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The profile · researched 7 September 2026
Hombres G’s long road back to the front rows
Madrid’s Hombres G turned teenage pop hooks into a pan‑Spanish and Latin American phenomenon in the 1980s. Four decades on, they are touring Spain and Mexico through late 2026 behind a new documentary film, with nights that still run to two hours and end in massed sing‑alongs.
From Madrid rehearsal rooms to transatlantic fervour
Hombres G formed in Madrid in 1983 when school friends David Summers, Rafa Gutiérrez, Daniel “Dani” Mezquita and Javier “Javi” Molina began writing brisk, funny songs steeped in new wave and early rock ’n’ roll. Within two years they had a debut album, Hombres G, out in 1985, and singles such as Devuélveme a mi chica and Venezia turned them into a mainstream fixture in Spain and a fast‑growing export across Latin America. Their early ascent spilled beyond records: the band fronted two films at the height of the boom — Sufre mamón (released in 1987) and Suéltate el pelo (1988) — that enshrined their mix of cheek, melody and gang‑of‑four chemistry.
The scale of the initial rush is well‑documented by the group and contemporary press. In a May 2026 retrospective interview timed to the release of a new documentary, El País recounts both the chaotic early club years and the rapid step up to bullrings and stadiums by 1987, plus the intense polarity they provoked in Spain before finding an even bigger embrace in the Americas. The group’s official site and that piece sketch the same origin story: four friends, a habit of writing fast, and a knack for turning everyday teenage plots into anthems that older crowds eventually claimed as theirs.
The work that stuck
The early run — Hombres G (1985), La cagaste… Burt Lancaster (1986) and Estamos locos… ¿o qué? (1987) — supplies much of the nightly spine even now: Marta tiene un marcapasos, El ataque de las chicas cocodrilo, Visite nuestro bar, Temblando and Te quiero remain the songs that lock generations together. Their fifth LP, Voy a pasármelo bien (1989), closed out the decade with another seam of durable material.
After a pause following Historia del bikini (1992), Hombres G reconvened in the 2000s. The comeback gathered pace with Todo esto es muy extraño (2004) and 10 (2007). The latter earned a nomination at the 9th Annual Latin Grammy Awards in 2008 (Best Pop Album by a Duo or Group With Vocal), a rare nod to a veteran Spanish pop band in that era. The catalogue refreshed again in the 2010s: En la playa (2011) was a collaborative studio/live hybrid; 30 años y un día (2015) captured a career‑spanning set at Las Ventas; and Resurrección arrived on 15 March 2019 as their first studio album in nine years, cut with contemporary production muscle but still written to land in big rooms.
A band that kept writing: from La esquina de Rowland to 2026
The pandemic years produced another late‑period turn. La esquina de Rowland, released on 8 October 2021, was recorded with Summers writing at home and the band trading parts remotely before reconvening onstage; Warner Music Spain issued a boxed set edition as the record rolled out. Spanish TV appearances through autumn 2021 underlined that this was a writing band again, not only a heritage draw.
That line continues into the present cycle. The new documentary Los mejores años de nuestra vida — an original Movistar Plus+ feature directed by Charlie Arnaiz and Alberto Ortega — opened in Spanish cinemas on 8 May 2026, setting up a year focused on the group’s past and present in parallel. In interviews around opening week they framed the film as a look forward as much as back, and hinted at ongoing studio work as the tour gathered momentum.
2026: film in cinemas, new music in the diary, and a tour that fills plazas
Live Nation España announced that the Los mejores años de nuestra vida tour would run across Spain from spring to winter 2026, opening on 16 May in Albacete and closing with two shows at the new Movistar Arena Madrid on 11 and 12 December. Through summer the itinerary threaded festivals and city venues, including Icónica Santalucía Sevilla Fest at Plaza de España on 3–4 July, Marenostrum Fuengirola on 1 August and other late‑summer arena bookings now on sale for Granada (19 September) and Barcelona (3 October).
The tour also crosses the Atlantic in autumn. OCESA confirmed Mexico City’s Auditorio Nacional for 13 and 18 October 2026 and Guadalajara’s Auditorio Telmex for 20 October, with ticketing handled via the Mexican arms of the major platforms. In Seville on 4 July, the band told Europa Press they had a new single slated for late September or early October 2026 to coincide with the film’s move to platforms, reinforcing that this is an active cycle rather than a purely commemorative run.
Night after night: what turns up in the set now
Recent shows are generous and tightly framed. A representative set from 23 June 2026 at the Recinto Ferial de Torrejón de Ardoz ran 22 songs and mapped the group’s arc: it opened with Voy a pasármelo bien and El ataque de las chicas cocodrilo; hit a mid‑set run of En mi coche, Si no te tengo a ti, Lo noto and Te quiero; then closed out with Los mejores años de nuestra vida, Temblando, Venezia and Devuélveme a mi chica. The tour branding earns its keep — the run is built around the idea of the band’s best years being current, and the nightly song order makes that point by mixing a 2000s comeback single (Lo noto) into the centre and placing a new title track in the encore before the final 1980s surge. Setlist data across the summer shows that this pattern holds with small changes for festivals or curfews.
Where they play within a multi‑artist bill, timings are tight but punchy. At the Lava Live Festival in Arrecife, Lanzarote on 14 June 2026, organisers slated Hombres G for a 22:00 start on a night that also featured La Cabra Mecánica and other Spanish‑language acts; the festival reported more than 12,000 attendees over the opening weekend, with Hombres G among the most cited reasons for attendance in post‑event surveys.
What the 2026 rooms feel like
The reaction this summer has been audible and measurable. In Seville’s Plaza de España on 3–4 July 2026, Europa Press reported a full house and relayed the band’s own verdict that it was their best show in Andalucía; the local edition of El Español described the plaza becoming a vast chorus, with the audience’s voice often overtaking the PA on the hits. The physical scale is matched by a touring production the group themselves call a bigger build than in prior cycles: they emphasise the lighting and staging work carried in this run, tailored to outdoor monuments as well as arenas.
The band’s cross‑border base remains firm. In the United States they were back in large rooms in 2025, co‑headlining Huevos Revueltos with Enanitos Verdes at the American Airlines Center in Dallas on 10 July. In Mexico this autumn they return to auditoria that have anchored their presence since the 1980s as the film and tour flow into a new single. Spain, meanwhile, is set for a late‑year finish in Madrid after a run of September–October arena stops.
The show, now
In 2026 Hombres G are playing a two‑hour, full‑band show that runs to around 22 songs and deliberately blends eras. Recent nights, such as Torrejón de Ardoz on 23 June 2026, open at pace with Voy a pasármelo bien and El ataque de las chicas cocodrilo, roll through mid‑set staples En mi coche, Si no te tengo a ti, Lo noto and Te quiero, and finish with a four‑song burst — Los mejores años de nuestra vida, Temblando, Venezia and Devuélveme a mi chica — that sends the room out singing. The production has stepped up for plazas and arenas alike this year, a point the band underlined during their sold‑out Plaza de España appearance at Icónica Sevilla Fest on 3–4 July 2026. Festival hits include a 22:00 stage time at Arrecife’s Lava Live; standalone bookings in Spain are joined by Mexico City (Auditorio Nacional, 13 and 18 October 2026) and Guadalajara (Auditorio Telmex, 20 October). The Spanish leg closes in Madrid on 11–12 December 2026 at Movistar Arena.
Researched from elpais.com · media.livenation.es · livenation.es · ticketmaster.es · ticketmaster.com.mx · prensaocesa.prowly.com · setlist.fm · europapress.es
Pictures
Photographs from Wikimedia Commons, credited
nvivo.es, 5gig · CC BY-SA 2.0
Oliver Alexander Anderson Huerta from Mexico · CC BY 2.0
This image is from a Canadian newspaper and was not published in the United Stat · Public domain
livepict.com · CC BY-SA 3.0
