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The profile · researched 16 September 2026
Brian Wilson rebuilt in a Barcelona guitar museum
Homenatge a Brian Wilson is a two-night production for Aclam Club in Barcelona, directed by the producers David Soler and Marcel Bagés, that pulls apart Wilson's arrangements and rebuilds them for a large band, strings and choir. It was announced for 8 and 9 October 2026; as of mid-September it is no longer on the club's own calendar.
A production, not a band
Homenatge a Brian Wilson has no permanent line-up, no discography and no tour. It is a one-room commission: a show built by Aclam Club in Barcelona for two nights, 8 and 9 October 2026, at Carrer del Consell de Cent 201, with doors at 19:00 and music at 20:00 and advance tickets at €65 plus booking fees. Only the two performances were offered.
Direction sits with El Extintor — also written L'Extintor, and trading as Extintor Produccions — the working partnership of the musicians and producers David Soler and Marcel Bagés. The club's own billing was blunt about what it was not: not a conventional tribute, but a contemporary reinterpretation of Wilson's writing, with new arrangements intended to translate the material into a different sonic language rather than reproduce it. The staging promised a large band with a string section, a choir and orchestral percussion, plus guest artists, in a production conceived for that room and no other.
The structural idea is the part that separates it from the covers circuit. Each piece was to begin with a fragment of the original recording played to the room; then someone who knows the Wilson catalogue in detail would set out the context and the working history behind that composition; then the band would play its own version. Listening, explanation, performance — in that order, song after song.
Soler, Bagés and the Extintor workshop
Marcel Bagés is a Barcelona multi-instrumentalist, composer and producer, best known outside production circles for his long partnership with the singer Maria Arnal. David Soler's playing and studio credits run through Chris Cheek, Andrés Calamaro and Love of Lesbian. Since 2020 the two have worked as a unit, producing and building tracks for Maria Arnal, Lagartija Nick, Guillem Gisbert and Juanjo Bona, among others.
Their catalogue as a pair includes Nico Roig's Yo siempre sueño que sí in 2020, work with Clara Peya on Agua en el pulmón in 2022, and El perro andaluz the same year. That is the relevant background here: neither man arrived at the Wilson material as a fan with a guitar, and both spend their working lives taking recordings apart at component level — which is roughly what a Wilson arrangement demands of anyone trying to reproduce it.
The name doubles as a description of the approach. Extintor projects tend to start from the recording rather than the song sheet, sampling fragments of the source and rebuilding instrumental passages around them, so what reaches the stage is closer to a remake than a cover.
The method, road-tested on Pink Floyd
The Wilson show did not appear from nowhere. In December 2023, at the same club, El Extintor staged The Rave Side of the Moon, a reworking of Pink Floyd's The Dark Side of the Moon with the singer Víctor Partido. The stated premise was to treat the record as if it had been written half a century later rather than restage it as a museum piece.
The instrumentation made the point. Drums and bass were dropped entirely. What remained was pedal steel, synthesisers and modular gear, with guitar and piano interventions over the top, fragments of the original recordings sampled and instrumental sections rebuilt as electronic music. The Catalan write-up of that night called it hypnotic and executed with real command, and singled out the clarity of the club's sound as the thing that let the detail through.
The show came back on 28 April 2026, doors at 19:00 for an 20:00 start, tickets at €48, this time with a short set from Jon Carin — a musician embedded in the Pink Floyd orbit since the 1980s, with touring and studio work for David Gilmour and Roger Waters and credits alongside The Who, Pete Townshend and Kate Bush. The pattern is consistent: one canonical record, stripped to its parts, rebuilt by two producers, and a guest with a genuine claim on the source material brought in alongside.
A room with 300 guitars on the walls
Aclam Club sits in L'Esquerra de l'Eixample, owned by Jordi Canivell and programmed by Marcel Cavaller. It began as a members' club for people obsessed with guitars, vintage motorcycles and analogue cameras, and reshaped itself during the pandemic into a cultural space open to a wider audience. More than 300 acoustic and electric guitars hang on its walls, among them a D'Aquisto New Yorker that belonged to the jazz guitarist Grant Green.
The programming explains the shape of the Wilson show. Alongside concerts, the club runs Aclam Sessions — composition workshops, masterclasses and long conversations with musicians and photographers, with Enric Montefusco and Portishead's Adrian Utley among those who have taken part. Cavaller has been explicit that the educational side and access to the creative process come first. A tribute that stops between numbers to explain how a record was assembled is entirely in keeping with that, and would look eccentric almost anywhere else.
Capacity is small. The rest of the autumn 2026 calendar — Chicuelo, Carles Benavent with Roger Mas, Emma Swift and Luther Russell, Will Hoge, Little Barrie — runs at the same scale, which is why a production carrying strings, a choir and orchestral percussion was billed as exceptional rather than routine.
The material: 1966 and what came after
Wilson was born in Inglewood, California, on 20 June 1942 and died in Beverly Hills on 11 June 2025, aged 82, of respiratory arrest. The tribute was announced for October 2026, sixteen months later.
The catalogue it draws on is narrow and steep. Pet Sounds appeared in May 1966. 'Good Vibrations' reached number one in the United States in December of the same year. Smile, the album meant to follow, was abandoned as Wilson's mental health deteriorated, and only reached a finished form in 2004 as Brian Wilson Presents Smile. The 2014 film Love & Mercy put the studio years and the collapse in front of a much larger audience than the records ever had. Wilson toured regularly between 1999 and 2022.
That material is the technical problem the Extintor approach exists to solve. The records were built in the studio out of stacked vocal parts and instrument combinations that were never meant to be reproduced by a group standing on a stage, which is why straight tribute acts tend either to thin them out or to mime along with backing tracks. Rebuilding the arrangements for a specific band in a specific room, and telling the audience what was on the original tape before playing anything, is a different answer to the same question.
Where it stands, September 2026
As of 16 September 2026 there are no dates on sale. The Aclam Club agenda runs from Chicuelo Trio on 18 September and Kenny 'Blues Boss' Wayne on 20 September to Carles Benavent with Roger Mas on 2 October, then jumps straight to Emma Swift and Luther Russell on 15 October. There is no entry for 8 or 9 October, and the club's own page for the show now returns a 404. Third-party listing sites still carry both dates.
No explanation has been published, and none should be inferred from the absence alone — the listing may have been pulled for any number of reasons. What can be said is that the club is not currently selling tickets for it.
The track record suggests this is not the last of it. El Extintor's Pink Floyd show ran at Aclam in December 2023 and returned, expanded and with a guest, in April 2026. A Wilson production built to the same template, with a larger cast than the Floyd version ever carried, is the kind of thing that tends to reappear on a calendar rather than disappear from one.
The show, now
The show as billed runs a single evening block at Aclam Club, doors at 19:00 and music from 20:00, in a small Eixample room lined with more than 300 guitars — a seated, close-quarters space rather than a concert hall. The cast is unusually large for the venue: a full band under the direction of David Soler and Marcel Bagés, with a string section, a choir, orchestral percussion and guest artists, assembled for these two nights only. The format is deliberately interrupted. Each piece opens with a fragment of Brian Wilson's original recording played to the room; someone versed in the catalogue then explains the context and the studio history behind it; the band follows with its own arrangement, written to carry the song into a different sonic register rather than reproduce the record. There is no support act — the talk sections do that job. The nearest guide to how it sounds in practice is the same team's Pink Floyd reworking in the same room, where they dropped drums and bass, worked from pedal steel, synthesisers, modular gear, guitar and piano, and sampled fragments of the source; reviewers of that night called it hypnotic and picked out the club's sound as clear enough to hear every detail. Tickets were €65 in advance. Nothing is currently on sale.
Researched from aclamclub.cat · aclamclub.cat · aclamclub.cat · requesound.com · requesound.com · culturaca.com · beteve.cat · en.wikipedia.org