The Disastrous Return of Amaia Montero with Van Gogh’s Ear: A Cautionary Tale
A Long-Awaited Comeback
Thirty thousand people packed the BEC in Barakaldo for two nights to witness one of the most anticipated returns in Spanish pop music: Amaia Montero rejoined La Oreja de Van Gogh nearly twenty years after her departure. Her tour, titled “So Many Things to Tell,” aimed to both close a chapter and potentially open a new one. Unfortunately, the initial concerts sparked discussions for vastly different reasons than those anticipated.
The Ear, the Return
On October 15, 2025, when La Oreja de Van Gogh officially announced Montero’s return, tickets sold out within hours across numerous cities. Due to overwhelming demand, new dates were quickly added. With 16 scheduled stops until November 2026, including the Movistar Arena in Madrid and Palau Sant Jordi in Barcelona, the tour quickly became one of Spain’s pop spectacles of the year.
The Spark that Ignited the Tour
The countdown began in July 2024 when Montero made a surprise appearance during Karol G’s concert at the Santiago Bernabéu, performing “Rosas,” a hallmark of La Oreja. The audience’s excitement led to the unexpected departure of Leire Martínez, the band’s vocalist for 17 years, who left due to “different ways of living the group.” Montero’s official return was confirmed a year later, coinciding with the band’s 30th anniversary and the 25th of their iconic album, El Viaje de Copperpot.
What Went Awry in Barakaldo
On May 9, 2026, the tour launched to a crowd of 18,000 eager fans. Montero appeared in a striking pink jumpsuit and revealed her struggles, stating, “I went down to hell itself, but with my scars, here I am.” However, critiques quickly emerged, emphasizing her lack of vocal precision and issues hitting high notes. The viral moment came during her performance of “Nothing Compares 2 U,” where Montero herself admitted, “I do it terribly.” Despite a year of preparation, many noted persistent technical deficiencies that could have been corrected by adjusting key signatures to better suit her current vocal range.
Changes for the Second Concert
By the second concert on May 10, the setlist was trimmed from 25 to 22 songs. The most problematic numbers, including “Nothing Compares 2 U” and “The Girl Who Cries at Your Parties,” were dropped to avoid further vocal mishaps. Montero’s regained confidence was evident, but the omission of songs from Martínez’s tenure highlighted the divisions within the fan base.
Divided Fan Reactions
The return sparked a civil war of sorts among fans. Those who followed Montero throughout her earlier fame—now thirty-somethings—saw the concert as a triumphant return. In contrast, fans who came to the band during Martínez’s era found Montero’s performances lacking compared to her predecessor’s technical prowess. Many in Martínez’s camp publicly criticized Montero’s limitations, fueling animosity on social media.
The Comeback Syndrome
Not all nostalgic reunions fulfill expectations; many, like that of the Sex Pistols in 1996, reveal that the original magic has faded. These attempts often come off as desperate, as bands struggle to reconcile past energy with current realities. La Oreja de Van Gogh’s predicament is no exception, with financial motivations overshadowing the interpersonal dynamics among the band members.
Conclusion: A Cautionary Tale
The disastrous return of Amaia Montero highlights the risks of relying on nostalgia for commercial success. As La Oreja de Van Gogh confronts internal fractures and public backlash, the struggle between nostalgia and reality becomes ever more apparent. Montero and the band face the daunting task of reshaping their legacy while grappling with the haunting specters of both past glories and present-day challenges.