Dutch band's pasodoble in Delft goes viral and stirs emotions

The Dutch band that moved Spain by playing pasodobles in Delft

On 13 September 2025, the historic centre of Delft became the stage for a parade that went around the world. A local band performed the pasodoble "España cañí" during the Delftse Muziek & Theater Parade, an event that closed the traditional Taptoe Delft. The video, posted on YouTube, surpassed one million views in just six days, generating a flood of reactions in Spain.

From nostalgia to pride: the pasodoble as cultural ambassador

The pasodoble, a musical genre associated with popular festivities and bullfighting, has proven to be a powerful vehicle for the Spain brand abroad. The choice of "Nerva" – a pasodoble by composer Manuel Rojas – was no accident: its martial rhythm and epic character make it ideal for a street parade. Some analysts note that the band may have chosen this piece for its rhythmic force, avoiding the opening bars of other pasodobles that might sound too military.

The video's impact reflects a phenomenon that goes beyond music. In a context of growing identity polarisation, seeing a foreign band perform such an iconic piece with skill generates an immediate emotional effect. It is no coincidence that the video was shared massively among Spanish emigrants: nostalgia and pride mix in the comments.

Economic impact or just viral?

The Economics subforum where the video was discussed – and which serves as a source for this analysis – raises an uncomfortable question: is there any tangible economic return? The answer is ambivalent. On the one hand, the international visibility of a city like Delft – already popular for its pottery and its university – is reinforced. On the other, the implicit promotion of Spanish culture could translate into an increase in cultural tourism to Spain, though it is difficult to quantify.

Some participants in the debate pointed out that the success of such content evidences the power of Spanish soft power, an asset that the Ministry of Culture exploits unevenly. Compared to other countries that invest in their external image, Spain still relies on the spontaneous virality of its folklore. The data is clear: the video has accumulated more than a million views, while Spanish television stations, as some complained, ignored it.

The identity debate: pasodoble versus flamenco

The thread was not immune to disputes over Spanish cultural identity. While the pasodoble and the jota garnered broad consensus, flamenco was criticised as a foreign invention. These positions, though minority, reflect a recurring tension in Spanish identity discourse. However, from an economic point of view, what matters is that the pasodoble, like the jota, is part of a cultural heritage that generates income from royalties, performances and tourism.

The Delft experiment shows that traditional Spanish music has international appeal. But it also highlights the lack of a strategy to capitalise on it. While the Dutch band played without complexes, Spanish institutions looked the other way.

In short, the Delft phenomenon is a reminder that popular culture is an economic asset that should not be left to the whims of virality. The pasodoble – that genre so often dismissed in the media – still works as a calling card when played with talent. And in this, the Dutch have taught us a lesson.