and through. Their first theme, “Prisoner
of the inmates”, a critique woven with sophisticated humour. They break apart, as one might expect, while simultaneously inducing laughter. A reflection from 1993 to 2025 features comparisons with the number of bags that could be purchased before versus now in the supermarket: “In 2025, with €60, one gets a bag from a pharmacy.” A tour of product pricing follows, mentioning the newly banned fruit: banana. They conclude this segment with a critique regarding the thousands of kilos of food wasted, all for “not selling them at discounted prices.” In the second part of the presentation, they transition from Technocasa to “I have no home” to deliver a masterful critique of the housing predicament. Applause erupts when they discuss a solution for the elderly man without a pension: renting a stretcher to live in emergency wards. They navigate the cost of living, encompassing the unforeseen challenges, hurdles, and “misfortunes.” All of this raises awareness of the struggle to make it to the end of the month. What a brilliant mix of humour, critique, and irony.
His second theme, “El Coach.” They blend, once again, all the elements of the murguero to provide tools to transform your life into a place of tranquillity. They assert, “even Bermúdez joins in.” Applause begins with a reference to Parque Parque, as they urge courage and condemn financing animal cruelty. One of the standout moments is the proclamation “unity is strength.” On stage stands the only individual fined for urinating during the carnival, saying, “to relieve oneself without a drop.” They end on a powerful note by addressing mental health in minors, advocating for preventive measures in schools. They wrap up by stating, “they believe that the issues of the people can be resolved by raising the bridges’ fences by four metres.” The first theme surpasses the second. They excel at performing murga. Sublime.
La Sonora (2020)
Five years have passed in the Carnival, and they found their way into the final to reminisce about 2021, when they thrilled with just one year of establishment. Following the bambones and the mass exodus of people, La Sonora faced challenges yet maintained a commendable standard. Their first theme invited public interaction—something that rarely works well. The debate on tortilla with or without onion aimed to protest the primary sector: “They turn their backs on those cultivating in Sauzal,” advocating for guachinches over restaurants to highlight traditions and small businesses against larger retailers, promoting local purchases. A solid thread connecting them with the audience.
In their second theme, two standout moments emerged. First, Erik Air (@erik_air) took to the stage symbolising vandalism, then crafted a live drawing of Celia Cruz, delivering a compelling message advocating for support for emerging Canarian artists. “Twenty years ago I had a dream, and today, it manifests as one of the top graffiti artists in the world.” Secondly, the murga stepped off the pallets to perform “playback” in front of the jury, asserting that they don’t need to be flawless. “What truly matters is recognising the effort,” they chant alongside representatives of historic Murgas. Will this effort be overshadowed by any penalties from the judges?
Suffocated (2023)
Joana Domínguez’s group concludes the contest’s final phase with a debut in musical direction. Lolo Tavío had an eventful evening, first with Ni Pico, then with his murga, and now with those of María Jiménez. They are fondly remembered after their narrow miss of reaching the final in their debut year. In their first theme, they feature a song dedicated to children participating in defence of their contest, advocating for support for the youth and seeking a solution to ensure the children’s contest doesn’t stretch on so late. A theme ripe for discussion after the Murguitas last weekend.
With a unique spell, they launched into their second competitive theme. In the cauldron of their potion, they combined the hyperdino food card, the challenges surrounding renting a home, and the poorly lit areas of Santa Cruz, creating a potion designed to “cease enduring the ignorant rulers.” With the concocted Mejungue, they then ventured into Magic spells, criticising Canary Health, among other issues. Although concluding proved difficult, their effort was commendable. Thank you for the carnival.
