The second day of Sónar in Barcelona brought a dramatic shift in energy. Charlotte de Witte’s performance drew unprecedented crowds, while other headline acts delivered mixed results. Under the festival’s new integrated format, attendees largely stayed away from early sessions, leaving venues quiet until late afternoon. Early acts played to sparse audiences, with the basic surge coming as night fell.
Charlotte de Witte became the clear focal point of the evening. Her set at the Club stage drew a massive audience, filling the venue to capacity and creating a scale rarely seen at the festival. De Witte’s relentless techno, technical skill and stage presence resonated strongly with festival-goers. Intense lighting and a carefully managed crescendo shaped the Belgian DJ’s approach, alongside her signature black outfit, and delivered the high-energy experience many expected. Some listeners, but, found little musical variation. The performance relied more on intensity than on subtlety or new idea.
By contrast, Kelis’s appearance failed to generate the same enthusiasm. Her set used a minimal arrangement, with a DJ-led setup accompanied by a drummer and backing vocalist, and leaned on her well-known rhythm and blues hits. She performed classics such as “Millionaire” and “Trick Me,” with “Bossy” also in the set. The audience remained largely disengaged, and only her dance tracks “Bounce” and “Acapella” sparked brief moments of excitement. Overall, the performance did little to improve the festival’s reputation. Kelis came across more as a host than as a headliner seeking to reclaim past glory.
Skepta’s show stood out, especially for the English contingent in the crowd. Wearing a distinctive hood, the rapper balanced rapid-fire grime rhythms with varied cadences and introspective moments. “Gas Me Up” and “Bullet From a Gun” showcased his range. Collaborations and energetic numbers, including “Praise The Lord” and “It Ain’t Safe,” encouraged active participation. His hour-long performance stood out for its intensity and diversity, unlike the more linear approach of other acts.
Elsewhere, SBTRKT’s complex, layered live set proved difficult for many to dance to, while Nia Archives brought a smoother, jungle-infused sound to the Lab stage. Her performance featured tracks from her upcoming album Emotional Junglist and earlier releases, creating a vibrant atmosphere reminiscent of UK club scenes. Expressive festival-goers added to the event’s dynamic character, as media crews captured standout moments.
Attendance figures offer context for the scale of the week, but not for an individual performance. Beats of Africa cited more than 150,000 attendees across “Sónar Week 2026,” without specifying a daily, venue or stage breakdown. The figure describes the wider event period, not the size of the crowd at de Witte’s Club stage set.
Founded in 1994, Sónar held its first edition in Barcelona from 2 to 4 June. The festival has built its identity around electronic music and creative technology. Its brand materials describe it as “a festival of advanced music and multimedia art,” reflecting its longstanding mix of performances and technology-focused programming. The next announced edition is scheduled for 17-19 June 2027.
Sónar’s developing format and artist lineup continue to shape the festival’s identity. Its ability to attract established names alongside emerging talent remains central to its appeal, even as audience expectations and attendance patterns shift. The prominence of acts such as Charlotte de Witte and Skepta reflects ongoing changes in the electronic music field, while Kelis’s mixed reception points to the challenge of connecting a legacy catalogue with a festival audience.
