Sofia Live Festival 2026: the Breakdown
Now firmly established as one of Bulgaria’s leading summer music events, Sofia Live Festival once again brought an impressive international lineup to Vidas Art Arena this year. Across two days, the festival welcomed IDLES, Nothing but Thieves, Underworld and more. Yet for many rock fans, the undisputed highlight came on 27 June, when Three Days Grace returned to Bulgaria for only the second time, and for the first time with original frontman Adam Gontier back in the band.
The heat at Vidas Art Arena intensified the moment the band opened with ‘Dominate’, the first track from their latest album, Alienation. Adam Gontier and Matt Walst immediately showcased the chemistry that defines the band’s new chapter, making it clear the song was written to be performed by two vocalists.
‘Animal I Have Become’ was the first of many songs that had the entire crowd screaming every word and jumping in unison. Many fans had waited more than 20 years to see Adam perform these songs live again, and their excitement was impossible to miss.
The next stretch of the set, ‘So Called Life’, ‘Break’, ‘I Am Machine’, ‘Pain’ and ‘The Mountain’, gave each vocalist a chance to step into the spotlight and lead the songs they originally recorded. That rotation built naturally toward one of the standout moments of the night: ‘Kill Me Fast’. Released only months earlier, the song quickly became a fan favourite and went on to earn the band’s 20th No. 1 on Billboard’s Mainstream Rock Airplay chart, cementing its place in their modern catalog as a defining track for Three Days Grace.
Hearing ‘I Hate Everything About You’ live was a cathartic experience, carrying the same emotional weight it had for countless fans who once listened to it alone in their rooms as teenagers. The following run of ‘Apologies’, ‘Time of Dying’, ‘Don’t Wanna Go Home Tonight’, ‘World So Cold’ and ‘Just Like You’ continued the momentum, with the band alternating lead vocal duties throughout.
What followed marked the beginning of a new era for Three Days Grace, as ‘Mayday’ became the first song released after Adam’s return.
‘Never Too Late’ was one of the most anticipated moments of the night – a powerful ballad about pushing through difficult times and an anthem of not giving up. The concert closed with ‘Riot’, a raw, high-energy throwback from their earlier years. The crowd erupted once again, jumping and singing along, with many also connecting the song to Bulgaria’s recent political climate.
The band left the stage having created unforgettable memories for Bulgarian fans, promising to return sooner rather than later – and, judging by the reaction, they would be welcomed back with open arms.
The second day of Sofia Live Festival didn’t quite unfold as planned, but that unpredictability gave the evening its own unusual rhythm. The schedule was set to flow through a diverse lineup – Nothing But Thieves, KINK and a closing set from Underworld – but after the opening act, PAPOOZ, the night was immediately thrown off course by a one-hour delay, setting the tone for what followed.
Nothing But Thieves were the first real test of the crowd’s patience. The technical issues dragged on longer than most people expected, and you could feel the mood shift as the minutes passed – people drifting between frustration and that stubborn festival optimism where you just assume it has to start soon.
Luckily things got resolved eventually and Nothing But Thieves took the stage at around 20:15. Their set itself was solid, but definitely shaped by the lost time. The band played with their usual intensity, but everything felt a bit tightened, like they were trying to squeeze as much as possible into a space that had already been cut down. Some of the usual build-ups came and went quicker than expected, but the emotion still landed, especially in the louder moments where the crowd basically took over. It wasn’t their most expansive show, but it had urgency, almost like both band and audience were making the best of a slightly broken situation.
KINK followed with a 30-minute set that honestly felt like a reset button. There wasn’t much room for development, but that wasn’t really the point – it was more about shifting the atmosphere than building anything big. He kept things steady and functional, easing the crowd out of rock mode and into something more electronic and patient. It was short, but it did its job. The one moment that really stuck out was a dancing robot that briefly stole everyone’s attention and gave the whole thing a playful, slightly surreal twist.
By the time Underworld took the stage, the night finally clicked into place. Whatever had felt slightly scattered earlier in the day dissolved almost immediately as they began layering their electronic builds. The shift wasn’t gradual but instant, as though the entire festival had recalibrated around them. Rick Smith and Karl Hyde crafted a soundscape that unfolded in unmistakably signature fashion. Nothing felt rushed or overstated; the power came through repetition and subtle variation that slowly tightened its grip. They closed the set with the timeless 'Born Slippy .NUXX', bringing the night to a fitting finish.
After the waiting, the rush and that brief reset, Underworld’s set felt like the first time the night could actually settle and breathe. People stopped looking at the time and just got lost in it. By the end, the delays didn’t matter anymore, they just felt like the winding path that led to something much more satisfying than you’d have expected.
