Llodio Musicians Call Out Town Council Over Lack of Public Venues

On June 23 2026, Llodio’s own Oskar Benitok posted an opinion piece on the town council’s website, demanding that the municipality address a long‑standing gap in public music spaces.

Benitok, a local musician, argues that the city’s current mayor effectively repeats the pattern of past administrations: independent artists are denied venues for rehearsal and performance. He points out that the council has spent €30 000 on a private study of cultural needs, yet no new facilities have emerged and existing public buildings remain largely unused.

In his letter, Benitok recounts a history of forced closures that have left musicians scrambling for alternatives. He cites the 1989‑1990 eviction of the House of Paintings (Skuata) by a council led by Herri Batasuna. The eviction order was issued within 48 hours, but the council withdrew after negotiations and an electrical upgrade. A definitive removal followed under the Basque Nationalist Party (PNV). The Skuata assembly and the Txitxarra Collective later met at the Llodio Cultural Center, staging a “reoccupation” that saw residents and students stand in solidarity against police batons and rubber bullets.

Benitok also recalls a second eviction in 2000‑2001. Under the banner of Euskal Herritarrok/Batasuna, the left‑wing abertzale council issued another 48‑hour order citing safety regulations. Protesters again forced the council to retreat after a neighborhood assembly and plenary session.

The musician notes that the present mayor’s stance mirrors these past actions, denying public venues to independent musicians. He highlights the irony that while €30 000 has been earmarked for a cultural needs study, public spaces remain empty and music groups are compelled to pay for private rehearsal rooms.

In addition to the policy critique, Benitok addresses the use of a photograph that accompanied his text. He states that the image of the “reoccupation of the House of Paintings” was not chosen by him but selected by the local media outlet Aiaraldea Komunikabidea to provide context. He describes the archival photo as hurtful, claiming it is used to assert ownership of a collective struggle.

The opinion piece ends with a note of regret. Benitok says he never intended to personally attack anyone and considers the colleague he mentions a friend, even if the sentiment is not reciprocated.

Beyond Benitok’s letter, the broader issue for Llodio’s music community is the persistent lack of publicly funded performance and rehearsal spaces. The town’s public buildings, including the Llodio Cultural Center, are under‑utilised for music activities, and no new venues have been announced. The €30 000 study, while aimed at assessing cultural needs, has not translated into tangible infrastructure.

This situation reflects a pattern seen in other Basque municipalities, where political shifts have influenced cultural policy. The historical involvement of parties such as Herri Batasuna, PNV, and Euskal Herritarrok/Batasuna in decisions about community spaces has left a legacy of mistrust among local artists.

At present, there is no official statement from the town council regarding Benitok’s criticisms or the status of public music venues. The next steps for the community will likely involve further dialogue between musicians, local artists, and municipal officials, as well as potential appeals to regional cultural agencies.

In summary, Benitok’s article brings renewed attention to the absence of public spaces for musicians in Llodio, the historical context of evictions, and the current financial investment that has not resulted in usable venues. The situation remains unresolved, and the community awaits a clear municipal response.