Trapaseros, Zeta-Zetas Claim Top Honors at Santa Cruz Murga Final

The Santa Cruz de Tenerife Adult Murga Contest Final is a gathering for everyone: dedicated fans, carnival-goers, those who only know a few popular songs, and people just looking for a good time. And everyone, without exception, packed the fairground until there wasn't an empty spot.

After nearly two days of social media buzzing about Thursday's jury decision, the Murga Gala felt like a big reunion, much like the Oscars. The stage brought together La Sonora, Diablos Locos, Diabólicas, Triqui-Traques, Tiralenguas, Zeta-Zetas, Trapaseros, and Bambones. The evening began at 8:00 PM with the Afilarmónica Nifu Nifa, the Carnival's original murga, performing. Alexis Hernández and Laura Afonso, familiar voices for this event, hosted the night.

After welcoming the eight murga groups to a full house, the jury announced the winners. Trapaseros took first prize in the Performance category, with Bambones coming in second (both groups repeating their previous positions), and Tiralenguas securing third. Diablos Locos received an honorable mention.

In the Presentation category, Zeta-Zetas won first place with a design by Joshua Sánchez. Diablos Locos came in second with a costume by Lito Díaz, and Marchilongas took third, also designed by Joshua Sánchez. Bambones received an honorable mention for their costume by Josué Quevedo.

Breaking the ice is always tough, and for the second year in a row, La Sonora took on this role. Carlos Estévanez's group, who had already made a plea for Canarian entrepreneurs in the preliminary round, presented a carefully crafted performance dedicated to Carnival and its fans.

After their opening song, "the time has come, listen, with La Sonora," they began their first theme: "What if we imagine a better world?" They sang about turning things upside down and fixing problems quickly, focusing on the reality of the island's North and South. They criticized traffic jams, asking, "If you didn't have to get up early to come from the North to work and not get stuck in the traffic jam of El Sauzal." Healthcare was also a target: "And if to treat any illness, you could stay in the North or the South, in your hospital," highlighting that solutions are concentrated in metropolitan areas, leaving others out.

Their lyrics then moved to the cost of living: "And what if products were so cheap that you wouldn't have to finance that purchase." They imagined avocados at one euro a kilo, reminding everyone that the Canary Islands have one of the most expensive shopping baskets, "only within reach of a privileged few." They strongly defended the primary sector, demanding respect for agriculture, livestock, and fishing, "which are our raw materials." The song continued with wishes for young Canarians to stay home instead of emigrating, an end to corruption, and proper regulation of the housing market, all part of a song called "Canarias has a limit," accompanied by a simulated protest on stage.

The theme ended with a nod to Carnival itself: "And what if the murga groups that are no longer here suddenly come up to sing today." Ni Pico Ni Corto, Trabachones, Sofocadas, and Desbocados appeared, delivering a clear message: "Our intention is to perform again, as we don't understand life without Carnival." The group from Añaza performed their best songs during the preliminary round, as expected.

Their second competition song, "Guayota," focused on the emergency kit given by the Island Council to Garachico residents during a drill for a potential Teide eruption. "A white backpack, and with what's inside, we're going to save ourselves, but you have to know how to use it," they sang. They used a flashlight to darken the venue, "to bring light to so much darkness," criticizing the Canarian Government's lack of clarity.

Next, a binder with invoices and fines appeared, "They'll reach you, wherever you are." An emotional moment came with "Grandma's croquette recipe. That's vital." A string of toiletries followed, leading to a joke: "With this toiletry bag, I'd better go south." They connected this to the situation in La Palma with a video of a victim and mentioned a thermal blanket, preferring the local "esperancera" one, "Because when Teide explodes, it will be damn cold."

The best part was the end. An alarm sounded, and the venue prepared for a drill. "The important thing, the authorities," they announced, and politicians stood up and left. The murga concluded: "And now we can stop the drill, because those who were superfluous here have already left." The audience stood up. They sounded good but didn't quite captivate the audience. Was this a new strategy to save their best material for the final?

Tomy Carvajal's group had a clear goal this year: to reach the final after narrowly missing out last time, with 28 finals already under their belt. They showed their determination in the preliminary round, declaring their essence was still alive. Their presentation was a direct dedication to the fans: "Without you, a final will never be complete." Some audience members even joined them on stage for their opening song.

As the murga left the stage, screens showed a breaking news report: "Breaking news, a catastrophe is approaching, but it's not clear if it's a solar storm, an alien invasion…" A "cheerful reporter" from the Víctor Asensio bike lane returned the connection to the studio. The presenter then warned: "We ask all citizens to go to the bunker. This is not a drill. Please, everyone go to the bunker." The murga, now ordinary citizens, ran from the sides towards their refuge: the stage.

This began a humorous theme about various characters meeting in the bunker. There was water, lots of beer, and "in come the purebred carnival-goers. This is their home." Primi tried to take control but "with Tomy next to him, he won't get anywhere." A Tenerife fan kept dreaming, and another character even brought his espresso, leading to "My love, I'll make you a barraquito with lemon peel." They connected with the audience, though some words were hard to understand. They blended humor and criticism, explaining to the elders how to "destroy" the bollards in Santa Cruz that cause so many falls and how to insult Tarife.

The climax arrived with a nighttime blackout: "It is informed that in five seconds the lights will be turned off, it is recommended that you go in an orderly fashion to your bunk." The bunker then turned "into a bumper car track." "There's even a waiting list, just like in healthcare," sang the "trónicos." Instructions came: "The fat ones go up, the thin ones go down." A member jumped onto a top bunk, "from Temu," which instantly fell apart: "The thin guy goes to hell." The audience laughed. There was even room for cockroaches, and with Los Cornucas, winners of the Song of Laughter, on stage, they sang a piece of the lyrics that won them First Prize for Performance in past editions.

The theme's conclusion raised the tone: "In my bunker, I also have people whom society sometimes forgets." They sang: "They are small for many, but they are truly immense." On stage were people with motor diversity, two of them members of Desatadas and Mamelucos. The venue stood up.

It's hard to understand them in some parts, as clear speaking has never been the "trónicos'" strong suit. However, they had a good time, and the audience seemed to as well. They continued with a new theme: on the screens, the Councillor for Festivities received a call from a hidden number. "Please, don't do anything, ask me for whatever you want," said Caraballero, linking to a popular song. Then, Scary Trónico appeared: "Today I will be the assassin never seen before here in the venue. I come here to kill, I say it and I don't hide." He took the microphone and told a joke: "Do you know what an assassin does to entertain himself? Kills time." In a string of mischief, they blurted out: "It was I who scheduled the murga groups for Saturday," referring to the conflict over changing the final's day.

Then came the "pranks." First, aimed at TV Canaria, reviewing impossible camera shots at the worst moments. They kidnapped Alexis Hernández and Laura Afonso to exchange them for Carnival characters. La Lecherita burst in to give the verdict, and suddenly, confetti exploded, which has been banned for years in the Fairground. The theme became diluted when they tried to play a "trick" on the sound technician, introducing autotune and mixing audios. Nothing was understood —which was the intention— but the story suffered. They linked it with Bermúdez and Patricia Hernández, who "kissed" as part of the "trick": "Today I have made them love each other."

Before closing, they announced: "I have two more pranks left." First, aimed at the Presentation jury, criticizing that only the costume's back is judged from the stage, not during the performance, which discourages complete costume work. Then, they kidnapped a ticket tout at the venue's entrance and brought him onto the stage, denouncing a practice that happens every year. The audience applauded and cheered.

But there was still more. Tomy Carvajal's group dedicated their final performance to Javier Sierra, mayor of Icod de los Vinos, who had suffered homophobic graffiti in his municipality. They removed their masks, and Sierra appeared on stage. In a show of solidarity, the entire murga did the same and ended on a high note. They came to have a good time and succeeded. Crazy. Fun. Simply, "trónicos." Thank you for doing the most difficult thing in this contest: humor.

Sara Febles' group, led by a natural murga leader, was the big surprise of the fourth preliminary round, earning their spot in the final through sheer merit. With sharp criticism in both themes and powerful vocals, they debuted in the Murga Final, also representing women's groups.

Their first theme, "The Transports," offered social criticism using mobility in the Canary Islands as its central idea. They started by mentioning Trapaseros and Mamelucos in relation to a past conflict. They continued by condemning the racism faced by migrants: "I already have a transport, in a dinghy and to the sea." Then came the scooter, "which is now in fashion," used to criticize the lack of accessibility in Santa Cruz. In a two-voice song, they addressed the issue of queues in the Canary Islands, though this vocal technique sometimes made the words hard to understand.

The lyrics moved on to the bicycle, referencing the well-known bike lane: "Now I go by bike from Santa Cruz to Teide. Since everything here goes up, I'm getting used to it." From there, they linked a series of increasing problems on the Islands: waiting lists —"with luck they'll call me before I die"—, the price of water, gasoline, and housing: "I pay €800 as a tenant." "Everything goes up here except the Tete. Here, only the businessman wins," they sang. The song concluded by using the parade float as transport to discuss Carnival, condemning the violence at the festival and recalling last year's incident where a young man died.

It was no surprise that the group from Ofra used their best material in the preliminary round to secure their place. With "Extranjerizadas" (Foreignized), they became "a guiri" (foreigner), or as they sang: "A Canarian born in Holland, which is normal here now." From there, they built arguments against mass tourism and the excessive settlement of foreigners on the Islands. They also used Carnival as an example: "If we talk about Carnivals, we are influenced, the theme of going as 'guirufos' (foreigners) is already clichéd," while pointing out that "now the Coso (main parade) here is filled with foreigners, and ironically, they are the ones dressed as 'chicharreros' (people from Santa Cruz)."

They defended the controversial Cuna del Alma project: "for the foreigner, hotel and beach; for La Palma, containers," and criticized social imbalance: "The foreigner sets up their beach bar, and the Canarian is stuck in a Berlingo van." The theme ended by distinguishing the type of foreigner they do defend: the migrant. They sounded good, and that was about it. Congratulations for being here.

It's unknown if fate reserved a place for Triqui-Traques in the Murga Final precisely the year "La Posesa" celebrated two decades. This murga classic continues to rack up YouTube views and marked a turning point in their history. Under that premise, and in a year of changes, Emilio López's group took to the Latin Rhythms stage.

The Carnival tribe began with their first theme, "The Evictors," a clear social critique of various issues already discussed in the contest, but approached with wit. First, a mention of Ángel Víctor Torres, former president of the Canary Islands: "Ángel Víctor Torres took care of everything. So much so that with the masks, he played dumb, but time takes care of everything," alluding to him no longer being in power. They continued with another "occupation," that of badly parked cars, at which point the lyrics became unclear before resuming with a reference to the bike lane. There was also space to defend the self-employed and link it to Santa Cruz's municipal cleaning company: "They only 'un-occupy' themselves by doing their duties," they stated, also recalling that "Bermúdez does nothing." They connected this with a criticism of the Festivities area, "turned into a business," to end by defending Carnival. Did they finish the song yesterday?

From criticism, they shifted to humor with their second theme, transforming into Sonny Angels, the collectible Japanese figures popular for hanging on mobile phones. Thus they presented "Still and stopped, you have me hanging in your hands." It promised much and did get some laughs. They began by detailing the different types: "This has more shapes than a chameleon." "I'm more still than Father Anchieta, than the Snowman, and than your shotgun when you wake up with a stunner," they sang, among other humorous jabs like "I only have a helmet, but I have no clothes, that's why your phone case sticks to my balls."

From there, they narrated the experiences of a Sonny Angel hanging from a mobile phone: "I hear everything you say. Also the dick pics you send." They continued with their experience at a concert: "I look like a broken-down Fred Olsen (ferry). From here to there, from there to here." There was also room for "a 'choni' approached me, her eyes were red, surely something fell into her eyes." And a "super cool Sonny Angel" from Verdellada entered the scene, saying: "What's up, bro?"

They were experiencing a final, and that was their best prize, even if it felt a bit too grand for them. They were better in the preliminary round.

Their last Final was in 2019, and perhaps the fresh energy Tiralenguas brought this year, with a change in artistic direction, made a difference. José Antonio Vera, the murga's founder, stepped aside for Osel Martín, and the handover was noticeable. They repeated their presentation, this time without Fabiola Socas due to illness, but they didn't lose their magic. Beautiful, beautiful, and beautiful. "Always by your side," sang the group from Icod, with Vera on stage officially passing the baton to Osel.

"The cycling tour returns to Spain 38 years later," the screens announced from a news report, which immediately changed its headline: "Breaking news, the cycling tour is canceled." "Hey kid, what do we do now with all these bicycles?" they sang, to begin a tour of the Island. "Watch out for the streets. What a climb from Anaga Avenue to La Salud." With well-crafted lyrics, they criticized the Mobility Plan the Government intended to implement in the Canary Islands. "With the scooters, they did get it right. I have one that's customized. I go up La Cuesta Piedra at over 100." And they stated firmly: "If I have to go by bike, I don't mind, but nobody buys this Plan." "A Sustainable Mobility Plan? It's totally unsustainable," they repeated, calling it "institutional propaganda."

On their route, they reached Teide to complain about the overcrowding of natural spaces. "Our father Teide cries," they sang, criticizing the disrespect of many visitors. The musical choice didn't fully support the lyrics, making them sound more read than sung, becoming somewhat monotonous. The conclusion raised the tone again with the overexploitation of southern Tenerife: "Everything is for the hotels. It's my land, and it hurts me how they sold the South." "The Canary Islands are not for sale; they are loved and defended," they concluded.

They are not disliked. They sound good and are understood, a credit to Xerach Casanova's musical direction. For the second theme, some members teased each other and thus presented "The Labels." The staging was reminiscent of Zeta-Zetas' famous Post-it, this time in white. They started with a game with the audience: they described a well-dressed man, with slicked-back hair, a vest, and a Spanish flag bracelet. The audience responded "a 'facha' (fascist)." The murga replied: "I told you not to judge, the label will be 'defender of the homeland.'" They repeated the exercise with the opposite extreme: wide pants, a flute to earn a few euros, and a mixed-breed dog. "A 'perroflauta' (hippie/leftist)," the audience shouted. "I told you not to judge, the label will be 'defender of the cause.'" And so they launched the message: "There's no need to ridicule for the way one thinks."

From there, they moved to defend Canarians, who are often labeled as lazy: "I am poor but not an idiot." They listed jobs: in banana plantations, cleaning hotels and stairs, or "in hospitality, I work night and day." The correct label, they said, is clear: "I am just an underpaid worker. An exploited worker." There was also space to talk about labels among friends: "The chubby one always went to goal. The thin one was the noodle or the toothpick. They laughed at the short one because he couldn't reach the urinal." And they concluded: "Behind every label, there is a life." The ending was powerful: with the help of a screen, the characters transformed into X-rays to demonstrate "that we are all equal." "I want to break all labels and give them a resounding no," they sang before getting the venue on its feet when they apologized to Humberto Gonar for having made fun of his physique in other lyrics. Up to the task. In total, four well-worked themes, with substance and coherence. However, it was not easy to surpass "El Mago del Norte."

2024 will be a landmark year for Zeta-Zetas. But what's past is past —as the song says— because after securing a spot in the Final last year, they were back again tonight. They repeated their presentation, which was already a hit in the preliminary round, though the lyrics are still being deciphered. That said, what a rhythm!

Brito's legendary theme introductions returned, with him characterized as a funeral home maintenance manager. With touches of humor, he announced what emerged from the four tombs on stage. "Our past," and thus references to other years paraded by, culminating with Ángel Cabrera, director of ZZ, in a direct criticism of those who insist that the best times were those of Javier Lemus: "This is now our present."

With the Fairground dark "and the dead buried," the visual impact was clear. The murga sang seated, simulating being underground: "I'm stiff. Still. With so much dust here, we're going to drown." From the coffin, "scandals" began to emerge: a mask to denounce a corruption case, an extension cord to point out "nepotism" in politics, and the board game 'Operation' to criticize healthcare queues. The complaint by influencer Rudy against Trapaseros and Mamelucos also appeared, something "that even dead we won't let pass." "I won't be silent," they proclaimed, giving way to representatives of different murga groups to defend "expressing myself freely, this is my legacy." The theme continued with gender violence and an appeal against sexism, linked to the tombs as a symbol of the women who are no longer here. The conclusion raised the murga from their burial with a clear message: "The people no longer have to pay," reminding everyone that this is no longer Tenerifelicidad (a play on Tenerife and happiness).

The second theme was presented as a live podcast recording. "For the first time in history," announced its presenter, who introduced various guests. "Today we are your voice," they proclaimed, and victims of rare diseases appeared. They continued with farmers, with Nito from ‘Frutas y Verduras’ (Fruits and Vegetables), who delivered a forceful message: "Our agriculture is also pure talent. Europe already sold us out; don't leave us alone." The murga responded by singing: "The crops here get sick, damn it, my farmers here are seeds of our land," while distributing fruit among the audience in homage to the primary sector.

The podcast continued with small businesses and the situation of the Rastro (flea market). A representative raised his voice: "Deceived, weekend after weekend with lies. The Rastro has to be in La Recova." The murga thus denounced that "they changed the location without asking them" and threw a direct dart at Tarife: "You don't decide its place; you are the one who bothers this city." The theme culminated in a symbolic demonstration joined by the entire venue, with a Canarian flag among the audience and signs with messages like "Don't steal what's ours. Protect your people. Don't sicken our land. The Canary Islands are defended." They remained buried. It lacked wit.

The winners of the 2025 First Prize for Performance have firmly established themselves as one of the top murga groups, as they say in Carnival circles. Favorites throughout all four preliminary rounds and qualified for the Final with the highest score, they arrived at the Fairground under the direction of Adrián García, one of the most outstanding artistic directors in current Carnival.

On the screens, a warning: "What you think can never happen, will be possible when you least expect it." Immediately after, "This is not a drill. If you have the application downloaded, an alert should be sounding right now." The audience's mobile phones lit up red while a warning signal filled the venue. "Because today the impossible becomes reality," they announced to begin their first theme. "Since childhood, they tell you that you won't be able to," they sang, listing everyday and Carnival impossibilities: "impossible like Tosco, with his television, a miracle if anyone watches it," "impossible for a shrimp to remain in San Andrés," "impossible for them to charge me 20 euros for a rum in the canteen," or "impossible to see Chaladas sing here." The impossible ceased to be so when Chaladas took the stage after winning a Criticón award, cheered by the audience to the rhythm of "Lo, lo, lo, lo."

After this moment, they continued: "Impossible, the word the councillor used, impossible to see the musical groups perform tonight," referring to the conflict between murga groups and musical groups over the Saturday Final. Trapaseros made it possible by inviting the Salsabor group, which took the opportunity to present its costume and send a clear message: "It's not their fault; stop fighting." With a banner included and a direct message to the municipal corporation: "What happened on Saturday doesn't matter; what we shouldn't do is sing after a final." Another impossible occurred: Bermúdez and Patricia hugged and kissed, although with the clarification that the actual mayor did not attend the Final out of respect for the passing of Ricardo Melchior.

One of the most celebrated moments came with the apology to Rudy for allegedly calling him racist: "I apologize if I called you racist," they concluded with irony: "I apologize because I don't intend to pay you a damn thing." The venue erupted in applause. "I didn't write that lyric; it was by a 'canarión' (person from Gran Canaria) lyricist," they sang before asking the audience to define Rudy. The response was "fascist," and the murga concluded with humor: "Rudy is an artist." They continued by making another unprecedented scene possible: a live blood donation, while a summary of the campaign promoted by the murga during the day was projected on the screens. They took the opportunity to sing about healthcare: "We don't want more nepotism; we want more responsibility," denouncing job insecurity in the sector. They closed the theme with a completely dedicated audience.

And there was still more. The Canarian Super Bowl arrived, Trapaseros style, a meticulously planned show bearing Javier Lemus's signature. Before the murga began, Los Sabandeños sang the anthem of the Canary Islands a cappella, moving the audience, who accompanied with their mobile phones lit up, forming the colors of the flag. From there, the stage transformed into a grand show: dancers, Mel Ömana, and "the Super Bowl halftime show." Trapaseros became a football team and sang: "They say we are not a murga, that I only seek a victory, I give you the victory, I live by my style and by living my own story."

They recalled situations from the last Final: "Three murga groups were affected. Bambones, Mamelucos, and Trapaseros," criticizing that last year the organization brought the three groups onto the stage without them having yet sung from the stands. They criticized the military parade on Armed Forces Day and paid homage to the Canarian military. Afterwards, the soloist from Efecto Pasillo appeared on a float representing the Sardine, accompanied by widows to criticize Councillor Evelyn's management, especially what happened on Méndez Núñez street last year, where there were falls and stumbles because they forgot to remove the bollards and speed bumps.

The energy and power with which they sing are overwhelming. And that is undeniable. Rosana delivered a speech: "Traditions must be felt, and not be in museums." And so, on stage, representations of different Canarian traditions such as La Rama or the Tazacorte rams. They finished.

The venue stood up, applauding to accompany them with their farewell. And now, the debate: what is a murga? Does the lyrics take precedence? Is innovation respected? A mix of lyrics and spectacle? Many questions. Many opinions. But one thing is clear: Trapaseros came with a First Prize under their arm, and they proved it.

True to their style and essence, as they described in their preliminary round presentation, Bambones closed the day, which was not easy after Trapaseros' 'big hit.' However, Primi's group is Carnival history, and just their entrance, sung on Monday and which the entire venue had studied, captivates. Their opening song, an anthem that, with their voices, is a gift to hear. As many times as necessary.

With "The Great Armada," they began their first competition song, while a good part of the audience waved Spanish flags, a key element around which the criticism revolved. From the start, the message was direct: "Santa Cruz all blocked, neighbors screwed over, and you playing soldiers," they sang, pointing to Bermúdez and questioning the militarization of the city in the face of real problems. That same flag served to denounce contradictions: "That same flag that did not welcome children from dinghies."

From there, they deployed their particular "troop": homeless people, "soldiers who have fallen and whom you have never helped up," neighbors fed up with broken promises, the "Toscal battalion," trapped between construction and squatting, or San Andrés, whose problems "will not be solved by building a hotel." They also criticized the intention to open shops on Sundays: "If you want them to open, take the keys and open them yourself." The focus then shifted to the jury, with a nod to the Carnival Queen as the true representative of the people, chosen by the people, "unlike the Kings of Spain."

The theme grew when the stage transformed into "a parade without soldiers; this truly is something of ours." La Fufa toured the venue, Binter planes dropped chocolates, and several extras formed a large Canarian flag among the audience with scarves. "We only cry for the sardine," they sang, before presenting the Taco Music Band. They concluded with a direct comparison: "My parade won't have a banquet at the Marítimo, nor a stand of cronies like happens in the Final." The venue, surrendered, stood up. The final message was clear and forceful: "In Santa Cruz, we are more about Carnivals, with no space for the military."

The second theme began with a video of statements by Bermúdez in which he asked the murga groups to "reconsider." The response was immediate and visual: the entire murga moved to one side of the stage to "think," in a clear nod to 'going to the corner' (a common punishment for children). From there, they began to sing with subtle irony: "We murga members go too far; singing what we think is a lack of education," ridiculing the message received.

From that point, they proposed —also sarcastically— a supposed change of style. "Even if I lose, comrade, and also my fans… let's see, don't call Tarife…," they threatened to soften their discourse. But it didn't last long. "Nah," they corrected themselves, to make it clear: "No, I'm not going to shut up even a little bit." They then resumed direct criticism, pointing out the situation in La Salud and El Toscal: "Your solution is for the police to go around closing establishments." And they added: "If you want me to lower my tone to avoid getting into trouble, I won't run away like you, abandoning the neighborhood and the La Salud market."

The focus then shifted to Javier Caraballero, Councillor for Festivities. "Nothing offends you, the one with the eternal smile," they sang, while television cameras focused on the councilor, who indeed maintained his expression. "Everyone knows you always hire production companies by favoritism. If you keep smiling, it's because I'm doing the right thing." They also recalled his management during the last edition, when "you waited until the last minute to assess the suspension of a Coso (main parade) in a Carnival where a person lost their life," criticizing that the decision was rushed "with the excuse" of the weather.

In another twist, they involved the audience: "Dear fans, listen to the mayor and reflect. Come, let's join hands. Don't applaud me; you have to hold back; stay firm there." Although they mentioned realities like "the homeless in the 'chumberas' (prickly pear areas), fifteen years waiting" or launched a direct criticism at Abascal —"get out of here"—, they insisted: "Don't applaud me." Until the restraint broke. The murga rose and began to call things by their name: "He who robs the people is a thief; he who evicts an elderly person is a scoundrel; he who bullies is an abuser." A direct and unfiltered tirade that got the venue on its feet and closed the theme on a high note. "Now that's a great murga!" sang the audience at the end of their performance. And they were not wrong.