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Everyday in the gym, one day, no gym, cheat meal. Cheat meal. Everyday. Everyday, no. Not everyday. Not everyday. One day a week. Yeah, really? Today, cheat meal. Come on, DJ cheat meal.
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What are you Okay, okay, okay, okay, okay.
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One churro of uh Nutella. With Nutella? Okay. yeah, true.
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I'm excited for Nutella one. Yeah. Thank you so much. Gracias.
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It's not everyday you get to sit down and have lunch and a chat with an artist like Rosalía.
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You know, uniquely private in her creative process until she's ready, and she is.
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New album Motomami will no doubt push music and culture a couple of degrees off axis into new territory once again.
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So, we sat down, ate some food in Santa Monica, which was not her first choice.
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We were supposed to be in Barcelona. Yes, I know.
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I wanted you to try los churros that we do there.
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I know, and I would have loved to have, and it was a it was a great opportunity, but we're just not No, listen, I'm happy that we're here because it's the first time I'm going to try churros that here is different, right? They put cinnamon. Yeah.
1:04
They put other things, so it's the first time I'm going to try. Yeah.
1:07
You know what we do in in Barcelona when you go party? Mhm. You go to a club. Mhm. At 6:00 a. m.
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or something, maybe you're leaving the club, and then you eat churros.
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That's the greatest after club snack of all time.
1:18
You know, in in Britain, in London where I lived, they get these things called keb- called kebabs, K- kebabs? Kebab, kebabs.
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And it's not like a Camden Town kebab.
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This thing is like it's like that big. Yes.
1:32
And it's basically there to soak up all the alcohol that you've been drinking during the Mhm.
1:36
In Barcelona, they do kebabs too, and they're like this.
1:38
Yeah, but I was sophisticated.
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I would have loved to come to Barcelona and had a kebab and a churros, but we're here in Los Angeles because we just the travel thing is we're getting closer and closer, and I appreciate you being here.
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You have every reason to be here. It's about to happen. It's happening. It's about to come out. It's so crazy.
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We have been very patient, but it's so worth it.
1:58
You were always asking me. I know. I'm annoying. I'm the worst fan.
2:00
You were always asking me like, "When is it going to be done? When is it?
2:04
When is the album coming out?"
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And I'm not apologizing for any of it.
2:09
You were asking me, and I was like, "Oh, he's going to be happy that finally my answer is going to be different." Yeah.
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When I press play on it, it was just I was excited, and it's so much anticipation and and start to finish. I mean, I call people.
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When I hear music that I truly love, and I'm sure everyone does this, you call people. It's not even done. You just call people.
2:28
You go, "Oh my god, this is so good."
2:30
And I was just calling people when I get to different songs.
2:31
I just call people because Yeah, because it's so exciting and eventful and so many amazing creative ideas, but you know, the songs are so great, and and all the effort you put in is and we're going to talk about all that, but I want to talk a bit about Los Angeles because we're here. Yes.
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And even though it's not Barcelona where your life began in many respects, you know, a big part of your story began here.
2:52
I mean, you called your first album proper, that beautiful collection of songs from the songbook Los Angeles. Right.
2:57
And I I I just wanted to cuz we're going to speed up to the present moment in very quickly, but I wanted to ask you being back here, how you feel about this city and how it how it treated you back then. Did it treat you kind? Was it tough?
3:09
Did it teach you tough life lessons? Was it warm? What was it like then? I think there's both. I find both.
3:19
That kindness and that tough energy, too. Combined in LA. I can feel both.
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And I think I felt it when I first came.
3:30
It was maybe four, three years ago. I don't even remember.
3:32
Like, I think four years ago.
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To shoot the Plata, that video.
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For the for the album Los Angeles.
3:37
And then to do to create Motomami, I spent a lot of time here in LA, too, cuz the people I was collaborating with that was they were they were here. Yeah.
3:50
So, it really made sense that it's the same energy.
3:55
It was still the same energy, and it really affected the sound, I think, and the project.
3:59
Being here, you know, being here, being in New York, being in Miami, spending time in these places, Jenny like like G3 and 195 wouldn't exist if I didn't spend the time here, for example.
4:15
How do you soak up your environment?
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Because to me, one of the things that's so fascinating about your process is you disappear. I do because I need to. You really do it.
4:24
And I and look, a lot of artists say they disappear.
4:26
They don't really disappear.
4:28
There's a difference between still being around and being within the peripheral vision of the attention syndrome and actually getting the heck out of there. And you just go.
4:37
Like, first question is, how do you so effectively create privacy for yourself when you're so visible now and people are so curious about what you're doing?
4:50
I think it depends on the intention of how you move. It It depends.
4:52
Like, if you really want to be private, you can be private. That's my point of view.
4:59
If you want to be low-key, you can be low-key. Yeah.
5:00
I almost feel like I disappear because I needed to. Why?
5:07
Because then I I can focus.
5:10
So, I needed to focus to make an album.
5:13
Like Motomami, I needed to focus and put all my energy and and get to the center to create.
5:19
And who cuts through that focus? Anyone? Family?
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Do you take calls from anyone when you're in the studio?
5:27
And New Young said to me, Oh.
5:30
"If I'm sitting there and a song comes to me, no matter what I'm doing and who I'm with, Yeah.
5:33
I I leave that or them and go write that song."
5:36
And I said, "How does your family feel about that?"
5:38
And he said, "They know me best.
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They know I have to do that."
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There's five people that if they call, I stop the music.
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I don't care how good the sound is, how good that the song is looking like. I don't care.
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Like, I take that I take the call.
5:52
Because family's really important to you.
5:54
You made that really clear from the beginning.
5:56
Yes, yes, yes, full full because I know I'm not going to be doing this forever. Yeah.
6:00
I know that I'm not going to be making albums when I'm 80, probably.
6:03
I hope I do it till I'm 70 or something. Okay?
6:10
Rosalía, there's no difference between 70 and 80. There is no difference.
6:12
If you make it to 70, you may as well go to 100.
6:17
okay, the difference is the difference is when I stop making albums.
6:21
Maybe, okay, if it's in when I'm 60, then maybe for me there's a difference between 60 and 70. Okay.
6:28
So, yeah, I think that my life is going to change at some point where I'm not doing this and I'm not who I am right now, which I'm cool I'm cool with it.
6:41
I I I accept that, and I'm I'm happy that it's like that. But, I'm conscious, too. So, family for me first.
6:51
So, what do they The people who know you best, what do they worry about you the most?
6:55
Oh my god, you should ask them.
6:55
Like, I'm sure they'd tell you. You should ask them. Mhm.
7:03
For sure, my mom worries that I don't take breaks. Mhm. I did a little bit 2020. Mhm. We all did. Cuz we all did. Exactly. Yeah, yeah. Exactly. But, that's it. I think that that's it.
7:16
I don't I literally don't take breaks because I feel like to to work at a certain level to get a certain result, you really need to sacrifice like a lot like Yeah.
7:29
time, relationships, so many things.
7:32
the thing that I don't think enough people really give you credit for, right?
7:34
Because your story, if you ask anyone who's a Rosalía fan, they'll tell you straight up it's about vision and determination.
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A lot of emphasis on vision because you're very visual and you present your vision and it's clearly yours.
7:45
Not enough focus on the determination that you've shown.
7:47
Not enough is given, I think, to the part of your story that people don't really know. Right.
7:54
Which is all the work that you put in before people started to really realize who you actually were as an artist. Yeah.
8:00
And I guess the question is really simple, but I'd love an answer. A lot of work? I mean, a lot of work.
8:08
I think the people sometimes they they've seen my last three years or something. They I felt them around.
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I felt that they they've seen how I was moving, but they didn't see the moves before.
8:28
And I had the opportunity to do other albums before before Los Angeles, but I didn't want to do it because I knew I wasn't ready.
8:36
I knew I was I didn't know what I wanted to explain yet, how I wanted to explain it.
8:41
Well, in a way, maybe you didn't even when you put out Los Angeles because that was to your to I mean, But then I felt the urge.
8:47
Yeah, with Los Angeles, I felt the urge.
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You know, I love that album.
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I just ordered that album on vinyl.
8:52
It's coming tomorrow, seriously.
8:53
I can I'll show you the order.
8:55
But like, who does that at your age?
8:57
Who who dives into a songbook and makes something that in collaboration with someone like Raúl and makes that record your first statement when I'm sure there was this desire for you to come out there I didn't have no rush, I promise. I didn't have no rush.
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I was like, "God's plan is perfect, and this is this is how it's supposed to be for me."
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And I was like, "Oh, I don't know Rihanna or I don't know how many artists I love, they started their career much earlier.
9:27
But for me, I knew that it was different. Yeah.
9:30
And I I accepted it from the beginning. I was like, "Okay."
9:34
That maturity maybe helped.
9:36
I think it helped me to not do an album that I didn't want to do.
9:41
It really helped me also to to make an album when I really felt like I needed to make an album.
9:46
And for Motomami, it happened the same again like I needed to connect with the urge.
9:51
I didn't want to make an album just because now is the time to make an album.
9:54
No, like I don't work like that.
9:58
You talk about God's plan, you talk about an urge to me, I guess they're the same thing. Yeah.
10:02
The urge is the way God is communicating through you, right?
10:04
That desire, that like it's actually in fact it's more than desire, it's necessity. Exactly.
10:10
How do you know what that feels like?
10:10
I think it's just something you feel.
10:15
Yeah, I think it's something you feel.
10:15
I think it's something that you just realize that you start to write again, that you start to think about possible possible ways to produce a song, possible ways to arrange a song. Thank you so much. Thank you. Welcome.
10:30
I'm bringing out the They look amazing. Thank you, brother. Thank you. I'm okay right now.
10:35
Thank you, but I'll I'll get there, trust me.
10:36
No, you're going to leave me alone.
10:39
driving while I'm Since I'm I'm good. All right. Thank you. Thank you. Maybe, maybe, we'll see. One bite of a churro. Okay.
10:46
I'm definitely eating churros.
10:48
You can Okay, okay, okay, okay.
10:49
I'm the dessert Listen, my family will tell you when it comes to dessert like I I would skip everything and just get to dessert if I could in a strange way.
10:55
We can skip to the dessert. No, no, no, no.
10:58
These look and smell incredible.
10:59
Um no, that feeling I I I think that I've asked that question to a few artists in my life and only a very select times do I try to get a better understanding of what it is to to listen to your inner voice or God's voice or whatever it is that's inspiring you to do something.
11:13
That feeling that you get when where it starts to happen Thank you, sir.
11:19
I really feel like that puts you on a path of absolute uncertainty. Mhm. Cuz you don't know, Mhm. right?
11:26
When you're going to get there, when it's going to be finished. Yes, you don't know.
11:28
It's leap of faith, for sure. For sure.
11:31
And we were taking leaps of faith in 2020 on this project, Mhm.
11:36
asking you questions and you took and you took 2021 for the most part. Yes. And you blocked us out.
11:43
me forever to mix to like get the mixes like exactly what I wanted it to be.
11:48
It took nine months or something. I don't know how many. Just to mix the record.
11:51
And to create the the the visual album. Yeah.
11:53
Like the not the visual, the visuals for the album. Yeah, yeah. Thank you, man. Thank you. Thanks, man.
12:02
I'm going to eat I'm going to eat this. This is so good.
12:05
To create the videos for the album, to create the the cover of the album and mixing, it took a whole year.
12:16
So, things that I would love that it's like this, it's not like this.
12:18
And it's just I just, you know, like I feel like I don't feel I'm late if I'm going on my own rhythm. You know? I do.
12:31
You could feel like that at some point.
12:33
You feel like, "Oh, everybody's moving.
12:34
There's so many things happening, blah, blah, blah."
12:36
But then it's like, "Whatever. I I have my own Yeah.
12:37
And I want to do an album in my own terms.
12:40
I don't want to do it like in a whatever way.
12:44
It needs to be like precise, focused.
12:49
Is Motomami a concept album? Yeah, for sure. So, what is the concept?
12:54
Oh, no, that you tell me cuz you analyze amazing.
12:56
Female empowerment and strength, but through a very individual lens. Right.
13:01
I feel like you're speaking to people, but only on on behalf of yourself.
13:06
So, it's like What is behalf of yourself? Personal? Yeah.
13:09
Often when people come out and and and and make a record that's conceptual and it's there to inspire en masse, Yeah.
13:12
it can be at the sacrifice of your own personal reflection. Mhm.
13:17
But I feel like this album you're using your own very personal observations. Yes. Yes.
13:21
For sure it has personal point of view all the time. Mhm.
13:27
I feel like I haven't done that in the other albums.
13:33
Also, they were much more serious, if that makes sense.
13:36
And I think that in this one I was like, "I really want to find a way to allow my sense of humor to be present in this album."
13:44
Yeah, playfulness, exactly.
13:44
Because also that's how I feel.
13:48
I used to be a lot like that when I was a kid and I was like, "Why did I forget that I I'm very playful."
13:54
So, it's like this has to be part of a an album if I'm making an album right now and that's how I'm feeling. Mhm.
14:02
Yeah, and for sure, for sure there's concept.
14:05
It's conceptual because I feel like it's almost like a you and you try to do like a self-portrait of a moment of who you are, how you feel, the way you think, and those are things specific things.
14:24
And and I think that this that.
14:27
You've always been a strong female performer.
14:30
And you surround yourself with strong female presence, you know? Right.
14:34
Dancers, the visuals, the whole feeling that you present is that you feel empowered being who you are, not just as a human being as a within our species, but as a woman. Mhm.
14:45
And I wanted to ask you who were some of the strongest female role models in your life that put you on that path? My mom. My sister, too. Yeah, for sure.
14:56
First my mom, but my sister and I we used to spend a lot of time together. We still do.
15:04
Since we were kids, we used to do it.
15:06
And she influenced me a lot.
15:09
The way the way she thinks influenced me a lot. Yeah.
15:12
So, she So, you were experiment. Aha. Exactly.
15:16
I wouldn't have It would be hard to find a a better description. Yeah. I think that's it. Yeah. But I had fun.
15:22
We had a lot and I think that she she has with me and uh We're lucky that we're friends.
15:29
Not every brother and sister is friends. That's true. You know?
15:34
And I feel like probably we say sometimes that that probably if we were not sisters, we wouldn't have been friends. Which is crazy, no?
15:44
Pero life put us in this situation and and we became Where you get to practice on your siblings? That's the point.
15:51
Like if If everybody that you were You are an older brother?
15:55
brother and um But you have an uh No, not a younger. I have an older brother. Okay. brother. So, you felt it. Yeah, I did.
16:00
But but to your point and he won't mind me saying this, we're we're very different people. Yeah.
16:06
But we're incredibly good friends. Mhm.
16:09
Because of exactly what you're saying, I mean that sense of family Mhm.
16:13
I think it kind of trains you and teaches you to think outside of your own interests. You're right.
16:17
And to explore other things.
16:17
And that's your really the first person you get to do that with. Cuz it right? Yeah, that's true. That's true, yeah.
16:22
On this album, there is moments of pure innovation and energy and it starts that way with Saoko.
16:31
And we you know, we know this song because it because it it it represents the record up front.
16:36
And I what I love about this song is that 100%.
16:41
It it just it shows a real sense of what of what we can come to expect and I wonder how that song actually came to exist.
16:46
Like how did you go from this kind of crazy free jazz experience into the rhythm that kind of rides through the album and then find your way back to it?
16:54
Like how do you put that together?
16:56
You know that Saoko is the last song I made for the album. It's always the way. Can you believe? It's always the way. Right?
17:02
I think it's Cuz you're free.
17:04
Yeah, I think I think so.
17:07
I think it's when you really put the pieces together, you understand what you're doing, you understand the palette, you understand the direction, you you you are clear about what you're doing.
17:18
And you're freer, too, because you have the rest of the pieces, so it gives you confidence, I guess. Mhm. So, I was in New York.
17:24
I was working in Electric Lady.
17:27
And it was a night that I remember I was working with Uzi. Uzi got sick. So, Uzi left.
17:36
And I was just me and David, the engineer that I've been working with since I started Motomami.
17:40
He's been there like nobody else.
17:45
And then I just went to the piano.
17:45
I started uh improvising a little bit. I found the riff.
17:52
And then I was like, "Okay, let's distort this. Let's distort this.
17:53
Let's put some distortion.
17:56
Let's make it sound uh tougher."
17:57
And then I tried some different drums that I I had because Nice Guy, this producer from Puerto Rico, he sent me in the beginning of the process of the album, he sent me a bunch Of the pilot tones.
18:11
Like library that is a special one, a special one because different generations been sharing these with the new ones, different producers to each other, which is very beautiful.
18:27
And I was like, "Wow, this is very special."
18:28
Like I treated it like "Oh my god, it's a special."
18:31
And then I was like, "Let me try to make this work."
18:36
Cuz before I was to the people I was working with and I I had around, I was like, "I want to do a song that has reggaeton and jazz." Right. Like both.
18:43
I feel like it can it can make sense.
18:47
And they were looking at me. I was like I was crazy.
18:50
They were like, "Nah, this is not going to work."
18:53
And literally that I asked them, "Can you Can you try some stuff like this in this direction?" Mhm.
18:58
There was few things tried.
18:58
Nothing Nothing on the table. Nothing.
19:01
No And they were like, "Mhm."
19:03
Even David told me like later he was like, "You know, like after we did Saoko."
19:07
He was like, "You know, in the beginning when you said that that idea was like this is not going to work."
19:15
Yeah, but you must get that a lot.
19:15
I mean, you must have had people throughout your career saying, "That's not going to work.
19:19
That's not going to work."
19:20
Because you love to create hybrid energy.
19:24
You love to take one thing and another thing and put it all together.
19:26
That's a big part of of what drives you. Exactly, exactly.
19:28
I I feel like music from other places mhm keeps me thinking. It keeps me reflecting.
19:37
It keeps keeps me inspired. Mhm.
19:40
So, that's why I always try to like, "Okay, how can I make this work with this?"
19:47
And then you always get something different.
19:49
The result when you try in a in a way that is maybe not the the most predictable People say that no that you a different result. right?
20:01
It's like transform, contradict. Yeah. Cut it up. Yeah. Do you know what I mean?
20:05
Like like like take everything and break it and make something new. Yes. Yes cuz sampling exists.
20:13
Sampling exists since forever. Right? Yeah.
20:16
It's just nowadays is more obvious. Yeah.
20:18
I love the way you wrote that song and and the whole montage of thoughts, the way that it's just like a stream of consciousness and um I missed it for the first few listens but and I read the the ID piece which was great and you talked about the the the comment that Frank made to you about opening up the world like a nut.
20:30
Like Do you think he meant pry open or crack it with a nut hammer?
20:37
Okay, so that's a he is the only one who could answer that, right?
20:41
But uh for me that's what I see.
20:44
Smash it with a nut hammer crack it open. Full.
20:46
That's why I connected with that thought and that image.
20:51
You know, I've spent time with him and obviously like the rest of the world who knows his music and loves him treats him with the greatest of reverence as one of the most magical artists of our of our time. Right.
21:01
Um but very few people have been able to spend time in a studio with him.
21:05
Like yourself he tucks himself away and he keeps his process private.
21:06
So without giving too much away from your perspective without giving away his process, how was it influential to you working with Frank Ocean?
21:16
I think he is very free in the way he creates.
21:23
And I think that that's exactly how I used to make my albums.
21:31
And I think that because this environment sometimes is like you know, like there's a lot going on at the same time every day. Yeah.
21:39
And you could forget a little bit of that freedom that it's usual that it's natural that maybe at some point you could and I feel like being surrounded by people that uh feels free and that is free.
21:58
For example, my sister I feel like is a person that like that too.
22:00
A lot of my friends are like that and that's always beautiful and inspiring. Yeah.
22:05
There's a song on the album which we fast forward a little bit Como un G. Yeah.
22:09
Which is one of the more sort of reflective and and very delicate moments on the record. Mhm.
22:17
And what I can gather it's it's really about you know, understanding that everything has an end even something beautiful has an ending to it. Yes.
22:26
You know, finality is not something I think we're programmed to truly acknowledge as people.
22:30
I think a lot of times we we don't want to accept that there's finality in anything.
22:33
Uh wow, that's amazing and I agree with you.
22:37
It's amazing that you say it because I think that I tried to understand that better and I write songs and lyrics a lot about that about finality. Yeah.
22:51
Sa Sakura is about that too. Yeah. Cherry blossom, right? Mhm.
22:53
The idea that something beautiful can can exist within its framework and ultimately disappear and dissolve. Yes.
23:02
So I think that that's hard for us to understand. Yeah.
23:04
Well because we want to hold on to things that we care about as tight as we can for as long as we can.
23:10
Um and you know, when you write a song like Como un G and you really really it's a love letter to a finality really. It's not a sad song. You think it's not?
23:19
It's sad but it's also Why you think it's not?
23:22
Because because in many respects it's a celebration of that finality.
23:24
It's like make the most of what you have, right?
23:27
And when it's in your hand.
23:27
I wonder how that affects given that you seem to focus on that as a writer and a creative it's on your mind even subconsciously.
23:34
How does that kind of affect your ability or or how you actually build lasting relationships?
23:38
If finality is kind of always there in the back of your mind. That's a great question.
23:43
It's the same I would feel if we talk about like how do you live if you know you're going to die, you know?
23:50
Then you just try to squeeze it. You know? You try to squeeze it. And then you drink that.
23:57
Have you always been like that even as a kid? I think so.
24:01
I think I became more overthinker through time.
24:07
When I was a kid I wouldn't I wouldn't think a lot. I would just do.
24:11
What was like what's one of your favorite childhood memories?
24:14
Like what when you think back to your childhood what immediately springs to mind?
24:17
The first one that comes to my head is me running I grew up in a forest.
24:22
Me running the forest from in the forest from the highest point to the lowest. On your own? On my own.
24:31
As fast as I could like as fast as I could. There was roads.
24:33
But not because you were scared because you're excited and it was a fun thing to do. Yeah, exactly. Exactly exactly. Just like that.
24:41
Cuz most times you see on TV people running through a forest there's someone chasing them. No. True. No, that's not true. But uh no.
24:47
That's an important distinction.
24:49
I mean it really gives us an insight into your childhood which is that so so nature was a huge part of where you grew up and what what you exposed to. Yes, full. And I was very nervous. I had a lot of energy. Mhm.
25:01
I still I think like I'm a little bit like that and then I would run I just would run a lot.
25:04
I remember myself running very fast when I was a kid.
25:07
So when you when you ask me my first image is that me running fast. Yeah.
25:13
And yet you found the ability to stop and slow down and and but again in a in a weird way, you know, your energy is going into your creative process.
25:21
You just make everything else stop that's around you.
25:24
So last year while you were mixing the Well actually before you were mixing the record, what was the environment like that you recorded El Mal Querer?
25:29
I mean you were very kind you sent me this it's amazing Wow.
25:33
video of you playing a song. Mhm. Which was awesome.
25:36
Just you on the piano you just say hey I think you'll like this and it was like I was so blown away.
25:41
But it looked like to be honest with you the room looked like the kind of room a crazy person sits in.
25:45
It was just like it was just white sheets and and it's some instruments in the middle.
25:51
So I wonder sort of what the environment is like you know, when you're not collaborating with people and you're just trying to find that inner voice.
25:57
Okay, first of all when I don't like a space I transform it. Mhm. I change things.
26:03
When I'm staying in a house I take all the paintings down.
26:09
I move the the all the couches and every everything. I move everything. Till I feel comfortable.
26:14
The only way that I could feel comfortable in that place when that you're talking about it with all the sheets on the wall Mhm.
26:22
that was the only way that I could change that place. everything else out. Maybe. Yeah.
26:25
What do you Then how do you tour?
26:31
I prefer staying in houses and feeling the the energy of the people that has been at the personality. I just I just Mhm.
26:38
It's harder to feel comfortable in spaces that doesn't have personality.
26:40
So do you like touring for that reason?
26:43
I mean do you can you make peace with the fact that there that you have to go from one kind of cold potentially cold place to another?
26:49
Yes, because I love discovering new things. Right.
26:53
I love being in different places and discovering learning.
26:57
And when I'm traveling that happens.
27:01
You have to to compensate.
27:01
You you have to ensure that happens, right?
27:03
Because the nature of touring for most artists is that you go from one place to the next cuz time is money.
27:07
So do you actually say to your team listen, I've always wanted to visit here. I need some time.
27:13
I I want to to do that for this tour for sure.
27:14
Cuz in the other one I was like okay, well do we do do let's go running running running. Yeah.
27:21
I don't want to be late blah blah blah. Yeah. The forest. Still running.
27:27
All the time running, right? But not the fun one. Mhm.
27:31
So at this point I want to have fun. You know?
27:36
So I'm like if I'm in Italy and I want to visit this museum I'll go.
27:41
And if I have to do whatever if I want to ride a bike and I'm in Berlin I'll do it.
27:47
And if I want to do this and that I'll do it because at the end of the day you spend maybe two years touring or things like that. And that's so much time.
27:57
And I I don't want to feel like I don't know that I'm not I'm not living my life.
28:04
There's a song on the record called Diablo which once again it's you and James. Mhm.
28:09
It's one of the rare moments that you've opened up the process to another vocalist that we can obviously on El Mal Querer.
28:14
But you and James have this really amazing tonal chemistry.
28:19
And he seems to kind of bring a different kind of tone out of you. Like you Mhm.
28:22
kind of come to him a little bit if that makes sense when you're in on the same song. I feel it.
28:28
Um I know how much of a fan of his you are.
28:30
I love to encourage that kind of conversation because I think that's what breeds just great create you creativity is confidence.
28:35
So what do you love about James and why why did you ask him to be on this album? He's unique. His sound is unique.
28:42
When I heard his first album I was like this is really honest.
28:45
Was that a game changer for you? Yes, I heard it a lot. Yes. Yes.
28:49
I was hearing it a lot in Barcelona.
28:51
I remember riding the bike in Barcelona and listening to James album or even when I was was taking walks and yeah, I heard that album a lot years ago.
29:04
And I feel like I'm always excited for what how he thinks and how is he going to Mhm.
29:09
play in these and how what's he going to do like I love the way he he sees the keyboard too how he harmonize things. Like he's special.
29:16
All the people that um have been part of this project I feel like they're all very unique very special and I feel really grateful.
29:26
It's incredible though that you know, you pick these very sort of what I would consider to be singularly focused creative people who are in their own production.
29:37
And yet you still been able to in my opinion produce this album.
29:41
Like I know there are other producers you work with but I really do look at you as the producer of your music. Mhm.
29:47
As a musician, as a producer, I feel excited to collaborate with people.
29:48
But I think that sometimes people it's almost like they don't understand cuz they're not in the studio.
29:58
They don't experience that, no, but to have collaborators, that doesn't mean that somebody's doing your job. I wish. Mhm. No, you don't. No, listen. Listen.
30:09
I wish I wish that I could get the result that I want asking other people to to do it cuz I would I would live much more I would spend much more time with my family, with my friends.
30:21
Honestly honestly Then I'm then I can't disagree.
30:24
If it's honest and it's honest and it's honest, but Yeah.
30:29
Equally, you have this reputation of being a perfectionist and being resilient with your vision and and determined.
30:34
As I said, determination, right, is a part of the of your story. Yes.
30:38
That's a fair observation, is it not?
30:40
You are a perfectionist to some degree. I think so.
30:41
Yeah, you don't spend like 3 years working on something like maybe I don't know, like 16 hours a day for months if you're not a perfectionist.
30:54
I've spoken to Jose about it.
30:54
I've spoken to I've spoken to many Yeah, I've spoken to many American Yeah, I've spoken to many American about it, you know. What do you mean? Who you are?
31:05
No, but I mean when we talk about the album, we say or I'll say to them like, you know, J Balvin, I'll say, you know, what was it like working with Rosalia when you did your collaboration?
31:09
He's like, she's so focused and so dialed into the detail.
31:13
And I I talked to many like, how's the Rosalia I'm coming on?
31:16
He's like, you have to ask her because she's a completely in charge and Money? Mhm.
31:22
Oh my god, money's amazing.
31:24
He was very complimentary about the way that you are are dedicated to to every detail. Mhm. You know. Yes, I do.
31:33
And I feel uh it's part of of how being a musician how how I was built as a musician, I feel like, because my teacher, my master, my flamenco master he would be like that.
31:47
He would be tough on me like like in the best way possible, to be honest.
31:52
But he would be tough cuz he would be like, oh no, this run this run you did, that's not right. Mhm.
31:58
This run you did, the timing or the delivery or the the intention or the the dynamics or it would be so much detail.
32:07
And also flamenco has so much detail that it was the best way to learn, I think.
32:13
When you're young, you you know, I think most artists I speak to at a certain age are just trying stuff out and and discipline is the furthest thing from their mind, right?
32:19
They're like, don't tell me what to do and certainly don't put me in a box and don't tell me to work for it.
32:22
But you came at this as a student.
32:24
It's it's and and found your way into this show business but with the discipline of a student. That's really rare.
32:30
Because it was the only way for me to to approach music.
32:34
There there was nobody around me that that could connect me to the industry or anything.
32:39
So that was the only way.
32:41
That's literally the reason why.
32:41
And then once I was in the not college, how do you call it?
32:46
The academic academic Yes, in that environment you kind of become a student and you kind of learn how to become a student, which it humbles you. And I think that's good.
32:57
Do you have fun memories of that time? Oh my god.
33:01
The most fun I had it was in jam sessions.
33:04
With other musicians improvising, blah blah blah.
33:06
But because the rest it that was not fun. That was not fun at all.
33:10
And also I had no guarantee that it was going to work and I spent like more than 10 years studying.
33:16
And yeah, that was tough. That's a long time. Yeah, that was long.
33:19
But then to come out there and then to end up back yourself What does that mean? Wait. Well, I'll explain.
33:25
When you when you when you're a student, you have to back yourself because it's really up to you to achieve the goals you set for yourself, right? Mhm.
33:31
To pass the the various stages.
33:34
Then you leave and it's like, all right, now I'm going to make my second album and I'm going to kind of have to really back myself like like only believe in myself that this sound is going to work and that people are going to get it. Right. We know your story.
33:46
We know that that that no one was sitting there you didn't have a cheerleading squad like Yeah, man, do it, you know. Exactly. Hell no. Yeah.
33:55
That would have been fun, though.
33:55
Yeah, but it it you did it your way and so that self-confidence ultimately I think kind of really established what is what has gone ever since.
34:03
Were there tough times making that second record even though you knew you had Malamente in the chamber, you had songs that were going to connect with them with their moments when you're like, this is You're asking about El Mal Querer. Mhm.
34:14
There was moments of doubt but much more of of uh reaffirming.
34:21
And in the same way I think in Los Angeles in the same way in Motomami.
34:26
It's like all the time I feel like I make music trying to challenge myself as a musician, trying to challenge who's going to listen to it.
34:33
So that requires faith and patience and that's something that you you never know how what's going to happen, no?
34:41
You never know the what the result is going to be.
34:43
But I really almost made a promise with myself of I know that that's how I started making music.
34:51
I know that this is my idiosyncrasia as a musician. Idiosyncrasy.
34:55
I don't know how to say that in English, but Idiosyncrasy? Yes, as a musician.
35:02
So I have to be faithful of that loyal to that.
35:06
I think that I'm a loyal person and I'm loyal to the people that I love.
35:11
And that's just who I am and I feel like my music is a reflection of that.
35:19
I'm going to ask you the hardest question I got right now, but it's also the most kind of playful question, but you're going to hate it. What? What?
35:26
If you had to pick one of the collaborations that you've done in between your records where you've been able to go out there and learn something new by working with somebody else.
35:31
We're talking about Travis, Billie Okay.
35:35
Ozuna, J Balvin, Brett Mr. Artist. Mhm.
35:39
We don't need a criteria and no one needs to feel upset.
35:41
No one needs to be in their feelings based on the answer.
35:44
Are you going to ask me which one was my favorite or something like that? What?
35:47
That's not a not fair question.
35:47
It could be about the experience.
35:50
Okay, okay, no, I feel you. I feel you.
35:53
I'm going to be I'm going to be honest.
35:55
My favorite to work with it was the first person that gave me a chance here in the US. And that's Pharrell. Huh? Yeah, that's Pharrell. That's a great answer.
36:07
That's Pharrell and then after 2 years after we worked again.
36:13
We we worked on Motomami.
36:16
And he did the title track, right?
36:19
He did Motomami cuz I was I didn't even know.
36:21
You just put it in and it was like, no one else could do that with bass. Come on, that sound.
36:25
That sound that's his sound. Crazy.
36:26
That's that's Pharrell's sound and I feel so grateful that it's there's a part of you know, of Pharrell in this album. In your life.
36:36
Like you said, first person to really co-sign you.
36:38
Yes, and I I spent like time with him in the studio and that's really special like how he how free he is to again, he's a very free person.
36:47
I hear everything's always on.
36:49
And I hear that you just he'll just you'll just be talking he'll just go up to a keyboard and start creating. Is that how it works?
36:54
Yeah, he he's always um very playful, too.
36:55
He's a very playful person, I think.
36:58
In the way he makes music that that's you know, you can see you can tell.
37:03
Even with his voice he he plays with his voice.
37:04
He uses his voice as an instrument in a so many different ways and it's so beautiful to see him work to it's inspiring and I learn a lot.
37:18
Not not just because he's a great writer. He's a great producer.
37:21
Also he's fun to be around like I crack up every time I'm around him.
37:27
Like I'm laughing so much and he's always teaching me the stuff. He's the best. He's just the best.
37:31
He does the best music face, too. See, that's him. That's him. You imitate him. You're good.
37:40
When I tell him the title of the album, he made that face.
37:44
Does he do that Does he do that thing where he looks at you while he's playing music?
37:46
He just goes No, he don't do that.
37:49
He's done that to me once before.
37:49
It was the most amazing thing.
37:50
He was just like Like, what do you think, no? Yeah, just right at you. That's awesome. No, he don't do that.
37:56
He but he would be dancing.
37:58
He would be dancing in the on the on the room.
38:02
It's impossible to not bounce when you are around Pharrell.
38:05
That's a question though.
38:06
What are you like when it's time to play music to people? Are you like Pharrell? What do you think? Oh, hell no. No.
38:12
No, because when I'm You leave the room?
38:14
Not either because I think that's evasive.
38:16
So not even not confronting too much, not evasive either.
38:19
So that's how I usually try to like I stay in that in that try to find that center that middle, no? Yeah. And with everything.
38:33
And when I play music for people, usually I'm like I try to just see it, make sure that it sounds good, that it's not like saturado, it doesn't sound crazy.
38:45
You know, because sometimes speakers are very traicioneros.
38:46
You know your music is crazy though, by the way. Wait, what do you mean? What do you mean?
38:52
And in the best of all the best possible ways.
38:54
You're like, I don't want it to sound too crazy, but I'm just going to play a song which has No, I want that it is crazy. I love that it is crazy.
38:59
Yes, yes, yes, but I don't want that it sounds bad, okay? Yeah, it's just that. Just that. It's a big difference.
39:03
Exactly, that's the difference.
39:04
And then I just I want that they have their experience chill without having my the pressure of me of of do you like it like Also you can make it awkward. I don't like that.
39:15
I really don't I don't like when people play their music to me a lot cuz I like to listen music Yeah, listen to music by myself. And where is that?
39:23
Where's the perfect place to listen? Yes, in the car.
39:27
It's the best way to listen music.
39:29
So I don't like people when they say like, oh, listening party.
39:32
No, no, no, that's not a party. That's not a party. That's not a party.
39:39
15 people and they're like, oh my god, I spend more time looking at the people around me than I do listening to the music or looking at the artist cuz I'm worried like how are they reacting?
39:47
No, the most fun part of that I think is to observe people and see how they all have to deal with that situation.
39:51
Cuz it's that situation is not not cool.
39:53
I like to unless it is your closest friends. Yeah, yeah. Then I can understand.
40:00
Yeah, yeah, yeah, you can be ugly. Be straight with them.
40:01
With my sister you so your reaction can be really honest. And how honest is she? She always honest. She always tells me.
40:07
Is she brutal or she does she find a No, she's brutal.
40:10
Is there a song on this album that you defied her her judgment on?
40:15
That she's that's what I mean she's always least favorite song on the album? You you ask her. You ask her. You ask her.
40:18
I hope there's there's none that is like the I hope that there's not one that she hates. I can't hear it.
40:26
I mean like I said start to finish I think all the effort you put in this record is like you can hear the love that you put into it.
40:33
If you raise your kids right then hard work and detail should go along for the ride, you know?
40:38
But love is a whole other thing like putting like being able to stay focused like that.
40:41
I hear the love you put into this.
40:43
Well, thank you so much cuz that's true. Yes. Yes.
40:45
And I feel like this I'm very grateful to all the people that have been part of the album but this album wouldn't exist without the sacrifice and the dedication and and the blood sweat tears literally.
40:59
So what was the biggest sacrifice?
41:03
Being far from home for more almost almost 2 years.
41:09
Being far from the people I love for almost 2 years.
41:14
Cuz I never did that in my life and and I don't know if I could do it again cuz honestly it was really tough.
41:18
What did you learn about yourself? That I'm resilient. I'm resilient. It's a great lesson.
41:24
Yeah, I'm resilient and I reaffirm in in in being resilient during that time.
41:32
Cuz it was the pan the the pandemic.
41:35
And it there was a lot of isolation but literal isolation to like and also not literal.
41:41
Like I I really had to push a lot.
41:44
That was the hardest album for me to make.
41:49
That was the hardest one.
41:49
This one This is the hardest album that I had to do for sure.
41:54
And I had to spend a lot of time like writing by myself at home being in a in a room just writing writing writing writing.
42:01
A lot of time in the studio just with David like pushing pushing pushing trying to find the right sounds trying to find the right the right production the right arrangement like there was and without that determination without those days of 16 hours working this album and without the decision of making this album 3 years ago that I decided that this was going to happen this album wouldn't exist.
42:28
So yeah, I feel grateful for everybody who contributed in it.
42:35
But as a as a producer as a writer to be proud of yourself.
42:38
Yes, cuz this made this made me push myself so much. I've learned so much.
42:44
I feel like I grow I grew as a producer and as a writer in this album.
42:48
I mean when I hear a song like Bulerías Bulerías?
42:53
Song four on the album I'd like to call it. Mhm. Song four.
42:59
Your tour is amazing by the way.
43:00
Yeah, I was going to ask you tour or chick? Wow.
43:01
Because we're talking about Barcelona versus Los Angeles right now.
43:05
We're talking about cinema versus It's different. though, right? It's amazing though. Texas incredible. Yeah. They're really good.
43:09
Yeah, they're really good.
43:11
Getting back to that song song number four. Yes.
43:15
You talk about the production.
43:15
You talk about the ideas.
43:16
You deserve absolute respect for this like the fact that that rhythm never does what me and my muscles would expect it to do and drop a third of the way through or the EQ to alter into a sub at some point. I did that.
43:31
You know And I know it was deliberate because you kept the tension there all the way.
43:37
Noah killed it in this one. Noah killed it.
43:40
I showed him a reference of flamenco that I love which it was just claps and voice.
43:47
And it's one of the the purest way to I think to do uh bulerías. The rest too.
43:55
And then Noah was excited and Noah started working with EQ, yeah. Yes. And he killed it.
44:01
The sensibility he has it's great like it's a special and he he killed it in that one. He really did. Yes. It's chicken teriyaki? Yes.
44:08
That one is like such a standout club moment. Mhm.
44:14
It's got the street level feel that you just dominate. You know what I mean? But it feels fresh.
44:22
I want to I want to know about that song.
44:25
So this song happened in the Mercer Hotel in New York. You recorded it there? Yeah.
44:32
That is literally stealth the most ins creative recording studio on the planet.
44:36
You know that's where Throne was recorded as well.
44:38
People seem to just love recording there.
44:39
Exactly cuz they don't complain of the music being loud. Wow. They really don't.
44:45
You can like have the speakers like muy fuerte and it has vibe.
44:51
When you go to the street you see some fashion then you go back to the hotel New York like everybody dresses amazing in New York. I'm like wow. Yeah. Yeah, yeah, for sure. In Paris too.
45:04
But Paris and New York So what's your memory of recording that song at the Mercer?
45:08
What's what springs to mind? Just having fun.
45:11
Just really laughing while I was writing lyrics. Really laughing.
45:18
Like there's irony in the in the lyrics.
45:21
And yeah, just remember having fun with it.
45:25
So now that this album is done when you what what do you what have you been doing with your time?
45:28
I mean apart from this and we appreciate this and I know that there's work to do.
45:32
But what what are you doing with your time if you spend all your time creating before? Living life. No, no, no. No, no, no.
45:39
Um I was creating the the visuals and I'm still working on the visual.
45:45
I'm glad you mentioned that. It's so important.
45:46
Yeah, it is so important.
45:46
It's really important to me cuz it makes such a difference in the way people perceive the music.
45:53
And I've been working on that a lot.
45:56
It's it took us a lot of effort to to prepare that and And how does that work in your mind like the relationship between the audio component of the music and the visual component. So you're making Succo.
46:14
What at what point does does the treatment Yes.
46:18
present itself to you and you're like, okay.
46:20
Me and my friends on bikes going off.
46:26
That was the the most explicit way to to translate Moto Mami to a visuals. No? Yes.
46:32
And yeah, the most the most direct the most like a straight straight forward.
46:38
Um that it had to happen like you know a video with girls doing tricks like that. Yeah. They are amazing. It's so sick. Right?
46:44
They are crazy amazing so I was like people need to see these badass women doing these tricks.
46:53
Cuz when I when my sister and I we found these girls doing that in in the internet in Instagram it's crazy.
46:59
And that's how you that's how that happened.
47:02
You just found them and then you were like, right.
47:03
You like I yes, I want to do a video with this person cuz I want that everybody the whole world sees them doing these tricks and they don't have no no fear when they do that and that's inspiring.
47:13
And then yeah, there's sometimes that uh while you're doing the song it kind of gives you like a direction in the way it sounds it gives you a direction visually but other times I take a lot of notes of just videos I would love to do at some point.
47:32
And then sometimes you just connect them.
47:34
You're just like, okay that with that and you connect the dots.
47:39
Everything we've spoken about this conversation has has come from your creative impulse and yet you have opportunities to collaborate with other companies and other brands and fashion houses to do things.
47:46
And I wonder as someone who is so inherently independent and dedicated to your own vision what is it really like sometimes when you work with other companies who have their own vision.
47:59
And let's be really honest here.
48:01
I'm not talking about you.
48:01
A lot of times in fashion the artist has to play some somewhat of a subservient role because you have to wear the clothes in a way that benefits the brand and it's not how you would do it in your video.
48:12
And I wonder how that balance is for you.
48:13
Yeah, I think I would do much more things but I don't because I I just collaborate with people that likes to collaborate. Yeah. Like real collaboration. Yeah, yeah, yeah.
48:27
That means Not paid collaboration. Mhm. Like no, no, no, no. Like real collaboration.
48:32
If we're talking about real collaboration I'm going to be really involved.
48:38
Yes and I'm going to like cogerte el timón.
48:42
E e you know like I'm going to be like, okay, this is how we're going to do it.
48:46
We're going to do this and that in this way.
48:48
We're going to use this thing and this other thing. You know what I mean?
48:53
Like I'm very hands-on so that explains why you don't do a lot of it.
48:56
Yes, that's can't handle that.
48:59
It's not the most comfortable I guess.
49:01
It's not the most comfortable to to collaborate with people that is like that unless unless there's a real same vision.
49:08
People that is very hands-on collaborating with other people that is very hands-on and and both have a lot of vision vision.
49:17
The only way that it can work is they have the same vision.
49:19
So unless I share the same vision or unless I have huge freedom creatively freedom creative freedom I do it.
49:28
If it's not like that I don't do it. I rather do less.
49:31
I rather have less money.
49:32
I rather See you understand the power of no. Oh, 100%.
49:37
And I wonder because there are some pretty legendary stories in in your journey about times that you said no. What?
49:45
I mean there were some there were some big no's. got to this point.
49:48
I didn't There were some big no's, you know?
49:50
And and without going into detail because your reasons are your reasons and I'm not that conversation list.
49:55
I don't I'm not going for that. That's fine.
49:57
But no but no was an important word to you, right? Yeah. Exactly.
50:04
Like you you cannot like I don't know I stay true to yourself and be saying yes yes yes yes yes yes yes.
50:14
I rather be able to just say no or and lose opportunities and lose things. Yeah, I prefer that.
50:22
Who was or who is your mentor if there is one? My mentor Oh my god.
50:31
I feel like I've had many and I still have uh so many that keeps changing all the time through time.
50:37
I feel like it depends on the moment.
50:42
Sometimes Okay, so I had a flamenco master Charo Ladonna that taught me a lot of how to like move on stage.
50:54
Was a mentor in that moment.
50:56
Or not move on stage as the case may be.
50:58
Sometimes with these ones.
51:03
Like depending on the on the on the artist who goes respect to the people that don't move a lot. It's incredible.
51:08
I've watched you I've watched you I've watched you hold your position for like 30 40 seconds.
51:13
It's it's it's incredible.
51:16
It's a true discipline and and that's where you got that from.
51:17
That idea of deliberate movement. Mhm, yes.
51:21
It has to it has to be intentional always.
51:23
In music it has to be intentional.
51:26
In on stage it has to be intentional.
51:29
Everything in a creative project has to be intentional.
51:32
I feel grateful to all the masters I've had but even sometimes when I'm in a Uber and that person that is driving starts explaining me something, that person is my master in that moment.
51:44
Like every time there's a master. There's always that.
51:46
There's If you if you really pay attention you you find it and I always want to be a student.
51:53
I always want to be a student.
51:54
All right, so the moment's important.
51:54
So let's talk about that.
51:56
Where do you think on and be honest if you can.
51:57
Where do you think you spend the most amount of time?
52:00
The past the present or thinking about the future? The future for sure.
52:06
I try to always stay on the present.
52:06
I I always push try to be on the present. I meditate.
52:10
I try everything to try to be in the present. Yeah, me too.
52:13
It's a pretty Yeah, that practice is yes. Ooh, but I try.
52:19
Uh but my nature is to be in the future. I always project. I always project.
52:23
I always envision vision vision.
52:28
I live a lot in the future.
52:29
So you you manifest you believe in visualization.
52:35
I I didn't know that this exist when I was a kid and I would be doing that when I was 9 years old or 10 years old.
52:40
It's a big concept at that age.
52:43
I think I think I think at that point in your life you are in in practice without realizing and only when the reality around you is reflect the dreams you had do you realize the correlation. Mhm. That makes sense.
52:58
You know That makes sense.
53:01
So you see, so I live in the future much more.
53:05
What's the future look like? Doesn't look bad. Doesn't look bad.
53:10
Looks like us fighting over this last bit of churro right now. Um It doesn't look bad. You know what?
53:16
Because what however it has to be I'm going to I'm going to be cool with it.
53:21
I'm going to be Why how can you say that?
53:22
Like how do you can you get to a place in your life at this point where you can say kind of wherever the to some degree wherever I end up I'm going to be okay with.
53:30
That's that's a really strong fait accompli attitude, you know?
53:34
Cuz I don't no me aferro.
53:36
I don't try I try to not Como se dice? Hold on to tight. Yes.
53:44
To the things that I have who I am.
53:46
That's why in the album also you find songs that are about transformation. Yeah.
53:50
I try to not hold on to tight.
53:54
Not either what I have right now in this moment of my life nor either the love that I get in this moment of my life.
54:02
Not uh who who who I am what I do blah blah blah.
54:05
Cuz I know those things change.
54:08
And it wasn't till the moment that I I accepted like profoundly accepted that and truly accepted that that I could uh keep creating.
54:16
There's a there's a reason and it's because imagine spending all your life all your time your effort spend on this vision.
54:26
I want to be a musician and I want to do it in the biggest way possible. Then you get it. Yeah.
54:32
So how how it is the idea of losing that.
54:39
How how frightening it can be.
54:39
You know like it's really scary to me like but that paralyzed me.
54:46
When I was when I was feeling that being scared that paralyzed me and then I was like no, I want to be here. Mhm. I need to create.
54:55
I want to I want to feel free and then that's when I could continue creating and making songs.
55:04
And make the Motomami album. When was that moment?
55:06
You said that moment was when I realized that I that I could move forward with a freedom. Yeah. What was that moment?
55:13
That moment was right after finishing tour.
55:19
It took me months to get there but I I end up feeling like this. See. Oh that was awkward. Oh that was awkward. lying.
55:30
You didn't want to eat it.
55:30
Come on Okay, I'm going to share it.
55:35
You went to the churro when I was going to you were like oh come on now.
55:39
I was waiting to do that.
55:41
I'm all I'm only here You're lying. You're lying.
55:42
I'm only here for the lols, man. No.
55:45
I I could understand cuz it's really good.
55:48
As much fun as it was sitting around at Pappis eating churros and talking process at some point we had to acknowledge that it's an actual real functioning business that needs customers to make money.
55:56
And so we went for a walk outside where the conversation went into different territory both figuratively and literally.
56:03
She's the reason they closed down. I'm going to do me.
56:08
What do you love the most about Barcelona?
56:10
I know it's home but now you've traveled everywhere what do you love the most?
56:14
The people cuz they're the people I love.
56:15
I mean there's a lot of people I love around the world but in Barcelona there's my family.
56:21
And that makes such a difference.
56:23
Also the food is crazy too. Yeah, food's crazy.
56:25
Do you feel like you can disappear there? The musicians there do.
56:28
Uh I can disappear there. Kind of.
56:32
You can disappear whatever though. Yeah. When you want to? Yeah.
56:36
I know this is a crazy question to ask because you just made the album of your life so far.
56:42
But do you imagine like what life would be like when you're not doing all this?
56:47
Like do you do you look forward to that? Mhm.
56:54
I'm excited about it but I don't anticipate.
56:57
So but I know how it looks like.
57:01
I'm going to be planting uh things, taking care of animals and planting plants and taking care of that. Mhm.
57:10
And that's how I'm going to be. Raising a family? Yes. Yes, 100%.
57:15
I see myself having three four kids. That's the best.
57:20
But I realized I feel so much love for music and passion about it.
57:25
That's why I keep doing it. Yeah.
57:26
Cuz even I realized that I could move in certain way for a for a reason in the beginning it still makes sense though now even the the reason why I move is different.
57:35
Cuz now I do it because it's I cannot imagine one day not making music or not doing this.
57:46
Well yes, when I'm older.
57:48
But then I'm going to do something else with love. Yeah.
57:50
It's going to be as I was telling you I'm going to be taking care of other things.
57:54
I'll put love in other things the same way that I put love into music now.
57:58
Are you thinking about you must be thinking about how Motomami's going to come to life live.
58:06
And how these songs are going to sound how these songs are going to sound live because when I listen They're going to sound amazing. crazy. Seriously though.
58:15
The choreographies are going to be sick.
58:17
I'm telling you right now.
58:20
The sound is going to be amazing. For live it's perfect. Perfect.
58:22
I already have so much written about the the show.
58:28
About how is it going to be. So many draws.
58:31
Two or three notebooks full. Yeah.
58:35
Do you have like your opening song in the set list?
58:36
Do you know what it The opening song. You don't Don't tell us. Don't say. Don't say.
58:40
I don't I don't know yet.
58:40
I cannot promise anything cuz I won't know till I'm doing it. Yeah.
58:47
But I think it's going to be so cool.
58:49
Are you going to do I think it's an amazing way to start.
58:50
Are you going to do festivals?
58:52
Like are you going to do Glastonbury? I mean who knows. We'll see. Glastonbury who knows. Glastonbury who knows. It's the best.
59:00
Do you know how many Oh my god, 25 years of living near the UK.
59:05
You're playing Glastonbury? Who knows. Who knows. We went.
59:06
Coming to Pilton Farm this June.
59:10
With El Mal Querer we went. Yeah. And now who knows. Yeah.
59:12
I always think about like those key shows.
59:16
Primavera Parties Parties was That was the one? Oh my god.
59:20
Parties and the end the closing of the tour in Spain. Yeah.
59:22
And Paris El Mal Querer in Paris yeah that was one of the ones that that the only one I think that I could uh watch.
59:32
Cuz I had such a good feeling about it a year or something after. But that's the only one.
59:40
Usually I cannot listen to my music.
59:40
I cannot watch the performances.
59:42
But parties is the only one that I'm like, "Okay."
59:47
But you don't listen to your music in the car? Just for the mixes. Yeah, just the mixes.
59:51
I prefer much more discovering music, learning from other music, other musicians.
59:56
There's so much music in history and nowadays also.
59:59
How are you going to spend your time like being all with my myself?
1:00:04
You know what That doesn't make any sense.
1:00:08
How are you going to lose your time like that, bro?
1:00:12
Like I literally feel like I wish I had more time in the day so I could listen more albums.
1:00:17
I'm not going to like But you can't be doing that when you're making your own stuff, surely.
1:00:20
Surely you're not listening to anyone else's music when you're making your own music. No, no, I do. I do. Yeah, listen albums.
1:00:25
you separate yourself from that being too much of an influence versus being something you can enjoy as a fan? Because I don't know.
1:00:30
I just listen to music as a as an experience.
1:00:32
It's something that makes me feel separate. It makes me feel good. Just like that. I I don't I don't know. I just enjoy it. You're lucky.
1:00:42
I mean, you know, the amount of times I've spoken to artists and asked them, you know, do you listen to other people's music when they're in their creative space and That's the best way to do it, by the way, I think because that keeps you refreshed.
1:00:52
That keeps you like, oh, with a maybe something triggers.
1:00:57
Maybe a song triggers you a different way to produce or approach the song you were doing.
1:01:01
Maybe you are You know when there's like a block in a song?
1:01:05
You are working on that song and you blocked with the production.
1:01:07
Usually, if you're looking for something, you're going to find it.
1:01:10
So, if you're looking for a missing piece and then you listen to other songs, maybe It unblocks it.
1:01:16
Yeah, maybe you you would be like, I could do this and this in here.
1:01:19
So, why As a musician, you have to nurture yourself and the only way to nurture yourself is listening albums.
1:01:26
How you not going to listen to albums?
1:01:30
Like that's the the time that I listen more albums albums the most. Facts.
1:01:35
That's when I listen albums the most when I'm doing an album.
1:01:40
I don't know all the people. lying. She's not lying. This is amazing. Wow.