El Último de la Fila drew thousands of fans to Estadio de la Cartuja for a long-awaited concert, bringing the spirit of Spanish rock back to Seville. The event, part of a twelve-date tour across Spain, marked the group's return to the Andalusian capital, where they had not performed together since 1995. The stadium recorded the tour's highest attendance so far, though it did not reach full capacity.
La Cartuja's reported capacity varies by configuration. El País has described its football setup as holding about 70,000 spectators, while local coverage of other large-scale events has cited a capacity of around 80,000. Concert capacity depends on the stage layout, seating restrictions and the space needed for production.
Manolo García and Quimi Portet, the duo behind El Último de la Fila, were joined by nearly all the original musicians from the band's classic lineup. The setlist traced their influential career, opening with orchestral arrangements of 'Mar antiguo' and 'Llanto de pasión' before moving into Los Burros classics such as 'Huesos' and 'Conflicto armado'. Antonio Fidel, Juan Carlos García, Josep Lluís Pérez and Pedro Javier González performed alongside newer additions Sara García, Ángel Celada, Irene Miller and Eva Reina, lending the show a blend of nostalgia and renewal.
The concert moved into El Último de la Fila's basic repertoire, with 'Querida Milagros' and 'Mi patria en mis zapatos' setting the tone. Songs from the acclaimed album 'Enemigos de lo ajeno' (1986) featured prominently, including 'Sin llaves', 'El loco de la calle', 'Aviones plateados' and 'No me acostumbro'. The performance suggested that time had not dulled the band's energy or technical skill. Pedro Javier González delivered standout moments on Spanish guitar.
Tracks from 'Como la cabeza al sombrero' (1988) and 'Astronomía razonable' (1993) added depth to the set, with 'Dios de la lluvia', 'Soy un accidente' and 'La piedra redonda' resonating strongly with the crowd. Manolo García announced that the concert was being recorded and invited the audience to greet the cameras, giving the event an added sense of occasion. The night also included a nod to Los Burros with 'Disneylandia', which paired the band's early 1980s sound with modern arrangements.
As the evening went on, the band revisited basic moments from its discography. These included 'Cuando el mar te tenga' from 'Nuevo pequeño catálogo de seres y estares' (1990) and 'El que canta su mal espanta' from 'Astronomía razonable', where Quimi Portet's harmonica took center stage. Manolo García also told those on the pitch where to find water, a gesture that reflected the humid conditions that night.
The final stretch brought a run of fan favorites: 'Canta por mí', 'Llanto de pasión', 'Lápiz y tinta', 'Sara', 'Lejos de las leyes de los hombres' and 'Dulces sueños'. The atmosphere intensified with 'Ya no danzo al son de los tambores' and 'Los ángeles no tienen hélices', before the stadium erupted during 'Como un burro amarrado en la puerta del baile'. 'Insurrección' capped the run, recalling the band's enduring legacy in Spanish music.
For the encore, the group performed 'El rey' by José Alfredo Jiménez, followed by an intimate version of 'Mar antiguo' played solely by Manolo García and Quimi Portet. The closing moment captured the evening's emotional weight for the artists and their audience.
El Último de la Fila's return to Seville ranks among Spain's most impressive musical events this year, alongside other major concerts such as Alejandro Sanz's recent Barcelona show, which also drew massive crowds and emotional responses from fans. For more on how Spanish artists are drawing record audiences, see this report on Alejandro Sanz's Barcelona concert.
El Último de la Fila continues to influence Spanish music. The band's six studio albums, released over just a decade, have inspired generations of musicians. Its reunion with original members and energetic performance after so many years show the group's distinct place in Spain's cultural field. The Seville concert fulfilled a long-standing promise to local fans and reaffirmed the group's status as icons of Spanish pop and rock.
