One of Europe’s most respected electronic music festivals, Sónar Barcelona, is now facing a wave of artist boycotts and community pressure over its financial ties to KKR — a global investment firm linked to controversial sectors including arms manufacturing and operations in occupied territories.
More than 70 artists, including Kode9, Loraine James, Juliana Huxtable, and others, have publicly urged Sónar to cut ties with KKR, which owns Superstruct Entertainment — the parent company behind the festival.
Artists Demand Transparency and Ethics
The collective of musicians and cultural workers isn’t just calling for symbolic gestures. They’re demanding Sónar adopt strict ethical standards in how it selects its partners, books artists, and aligns its values — including adherence to the Boycott, Divestment and Sanctions (BDS) movement guidelines.
The criticism centers around the notion that a forward-thinking, globally celebrated music festival can’t simultaneously be funded by a firm accused of investing in companies that profit from war and oppression.
Sónar’s Response: A Statement, But No Structural Shift
In response, Sónar issued a statement expressing support for Palestinian people and denouncing violence. The festival reiterated its values around diversity, inclusion, and respect for universal human rights. However, the statement stopped short of addressing the demand to sever financial ties with KKR or change its organizational structure.
To many artists and activists, the response felt like a PR bandage rather than a commitment to meaningful change. The BDS movement quickly labeled the festival’s reply as “insufficient,” doubling down on its call for ethical programming and transparent partnerships.
The Larger Conversation: Corporate Capital in Culture
This standoff isn’t isolated — it reflects growing tension in the festival world, where artists and fans are questioning how corporate money shapes cultural output. With increasing awareness of where funding comes from, festivals are no longer seen as neutral spaces. They’re battlegrounds for defining the future of ethical music culture.
Sónar now finds itself at a crossroads: stick to the corporate script or evolve into a model of music festival accountability in the age of Web3 consciousness, global activism, and transparent decentralization.
Degenerate Raver’s Take
Sónar built its rep on being ahead of the curve — musically, visually, and culturally. But being future-forward in 2025 means you don’t just innovate on stage — you check your backers too. If KKR’s got more blood than bass in their portfolio, it’s fair to ask why they’re underwriting a celebration of creativity. Festivals shouldn’t be brand rehab projects for private equity. Respect to the artists who spoke up — that’s the real underground energy.