If you’re planning to attend a music festival in Spain this summer, you might wonder who cashes in the money you spend on the tickets and drinks. Gone are the days of live music sessions when the only concern was getting a good spot on the dance floor to enjoy your favourite band.
This year, an increasing number of artists and a significant sections of the public are voting with their feet by refusing to take part on ethical grounds in some of Spain’s major cultural events, such as Viña Rock, Sonar, Resurrection Fest and Monegros Desert Festival.
The reason for this is the link between Superstruct Entertainment, the organisers of these festivals, and the Kohlberg, Kravis, Roberts & Co (KKR) fund, which carries out real estate investment developments in areas recognised by international law as Palestinian and which have been illegally occupied by Israel.
KKR, together with the public limited company CPP investments, is the majority investor in the classified businesses of Germany’s Axel Springer Group. One of these classified businesses is Yad2, which advertises housing in East Jerusalem, Gaza and the West Bank.
The Superstruct Entertainment group was taken over by KKR in 2024. The Spanish public was first made aware of the implications following reports by ‘Eldiario.es’ and ‘El Salto’ in January and May 2025, respectively.
Sonar and Viña Rock festivals claim their independence
The Viña Rock festival, renowned for the contentious nature of the artistsin its programme, went ahead from 1 to 3 May without the bands Reincidentes, Fermín Muguruza, Porretas and Sons of Aguirre, and despite the harsh criticism the event received on social networks.
“We have decided not to participate again in the Viña Rock festival nor in the rest of the festivals acquired by KKR until it changes hands”, declared Sons of Aguirre, after joining the communiqués of the other bands, in support of Palestine.
Following the pressure, the festival responded with a statement in which it spoke of a “defamation campaign” and “assured its “independence” with respect to its links with KKR, since “it is essential to make it clear that (KKR) has no influence whatsoever on the functioning and much less on the identity, programming or values of the Viña Rock festival”, says the text released by the organisation. However, the response was not enough for internet users, who described it as hypocritical and incoherent.
Sónar, Spain’s biggest electronic music celebration, held earlier this month, left a deep impression on public opinion for all the wrong reasons.
At least 50 artists and collectives, including Pompeu Fabra University, refused to participate in the event. In response, the festival issued a statement in which it expressed its solidarity with the Palestinian civilian population and stressed its independence.
“We have no interference or, of course, any control over their (KKR’s) investments or decisions. Our independence remains intact in all areas that define Sónar’s identity”, the organisation said in its communiqué.
An increasingly critical public
However, the effort failed to convince its intended audience. The negative response of tens of thousands of people on social media forced the festival organisers to promise refunds to anyone who didn’t want to attend as a matter of principle.
One Instagram user wrote: “Me dancing knowing where my ticket money is going? No thanks.”
“There’s a bit of a statement in your euphemisms. Unfortunately, the disengagement we need is the financial one,” added another.
“A year ago we were not buying KKR’s ticket, why should I now be obliged to have my money stained with blood?” said one commentator.
Now a growing number of festivals are facing similar calls to act. This week’s Resurrection Fest (25-28 June) and Monegros Desert Festival (26 June) have also been hit by artist boycotts.
Other events linked to the KKR fund include Arenal Sound (30 July to 3 August), Granada Sound (12 and 13 September) and FIB Benicàssim (17 and 19 July), as well as up to 30 festivals in Spain that are owned by Superstruct Entertainment together with major national concert promoters.
Gaining influence and neutrality in Europe
Outside Spain, Superstruct has also extended its networks. In January 2025, it bought UK live music events platform Boiler Room, whose workers were quick to voice their concerns about its new owner. In Finland, a collective of workers at the Flow Festival, Helsinki’s main festival, organised a strike to incite audiences and artists to stay away from the event.
After its latest business operations, Superstruct has gained key influence over the giant Live Nation, a leading US company that also operates on European soil.
The Superstruct takeover controversy was heightened by the row over Israel’s participation in Eurovision and the European Broadcasting Union’s (EBU) threats to Spain for issuing a pro-Palestinian statement during the last edition of the contest.
While many big names remain on most bills and line-ups, artists and bands with a smaller impact or following can perhaps vote with their feet and make their feelings clear precisely because they have the least to lose, but the public is clearly becoming more demanding.
The debate as to whether art can remain detached from international conflicts or whether, on the contrary, it should be a platform for political protest, is more alive than ever.