La Semana Alegre Returns Once Again to Hemisfair

Revived in 2024 after nearly 30 years, La Semana Alegre carries the weight of its own mythology. Its original run, from the mid-1970s through 1995, earned a reputation as one of San Antonio’s most eclectic festivals. Rock bands like Blue Öyster Cult, Tejano legends such as Selena, metal acts, and pop artists shared the same stages, pulling in massive, unpredictable crowds.

Held at Hemisfair this past Thursday and Friday, with proceeds benefiting the Hemisfair Conservancy, the two-day festival still folds into Fiesta tradition with its familiar foods and vendors. The focus, however, is on the music, and this year’s lineup moved fluidly between generations.

Thursday was 80’s night, with throwback synth and new-wave acts like Men Without Hats, Bow Wow Wow, and A Flock of Seagulls. It catered to longtime fans while introducing these legends to a younger crowd, many of whom were encountering them for the first time.

That sense of continuity carried into Joe King Carrasco’s set. The king of Tex-Mex rock ‘n’ roll has played every year since the festival’s revival. During his set, he acknowledged the passing of his friend and former bandmate, San Antonio’s Augie Meyers, who later joined the Texas Tornadoes, before launching into a cover of “Hey Baby, Que Paso”. Afterward, he stayed to watch the other bands and connect with fans, which speaks to the festival’s sense of community.

The same throughline extends to local acts, who remain at the heart of the festival. Girl in a Coma transported me back to high school when I lived in skinny jeans and Converse and clung to their emotionally intense songs about heartbreak that I thought I could relate to back then, but didn’t actually understand until adulthood.

Mypilotis radiated unfiltered joy with their playful, optimistic indie-pop, light on its feet thanks to its diary-like lyrics and punchy dance rhythms. Frontwoman Chesca first appeared in a shark suit, then closed their set by throwing on a helmet and launching into the crowd in an inflatable kayak.

Friday shifted toward a younger, hyper-online, indie-leaning audience.

Austin artists embodied the ethos of the city’s reputation for being “weird.” Colorful lasers sliced through the night sky during Ghostland Observatory’s set as bass-heavy, electro-punk beats shook the ground beneath you. The Bright Light Social Hour followed with an energetic performance that blended psychedelic and folk elements into a malleable and bouncy kind of rock you will want to dance to.

Los Retros and 54 Ultra laid into smooth, funk-driven grooves to a bright-eyed, love-soaked crowd. Both artists were fresh off the stages of Coachella.

The emotional core of the festival came from its Latin acts, which were, personally, my favorite. La Santa Cecilia drew from Mexican musical traditions in a way that made me reflect on my family, our Mexican American history, and the ancestors who loved before us.