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Lisbon, Sintra & Cascais
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October 2026

Tap a day, then a later one for a range.

Tue 24 Nov Tuesday 24 November

  1. Sat 21 34
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  4. Tue 24 4
  5. Wed 25 8
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Ongoing: 329 exhibitions, runs & attractions ↓

Morning 1 event
IKEBANA NAGEIRE

11:00 Museu do Oriente. Lisbon

35€ Todas as idades Family friendly Other

In this workshop with Yuko Kase, participants will discover the secrets of the Nageire style of Ikebana, creating flower arrangements in a jar from natural elements. The Japanese art of ikebana, known as the 'way of flowers', is accessible to practitioners of all ages.

Evening 3 events
SBP4

20:00 República da Música Alvalade Lisbon

Live music

On 24 November, SBP4 bring to Lisbon their new album — promised to be the most danceable in the band's history — in a show celebrating their 20th anniversary. Expect timeless hits, new material, jumps up to the ceiling and total chaos on stage, in the best sense of the word.

Ablaye Cissoko & Cyrille Brotto

21:00 Coliseu dos Recreios Santa Maria Maior Lisbon

20€ 6+ Live music

Ablaye Cissoko on kora and Cyrille Brotto on diatonic accordion bring together the ancestry of Senegalese griots and popular music in an intimate, contemplative dialogue. More than a concert, it is a meeting of cultures, timbres and silences, without the need for words.

COCK

21:00 Teatro Maria Matos Alvalade Lisbon

M/16 Theatre

Theatre play 'COCK' exploring relationships and sexual identity.

Exhibitions, runs & attractions 329 events

The Sleeves

Live music 12€

Tuesday 17 November · 21:00

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Galeria Zé dos Bois Bairro Alto · Lisbon

The duo of Tara Cunningham and Jack Cooper joins improvised guitar with a kind of slowcore revival, music of fabulous calm where fullness lies in what is left unfilled.

Full details

For a duo making such sparse music, it is surprising how fluid Tara Cunningham and Jack Cooper (both of Modern Nature, he also of Ultimate Painting and a collaborator with Apartment House) sound, without mixing restraint with tension or control with anxiety. Guitar music, The Sleeves join improvised guitar with a kind of slowcore revival. Listening to their self-titled album, released this year, is like stepping into a time capsule and hearing Low for the first time. The comparison is somewhat unfair to Low, because the trio was unique — and, later on, unpredictable — but The Sleeves concentrate well the formula of doing much with little. And that is why we think of Low. The swiftness with the use of words also helps. But a comparison is only a comparison. The Sleeves have merit of their own. The secret lies in that fluidity, which manifests in the guitars, running endless lines, finding a solution for the next moment, and in how words and phrases justify themselves, even when they often seem incomplete. The purpose is simple: in The Sleeves' songs we feel there is always something left to do, and both musicians are excellent at conveying that, by the way they complete ideas with something unfinished. It is music that says everything because something is left unsaid, and that conveys that everything is fine. That is why control has no anxiety, because it is not quite control; that is why anxiety never materialises, because there is nothing to be anxious about. One accepts that things are fine as they are. The fullness of The Sleeves exists in what is left unfilled. What we hear in the silences, what we feel when an idea seems to have ended halfway, what we feel like doing when a song ends in a murmur (of voice, of guitar, it doesn't matter) and hangs on a response. Maybe there is no response. The Sleeves are a beautiful commitment to what lies in between suggestion and fulfilment, with a fabulous calm, a relaxation that truly relaxes. They are the musical ASMR you never expected to hear. AS.

Show original (Portuguese)

Para quem, em duo, cria música tão esparsa, surpreende como Tara Cunningham e Jack Cooper (ambos de Modern Nature, ele também de Ultimate Painting e colabora com os Apartment House) soam tão fluídos, sem misturar contenção com tensão ou controlo com ansiedade. Música de guitarra, The Sleeves juntam guitarra improvisada a uma espécie de renascimento de slowcore. Ouvir o álbum homónimo, editado neste ano, é como entrar numa cápsula do tempo e escutar Low pela primeira vez. A comparação é algo injusta para os Low, porque o trio era único , e, mais para o final, imprevisível -, mas os The Sleeves concentram bem a fórmula de fazer muito, com pouco. E é por aí que pensamos nos Low. A celeridade com o uso das palavras também ajuda. Mas uma comparação é apenas uma comparação. The Sleeves têm mérito próprio. O segredo está na tal fluidez, que se manifesta nas guitarras, que correm linhas sem fim, encontrando uma solução para o momento seguinte, e como as palavras e frases se justificam a si mesmo, mesmo quando muitas vezes parecem incompletas. O propósito é simples, nas canções de The Sleeves sentimos que há sempre algo por fazer e ambos os músicos são exímios a transmitir isso, pela forma como completam as ideias com algo inacabado. É música que diz tudo porque fica algo por dizer e que transmite que está tudo bem. Por isso é que o controlo não tem ansiedade, porque não é bem controlo, por isso é que a ansiedade nunca se concretiza, porque não há nada com que estar ansioso. Aceita-se que as coisas estão bem assim, como estão. A plenitude de The Sleeves existe naquilo que fica por preencher. O que ouvimos nos silêncios, o que sentimos quando uma ideia parece ter terminado a meio, o que nos apetece fazer quando uma canção termina num murmúrio (de voz, de guitarra, tanto faz) e se fica pendurado numa resposta. Talvez não haja resposta. Os The Sleeves são um belo compromisso do que fica no meio entre sugestão e a realização, com uma fabulosa calma, um relaxe que de facto relaxa. São o ASMR musicado que nunca esperaram ouvir. AS.

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