Festival Estéreo Picnic 2026 is nearly here, and is a great way to find out more about Latin music alongside serious international superstars
Festival Estéreo Picnic 2026 is only a few weeks away now, with artists including Tyler, the Creator and Sabrina Carpenter topping a typically star-studded bill on the 20th-22nd of March. Having cemented its place in the centre of Bogotá, the event continues to be the biggest draw in town.
This year, it’s a three-day event. That seems like a good move, concentrating quality into a long weekend rather than stretching things over four days. Adult tickets start at COP$523,000 for a single day and are available online via Ticketmaster here.
Full fest regular passes are at COP$1,413,000 and Sat-Sun at COP$939,000. VIP rates are significantly higher, with a full 3 day pass clocking in at COP$2,899,000. Prices will increase in the coming weeks.
Cultural tourism is now a heavyweight part of the sector and is rapidly diversifying away from purely traditional events like Barranquilla Carnival. That means a lot more travellers timing trips to coincide with festivals like Estéreo Picnic.
It’s easy to see why. Not only do you get a stellar international lineup, but also a peek at the flow of a Latin crowd. With prices competitive compared to North America and Europe, it’s a good way to see international stars along with your holiday.
In a word: fantastic. Since the move back to the heart of the city, everything now flows pretty much seamlessly. Considering the size of the event, this is quite an achievement. It’s a cashless wristband affair, meaning you don’t have to worry about carrying too much cash.
There’s two big stages as well as a frequently interesting third stage set behind the second stage, often home to some of the more quirky and/or local acts. Hometown hip-hoppers La Etnnia’s set in 2024 was emblematic of that.
Of course, you’ll find getting to the front tricky with thousands of people in front of you, but there’s no VIP barriers to contend with and good views of most stages across the site. Bands are timed to avoid clashes, so you should be able to catch everyone on your list, even if from far away and there’s little dead time to contend with.
Food and drink is reasonably priced: you won’t be able to find a corrientazo bargain, but neither is it airport pricing. There’s a wide selection of local chains and some internationals with all tastes catered for, usually including fully vegan stands. The park’s normal drinking water fountains keep running through the festival too, with long lines.
If you’re getting tired after hours in a field, there are lots of seated spaces or grass to lie on, as well as tents in which to keep warm or shelter from rain. If you find yourself between bands, there’s a wide selection of shops and stalls to peruse. If things are really going south, there are dedicated chill-out spots and medical support.
Festival Estéreo Picnic 2026 will be starting off front foot forward, with Tyler, The Creator headlining Friday night. Kiwi popster Lorde is the undercard here, with Turnstile bound to attract a big audience, given how much of a rock city Bogotá is.
On Saturday night, traditionally the biggest party of the weekend, the festival is going back to a tried and trusted favourite: The Killers. They’ve played Colombia a half dozen times over the past decade, so this isn’t breaking new ground, but will be popular.
There’s plenty of international quality down the bill on the middle day too, with Swedish House Mafia likely to go down an absolute storm, The Whitest Boy Alive popular and Tom Morello guaranteed to make a political statement.
For the final night, there’s a mix of contemporary talent and big name legends. Sabrina Carpenter ticks the first box, while Skrillex, Deftones and Interpol tick the latter. Scottish Britpop survivors Travis are timing things perfectly for a rendition of Why Does It Always Rain On Me.
So, there’s plenty of well-known names you’ll recognise from international charts, but what about the local and Latin talent? After all, you can catch many of the big names around the world, but this might be your only chance to check out local talent.
These bands are usually scheduled earlier in the day, giving you the perfect excuse to rock up early and miss the queues for peaktime entrance around 6pm. Sadly, the local scene isn’t always the best attended, meaning that it’ll be easy to get up nice and close for most of these bands.
Nicolás y los Fumadores are as classic rolo rockcito as they come and command a strong following in the capital. 80s-infused Pirineos en Llamas are popping over from Medellín. Up-and-coming popster Manú is touring last year’s album, while Zarigüeya mix pop with carranga rhythms.
Viral Mexican sensation Macario Martínez is a young version of the classic Latin pop-rock crooners of yesteryear. From Quito is Machaka, highlighting Ecuadorian and wider Latin culture via tropipop. Spain is represented by Guitarricadelafuente and Judeline.
Cult kitsch octogenarian Peruvian legend La Tigresa Del Oriente plays the cabaret tent. It’s hard to describe precisely what she’s like, as she ploughs her own furrow, but this will be packed and spectacular. FEP fixture La Ramona will also play there. DJs such as Briela Veneno, Babath and Silvia Ponce are also onsite for electronica fans.
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Musical instruments are far more than tools for producing sound: they embody the cultural identity of a territory, carrying spiritual meanings, collective memory, and the deep-rooted expressions that shape a community’s history. Colombia en un Aliento 2026 (Colombia in a Breath 2026) invites audiences on a sonic journey through the country’s wind instruments, encouraging reflection on how human breath and aerophones have shaped identities, spiritual practices, and spaces of encounter from pre-Hispanic times to the present day.
Conceived as a national cultural project, Colombia en un aliento: instrumentos de viento que narran un país (Wind Instruments That Tell the Story of a Nation) brings together ancestral knowledge, popular traditions, and contemporary artistic creation. Through an interdisciplinary approach, the initiative connects past, present, and future via a wide-ranging cultural program structured around four thematic lines.
El soplo como rito de la vida (Breath as a Rite of Life) explores the symbolic and ritual significance of wind instruments among Indigenous and Afro-Colombian cultures, where blowing air through wood is understood as an act of vitality, spirituality, and connection with the natural world. In these traditions, breath is not merely physical – it is a force that sustains life, memory, and the sacred.
El viento del encuentro (The Wind of Encounter) focuses on the social and communal role of wind instruments in fiestas, carnivals, and collective celebrations. From village plazas to major public gatherings, these instruments create shared rhythms, reinforce bonds of belonging, and transform music into a space for encounter and social cohesion.
Alientos universales, músicas locales (Universal Breaths, Local Music) examines historical processes of cultural exchange, mestizaje, and adaptation. It traces how wind instruments introduced from other parts of the world were reinterpreted across Colombia’s diverse regions, giving rise to musical expressions deeply rooted in local landscapes, histories, and identities.
Respirar el future (Breathing the Future) looks toward contemporary creation techniques, from experimentation with digital technologies to new sonic languages. The section reflects on current artistic practices in which tradition and innovation coexist, opening pathways for composition, teaching, and cultural narratives.
Together, these four thematic pillars support spaces for reflection and research, that strengthen Colombia’s sound identity. From making local knowledge visible and fostering cultural innovation, more than a series, Colombia en un Aliento / Colombia in a Breath proposes a collective experience – an invitation to understand wind instruments as symbols of life, resistance, and social cohesion.
As a year-long project by the Cultural Subdirectorate of the Banco de la República – Central Bank – this initiative will continue in 2027 with a new thematic focus on the human voice as a sonic element, expanding its exploration of sound as a carrier of memory and meaning.
The initiative will be officially launched with the public conversation “El soplo y los instrumentos: sonidos que cuentan historias / Breath and Instruments: Sounds That Tell Stories” on Tuesday, February 3 at 5:00 p.m. in the Audiovisual Hall of the Luis Ángel Arango Library (BLAA) in Bogotá.
The event will feature José Pérez de Arce, Chilean musicologist and leading authority on ancestral aerophones; Humberto Galindo, Colombian researcher and director of the Museo Mundo Sonoro; and Luis Fernando Franco, composer and co-founder of Guana Récords with more than four decades dedicated to musical research and creation.
The conversation will also be streamed live on Banrepcultural’s YouTube channel, opening this shared reflection on breath, sound, and identity to audiences in Colombia and internationally.
For more information visit the cultural page of the Central Bank: https://www.banrepcultural.org/noticias/instrumentos-de-viento-en-colombia-en-un-aliento-2026
The Teatro Mayor Julio Mario Santo Domingo has unveiled its 2026 programme, outlining 116 productions and 178 performances across opera, dance, theatre, music, circus and family shows. The announcement reinforces the theatre’s role as one of Bogotá’s leading cultural institutions, bringing national and international artists to audiences across the capital.
A highlight of the year will be the focus on Germany as Guest Country of Honor, with six events in music and dance that reflect that nation’s contemporary artistic landscape. The most anticipated is the arrival of the Berlin Philharmonic, which will perform in Colombia for the first time in its 186-year history. Led by Kirill Petrenko, the orchestra will offer two October concerts – its first appearance in South America in more than 25 years.
The 2026 lyric season builds on collaborations forged with cultural institutions in Colombia, Spain and Latin America, among them Madrid’s Teatro de la Zarzuela, Fundación Juan March, the Orquesta Sinfónica Nacional de Colombia, Coro Nacional de Colombia and the Orquesta Filarmónica de Bogotá.
The season includes new stagings of Wagner’s The Flying Dutchman (El holandés errante), directed musically by Stefan Lano and scenically by Marcelo Lombardero, and Puccini’s La bohème, conducted by Andrés Orozco Estrada with stage direction by Pedro Salazar. The zarzuelas La tabernera del puerto and El Vizconde will also be presented.
Audiences can expect landmark choral works: Beethoven’s Ninth Symphony, Bach’s St. Matthew Passion, Mahler’s Resurrection Symphony, and Furioso, a musical exploration of the mythical figure Orlando performed by countertenor Xavier Sabata and French ensemble Le Concert de l’Hostel Dieu.
The programming in dance, theatre and circus highlights companies working at the forefront of contemporary creation. The Budapest-based dance troupe Recirquel returns with Paradisum, while international dance companies – including Germany’s tanzmainz, Australia’s Sydney Dance Company, the Ballet Español de la Comunidad de Madrid, the Ballet Folclórico de la Universidad de Guadalajara and Chile’s Ballet Municipal de Santiago – offer a unique slate of choreographic perspectives. The latter will perform Swan Lake.
The theatre lineup brings Spanish award-winning works such as El Monstre by Josep María Miró and En mitad de tanto fuego by Alberto Conejero. Colombian companies including La Quinta del Lobo, Grupo Móvil Flotante and La Casa de Atrás will present co-productions with the theatre. 2026 will also see the premiere of Destinitos fatales, Sandro Romero Rey’s tribute to writer Andrés Caicedo ahead of the 50th anniversary of his death in 2027.
Teatro Mayor will again take part in the programming of the Festival Internacional de Artes Vivas – FIAV Bogotá during Holy Week, strengthening its links with the city’s broader cultural calendar.
In its commitment to showcasing Colombia’s artistic diversity, Teatro Mayor will host the launch events of several major national festivals, including the Festival de la Leyenda Vallenata, the Festival de Música del Pacífico Petronio Álvarez and the Festival de Música Andina “Mono Núñez.” International series such as the Festival de Fado, featuring Camané and Sara Correia, and Tango al Mayor, which will include concerts, masterclasses and a grand milonga, will complement the season.
Public-focused programmes – Teatro Digital and Cien Mil Niños al Mayor – will remain active throughout the year, expanding free access for students and encouraging arts accessibility across the nation’s capital.
Teatro Mayor operates as a public-private partnership and with its 2026 programme, reaffirms its role as a key cultural platform for Bogotá – one that connects local audiences with a broad spectrum of artistic expressions from Colombia and around the world.
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