SANTA MARÍA DE PUNILLA, Córdoba – The first day of at the Cosquín Rock festival unfolded under a pleasant sun, offering ideal conditions for enjoying music outdoors. The walk between the Norte and Sur stages, the festival’s two main venues, takes approximately ten minutes, and the layout, with stages also positioned to the east and west, creates a dynamic sonic blend as different musical styles intersect.
Music began shortly after , with Microtul, Golo’s Band, and singer-songwriter Chechi de Marcos kicking off the event on the Boomerang, La Casita del Blues, and Montaña stages, respectively. Pop-rock band 1915 followed on the Boomerang stage at .
As the festival grounds filled, a diverse age range became apparent. Attendees spanned from young children accompanied by family to adults over 50, with the majority falling into the young adult demographic. Many attendees expressed their support for specific artists through clothing, flags, and accessories.
Eruca Sativa was the first band to play to a substantial crowd, taking the Norte stage at . The power trio, comprised of Lula Bertoldi (guitar and vocals), Brenda Martín (bass), and Gabriel Pedernera (drums), all hailing from Córdoba province, performed tracks from their latest album, A tres días de la Tierra. A highlight of their set was a performance of “Amor Ausente” featuring a guest appearance by Abel Pintos.
El Zar followed on the Norte stage at , attracting a varied and increasingly enthusiastic audience. As the sun reappeared, Bandalos Chinos joined the group led by Facundo Castaño Montoya on stage to perform “Bahía,” which was enthusiastically sung along to by the crowd. They also played hits like “Superstar,” “El Momento Perfecto,” and closed with “La Declaración.”
At , Marilina Bertoldi presented selections from her recent album, Para quién trabajas, on the Montaña stage. A Uruguayan flag in the audience indicated international attendees. Ten minutes later, the Ecuadorian-Swiss guitar duo Hermanos Gutiérrez took the stage at Boomerang.
As the afternoon progressed, the sun intensified, and fans began using handheld fans. Shortly before , an ambulance siren sounded near the Norte stage, but it was quickly revealed to be Joaquín Levinton playfully referencing a recent hospitalization. Turf opened with Levinton, dressed in white, performing “No se llama amor.” The band, with nearly three decades of experience, was met with enthusiastic applause and a lively mosh pit.
The twenty-sixth edition of Cosquín Rock, held at the Aeródromo de Santa María de Punilla, began on Valentine’s Day. Despite its name, the festival has become known for its diverse lineup spanning multiple genres. This year’s event features over one hundred national and international artists, both established and emerging.
Attendees like Carla, Verónica, and Luisa, three friends from Córdoba, came specifically to see Abel Pintos, Ciro, and Lali. They plan to continue exploring the area during the carnival holidays following the festival. Hugo, Beatriz, and their son Ramiro traveled from La Rioja to see Dillom perform, with Ramiro noting he needed to return home for an exam on Wednesday.
The performances of El Kuelgue on the Montaña stage at were followed by a significant choice for attendees at : Dillom on the Norte stage and Ciro y los Persas on the Sur stage.
Dillom, sporting a cowboy hat, pink shirt, and black tie, began his set expressing his love for the audience. His performance of “Reality,” incorporating a riff from Depeche Mode’s “Personal Jesus,” was a highlight. He also performed a rendition of “I wanna live” by the Ramones. He celebrated it being his fifth consecutive Cosquín appearance, and played “Cirugía,” “Pelotuda,” and a slowed-down version of “220.”
Meanwhile, Ciro y los Persas, recently reunited, drew a large crowd. Ciro wished everyone a happy Valentine’s Day before performing “Reiki y yoga” and a cover of “Como Alí,” a song by Los Piojos. He surprised the audience with a cover of “Me matan limón” by Patricio Rey y sus Redonditos de Ricota, and invited Mollo, formerly of Sumo and Divididos, to perform “Morella.” Ricardo’s contribution was described as “leaving the guitar small.”
Below the stage, a sea of flags waved, a tradition at Los Piojos performances. The clouds seemed to favor the Sur stage, leaving the Norte stage bathed in sunlight. El Cuarteto de Nos performed “El hijo de Hernández” on the Montaña stage at , while Ciro announced a concert at the Diego Armando Maradona stadium on , and closed with “El farolito.”
At , Babasónicos took the Norte stage, with Adrián Dárgelos sporting a red shirt worn open, reminiscent of Sandro. They performed songs from their new album, Cuerpos, Vol.1, as well as classics from their 35-year career. They played “Vampi,” “Puesto,” and “Como eran las cosas,” and asked if Cosquín Rock was the best festival in South America.
Finally, at , Lali took the Norte stage, opening with “Lokura.” Her outfit, a collage of publications mentioning her, was a statement in itself. She performed songs from her latest album, No vayas a atender cuando el demonio llama, and hits like “Sexy” and “Tu novia II.” She declared it was her second time performing at the festival, and encouraged the audience to jump during “Motiveishon.” She closed with a cover of “Los viejos vinagres” by Sumo, and announced two upcoming concerts at the Estadio Monumental.
