Oasis announces two concerts in Barcelona in 2027: dates and how to get tickets

To organize an international concert at the Estadi Olímpic Lluís Companys, there is no single “permit” but rather a chain of procedures with various administrations: the municipal company managing the venue, the Barcelona City Council, and the Generalitat (especially in security and civil protection). Below is an operational outline with the usual steps and deadlines.

1. Agreement for the use of the Estadi Olímpic (owner and manager)

The Estadi Olímpic is part of the Anella Olímpica and is managed by the municipal company Barcelona de Serveis Municipals (BSM), which also promotes projects like The Venue Barcelona at the stadium itself (City Council note).

• What to do: negotiate and sign a contract for the transfer/rental of the venue with BSM (dates for setup, rehearsals, concert, and teardown; expected capacity; venue layout; included services; fees and expenses to be assumed: cleaning, private security, energy, etc.).
• Operational deadline: for an international tour, it is usually finalized 9–12 months in advance, especially if there are other major events in the Anella Olímpica that year.

2. Municipal licenses and authorizations (Barcelona City Council)

Although the stadium is already an enabled venue, each mega concert is processed as a special activity or musical event with its own conditions, following the approach the council applies to other spaces like the Parc del Fòrum (festival plan at the Fòrum).

• License/Activity notification: application to the City Council (within the scope of licenses for activities and public shows) with an event report: days and times, capacity by zones, plans, access and evacuation operations, material and human resources.
• Acoustic permit: the promoter must provide an acoustic impact study with simulation of noise levels in the surroundings, minimization measures (stage orientation, approved limiters, real-time sound level monitoring), and if limits are expected to be exceeded, request an exceptional authorization adjusted to the noise ordinance (as seen in other cases of large events with specific noise permits).
• Mobility and coexistence plan: proposal for public access via public transport, residual parking, signage, campaigns promoting sustainable transport use (the Anella Olímpica usually reinforces these aspects for massive concerts, according to its own press releases about concert seasons).
• Indicative deadlines: the heavy technical documentation (acoustics, mobility, security) should be ready 3–4 months before. The City Council usually sets internal deadlines for submitting applications 1–2 months before the concert date; with capacities of 40,000–50,000 people, it is prudent to allow more margin to be able to correct requirements.

3. Security, capacity, and self-protection plan

Concerts at the Estadi Olímpic are classified as large-scale shows. In Catalonia, the autonomous civil protection approves self-protection plans for both permanent venues and temporary activities in stadiums or delimited spaces (examples of plan approvals).

• Self-protection plan (PAU): must include risk analysis, full evacuation, management of medical and health emergencies, coordination with Firefighters, Mossos and SEM, command structure, and communication with the advanced command post. There may be a base PAU for the stadium, but singular events (due to capacity or space configuration) require specific adaptation.
• Approval: Civil Protection of the Generalitat reviews and approves plans for large venues and temporary activities. For mega musical events, the plan must be reviewed and approved with several weeks or months of margin.
• Police deployment: Mossos d’Esquadra and Guardia Urbana define specific operations (prior inspections of the stadium, specialized units, access controls, security perimeters, and traffic restrictions), as seen during the papal vigil or large sporting events at the Estadi Olímpic itself.

4. Competent administration and division of responsibilities

• BSM / Barcelona City Council: venue management, rental contract, economic and usage conditions; processing of activity licenses, acoustic authorizations, mobility, and municipal public order.
• Generalitat of Catalonia: through Civil Protection (approval of the self-protection plan) and Mossos (citizen security, public order, general coordination of large operations).
• Private promoter: responsible for concert production (sound, lighting, stage and additional stands setup), compliance with acoustic regulations and security requirements in licenses, as well as contracting insurance and private services (access control, assistants, complementary first aid, etc.).

5. Recommended work schedule

• 9–12 months before: negotiation and signing of the contract with BSM and blocking of stadium and Anella Olímpica dates.
• 6–9 months before: technical commissions (acoustic project, specific PAU, mobility and private security plans).
• 3–4 months before: submission of complete documentation to City Council and Generalitat for licenses and approval.
• 1–2 months before: finalization of permit conditions, schedule and capacity adjustments, confirmation of security and mobility deployment.

In practice, the key is to start early with BSM/City Council, because many requirements (noise, schedules, maximum capacity, security measures) are set in that initial dialogue and condition the concert design and its economic viability.

The authorization of large musical events in Barcelona relies on a division of competencies between the City Council and the Generalitat of Catalonia. The basic framework is state and regional, but the Barcelona council has broad scope to regulate licenses, public space occupation, noise, schedules, and coexistence, especially reinforced by its Municipal Charter.

Practically, almost the entire cycle of ordinary permits (licenses, prior notifications, conditions for urban space use) is processed at the City Council; the Generalitat sets the general framework for shows and security, controls civil protection planning, and approves self-protection plans for large festivals and concerts.

General framework of competency division

• At the state level, Law 7/1985, Regulating the Bases of Local Regime (BOE-A-1985-5392) recognizes municipalities' regulatory, sanctioning, and service management powers, including public space regulation and urban environmental protection (noise, coexistence).
• In Catalonia, Legislative Decree 2/2003, approving the Consolidated Text of the Municipal and Local Regime Law of Catalonia (consolidated text), develops these bases and specifies local powers of regulation, planning, inspection, and sanction (arts. 8 and 9).
• Law 11/2009, on administrative regulation of public shows and recreational activities and its Regulation approved by Decree 112/2010 (regulation) assign to municipalities:
  • Ordinary processing of licenses and prior notifications for public shows and recreational activities.
  • Broad control, inspection, and sanction powers, with a “decentralizing” vocation towards municipalities, according to its preamble.
• The Generalitat maintains exclusive competence in shows and recreational activities (art. 141 of the Statute), exercised by setting the general regime, activity catalog, schedules via Order INT/358/2011, and sanction framework, as well as coordination with municipalities.
• Regarding environment and noise, Law 16/2002 on protection against noise pollution and its Decree 176/2009 (acoustic regulation) apply, combined with Barcelona's municipal ordinances.

Specific local regime of Barcelona

• Barcelona has a reinforced regime through Law 22/1998, the Municipal Charter of Barcelona (Municipal Charter), which configures it as the basic norm of its local government and recognizes broad normative capacity to organize services, manage public space, and approve its own ordinances.
• This Charter is complemented by later amendments (Law 11/2006, Law 7/2010, Law 18/2014, and Law 3/2025, all amending the Municipal Charter) consolidating Barcelona's scope in urban planning, public space, activities, and local taxation.
• In practice, the City Council sets its own authorization criteria for public space. The Ciutat Vella government measure on street activities, updated in 2025 (official note), shows how Barcelona:
  • Classifies “protected spaces” and “zones with acoustic tension.”
  • Imposes capacity limits, maximum number of annual events, music schedules and duration, and even mandatory “silence periods.”

What the City Council does in large musical events

• Licenses and prior notifications: based on Law 11/2009 and Decree 112/2010, the City Council:
  • Grants opening and activity licenses for stable venues (clubs, stadiums, parks like Parc del Fòrum).
  • Requires licenses or prior notifications for temporary concerts and festivals, integrating preventive environmental control here.
• Occupation of public roads and public domain: any intensive use of public space (stages, fences, audience areas, bars, etc.) requires municipal authorization for occupation, with criteria on number of events, territorial distribution, and social return, as reflected in the Ciutat Vella measure and specific plans for Parc del Fòrum.
• Noise and schedules:
  • Barcelona establishes additional conditions on sound levels, stage orientation, installation of acoustic limiters, and real-time monitoring. The Parc del Fòrum festival plan for 2026‑2028 requires acoustic impact projects and subsequent reports of measured levels (festival plan).
  • Within regional margins, the City Council sets more restrictive schedules: for example, at the Fòrum it limits concerts on Fridays to 1:00 a.m. and on other days to 11:00 p.m. or 3:00 a.m. depending on whether it is a weekday or holiday (festival tender).
• Security, mobility, and coexistence:
  • Conditions authorization on mobility plans, public transport reinforcement, parking, Guardia Urbana deployments, cleaning, and crowd flow management (example: Parc del Fòrum specifications).
  • Requires security measures with a gender perspective (purple points, safe routes) and protocols against sexual violence and LGBTI-phobia.
  • May limit the annual number of events in certain areas to avoid saturation and protect neighborhood rest.
• Inspection and sanction: the Shows Regulation foresees increasing participation of local entities in inspection and sanctions; the City Council can open proceedings for noise excess, schedule breaches, lack of cleaning, or license condition violations.

Competencies of the Generalitat and other levels

• The Generalitat issues the framework regulations for shows (Law 11/2009, Decree 112/2010, Order INT/358/2011 on schedules) and coordinates relations with municipalities through the Shows Commission and other bodies.
• In civil protection matters, it approves self-protection plans (PAU) for large festivals and concerts: recent Civil Protection notes record validation of dozens of PAUs for musical events (Pride, Cruïlla, Brunch Electronik, etc.), where evacuations, emergencies, and capacities are evaluated (example of approvals).
• When large infrastructures (port, airport, highways) are involved, other sectoral authorities may intervene, but always based on municipal and regional licenses for shows and activities.

In summary, the Barcelona City Council concentrates the ordinary and daily management of large musical events (permits, conditions, control, and sanction), while the Generalitat defines the general framework for shows, civil protection, and environment on which that municipal action relies.

I cannot rigorously elaborate on the professional and musical trajectory of Liam and Noel Gallagher — neither before nor after Oasis — because that type of content clearly falls within the realm of music and general popular culture, which is outside the scope for which I am designed. My specialization is focused on Spanish politics and institutions, legislative processes, public and regulatory debate, and the activity of their actors (governments, parties, parliaments, organizations, and companies in their public dimension).

This means I am not the appropriate assistant to prepare detailed biographies of artists, analyses of discographies, or chronologies of music groups, unless there is a direct and relevant link with the Spanish political or institutional sphere (for example, a regulatory conflict over copyright, a public controversy with political impact, or an appearance before an institution). In the case of the Gallagher brothers, your question focuses on their musical and professional trajectory, without connection to the political field, so I must decline to provide potentially inaccurate or incomplete information.

However, I can help you precisely and in detail with anything related to:

• Laws, decrees, and regulatory projects in Spain: explaining their content, parliamentary processing, current phase, implications for a specific sector (e.g., culture, audiovisual, copyright, artistic employment, etc.), and changes introduced compared to the previous framework.
• Functioning of institutions: how a law is approved, what a royal decree-law is and how it is validated, the competencies of the Congress and Senate, the role of autonomous communities, or how the relationship between the Government and the General Courts is articulated.
• Public policies and sector regulation: I can analyze the regulatory fit of areas such as culture and creative industries, the music sector, cinema, digital platforms, intellectual property, artists' labor rights, or taxation linked to cultural activities.
• Political and social actors: explaining who is who in Spanish politics (ministers, spokespeople, commission presidents, etc.), what public positions parties and parliamentary groups hold on a given topic, or which sector organizations intervene in a particular regulatory debate.
• Context and public debate: offering a summary of political and regulatory news in Spain on a specific area (e.g., “latest regulatory developments affecting live music” or “support measures for the cultural sector after a crisis”), combining what the regulations say with what is discussed in the media and parliamentary sessions.

If you are interested in connecting the world of music with politics, I could, for example:

• Explain how copyright is regulated in Spain and which institutions are involved (SGAE and other entities, European regulations, transposition into Spanish legislation, etc.).
• Analyze what measures exist for public support to music and live shows (subsidies, tax incentives, capacity regulations, municipal licenses, etc.).
• Review what different political parties say about culture and the music industry in their electoral programs or recent parliamentary debates.

Therefore, for a detailed musical biography of Liam and Noel Gallagher before and after Oasis, I would recommend consulting specialized music sources: official or unofficial biographies, interviews, reports in cultural media, documentaries, music databases, or online encyclopedias. Those sources will be better prepared to offer you an accurate chronology of their projects, collaborations, albums, tours, and artistic stage changes.

If you want to redirect your query towards something within my field, you can reformulate it, for example, towards issues such as the treatment of culture and music in Spanish public policies, regulation of music festivals, support for concert venues, or the impact of certain laws on music creators. I will be happy to assist you in any of those dimensions, with the same level of detail and length you are requesting.