The Lemon Twigs + Mod Lang – 15 October 2026 (Sala Paral·lel 62 – Barcelona)

Featuring 1960s-style tunes, twelve-string guitars and frequent instrument changes, The Lemon Twigs’ concert is a celebration of rock ‘n’ roll and classic pop, building in intensity as the setlist progresses.

The Lemon Twigs, Paral·lel 62 Barcelona 2026 – Photo taken by Meritxell Rosell for Indieofilo^©

Brian and Michael D’Addario seem to have stepped straight out of the mod boom of the 1960s and the wild days of 1970s glam rock. With their vintage style, love of vocal harmonies, and knack for catchy melodies, the two brothers have transformed their passion for pop from a bygone era into a unique sound. Their music echoes The Beatles, The Byrds and The Beach Boys, , they have a distinct sense of theatrics on stage, where they swap instruments and have fun switching roles, and they embody the spirit of power pop. There’s a sense of nostalgia, but also the ambition of artists who view pop as an art form demanding imagination, skilful arrangements and good songs.It takes a while for that combination to get going, but the result is ultimately a dynamic and enjoyable performance.

Brian D’Addario from The Lemon Twigs, Paral·lel 62 Barcelona 2026 – Photo taken by Meritxell Rosell for Indieofilo^©

The concert opens with ‘My Golden Years‘, followed by ‘I’ve Got a Broken Heart‘, ‘What You Were Doing‘ and ‘The One’. The opening set draws on the band’s instantly recognisable formula of bright guitars, catchy choruses and intertwining vocals, creating a sound reminiscent of a carefully curated record collection. ‘In My Head‘, ‘2 or 3‘, ‘You’re Still My Girl‘ and ‘Any Time of Day‘ continue in the same vein, alternating between guitar-driven pop rhythms and softer passages. During the first section, the sequence of songs seems somewhat flat. The melodies are pleasant, and the performance is flawless. However, several tracks sound very similar, to the extent that they are difficult to distinguish from one another. While the retro elegance and melodic talent are undeniable, the concert lacks a dynamic capable of making the most of them.

Michael D’Addario from The Lemon Twigs, Paral·lel 62 Barcelona 2026 – photo taken by Meritxell Rosell for Indieofilo^©

The situation changes when the band starts experimenting with instrumentation and role distribution. One of the greatest strengths of The Lemon Twigs’ live performances is undoubtedly the ease with which Brian and Michael swap positions, breaking down the perception of a group that is based on predefined roles. The drummer, Reza Matin, also the guitarist and lead singer Uni Boys, a power pop band influenced by punk and 1970s rock. Danny Ayala, in addition to being a bass and keyboard player in The Lemon Twigs, he runs a solo project called Dr. Danny, a band that releases psychedelic pop and sunshine pop, both of which are also inspired by the 1970s. The musicians move from one instrument to another, which makes the performance gain in dynamism and spontaneity, energy and vigour.

Reza Matin from The Lemon Twigs, Paral·lel 62 Barcelona 2026 – photo taken by Meritxell Rosell for Indieofilo^©

“They Don’t Know How to Fall in Place” and “A Dream Is All I Know” continue the more melodic part of the repertoire, whilst “Look For Your Mind” and “I Just Can’t Get Over Losing You” strike a balance between pop music with a strong guitar presence and more classical arrangements. Love songs are a genre in which the band shows that beneath the echoes of 1970s power pop and the tradition of seemingly simple songs that reveal their complexity upon closer inspection, they have a genuine talent for creating melodies. “Transparent Day“, cover from The West Coast Pop Art Experimental Bandfits perfectly into the world of psychedelic pop and harmonies from a bygone era.

Danny Ayala from The Lemon Twigs, Paral·lel 62 Barcelona 2026 – Photo taken by Meritxell Rosell for Indieofilo^©

The final part of the electric set features “Your True Enemy”, “Fire and Gold”, “Nothin’ but You” and “Bring You Down”. By this point, the performance has found the tone that was lacking at the beginning. The contrast between the softer passages and the rockier sections is compelling, and the band steps on the gas without compromising its harmonies or attention to detail. Initial impressions of variations on a single theme fade as the set becomes richer in nuance, with shifts in dynamics and subtle stage gestures. The Lemon Twigs’ talent for writing pop music results in entertaining, generous performances that are far more unpredictable than their early tracks suggested.

The band leaves the stage and Brian returns for a short acoustic encore. He performs three songs that reveal another side to his songwriting: “Joy”, “She Flies Through My Dreams” and “Corner of My Eye”. Without the band’s accompaniment, the melodies take on a special intimacy. “Corner of My Eye” is one of the most delicate moments. Brian performs it with a simplicity that contrasts with the grandeur of the previous instrumental tracks.

The Lemon Twigs, Paral·lel 62 Barcelona 2026 – Photo taken by Meritxell Rosell for Indieofilo^©

The concert alternates between electrifying and light-hearted moments. During the intervals, the D’Addarios chat with the audience, creating a sense of closeness. When they plug their guitars back in for ‘Rock On‘, this spontaneity translates into jumping and the finale’s infectious energy.