El Bugg

From Motril, by way of the Granada scene

El Bugg is Juan Jiménez Sánchez, from Motril, the port town on the Granada coast, and his music has never really left the orbit of the LM Ganga collective — Las Masas — that he came up through. He has described himself to Fleek as a kid who laughed a lot and wanted to learn, and he was fifteen when the Granada trap scene next door started producing names that travelled: Yung Beef, the La Mafia del Amor circle, a loose network of producers and rappers that gave the province a sound of its own well before Madrid took an interest. He has said there are several tracks recorded with Yung Beef that have never come out.

Getting a career out of that meant moving. He went to Málaga first to put the work on a professional footing, then to Madrid, where he had been living for about two years by the time he spoke to Fleek in 2025. The religion that runs through his recent work is inherited rather than practised: he told ACERO that his grandmother goes to church, that he believes in God without giving him a face or shutting himself inside a religion, and that he treats faith as a working tool for getting things done.

Four projects in four years, then the numbers

The run-up to the album was steady output. Family Friendly Drugs arrived in 2021, Pa las gatas y pa la calle in 2023, then NUEVA CABRA and KITIPONES THE MIXTAPE in 2024. The mixtape is the one that moved him: twelve tracks with a guest list drawn from across the younger Spanish and Latin American urban scenes, including FifoEsFifo, Akriila, Julianno Sosa, El Osito Wito, King Savagge and Baby Boom. Neo2 wrote him up in February 2025 as one of the surprises of the previous year, and the argument there was partly linguistic — a way of talking that lands with listeners born after 2000 and reads as code to everyone else.

The streaming trail backs that up without making him a mainstream figure. His tutor biography at ICON Music Business School, where he teaches composition and production, put him at 404,000 monthly Spotify listeners in July 2026, with more than seventeen million accumulated plays across his main singles: Rifle Talibán (Remix) past 10.5 million and Amor Bandolero past 3.2 million. The earlier collaborations that built that base were with Ill Pekeño, Ergo Pro, Zar1, Glossito and Baby Boom.

The range is the other thing people note. The same school biography lists trap, reggaetón, drill and experimental work as his territory, with Cuban music and the newer Latin American urban scenes feeding in, and a large share of his audience sitting on the other side of the Atlantic. He does not present it as eclecticism for its own sake; what he teaches, according to that page, is the problem of working out an identity inside the Spanish urban scene rather than picking a lane within it.

EL ROSARIO, and the machines as a new religion

EL ROSARIO, released in November 2025, is his second studio album and the first time he has built one around a structure rather than a mood. Its fifteen tracks are divided into five mysteries, borrowed from the way the rosary splits the life of Christ into episodes for daily reflection; he has explained the device plainly, as a frame for looking back at stages of his own life. It opens with I. AVE MARÍA (Intro) and takes in NEEDLES and PARÁLISIS CEREBRAL.

Production and features are spread wide — David Marley, GRECAS, iza tkm, Dinamarca, Sami Duque, Pochi, Saito, Adro and Merca Bae all appear in the credits. Fleek's review called it an open diary in the middle of the night and made the case for hearing it front to back: dense atmospheres and heavy low end built to leave the voice exposed, with the delivery sliding between flat distance and something nearer confession.

The artwork and the album's language push the religious material up against hardware. He told ACERO that the machines will end up being a new religion and that mixing the two ideas was the whole point, and he has been blunt about the technology itself: if AI is capable of replacing you, he said in El Plural in February 2026, then you did not have much credibility as an artist to begin with. He has also framed the record as a preface rather than a peak — a presentation of everything that is coming.

The 2026 run, date by date

The tour was announced in Madrid on 2 February 2026 under the name CULTO AL CÓDIGO TOUR'26 and ran across the year in halls rather than arenas. Barcelona took it on 9 May at Razzmatazz 2, Valencia on 15 May at the Jerusalem Club, Bilbao on 26 September at Sala Santana 27. Granada was added in April, announced alongside the single SEX, a club-facing track he presented as a new phase; that date landed at Sala Aliatar on 3 October, in the city whose scene produced him. Madrid closed the Spanish leg at Sala Shoko on 16 October.

Festivals filled the gaps, with Subsónico in Madrid in June and Riverland in Asturias in August. At the announcement, Málaga plus dates in Mexico and Chile were described as planned; as of 18 October 2026 none of them had surfaced as a confirmed, ticketed show.

That leaves him, two days after the Madrid date, with nothing further on sale. The Spanish ticketing listings mark the whole 2026 run as finished, and Songkick has him off tour, tracked by just over six thousand users. He is booked out of Barcelona by the Polar agency.

What the shows have actually been

Ticket prices across the run sat between €18 and €25, which is the clearest guide to the scale. Razzmatazz 2 had doors at 20:00 and the show at 21:00, €18 in advance and €25 on the night, with entry restricted to sixteen and over or accompanied minors. Bilbao started at 22:00 and Madrid at 21:00, both from €19.80; Granada went on at 21:30 from €18.

The template was set on the previous tour. When he sold out Sala Independance Club in Madrid on 21 February 2025 — the only capital date of that run — Glossito, Ill Pekeño and Ergo Pro all walked on unannounced, and the set leaned on Swiper no robes, Preguntas <3, Amor Bandolero and Switch. What Magazine's write-up four days later described a crowd that sang every song and did not stop jumping, and concluded that he was not a passing fashion.

Nothing in the 2026 billing promised a band. What the Barcelona venue advertised was the album performed as a world, with AVE MARÍA, NEEDLES and PARÁLISIS CEREBRAL named as the reference points and the show sold as something that joins the spiritual, the digital and the everyday. A hall of that size, a 21:00 stage time and a sixteen-plus door is the honest shape of it: a club gig for an audience that mostly found him through streaming.