An immersive experience inspired by Puerto Rico

With Bad Bunny’s arrival in Madrid, the city was filled with Caribbean energy. At FOOTDISTRICT Madrid, we brought that vibe into the store, turning it into another stop on the DTmF Tour: a pop-up dedicated to the adidas Originals x Bad Bunny Merch Tour collection. The experience begins in an airport, continues through the streets of San Juan with a spectacular flamboyán tree, a symbol of Puerto Rico, includes a juice bar and a space to watch life pass by while playing dominoes, and culminates in the most intimate area: a Caribbean home, conceived as the final stop of a journey that began as a trip.

Every detail is designed so visitors can explore the adidas x Bad Bunny Merch Tour collection in an environment that reflects Bad Bunny’s history and creativity.

Opening and Shared Energy

To launch the experience, we invited friends of FOOTDISTRICT on a personalized tour with drinks, music and dancing. The energy of the moment filled the store and accompanied the spirit of the tour throughout its duration.

Dates and Hours

The adidas x Bad Bunny Merch Tour pop-up store will be open in Madrid from May 29 to June 15, 2026.

• Monday – Saturday: 10:30 – 21:00
• Sunday: 11:00 – 18:00

Address: C/ de Valverde 35, Madrid

With the arrival of the DTmF Tour in Europe, FOOTDISTRICT Madrid becomes a new space dedicated to the adidas x Bad Bunny Merch Tour, a meeting point between music, identity, and physical experience.

Madrid as a Meeting Point for Bad Bunny, adidas, and FOOTDISTRICT

In recent years, Madrid has become the center of Latin culture in Europe, a city open to music, and Bad Bunny knows this well: 10 concerts sold out almost instantly.

To celebrate Bad Bunny’s visit, FOOTDISTRICT transforms its Madrid store into the stage of an immersive experience built around the adidas x Bad Bunny Merch Tour, turning every corner into part of a journey from Puerto Rico to the world.

A Journey Inspired by Puerto Rico

The experience unfolds like a journey. The first space recreates an airport terminal, serving both as a starting point and as a symbol of arrival. Visitors are greeted by the red blooms of the flamboyán, the tree that has become a symbol of Puerto Rico and inspired the new edition of the adidas x Bad Bunny Ballerina “Flamboyan.”

The journey continues along a street inspired by Puerto Rico, built from everyday references and neighborhood codes reminiscent of Old San Juan—the colors, the cobblestones, and the chinchorros, small bars where you can stop for a drink and play a game of dominoes.

After passing through the airport and the streets, the tour ends in a more intimate setting: a Puerto Rican home, designed as the emotional conclusion of the story.

Every element is designed so visitors can explore the collection in an environment connected to its story, understanding the project as a physical extension of the creative universe Bad Bunny built around the DTmF Tour.

Dates and Opening Hours

The adidas x Bad Bunny Merch Tour pop-up store will be open to the public in Madrid from May 29 to June 15, 2026.

Monday – Saturday: 10:30 – 21:00
Sunday: 11:00 – 18:00
Address: C/ de Valverde 35, Madrid

Grey Days 2026 celebrates that connection once again through a selection of models and special releases spanning different moments in the brand’s history.

The origin of grey at New Balance

Before becoming an aesthetic symbol, grey was a functional decision. While other running brands focused on bright colours and aggressive combinations, New Balance chose a tone capable of naturally blending into asphalt and urban environments.

That decision ended up defining far more than a colour palette. Grey came to represent a specific way of understanding design: less aggressive, more enduring and deeply connected to the product itself.

Over time, that choice became one of the most recognisable elements of New Balance’s visual identity.

Grey Days 2026: running, archive and new generations

Every May, Grey Days brings together some of New Balance’s most representative models around the colour that has become synonymous with the brand.

For Grey Days 2026, the proposal connects different eras of the New Balance archive through silhouettes featuring ABZORB technology and references linked to multiple generations of running.

Models such as the 2000, 1906, 5030 and 2010 sit alongside new proposals and special editions that reinterpret the brand’s technical legacy from contemporary perspectives.

Through materials like mesh, suede and synthetic overlays, the different sneakers maintain a strong connection to the running universe that defines New Balance history. At the same time, they incorporate visual references from different decades, ranging from more classic constructions to designs inspired by the technical aesthetics of the 2000s.

A Grey Days backyard at FOOTDISTRICT Barcelona

To celebrate Grey Days 2026, FOOTDISTRICT transforms its Barcelona store into a small backyard inspired by the New Balance universe. A space designed to slow down, relax and experience the collection from a different perspective.

The installation translates the Grey Days identity into a physical environment through materials, furniture and a special product selection connected to the campaign. A setting that reflects the original idea behind grey: comfort, calm and a different way of understanding running and design.

A meeting point to discover some of New Balance’s most representative silhouettes and experience Grey Days beyond the product itself.

New Balance Grey Days 2026 at FOOTDISTRICT

Discover the New Balance Grey Days 2026 selection at FOOTDISTRICT and access models, reissues and special releases celebrating the brand’s historical relationship with grey.

Explore the different options available and find the silhouettes that best connect with your style within a collection shaped by running heritage, technical innovation and a distinctive visual identity.

Pablo Alzaga is a photographer who understands sport from every angle, an observer of both the game and the architecture surrounding football, an intuitive trend researcher, and the founder of Matinal, a studio that reveals how football exists across multiple cultural fields.

Matinal should be a football team, but it is something more. Much more. Matinal FC emerges from football, but what sets it apart is everything that happens before and after the game, the universe it builds around it. A world often perceived as separate from football, or at least from the way we used to understand it.

Pablo Alzaga arrives from Los Angeles after experiencing everything adidas is preparing for this football-driven summer. It becomes the perfect moment to speak with him about his personal projects, Matinal, and, of course, what he discovered at adidas in Los Angeles.

Matinal exists somewhere between football, design, and music. How did Matinal FC begin?

Matinal, as it exists today, a creative studio focused on the intersection of football, fashion, and culture, was established at the end of 2022. But before structuring it as an agency, we had already been exploring the idea of decontextualizing traditional football formats. In 2018, together with my partner Nacho Asensio, I founded a creative collective around our lifelong team, CCP (Club Ciudad de los Periodistas). We designed jerseys with adidas and LATIGO, a brand I was working with at the time, where we had already experimented with projects combining these three disciplines, from Dellafuente FC to our split Barça–Madrid jersey. We organized informal matches for creatives and began engaging in cultural conversations with clubs and professional players. Matinal responds to the need to connect what happens on and off the pitch and to facilitate dialogue between both worlds.

You start from global, mass-consumption worlds, yet by combining them you create something closer to the countercultural. Do you feel you are going against the current?

Yes. Historically, football has overly romanticized the idea of “shut up and dribble.” Players have been taught to leave their interests and passions aside and focus solely on performance. Think about what happens when a striker shares an artistic interest online but hasn’t scored in three months, or when a club activates a cultural project while flirting with relegation. We’ve always believed that a certain separation between culture and performance is beneficial for the industry, and it seems this idea is finally gaining traction in some areas of the football ecosystem.

What is the common thread across the content you create — from clothing to music or events?

We are inspired by redefining what it means to be a fan: how people access football through their own passion points, which may be far removed from playing the sport itself, such as design, fashion, art, music, photography, or architecture. In 2026, you don’t need to have stepped into a stadium to be interested in football. This is what we call post-football, the space that exists beyond victory and results.

One thing that sets Matinal FC apart is that you’re real “Sunday league players.” But creatively, there’s also a side of Matinal without a direct connection to football. How do those two sides interact?

Our processes and brand identity also reflect different ways of “being a fan.” Matinal’s origins lie in a Sunday league team where several players work in creative fields. In my case, working in fashion photography, admitting in certain circles that you liked football could be perceived as a red flag — being “that kind of guy.” At the same time, it was quite common to discover creative profiles who also played or consumed football but didn’t have a space to celebrate it with like-minded people.

As for the side without a direct connection, we have a very illustrative example. Sandra Ramiro — our first creative director and the designer of Matinal’s identity — wasn’t particularly interested in football at the time. All her references came from other fields, and that’s evident in many of our designs and even in the logo: it doesn’t resemble any traditional football crest. Any other designer influenced by football aesthetics would have likely arrived at a much more classic, heraldic result. This lack of bias adds significant value and richness to the scene. In fact, within the Matinal team, there are people who don’t like football, at least not in its traditional sense, but connect to it for other reasons. It’s in that friction and diversity of backgrounds where the magic happens.

There’s something about football that has made it transcend the sport itself. When do you think it began functioning as a cultural phenomenon in its own right? In a hyper-professionalized world, what role does the fan play in shaping football’s style and identity?

Football as a cultural and social phenomenon has always been part of its essence. When it comes to style and identity, I think the influence of the fan has grown in recent years compared to clubs and players, who historically set the tone. The football fan profile has diversified: it’s plural, directly connected to culture, and develops a sense of belonging through everything that happens on the pitch and beyond it. The sport is now expected to carry a purpose that extends beyond the stadium. Football no longer belongs exclusively to players and clubs — and the current challenge lies in mastering the conversation both on and off the field.

Do you think sports brands understand the cultural value of football?

Football, like fashion, is “reactive by design”: it waits to see what works and then replicates it with slight changes. Nobody wants to lead, but everyone wants to be among the first. Once again, the path is opened from subculture: Discord groups, run clubs, fictional football teams… I think some sports brands are learning where to look, and it’s very positive that they understand that cultural gravity starts within communities.

There’s a special connection between Matinal and music — or at least with music professionals. How did that relationship come about? What role does music play in shaping football identity today?

Both music and football have a deep sense of belonging and community embedded within them. Few disciplines share these values so strongly, which is why their relationship has always felt natural for Matinal. In terms of product, the concept of merch as a cultural artifact is essentially the same in both worlds: I see no difference between the feeling of crossing paths with someone wearing your team’s jersey or your favorite artist’s t-shirt.

Paco de Lucía, Rod Stewart, Elton John, Julio Iglesias, Bob Marley — there’s a long history between musicians and football. Today, is it associated with a specific style?

I’d summarize that list by saying personality sells tickets. The Gallagher brothers, Leiva, Dellafuente… In the collective imagination of music and football, there isn’t a dominant style, but there is a clear connection. For example, we’ve designed football shirts across a spectrum that ranges from Aitana to Viva Belgrado.

We’re not going to ask which musician is the best footballer, but you’ve organised matches in some pretty unusual places and situations. What do you think is the strangest setting you’ve ever played in? Any anecdotes?

In 2023, we played two matches in the same week against Duki, Milo J, Khea and their crew after a bit of banter during a dinner (Argentina World Cup 2022 vibes). The first match was behind closed doors, but on the second day some kids spotted us entering a sports center in central Madrid, and we ended up playing with more than 100 kids cheering from the sidelines. The younger sister of one of our players had seen us on TikTok.

Fashion has its runways twice a year; football has its own every four. What does the World Cup represent in terms of style?

The symbolic power of World Cup kits — and how they become icons (Spain 94, Germany 94, France 98) — feels like a breath of fresh air compared to the current pace, where clubs release up to four or five kits per season.

What can you tell us about the presentation of adidas kits in Los Angeles?

adidas has shown how it’s dominating the conversation both on and off the pitch. The reintroduction — 36 years later — of the Trefoil logo on World Cup kits is a strong move, with Originals acting as the narrative engine in a space historically reserved for performance. This makes it easier for culturally engaged insiders to connect with football through their own passion points — design, fashion, music — and organically expand the brand’s discourse.

In my opinion, this should be the future of the relationship between football and brands: narratives rooted in their own cultural value, connected to the sporting context yet able to stand independently. What happens around the pitch is now just as relevant as what happens on it.

What interests you most about the communities formed around football — the stands, the streets, creative projects?

I’m interested in analyzing how creative football projects anticipate cultural shifts instead of reacting to them. As I mentioned before, discourse leaders always emerge from the margins.

Football is undergoing a visual, narrative and aesthetic transformation. Where do you think this evolution is heading?

Fans and players are becoming increasingly plural and diverse. Clubs have turned into complex ecosystems. Leagues are no longer just competitions, but festivals. In short, the value of football as a brand now lives both on and off the pitch. It needs to develop its own lore: a narrative thread that keeps fans engaged between seasons, not limited solely to results.

What values or emotions would you like Matinal FC to transmit to future generations of football and culture fans?

Football goes far beyond Sunday matches or sport in the strict sense — it’s part of our identity and everyday life. Human first, athlete second.

The story of Air Max begins like this. With a revelation. With air, hidden for years, exposed for the first time like a truth that could never be concealed again. That decision changed a sneaker, but it also changed a way of seeing. What was visible was no longer enough.

Today, that same logic evolves into the Nike Air Liquid Max, a successor in the Air Max lineage featuring liquid air technology, vibrant nanoprints, and distinctive details such as a tinted translucent rubber outsole. A space where creation and confession begin to blur.

For this launch, we’ve developed an audiovisual piece together with 1111 (mil-ciento-once), an emerging electronic music collective formed by Fedra, Armas, and ru0001. Born from chance, from a fleeting encounter sustained by instinct. Three architects of sound who have shed their fear of pop while maintaining their connection to netcore and the digital underground. Music designed for walking through the city with headphones on, feeling the concrete pulse beneath your feet.

One of the tracks from their upcoming project, La Línea De Puntos, speaks precisely about expectations. About that line someone draws for you to follow. And the decision to break away from it. That’s why 1111 chose this track to recreate it in a new version, exclusively for FOOTDISTRICT. The visual layer developed by Duelo and Ex-All from the track expands on the idea of confession and public exposure, concepts that also lie at the very core of artistic creation.

The Nike Air Liquid Max exists within that same gesture, in the moment it diverges from the prescribed path. Like a confession that seeks not approval, but liberation.

Because in the end, creating is just that. Saying something you didn’t know how to say. And making it visible.

Puma Suede x Charles F. Stead

The Puma Suede has been associated with music since its inception. Created for Walt “Clyde” Frazier, the silhouette (which became popular under other names as well) exploded during the golden era when the New York Knicks won two NBA championships. Frazier was the local idol, and his suede sneakers became the symbol of New York City. Suede, the material chosen by Frazier, allowed for countless color variations, which was a major novelty in the 70s basketball scene.

In this new release, the Puma Suede partners with Charles F. Stead, a British tannery with over a century of experience, to showcase the more handcrafted side of a sneaker where the material is its key feature. And of course, we wanted to bring this launch to FOOTDISTRICT Madrid.

A Sonic Experience

The store was transformed into a stage where leather and the manufacturing process came to life through various interactive experiences. One of the main attractions was the installation of suspended sound cubes, which allowed attendees to immerse themselves in a unique sonic experience. Each cube offered a different music selection, covering genres such as R&B, modern hip hop, and classic rap, creating a rich and dynamic atmosphere that perfectly connected with the spirit of the PUMA Suede.

Additionally, visitors, all of whom were in some way connected to music, had the opportunity to personalize their own PUMA Suede sneakers with a leather pressing system, laces, and charms. Guided by expert craftsmen, attendees were able to experience first-hand the artisanal process that has defined the brand, creating a tangible connection to the leather tradition of Charles F. Stead.

The idea emerged after Thanksgiving: leftovers capture the best of a meal and invite creativity to turn them into something new. So why not make them the core concept of the event? Leftovers was about mixing, reusing, and playing with what already exists. The NB993 might feel familiar — it was created in 2008 as an updated, lighter version of the 992. Not exactly made from leftovers, but certainly a creative way to evolve a design. So the presentation needed to follow the same logic: no fireworks, more like a group of friends getting together to finish what’s left from the night before.

The table wasn’t set; it was intervened. Instead of perfect tablecloths, it was covered with original illustrations by Trazas that guests could take home. Everyone served themselves, building their plate in their own way, blurring the line between host and audience. The photographer and the DJ moved around like any other guest, weaving through the FOOTDISTRICT team and New Balance friends. The motto lingered in the air: “If I make it, I eat it.”

By the end of the night, each guest took home a personalized food container filled with leftovers — a tangible extension of the experience, inviting them to relive it the next day when opening the fridge. A shared suspicion: somewhere, in some kitchen, as those leftovers are reheated, the conversation about the 993 is still going.

Thanksgiving is a MADE IN USA celebration built around gratitude. At FOOTDISTRICT, we believe that something as important as giving thanks shouldn’t be confined to just one day. And we also know that Thanksgiving food doesn’t stay confined to that day either.

With the help of New Balance, we’ve prepared a dinner inspired by the creative reuse of Thanksgiving leftovers. While searching for the most artisanal angle to accompany the New Balance 993 MADE IN USA, we found illustrator Carlos Alamandoz, known as Trazas.

Ahead of the dinner, we wanted to learn more about him, his work… and tried not to ask too many questions about what he’s preparing for us.

How would you define your style? What visual or emotional elements are essential for a piece to feel “very Trazas”?

A simple, kind, and universal style. Something very characteristic of my work is that it’s easy, pleasant, and suitable for all audiences.

If I had to highlight a key visual or emotional element, it would be the sense of movement in the characters and scenes I create.

We’re talking to you in the context of the event we’re organizing with New Balance, inspired by Thanksgiving leftovers. In your own life, you’ve also had “leftovers” from past stages: changes of direction, career shifts… How do you reuse that learning from a world that seems so different in your work today?

I think the past teaches us far more than we realize. In my case, Trazas definitely wouldn’t be what it is today if I hadn’t worked in consulting, if I hadn’t met certain people who inspired me, or if I hadn’t studied the degree I studied.

Likewise, I think that if I hadn’t lived those first almost eight years of a less vocational career, I wouldn’t appreciate my current work as much. Having worked on projects that didn’t motivate me so much has made me value my day-to-day infinitely more.

I think that’s key to how much I enjoy what I do now.

You have a certain connection (at least academically) with the United States. Did you ever experience a Thanksgiving?

Yes, absolutely. During my time studying at ICADE, I took part in a program with Georgetown University, and the truth is that American culture is very different from European culture. There are things I don’t share or don’t like as much, but if there’s something I envy, it’s how proud they are of their traditions, their flag, their country, and their roots.

In that sense, it’s amazing to see how they celebrate Thanksgiving every year and what it means to their society. It’s a beautiful tradition, simply because it exists, because it’s celebrated, and because of what it represents.

In cooking, using leftovers is an almost intimate act—something offered to the closest circle—and at the same time, it’s an exercise in creativity. Is there something similar in art? Do ideas and projects get “recycled”?

Well, you’re not always operating at your creative peak, so revisiting past ideas is always positive as long as they add value.

Your work involves a lot of active participation and direct connection with others—so much so that you take personal commissions that require conversation, something we’ll also be doing during the event with New Balance. How did you realize you wanted to involve others in a creative process that many artists see as deeply personal?

It happened very naturally. I started creating prints and canvases based on my own interests. As a result, all those ideas, hobbies, or passions that I wasn’t including in my work became commissions people asked me to do.
That way, I stayed true to my original collections while adapting to what people were drawn to. At first, it was about hobbies, and later it became life stories, memories from trips…

The truth is, it’s an incredibly special process. Not only because it’s a way to summarize and capture everything learned in a piece, but also because you get to know people’s lives. People open the door to their memories, and it’s remarkable. It’s a super interesting sociological exercise. There are patterns—like the pandemic, the birth of a child, moving homes, changing jobs—that all mark us, but seeing how each person reacts to those moments is a unique experience.

Welcoming those stories turns you into a sort of emotional archive. Does exposing yourself to people change you as an artist?

Yes, that’s exactly what I meant. It’s like entering the intimate part of people’s lives. Being able to summarize it, group it, represent it, and finally deliver it so they can keep it forever is an incredible feeling.
I think this is what has made my work different: it’s very personal and very emotional.

Your artistic career started while you were balancing other jobs. How do you think that double life has influenced your perspective and the stories you tell in your work?

As I said earlier, in every way. Without my past in consulting, I wouldn’t approach many decisions the way I do now. I don’t think it helped me much artistically, but definitely in the business side.
The ambition to always look for the next challenge, or to think in terms of medium- and long-term planning, is crucial to make any project credible, solid, and above all, sustainable over time.

How has your creative approach evolved from your early commissions to the exhibitions and collaborations you do now?

It has evolved enormously—both business-wise and artistically. In my latest exhibition in Seville, I incorporated new techniques, new colors, new formats…
But above all, I’ve had the opportunity to work on unique pieces—one-of-a-kind works that tell their own story beyond collecting static ideas, hobbies, or memories. Now the artwork itself starts telling you its idea.

Though you’ve been dedicated to art for some time, you don’t come from a traditional academic background. Do you feel that has become an advantage when shaping your own visual language?

Maybe, yes—because I don’t have any artistic framework telling me what I should or shouldn’t do. I’ve followed my intuition, my memories, my interests, and my way of seeing life.

As I’ve said before, there are two constant sources of inspiration for me: the comics I read as a kid, which clearly influence my work; and the travels I took during those almost eight years working for others. I always carried a Moleskine and a Rotring pen with me, and it helped me gain fluency as I drew—often depicting scenes with very little, which is still very visible in my work today.

Your pieces seem built from simple, very recognizable elements. Is that apparent simplicity a conscious search? Is it easier to connect with the viewer without artifice?

Yes, it’s something I’ve always wanted to reflect in my work: that with very little, or through something very simple, a story can be understood. But I also believed it was especially important that it be universal—something that could be understood here and in other cultures or countries. That’s something I saw clearly this year with my work in Paris and Dubai.

What role do you think art plays in today’s society, especially at a time when everything moves fast and is consumed quickly?

I think there’s an urgent need to return to the artisanal, to well-made things, to reconnect with what’s human and simple.
The hyperstimulated society we live in has great advantages and offers incredibly valuable tools, but it has also affected us negatively.

I believe the desire to pause, breathe, and appreciate things made slowly, by hand, as they used to be done, is a trend that will only grow.

Simplicity, the escape from artifice, and a kind, warm final result—Trazas will present his work at a dinner where he will share space with the New Balance 993.

The gathering took place as an intimate dinner in Barcelona, at Segundo Espacio — a place created by FOOTDISTRICT to foster encounters between different communities — yet its concept reached further: a cultural fusion conceived as a gesture of gratitude to those who have inspired their journey and believed in their vision from the very beginning. Far from superficial shine, Winner Circle placed its focus on the table, an ancestral symbol of unity.

The space was transformed into a warm, inviting atmosphere, with a long table that naturally encouraged honest, open conversation. Gastronomy became the central narrative vehicle: the African tasting menu, crafted by Abarka, turned each dish into a sensory story.

The guests were essential allies — people who understand the art of stepping outside the norm and who build community through unwavering coherence. The evening brought together not only familiar names but those who truly make a difference with their vision and talent, elevating the value of the brand through loyalty and mutual respect.

The night concluded with a live cultural performance, a final act that sealed an atmosphere of shared inspiration and creativity. The experience unfolded with authenticity and elegance — a reminder that, for Winner Circle Collective, success is not solitary but communal. It was a night made to share, to inspire, and to celebrate the creative culture flourishing in Spain.

The presentation of “Los Perros no Entienden Internet (…Y Yo no Entiendo de Sentimientos)” was the moment to bring those contrasts to the stage. At FOOTDISTRICT, we joined him during this new chapter, where the adidas Adistar Control 5 stand at the center of his attitude. We spoke with Marcos about how all these elements — from music to wardrobe — help build a complex personality that has become one of today’s key references in the scene.

The wardrobe we see on stage and in Depresión Sonora’s visuals — is that your own style? Is there a conscious difference between the person and the character through clothing?

It’s 100% my own clothes. I don’t like feeling like I’m wearing a costume, and I truly believe in the authenticity of a project where the personal aesthetic is essential. There has to be a unique personality that doesn’t separate the person from the character.

Depresión Sonora isn’t defined by a specific style, but the project’s name might create certain visual expectations. Do you feel that name has limited or, on the contrary, strengthened your aesthetic freedom?

I think it’s a play on words that might box the project in at first, but once you understand it, it can take you to many places. The visual identity has evolved over time, and growing up in an alternative environment gave me the freedom to choose. I could show up looking like a goth and people would find it normal — but my soul is way more hip-hop.

In your experience, do you think clothing can really influence your mood before a show or how you connect with the audience while performing?

Absolutely. When you feel comfortable with your appearance, it gives you the confidence to give everything on stage.

Do you believe certain pieces — like a specific jacket or type of sneaker — have the power to communicate something, simply because of their historical link to certain music genres or movements?

Clothing and aesthetics are key cultural elements. Many brands are associated with specific music styles and urban tribes. I’ve been buying the same type of sneakers from the same brand for years because the older kids I looked up to wore them — they symbolized belonging.

As a musician with a sharp visual sensibility, has photography — its composition, light, and texture — influenced the way you shape your image in videos and photoshoots?

Just like I aim for a very specific sound aesthetic to evoke precise emotions, I do the same visually. I pay attention to how everything is filmed. This time, all the music videos were shot with digital cameras from 2005 to 2009. There’s also a lot of MiniDV footage and video synth processing. Everything has to feel cohesive to truly convey what you want to express.

We’ve often seen you wearing Bad Brains or Nirvana tees and shoegaze-inspired caps. Do these choices create a cohesive visual story, or are they simply nods to the bands that influence you?

I really like the merch and aesthetics of 90s bands. They’re mostly tributes to those groups, but they end up becoming part of who you are — and part of your aesthetic.

Your beginnings were purely lo-fi and DIY. Now that Depresión Sonora plays on big stages, how do you balance the transition from the “bedroom” aesthetic to large-scale formats? Is it important to maintain a recognizable visual identity despite the change in scale?

As long as you stay authentic, everything that was born in your room will follow you wherever you go. Of course, you have to be mindful of the people you work with, but it’s essential to stay true to the philosophy that got you here.

A narrative of authenticity and cohesion in which Marcos includes the adidas Adistar Control 5, the model that accompanied him through the presentation of “Los Perros no Entienden Internet (…Y Yo no Entiendo de Sentimientos).”