Live Nation and The Rialto Theatre Present...

*CANCELLED* Bunbury – TOUR 2022 – 35 AÑOS

Sunday, May 22
Doors: 7:00pm / Show: 8:00pm

Price: $49-$69 + Taxes and Fees

Not On Sale





Enrique Bunbury began his artistic career as a singer and songwriter in 1986, forming part of Héroes del Silencio, a rock band in which he will remain for ten years and with which he records four studio albums with which they redefine the Spanish rock concept. combining international and national influences to create their own imaginary with which they toured Europe, Latin America and North America. Together with Héroes del Silencio, Bunbury works on two aspects that will be fundamental in his later solo career: the mixture of influences without losing his Spanish-Latin identity and a creative philosophy that understands change as a driving force. The group was born with the pop of its debut “El mar no cesa” (1988) , began to rock with the classic “Senderos de traición”and it hardens for “The spirit of the wine” (1993) and “Avalancha” (1996) , his two final works. Meanwhile, Bunbury grows as a singer with character, as a restless musician, personal lyricist and unique figure on the Spanish scene. There are long international tours, continuous hits and a fanatic following like never before seen in Spain with respect to native artists.

In 1996 the band disbanded and Bunbury began a solo career that continues to the present day. Throughout these twenty-four years, he has continued to expand as an artist, crossing musical frontiers with courage and courage. “Radical sonora” (1997) is his first solo work, a fusion of electronic and organic rock that brings avant-garde new songs including the singles ‘Salomé’ and ‘Alicia (expelled to wonderland)’. The tour presentation of this debut is followed by a catharsis that will result in the recording of “Little” (1999), an album with which Bunbury reformulates himself as a musician capable of chewing the land in which he was born, savoring Arab and Latin American roots. Songs like ‘Infinito’ and ‘El viento a favor’ are those that open the doors to a new audience that meets a ravishing Bunbury, who sings to the feelings of daily life with the best poetry and the best melody. To present it live, he put together a band that he baptized as El Huracán Ambulante and with which he crossed Spain and Latin America, reinforcing his bond with the public on both sides of the ocean and producing “Pequeno cabaret ambulante” (2000) , a live record recorded in Mexico that strengthens this new stage of reinvention to which must be added the release of several singles full of unreleased material. Yes “Small”“Flamingos” (2002) will be a smug successor, who continues to nourish himself with personal feelings but who show his chest in the face of adversity with rock sounds, thick guitars and strong brass. Its sound is luxurious and exciting, a journey at the end of the night in which there are confidences, madness, ecstasy and sadness, counting on ‘Lady blue’, ‘Get me out of here’ and ‘At the end’ as some of its great exponents. The DVD “Una cita en Flamingos” (2003) records a spectacularly long tour that once again moves between two continents and leaves the singer at the limit of his strength.

After “Bushido” (2004) , a communal experience with his musician friends Morti, Carlos Ann and Shuarma, which was soon joined by “Panero” (2004) , another collective work in which the work of the poet Leopoldo María Panero, Bunbury, is set to music. records “The trip to nowhere” (2004), a double album that yields to the Pan-American sounds that move him the most, from Argentina to New Orleans, between jazz and cumbia, between tango and Brazilian sounds. There are key songs from his repertoire such as ‘That you have luck’, ‘The rescue’ or ‘Canto’. His growth as a lyricist led him to sign verses that fight with the melodies, moving away from the concept of commercial song but remaining close to the heart of the immortal popular song. The variety dominates a rich musical orgy in which Bunbury reconciles with ghosts to whom he kisses and hugs so that they do not return. The presentation tour is modified during a short stretch to give shape to a unique show called Freak show in which Bunbury and El Huracán Ambulante feature the musicians Iván Ferreiro, Adría Puntí, “Freak show” (2005) .

It is, precisely, together with the Asturian Nacho Vegas with whom Bunbury begins a new artistic stage after a period of meditation, recording “El tiempo de las cherries” (2006) , a four-handed album in which Bunbury turns the compass and focuses on North American sounds, almost in response to the Latinization of a few years earlier to make exquisite pieces such as ‘Puta desagradecida’ or ‘Now’. Very few concerts are held and one of them is captured for the DVD “Liceu BCN” (2007), recorded in Barcelona and with additional material from the also limited Mexican concerts. The following artistic project will also be shared, this time resurrecting Héroes del Silencio for a single tour that sells out at its ten select stops spread across the US, Latin America and Spain. As a testimony, the disc and DVD “Tour 2007” (2007) is published , as well as the photographic book “Tesoro” (2008), the work of the photographer Jose Girl, which includes an extra DVD with the last concert of the tour.

With new energy, Bunbury returns to his own career to record “Hellville de Luxe” (2008) , a work that continues to work with North American sounds with border touches and small Latin details that enrich a varied music that sounds more rock than ever thanks to its new band, Los Santos Inocentes, which as a great novelty replaces the horns with a guitar duo that raises the electric octane. In “Hellville de Luxe” fits the psycho rock of ‘The thin man who will never falter’, the author pop of ‘There are very few people’ and also the southern influence in ‘The why of your silences’. The album is very well received, being supported by a new transatlantic tour with a show designed for large venues that the public supports.“The consequences” (2010) , an intimate album that he began to prepare practically since he finished recording his previous work and that critics and the public point out as one of his great works. Once again, the closest Bunbury captivates again with a richly wrapped album but naked in its intention, expressing introspective feelings with the singles ‘Frente a Frente’ (Jeanette’s version), ‘De todos el mundo’ and ‘Los inhabitants’ to the head. Again, with “The consequences” he relapses into Anglo-Saxon influences that are well received wherever his presentation tour passes, this time adding a long journey throughout the US, always without neglecting their Spanish-speaking homelands. . The triple vinyl live registers in Buenos Aires and closes a stage for “Licenciado cantinas” (2012) to open another. As a reaction to years partially away from his Latin influences, the album contains versions of some of the musician’s favorite South American and Central American songs, revisiting the work of Willie Colon and Héctor Lavoe, Louie Ortega or Atahualpa Yupanqui, among others, and taking the opportunity to create a conceptual album that tells a story of heartbreak and death for which he uses hot rhythms again, combining poetry and groove like never before in his career. As a complement, the short film “Licenciado cantinas -The movie” (2012), under the direction of the director Alexis Morante and contained in “Licenciado cantinas – Reposado special edition box set” (2012), which adds to the original disc a live one recorded at different stops of his presentation tour and a DVD with audio-visual material.

In 2013, Bunbury reinvents himself with “Palosanto” (2013) , an album of cold and aseptic production applied to hot and emotional songs, reflecting on the world revolution and the inner revolution, starting a new journey of cosmic guitars, earthly rhythms and irreproachable songs. which has ‘Despierta’ as the first single but also with other tricks such as ‘Higher than us only the sky’ and ‘Everything’. An album of his time for an artist of his time.

The album is celebrated with a spectacular, prolific and long tour, the “Palosanto Tour”, in which Bunbury and Los Santos Inocentes offer a very powerful, critical repertoire with a magical and extraterrestrial aura. The Madrid concert on June 29, 2014 is reflected on the CD-DVD “Area 51” , which is released in October of the same year. In addition, the book “Bunbury. In sequence shot” (Dome, 2015) by Jose Girl collects a beautiful collection of intuitive ‘flashes’ from this same concert series.

A kind of mitosis of the “Palosanto Tour” is the joint mini-tour that the wandering Aragonese stars with Andrés Calamaro in October and November 2014 in Mexico. In the final set of the show, both artists performed songs like ‘Without documents’, ‘Maldito duende’, ‘Estadio Azteca’ or ‘Although it is not with me’ together. These songs in tandem were captured in a live album, “Hijos del Pueblo” , released in April 2015.

In November of that same year, Bunbury publishes his MTV Unplugged: “The Book of Mutations . ” The album is an apology for reinvention, the revision of a songbook that is almost a deed song, focusing, above all, on songs from his stages with Héroes del Silencio (‘La Sirena Varada’, ‘El camino del excess’. ..) and with Los Santos Inocentes (‘The boxer’, ‘Two hundred bones and a necklace of skulls’ …). The album is followed by the tour “Mutaciones Tour 2016”. In March 2016, Alexis Morante premiered “The Longest Way” , a documentary that reflects how the tour of “The Consequences” was in the US, a reckless challenge that, as we have seen, has yielded unbeatable results. Also from 2016 are the “Archives Vol. 2: Duets” .

In 2017, Bunbury published “Expectaciones” , perhaps, until then, his most ambitious, radical and innovative album. In his eleven songs, the composer places us in an atrocious ecosystem: the changes that were glimpsed in “Palosanto”, either have been false, or have been worse. In Los Santos Inocentes, Bunbury incorporates the sax of Santiago del Campo. Songs like ‘On a silver platter’, ‘At the edge of a knife’ or ‘Bartleby (My dominions)’ are exquisite samples of an explosive and magnificent cocktail of rock, avant-garde and lucid criticism. One more proof that, as he sings in ‘The thin man who will never falter’, from “Hellville de Luxe”, the artist is “always on duty”.

“Expectativas” was followed by a very extensive tour, the EX-TOUR 17-19, divided into seven parts and which, in addition to including concerts in the usual destinations in Spain and the American continent, again took Bunbury to European cities such as Milan. , Berlin, Amsterdam, Paris or London. During his American round , the shows held in April 2018 in California stood out and, therefore, without having originally planned, the artist captured a summary of these in his tenth live album, “California Live !!!”, which included, in addition to the live versions of some of the new songs from “Expectativas” or of the usual hits such as ‘The rescue’ and ‘Hay very few people’, updated revisions of hymns by Héroes del Silencio such as ‘Tesoro’ , ‘Hero of legend’ or ‘Cursed goblin’. Before the release of “California Live !!!”, he published “Songs 1987-2017” , an exhaustive compilation made up of four volumes (two dedicated to the Los Santos Inocentes stage, one to Huracán Ambulante and another to Héroes del Silencio) and an exclusive book. Without a doubt, it is an extraordinary guide to know, in summary, the enormous career of the Aragonese composer.

In November 2019, Bunbury celebrates the 20th anniversary of the publication of his second solo album, “Little”, with the release of “Little XX” , a monumental box – literally: it weighs 4 kilos – that houses 9 LPs, its equivalent on CDs and a book with unpublished photos, lyrics and texts by Santi Balmes (Love of Lesbian) and the journalist Juanjo Ordás. Material for collectors, the boxset contains the reissues of “Little” and “Little ambulant cabaret”, both remastered by Tom Baker, and an army of unpublished or discontinued material, such as Faces B of singles , demos and electronic recordings made by the singer during the recording of “Little” and the consecutive tour.

In May 2020, with the world shackled by the coronavirus pandemic, Bunbury publishes his tenth studio album, “Possible”. This work closes the trilogy started with “Palosanto” and, according to the singer himself, “opens a new path to a place that I do not know and that I do not know if I will explore in the future”. “Posible” is an ambitious album. In fact, on a technical level, he may be, and by far, the most ambitious of his entire career. Bunbury gives a twist to the sound that he uncovered in “Expectations” and advances recklessly, but also with success, in the field of electronic music. In no other work of his have keyboards and synthesizers been so relevant. However, the general sound varnish is not at odds with eclecticism or miscegenation and, as is usual in his discography, in “Posible” there are songs with a rock, bolero or ballad undertone.

“Posible” is a “tremendously personal” album, in which Bunbury “looks to the present” and shows his “way of feeling today.” The album grows and is reinterpreted by the listener as he hears it successively – “I am responsible for what I write and say, / for what you understand, no”, he sings in ‘My possibilities (Interstellar)’ -. In this collection of ten songs, written “with the disorder of urgency”, ambiguity is combined with forcefulness, beauty and desolation, darkness and “the light on.” Pieces such as the beautiful ‘Desires to use and throw’ –which served as the first advance–, the energetic “The words” or the hypnotic “The terms of my surrender”

On December 11, 2020, just seven months after the release of “Posible”, Bunbury released his eleventh studio album, “Intensive Levitation Course”, for which, in addition to working with Los Santos Inocentes, he had experimental jazz musicians. The sound transition that goes from “Possible” to “Intensive levitation course” is not radical: the electronics are still key, although, in the atmosphere of the album, there is a greater organic contrast. In addition, as a novelty, we find an inclination in the rhythmic bases towards Afrobeat and jazz patterns. The artist has made it clear that he is “leaving a contemporary stage, going to a new place. There are things in” Intensive Levitation Course “that point that way”. On the other hand, the literary and poetic discourse is satirical, fierce and elegant. The ten songs that make up this work spring from a “dysfunctional zoo” and the composer could not be more explicit. The hypnotic ‘

Finally, given the circumstances of the covid-19 pandemic, to present the pieces of ‘Intensive levitation course’ and ‘Possible’, Bunbury has announced its first and only streaming concert , which will be held on January 23, 2021 .

The Rialto Theatre Foundation is a 501(c)(3) non-profit organization dedicated to the stewardship and preservation of the historic Rialto Theatre, a unique entertainment venue and cornerstone of downtown Tucson, offering a broad range of high-quality performing arts that are reflective of the diverse and vibrant community it serves.

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Clear Bag Policy

Rialto Theatre & 191 Toole Switch to a clear bag policy as of 3/1/22 – February 2022

To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole will be instituting a clear bag policy on March 1st, 2022.

The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry:

  • Bags that are clear plastic or vinyl and do not exceed 12” x 6” x 12”
  • One-gallon clear plastic freezer bags (Ziploc bag or similar)
  • Small clutch bags, approximately 5” x 7”

*All bags subject to search.
**Clear bags are available for sale at the box office.


Para ofrecer un entorno más seguro a los invitados y agilizar la entrada a nuestros edificios, el Rialto Theatre & 191 Toole comenzará a aplicar una norma sobre bolsas transparentes el 1 de marzo de 2022.

La norma limita el tamaño y el tipo de bolsas que pueden introducirse en nuestros edificios. La siguiente es una lista de bolsas que serán aceptadas para la entrada:

  • Bolsas de plástico transparente o de vinilo que no superen las 12″ x 6″ x 12″.
  • Bolsas de plástico transparente para congelar de un galón (bolsa Ziploc o similar)
  • Bolsas pequeñas tipo clutch, de aproximadamente 5″ x 7″.

*Todas las bolsas están sujetas a registro.
**Las bolsas transparentes están a la venta en la taquilla.