Cadiz Carnival 2025 has showcased the emotive performance of the group 'Las Ratas' during the Gran Final of the Concurso Oficial de Agrupaciones Carnavalescas (COAC). This group, renowned for its poetic style and musicality, captured the audience's attention with heartfelt lyrics and dark, urban aesthetics.
On February 28, 2025, as the celebrations marked the Day of Andalusia and culminated with the carnival's final competition, 'Las Ratas' delivered their first pasodoble, dedicated to the memory of Manuel José García Caparrós, a young Malaga native who was tragically killed on December 4, 1977, during pro-autonomy demonstrations. The pasodoble opened with the raising of the Andalusian flag and featured moving lines such as "It’s been 48 years since cowardice took my life," reflecting deep sorrow and resonance with historical injustices.
Reported by _Somos_, the performance also emphasized the importance of remembering Caparrós and the struggles of the Andalusian people over the years. This tribute was cleverly intertwined with references to contemporary issues, particularly the rise of touristification affecting local residents.
Jesus Bienvenido, the mastermind behind 'Las Ratas', returned to the COAC after eight years, and his impact on the style and direction of the carnival is legendary. Critics and fans have praised his decision to craft compositions with deep meanings, addressing not only local history but also pressing social themes such as the Palestinian situation and the crisis of public health services.
Alongside their poignant tributes, they addressed the closing of the Cambalache bar, another beloved local institution, with lyrics celebrating community and resilience. The pasodoble dedicated to the bar poignantly captured the spirit of camaraderie and farewells, ending on the note: "The last round and we’re off so we can toast to the people." This moment revealed the blend of nostalgia and humor characteristic of carnival performances.
Each piece performed by 'Las Ratas' connected with broader social issues, representing the voices of citizens struggling against the forces of change pushing them out of their homes to accommodate the influx of tourism. With lyrics denouncing rising rental prices and evoking the plight of everyday residents, they reminded the audience of the consequences of unchecked commercialization.
Throughout the performance, their urban-themed imagery and emotive lyricism attracted attention across various social media platforms, quickly going viral as audiences expressed their appreciation for such relevant artistry. Clips from the performance were shared extensively, highlighting not only their musical talent but also their commitment to social commentary.
The second part of their performance featured humorous, yet pointed, cuplets. One touched on the comical notion of alien encounters, whilst another explored the strange case of missing roosters from Valladolid, encapsulating the light-hearted aspect of carnival often juxtaposed against serious themes. The closing line from one of the cuplets, exploding with unexpected humor, was emblematic of the playful, irreverent spirit of the carnival: "Well, I curse their dead!"
'Las Ratas' emerged as one of the most memorable and impactful groups of the festival, asserting their legacy within the canon of the Cadiz Carnival. Their performances not only honored historical figures and local institutions but also created dialogue on present-day struggles. Audiences departed not only entertained but also thoughtful about the themes presented, aligning the festival’s joyous atmosphere with serious reflections relevant to modern society.
Jesus Bienvenido’s return to the carnival with 'Las Ratas' has undoubtedly struck chords beyond music; it serves as a foundation for remembrance and reminders of the values central to the Andalusian identity. With every note, 'Las Ratas' reaffirms the power of art as both entertainment and activism, inspiring future generations to keep speaking out through song.