When we brought Monegros back from its long sleep, we knew we couldn’t just dust off the old stages and call it a comeback. We needed at least one new symbol strong enough to stand next to the Airbus and the main arenas. A space that would speak directly to the people who come to the desert for one thing only: techno, no distractions. That is how the Techno Cathedral was born.

We imagined it first as a drawing: a massive, colorful skeleton of 16‑metre wooden beams, steel and tension cables rising from the sand like the frame of a church that forgot to grow walls. Then we built it for real. The result is a towering, open‑air temple with room for around 15,000 people, designed so that, wherever you stand, you feel framed by its ribs of wood and light.

From the first edition in 2022 thousands of ravers gravitated there and stayed, drawn by a line‑up that reads like a love letter to techno in all its hardest forms: Ben Sims opening the temple in 2022, then Anfisa Letyago, Dax J b2b SPFDJ, FJAAK, Indira Paganotto, Klangkuenstler, Kobosil, Óscar Mulero, Paco Osuna, Sam Paganini, Sama Abdulhadi, Regal and many others taking turns at the altar while the desert turned into a mass of moving silhouettes.

Business‑wise, building the Cathedral meant committing serious budget and logistics to a single idea. Engineering a safe, iconic 15,000‑cap structure in the middle of nowhere, with foundations, wind and dust calculations, lighting and sound powerful enough to fill that volume for 18+ hours.

For us, the Techno Cathedral also works on a more symbolic level. Our family’s history is full of buildings that became temples for music almost by accident (cinemas turned into clubs, warehouses into cathedrals of rave) and here we finally built one from scratch with that intention written into its beams.

It is a reminder that, in an industry where everyone is chasing screens and special effects, sometimes the most powerful gesture is to build a simple, monumental space and curate the right people to lead the congregation.