Their songs about Greek myths on YouTube have filled the Movistar Arena. Twice
Almost two years after announcing their temporary retirement from the stage, Álvaro Pascual and Rodrigo Septién return to the same place where they said goodbye. On January 3, 2026, Gutting History returns to the Movistar Arena with a new proposal called ‘The Dawn of the Gods’. They had closed their previous tour, ‘Loki Tour’ in January 2024 before thousands of attendees in Madrid, then declaring a break without a return date after mobilizing more than 75,000 spectators between Spain and Latin America. But they are back. How it started. Gutting history It started on YouTube in 2017, combining dissemination of stories and mythology with parody songs and handmade animations. The project started applying the format “draw my life“, popular on YouTube during those years, with his own songs until he ended up developing songs as diverse as the authentic ones. myths that inspired Disney movies or the stories of classical mythology, just as they were originally born. Origins. After a few humorous videos starring themselveshis video about the origin of Valentine’s Day established a formula that they would not abandon for a long time: very schematic illustrations on a white board, with rudimentary animations, catchy melodies and a humorous and demystifying tone. From there they would evolve until reaching the current state, where they exhibit animations much more sophisticated. The data. Currently the channel is approaching six million subscribers and according to HypeAuditor datahas a monthly growth of 0.16%. These are figures that position it as a benchmark for this type of educational content in Spanish. Monetization has evolved beyond YouTube: the platform’s advertising revenue estimates place its earnings between $4,100 and $5,700 per month for that channel alone, also according to HypeAuditor. However, the real commercial muscle came with diversification: they published books like ‘Gods of Olympus’, ‘The Craziest Gods’ or ‘The Craziest Monsters’, comics like ‘The Greatest Villains’, and they have developed merchandising that includes even dolls based on their characters. The ‘Loki Tour’ that closed in 2024 mobilized 75,000 attendees and took them outside of Spain, to countries such as Mexico, Colombia, Peru, Argentina and Chile, as well as nine Spanish cities, a figure comparable to tours by established musical artists. A recurring jump. The jump from digital content to physical venues is not exclusive to Destripando la Historia. In the Anglo-Saxon sphere, several projects on mythology and history have consolidated sufficient audiences to monetize in-person events. The podcast Let’s Talk About Myths, Baby! takes an irreverent approach to Greco-Latin mythology similar to Gutting History, while Mythologyproduction of Spotify Studios with theatrical finish combines dramatizations with historical analysis. Our Fake Historywhich debunks historical urban legends through hour-plus episodes, represents the more academic end of the spectrum. The case of Critical Role. However, the closest reference to the Guttering History model is Critical Rolea group of voice actors that has broadcast ‘Dungeons & Dragons’ games since 2015. Its expansion illustrates the commercial potential of this type of content: in October 2023 They filled the OVO Arena Wembley in London with 12,000 attendees. Their 10th anniversary tour in 2025 included Radio City Music Hall in New York and they already have an animated series on Amazon Prime, ‘The legend of Vox Machina‘, and they have founded a board game publishing house and a charitable foundation. The secret of success. There are several reasons to explain the impact of Ripping History, beyond the indisputable quality of its content. First, its hybrid format turns educational content into musical entertainment. Three-minute songs generate complete plays and relistens, which certainly pleases the algorithm. But they have also achieved something unusual: a transgenerational audience. Children enjoy the references to movies and myths they know through Disney, teenagers connect with the hooligan humor and adults appreciate the irony behind the proposal. The future. The question, once completely artisanal growth is established for the channel (unlike Critical Role, which rotates for months and has 180 employees) remains: can a duo sustain continuous content production without evolving towards a more business format, with specialized teams? Or, formulated another way, does the return to the Movistar Arena confirm that the model works in cycles, alternating digital creation with in-person peaks, instead of aspiring to the permanent machinery of Critical Role? In Xataka | The king of podcasting is no longer Apple or Spotify. It’s Google