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Uh, all of the joy, all of the pain, all the emotions, all the life, everything just in this beautiful body of work.
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We've come to expect nothing but honesty and truth from you.
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Um, what a journey to make this record.
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I'm so happy to see you, Silvana Estrada, to be able to talk about this beautiful new album. Thank Thank you.
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Thank you for having me here.
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I'm so excited, so honored. No, no, no.
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The honor is all mine and all ours.
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Um, we, you know, we we're very, very aware of the special gift that you have.
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But it, you know, you can't rely on that.
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You know, you have to go searching for your truth at any given time and it's all in this beautiful record, Ven Trance Suave as you wish.
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And uh, I want to talk all about it.
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I want to I want to talk as much as you're willing to talk about and where it came from and but first of all, let's just start with the present day.
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Um, the album has long but since been finished and you've been bringing it to life and conversation and probably just getting to know it differently than how it was when you made it.
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What have you learned about it since you've been talking about it and just sort of trying to explain it?
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>> I mean, that's a that's a very good question because I feel like the moment you start to talk about a word that it's already done, you actually get to understand and process like all ha all the things you've been kind of um, living and feeling and I think I'm in this point where I'm just so proud of this album.
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this album. Like I've been you know, talking about this process, I've been able to kind of understand like what actually meant to me and what means to me today, just the fact that I, you know, get to allow myself to self-produce this album and all the confidence I kind of
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worked in myself and and, you know, also like all the joy and now I'm able to like laugh about, you know, all the rough moments because during this process, you know, this is a process that took 3 years of, you know, a lot of just searching for my sound. >> Yeah, yeah. So, yeah, there there are >> Yeah, yeah.
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So, yeah, there there are also a bunch of like really, really tough moments and now I'm able to look back and just laugh and, you know, just sometimes I feel like, oh, look at me just trying to, you know, make my place in this world. Like, I don't know.
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It's like if I wasn't as I don't know how to say this in English, but but it's it's a little bit like I feel so much love for this, you know, woman who is just working her ass off and like tried to create a sound that she believes in.
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>> Well, you both needed each other.
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This music needed you and you needed the music in order to to get to that that place of self-discovery and growth and It's me.
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I think, you know, the, to your point, it started in a very different place and it's ended in a different place and it must be so interesting looking back, to your point, on that person 3 years ago even. Yeah.
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>> And who you were and it could only have been you that produced this record, though, right?
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It can only have been you at that moment in your life to take this on. It's crazy.
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I tried to to to work with other producers, but I think at some point was very clear that, you know, this is my second album and the first album I did um, Mariposa um, did, you know, kind of well, so I felt, you know, a little bit of pressure um, of doing this second album and I started to notice that you know, working with other producers, they were also aware of like this kind of industry agenda. Mhm.
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Like, oh, this next album needs to be, you know, completely different, but so honest, but it needs to be more you than ever, but then completely reborn you. I I don't know.
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>> like, who are you working for?
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Like, at the end of the day, like, I was just listening to the songs and figuring out how to bring them to life. Yeah, exactly.
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I was like, no, I don't want to work like that.
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I don't want to feel >> a memo here that says that your next record needs to be in this like, I'm sitting right here. Yeah, exactly.
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And it's like, who's expecting that? Like, really, for real.
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Like, who are you working for? Yeah. You know?
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So, I I started to feel so tired of, you know, kind of fighting against all this preconceptions of what this album has to be and at some point I was like, you know what?
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I'm going to do this myself because I'm I don't want to I want this creative process to be as personal as possible and I don't want to let all the noise outside um, intervene in my, you know, creative process and my inner process and also all the songs are really, you know, uh, close to my heart and >> They all serve a purpose beyond just music, melody and lyrics, right? They are a step in Yeah. that direction for you. >> Yeah, exactly. Exactly.
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And I was, you know, trying to to also to to be in service of the music, um, which I always tried to do that and >> that phrase.
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And for this album, really, that the process was exactly that, just getting to understand like the song, like what this song really needs beyond my ego, beyond, you know, what I want to to to to be or to feel.
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Like, what this song really, really needs and really means, so.
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And I think that's such a personal journey.
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It's a really high bar because it goes beyond the cerebral, it goes beyond trend or expectations >> you based on your previous album.
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It comes down to pure feeling. Yeah.
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And sometimes, you know, feelings are fleeting.
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It's hard to know what's real and what's not. Yeah.
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I mean, I'm sure there are moments when you're listening to something and you feel like I haven't captured it and then the day later you're like, oh, no, I got it in one. Yeah.
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So, it's such a fleeting, it's like trying to catch wind in a bottle. >> Yeah.
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No, it's crazy and also, you know, there this this album, uh, taught me so many things about just letting things go and also, you know, a bunch of of the, for example, you know, a bunch of the vocal takes were actually from from the first demos and you know, I I was directing this this band and producing this band in Montreal because I went to Montreal to to record like the a few songs.
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Actually, half of the album is recorded in Montreal and I was, you know, working with all these people that I, you know, it was the first time I I I met all these beautiful musicians.
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met all these beautiful musicians. All worked with um, Lhasa de Sela, which is one of my huge inspirations for this album and anyways, I was so nervous, so overwhelmed that I get to and I wanted to record live, so I isolate
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myself, at least my vocals, just to be able to kind of direct and, you know, I was like, okay, I'm going to sing with them just to have this live takes, but then I'm going to actually do like the real vocal tracks down in Mexico and I'm going to do the, you know, all my singer stuff, you know? And I did and I went back to Mexico and
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And I did and I went back to Mexico and I tried to to, you know, record this like actual vocal takes.
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That was, you know, brutal.
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>> How long How long did it before you realized it just wasn't going to be the that >> A whole day.
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A whole day of just getting super frustrated. Like, why? >> Yeah.
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Cuz you don't know at the time that you've already got it, right?
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You're just wondering why it's not working. Exactly.
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And then we're just listening to we were listening to to the vocals I recorded back in Canada without even thinking like, oh, this is going to be the track, you know?
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And they were so transparent, so moving.
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Like, I would be showing all this, you know, vocal takes to all of my friends and they would be like, wow, Silvana, this is so beautiful. This is so moving.
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And then I will show them the the tracks I worked that day that day and they were like, meh. Meh, yeah.
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Like, yeah, it's it's just, yeah.
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It's just so well made, but it's it's not moving at all.
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>> the room with those musicians and and I'd imagine that energy of feeling you call it pressure, but you also excitement and just the joy of like, I get to perform with all of these people, even if it's in your mind demo arrangement. >> Yeah.
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That's you capturing something special. The energy is palpable.
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>> That time in Canada was so important because before actually getting to like, you know, uh, self-producing this album, I tried to to work with other producers as I was telling you and at some point, I was just so disappointed and I was really I was in a really dark dark moment.
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I was about to quit the project.
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I was like, maybe, you know, maybe this is it and I should try to, you know, do new songs and >> shelve an entire album? Or pretty much?
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Isn't there a lot of music that you decided not to Yeah.
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Yeah, yeah, yeah, yeah, yeah.
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A bunch of songs didn't didn't make it to the end.
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And I and I rewrite a bunch of stuff.
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But but I mean, the core of the album is still the same that I've been working for this long time.
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And so, I remember I was, you know, um, in this super dark dark moment and my manager, which is a beautiful human being and being and, uh, he's really sweet.
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He was really worried about me and he received this call from Mishe Gad and which is Lhasa de Sela's, brother and he was like, hey, because Lhasa passed away many years ago and he was like, hey, we're going to do this like tribute to Lhasa.
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Is Silvana interested in in in coming to Canada and to do this?
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It's going to be Lhasa's original band.
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And Edwin was like, yeah, yeah, yeah, Silvana's going, but can she also record with these people? Amazing.
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And and he was like, yeah, for sure.
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And so, you know, a month after I was flying to Montreal to work with all these people that I didn't know before.
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>> And how was your spirit in that moment?
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Were you re-engaged and re-energized?
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Were you still trying to figure your way out of the dark place and wondering whether this was going to be the magic that broke the spell?
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You know, this definitely was the magic that broke the spell.
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This this journey of, you know, going to Canada.
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We we rehearsed for a week in a in a house in the middle of the woods next to a huge lake, you know, surrounded by this ancient trees.
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And you know, this is like nature always always have the power to heal me. Yeah.
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Um I grew up surrounded by by nature.
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So, now I I I'm really conscious of like one of the things that could actually cure my heart, it's always going to be nature.
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Just be in contact with, you know, the trees, the fresh air, water.
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And so, we were rehearsing in this environment.
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And all these people, all these musicians were so kind to me and so generous. Like just so good. You know, so talented.
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And yet so humble and just like trying all my ideas without judging anything and like I remember those days like where I started to be happy again after being so sad.
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I remember those days where I will be, you know, at the end of the day I will be like my face will be hurting me because I I was just smiling the whole day during all the rehearsals.
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And I was just so excited to listen to these songs because I you know, it was like, oh, all these ideas are actually working.
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Like finally, I can, you know, I'm in this safe space where I can follow my instinct.
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And all these people is allowing me to go there and search for my truth.
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And it's it was such a beautiful communion.
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And such a beautiful just loving and caring and sweet environment.
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And also, I think you know, for me it was really hard to allow myself to be myself as a producer because you know, in my mind to be a producer it was equal to be like this older man who has everything super clear on his mind and never hesitates and you know, always has an opinion.
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And I'm all the opposite. Yeah, yeah.
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>> You know, I need time. I need space.
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Sometimes I really don't know what I want.
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So, it was also very special to me to allow myself to be me in that position and to create new ways to actually, you know, be in service of of of the music again, no?
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Well, first of all, congratulations because you've produced a beautiful body of work. Oh, thank you. It really is.
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I mean, before we even talk about the songs and your performance on them.
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And I'm I'm confident no matter who you worked with, if you'd chosen to collaborate with people, you would have gotten those into shape.
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But what you've done in terms of dressing the songs and giving them the space that they need and at times the joy and the dynamic qualities that they need, you know, you produced a beautiful body of work.
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You know, I'm sad that the that this kind of awful prevailing myth of an of a music industry and imbalance creates doubt where there shouldn't be. Yeah.
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But it's beautiful that you pushed through and were able to realize, as you should, what you're entirely capable of and anyone is capable of with their own art. Yeah. Well, thank you so much.
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Also, I think it's I hope this could be like an example of especially for for little girls. >> Yes.
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You know, sometimes there's this super masculine idea of what a producer should be, what an engineer should be, you know, in our heads there's always like this Shot it good. Try it again. One more time, please.
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Yeah, you know, the classic, you know, engineer that's going to be recording you and on Instagram at the same time.
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And you will be like, do you think it's a or a producer?
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And do you think it's a good take?
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Yeah, yeah, yeah, let's try another. Shot it good. One more.
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Shot it while they're figuring out what the next ship's going to be in like 6 hours time. Yeah. Yeah, exactly. No, you're right.
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It's super antiquated and old-fashioned and old school and and albums and artists like yourself um uh long overdue, but really a right on time for you chipping away and making it about you and about what you want. And now it's wide open.
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And I'd imagine, and you tell us, but now that you've achieved this, when you choose to collaborate with people, your heart will be wide open in different ways because there won't be fear attached. Yeah.
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I think now I'm I'm in in this position where I can get to actually because something that I also learned, this was like going back to school for me. Yeah, yeah, yeah.
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Something that I also learned is that, you know, there's this alchemy of your ideas and the others ideas and you always need to, you know, I don't know.
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There's something really beautiful when you allow everybody to talk.
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And when you allow to like, you know, if you have a wonderful musician, just it for me I was like, please tell me, what do you think about this?
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And to to open my heart to actually receive that idea without without feeling like, oh, but I need to defend my my, you know, my first idea, my concept, whatever.
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Just to be humble, really.
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And to know that the ultimate decision it's going to come from a deeper place, from your intuition, from your gut, from whatever music is coming from. You know what I mean?
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It's it's it's so magical that you really you really need to be like humble enough that knowing that, you know, open your heart to another idea it's not canceling your idea.
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It's actually empowering whatever process you are on at the time.
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And I think now I'm I'm more aware of like how to work with other people and being in control of like what I want because at the end of the day, you know, you really need to like your music. It's number one. >> It's number one. What do you like, no? Right. That's it.
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There's no loneliest place in the world that the space that you and your art share together because nobody else can get in that space. You know?
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It's like you and your art, there nobody.
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It's like when you have a bad show.
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Um nobody It's It's the loneliest day of your life. It's true, you know.
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And I make music as well, so I totally understand what you mean.
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And it's a beautiful experience when you get to honor each other in the right way.
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When the artist and the art really come together and realize that regardless of how anybody feels about it after that fact, you heard you actually listened and heard each other. Yeah.
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And there's a lot wrapped up in this.
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It's about real life, you know.
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Uh Vendrán Suave Lluvias.
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I hope I pronounced that correctly. Near enough.
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Um translated means what?
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Means there will come soft rains. >> Yes. It's a beautiful phrase.
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Um and it it it alludes to um to me at least, it makes me feel like there will always be pain and always be a reason for for grief.
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But there is a they can be a softness to that experience which can ultimately be rewarding and not and not just devastating.
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That through that the rain can actually wash away other things.
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I say all that to say, and I only go where I'm invited, but there's there's some things you had to process in the making of this record, real life stuff. Yeah.
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And especially having begun, as you rightly pointed out, on such a high with your first album.
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You know, people telling you how wonderful everything's going and then to be faced with life. Yeah. And what life can bring.
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Must have been very confusing. Just just growing. It's a lot of pain. Um Like in general.
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And we're growing all the time.
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And to grow is to grieve somehow.
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So, I guess I was very, you know, just tired. I was touring non-stop.
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I was, you know, dealing with really high highs and really low lows.
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And I think I was, you know, just far from from myself a little bit, you know, because I was avoiding the pain.
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So, I was you know, I I learned this also.
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When you avoid the pain, you will also avoid the beauty in life and how profound can happiness can be, no?
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So, I guess I was, you know, at this at this point where I was dealing with so much, you know, I I the year I, you know, won my first Grammy, I also get injured from my back.
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So, I spent a month in a wheelchair because I was traveling too much and I didn't know my limits.
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And then, you know, Marchita, my first album was going so well, so well.
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And then suddenly, my best friend and his brother, they were murdered brutally without any reason.
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And I was dealing with all this pain and grief and yeah, it was it was massive.
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I feel like my kind of it it feels a little bit like your heart just stops.
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You know, you you die a little bit when you lost someone you love deeply.
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And yeah, this process was um was it was really hard.
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And I think Vendrán Suave Lluvias, no, there will come soft rain was this little promise of of real hope.
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Like I cannot promise myself that this is going to be just amazing and better tomorrow, but at least I can promise myself that you know, softness will come. >> Grace. Grace, exactly.
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So much grace on this album.
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So much grace on this album from the second that, you know, you press play on this record and um you know, we're ushered into like a very intimate space, but but you know, it's it's really generous.
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Like I I don't feel like it's overly vicarious.
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Sometimes it can be tough listening to music that's dealing with real human experiences in a very intimate way.
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It can feel like sometimes we're welcome, but we need to just lean back a little bit and I feel like you're wide open, arms wide open on this record. Yeah.
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How did you How did you get to a place where you realized that Like when did you know, okay, I know I can release this now. I can let this go.
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This doesn't just belong to me anymore.
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This can belong to everybody and it can be something everyone can enjoy.
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Wow, that's a that's a great question and um I think there was this moment when you know, after recording in a very disorganized way because again, self-production.
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Who wants organized recording?
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Who wants organized I'm sorry, like where's the fun in that? Like >> Exactly. >> Okay, I got it down.
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You're going to do vocals at 1:30 and then at 1:30 2:35 lunch.
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And after that, we're going to lay down solos for 15 minutes and after that, nap. Like who wants that? Nobody wants that. Nobody wants that.
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>> chaos, please, at all times.
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>> Please, let us bring let us be chaotic. >> 100%. >> I was so chaotic. I I yeah.
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So, after going, you know, to Canada and then to Barcelona to record some guitars and then going back to Mexico again, try a bunch of stuff and then having all of those recordings like on my computer and then dun dun dun, getting to like edit it. Fun. Fun. >> So fun.
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Oh my god, when you know you have it and then you get to actually make shape out of it. Oh, it's the best.
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>> It's the best and I spent like another two months just going to the studio. >> months?
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I just Oh my god, that is my dream.
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Leave me alone and I'll see you when I'm ready. Yeah, exactly. No, that was insane.
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That was great and we were also receiving all the tracks from the orchestra.
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We recorded the orchestra in Macedonia, so we were, you know, recording remote and we were like you know, actually getting to listen to real arrangements with the real songs and No, that was a really high moment.
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>> And then you get to like really exercise the mute button cuz once you start adding things like that, you're like, well, it doesn't need that. It doesn't need that. It doesn't need that. >> super fuerte.
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That's super strong because then you really need to exercise your ability to let things go. >> Restrain, yeah.
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Because it's like, but I love this line. Like >> Mute.
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And then you will be muting and you will be like, damn, this is actually better. >> Yeah, yeah, yeah. So good. I love it.
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>> So, actually doing that process, I was like just like you were saying, like, oh, this is really open.
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Like this is this is holding so much space for people to feel whatever they need to feel. >> Yes. Um >> Yes.
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>> Yes. So, I was really aware of creating that silence even if, you know, you know, there's there are some songs that are look only like guitar and vocals and then the orchestra and then pedal steel and then guitars and but I was very very aware, especially on that
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period of editing, of like creating every song, just try to create enough space for people to get into the song and just like like just relax and feel like they're completely welcome and maybe mirroring, you know, a little bit through this music. Like, okay, you're
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Like, okay, you're already here in this music.
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Let's look at this mirror. What do you see?
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Like what are your What are your feelings? You know. Hard.
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Really challenging, great challenging work because we cuz we we're maximalists. Yeah.
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We're like, oh, no, no, no, but that string I we've recorded it and it sounds great there.
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Why would you not keep it in? Yeah. And so much ego, no? Right.
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>> Like, no, but that's but but you know, we worked, you know, days on this arrangement and da da da and it's like, yeah, but that's great for you. Like congratulations.
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You're so good, but this music doesn't need it.
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>> Doesn't need it and to be able I just think it's so interesting the way that you're describing this process to have the presence of mind and self-awareness to remove your ego and yourself from the experience enough to ask yourself, is the song saying enough Yeah.
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for people to connect to it and maybe that's enough. Full stop. Yeah. >> Doesn't need me Yeah.
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>> to embellish it because I want something the song like really listening to the songs.
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Also, I'm a singer-songwriter and like the message is the most important thing.
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Like the song is the most important thing and that immediately puts you in a position of humbleness, extreme humbleness.
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It's like, okay, some amazing force like gave me the opportunity to create this song.
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So, now I'm in service of this song.
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So, I need to, you know, protect the message of this tune >> Yes.
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with all my heart, you know?
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So, yeah, that was a really cool experience, yeah.
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>> When did you realize, let's go back into your childhood a little more, whenever you realized that this process of creativity, this artistic spirit um was searching for songs even if you weren't consciously aware of it, that there was something special and mystical at play here in music and the arts and it wasn't just playtime with a pen and a pad and a guitar.
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You know, my journey in music it's it's it's I think it's really just fun and nice because I grew up in the countryside, so I grew up a little bit isolated and my parents both are luthiers.
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My mom is a violin maker, my dad is a double bass maker and um so, I grew up surrounded by musicians, my parents and instruments.
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>> And a in a workshop environment, too.
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So, not just like, oh, I have a collection of instruments.
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It's like, no, we're making these. >> Yes, exactly.
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Yeah, there's a craft, there's a bunch of patience.
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And I I I've always been really um s- sensible, como super sensible, like very sensible and always, you know, growing in a in the countryside always also brought me to this like appreciation of beauty and and nature and I really really love um how, you know, nature can teach us everything about beauty and almost everything.
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And so, I started to to to write songs because I was, you know, when I was a teenager, I I felt so lonely.
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Um and and so incapable of like connect like really connect with someone.
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I remember the first time I showed my first songs to a group of friends and actually Jorge, my best friend who passed and they were like what is this? Like, what is this?
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Like because I was already studying jazz and studying music, but you know, nobody knew that I was writing songs and when I first showed them all my songs, they were like Yeah, they were like >> Whoa.
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Especially, they were like now we understand what's going on.
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Like now we understand why you're so sad. Wow, that's so powerful.
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How do you think looking back on it now with some maturity and self-growth and better understanding of who you are?
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I mean, so eloquently put in my opinion, the way you describe the idea of creating songs in the absence of social connection.
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Like that made me really discover myself.
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So, how do you think your parents felt about that because it's in all parents' nature to want to kind of create a happy environment for their children.
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And if you see that inherently one of your children is not necessarily gravitating to a traditional happiness, how do you think have you ever sort of discussed it with them or figured out how they how they processed that time in your life? >> My parents are great. I'm so lucky.
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I have the most loving parents ever and they really they always respected like all my journeys and all my feelings and I guess, you know, when I was very very sad and lonely, um I was also laughing all the time.
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Like I have a really deep connection with sadness, but I have another really deep connection with joy. >> Right.
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Um so, you know, I actually humor to me has way more a lot to do with sadness than happiness. >> Definitely.
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That's the roots of comedy right there. Right there, that's it.
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Yeah, if I'm happy, I don't want to laugh.
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I'm just smiling in silence, but if I'm sad, I'm going to be like telling jokes all day and like just laughing about my misery all day and Yeah.
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Um so, I guess my parents were really, you know, respectful of my ways of processing my life and also they were very caring, you know, they were taking me to piano lessons and like to violin lessons and >> So, they saw the power of music in this process and the importance it would play. >> You know what?
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They really believe in music as a way of connection, as a way of community, as a way of just feeling better.
30:07
Like for me, I never felt like the pressure of become a musician.
30:15
Um but, you know, my mother was always like, "You need to do music."
30:18
Uh you don't need to be professional, but you need to to to know how to make music because that's going to make your life easier, you know, that's actually going to connect you with you know, happiness and joy and it's going to be a tool for the rest of your life.
30:37
So, and also it's going to you know, it's going to create community because something that happens when you start to do music is that you find your family.
30:47
Um and I think my parents they knew that before me. So, Yeah. So true.
30:52
And how has it been finding your family since you started releasing music and how has the experience been?
30:56
And let me give you sort of a framework based on what I know from talking to artists.
31:00
They're the real people in your life. Yeah.
31:02
And then there's the industry and the things that come along with trying to reach people and do it again and again and again.
31:06
So, how has that balance been for a self-professed creative introvert?
31:15
People want to hear and meet all the time.
31:16
I think I've learned how to protect my energy.
31:19
Um because it's at the beginning it was a little bit because I thought everybody have the most honest expectations.
31:34
I was like, "Wow, everybody wants to be my friend. Yay."
31:38
And then, you know, I was like, "Wait a minute." No.
31:42
That's actually physically impossible. It's impossible.
31:44
It's spiritually impossible for everybody to want to be your friend, yeah. Doesn't matter.
31:50
>> So, so you know, I started just to protect my energy and I started to really take care of my friends.
31:56
Something some of the things that I regret the most and I think I'm going to regret this for the rest of my life.
32:03
I'm I'm not saying this from bitterness, I'm just being conscious of it is that I wish I could spend more time with Jorge, my best friend, um before he passed because I was so, you know, focused like on my career and I was like just working so hard that I could not spend especially the last uh 2 years of his life.
32:34
I couldn't be there much for him.
32:38
And you know, now it's funny because in the interviews people will be like, "If you could change one thing of your career."
32:46
And I'm like, "Work less." It is the sacrifice. It is the sacrifice. >> just in music.
32:51
I think anybody that goes on their adventure of life. >> Yeah.
32:55
Anyone who breaks away from the original architecture family Yeah.
33:02
and support which is a huge part of growth Yeah.
33:08
>> and identity building and the journey you go on to do it, if you succeed and chase it all down. Yeah.
33:12
The only thing that it truly costs you, if you're lucky to get to a point where you get to stop is the time you spend with the people that love you the most.
33:23
It is just an absolute that's just math.
33:25
Yeah, and it's a tough truth that I guess we all eventually will face. Yep.
33:31
I mean, if it makes you feel any better, I I mean, I I'm in a similar situation right now.
33:34
I've got someone in my life who is not present doesn't have presence of mind anymore and and I I I I think about God, I mean, I just could have just an extra week here, an extra week there, you know, but you're young, you're just chasing it.
33:45
You're just so immersed in your own world. >> spell. Yeah. Yeah.
33:52
And it's really hard when this bubble kind of breaks because then you are like, "I've been I'm not you know, I tried to be a good friend, but I've been not there in any birthday, any, you know, party, any great moment for I don't know and I guess you know, now that my friend is gone because it's not that I'm working less at all.
34:21
But or or I have more time, all the opposite.
34:23
I have less and less time, but when I'm with my friends or with my family, I would be so in the moment, like so present and so grateful.
34:36
Like every time that I get to see my parents or my brother or the rest of my friends, I'm like, "Thank God just for this, you know, just thank you life, thank you nature, thank you whatever who you are for this, you know, like you're here, I'm here." What a what a blessing. >> What a bless.
34:57
I mean, every day, you know, I feel that way.
34:59
I mean, I'm like, man, I'm still around.
35:00
I think I think life will will will remind you of that if you're lucky. Yeah.
35:06
But it's a it's a sad lesson to learn too because it means that you probably missed something. Yeah, exactly.
35:14
>> Well, as you know, at the beginning I said to grow is to grieve and I think eventually we will all be hopefully we will all be like in this place of okay, it's a miracle that we are here alive and we don't know for how long, you know, this is like this.
35:33
So, you better you better wake up.
35:39
There's some immortality here though in this album.
35:40
I'm telling you, you created something that will last as long as we're living and breathing as a species.
35:45
It's right here in music is is ours to enjoy.
35:47
Aventuras Suaves y Lluvias is just such a beautiful body of work top to bottom.
35:51
The first time I was lucky enough to hear it was a very far away from this in an office in New York and it was a really profound afternoon.
35:57
It was beautiful to be able to just spend some time with you and listen to this music and I was with my son and we both commented on what a special day that was and and I could just tell at that moment, just cast our minds back to that moment, just how proud of this music um you are.
36:14
And how that's changed you as an artist.
36:19
Obviously a huge achievement to for you to realize it in in totality, but as a songwriter as well, how have you changed now that you've made this record?
36:25
How do you think that your creative spirit will go forward now you've been able to write these 10 particular songs?
36:32
As a writer, I'm so you know, worried about the things that we are spending our time talking about.
36:45
You know, this album is I needed to do this album because it's, you know, so intimate and so transparent and I really wanted to make this statement of like, "Okay, this is this is me."
36:59
I want this album to be just a Polaroid of of my life. >> Yeah.
37:05
But now, I think I'm trying to to to go deeper into the idea of political songs, especially in Latin America.
37:16
I grew up listening to to you know, Mercedes Sosa, Victor Jara, Caetano Veloso and you know, we are in this moment where I really believe that political songs political repertoire should be back and should be should be different also because things are bad and we really need to create a way of like talking through beauty about really awful things.
37:48
So, I think um as a songwriter, I'm really working on this idea of you know, now that I've been talking about myself all these years, I really want to go even further and try to create this even more open space for, you know, what reality it's giving us to talk about.
38:10
Well, okay, that's a very powerful statement and, you know, I I'm very excited to hear where you and your and your songs arrive.
38:17
But in order to get to that place nature your natural environment of isolation, self-absorption, nature being exposed to the things that are bigger than you Mhm.
38:33
naturally will probably have to take somewhat of a backseat because Yeah.
38:37
because to write about what's going on around you is to put you is to at least from a consciousness point of view make yourself hyper aware. Yeah.
38:47
And that's going to be intense for an empath and an artist and somebody who finds beauty Yeah. emotional. Yeah.
38:55
I mean, I guess my question is is like with that intention, how can you even prepare yourself to absorb and translate?
39:06
What I feel is my call, no, during my life, it's to find what's hurting me and cover cover it with beauty.
39:23
Like to find like, "Oh, I have this wound.
39:25
This is this is hurting me."
39:28
I really need to to cover this wound with light, with hope, um with beauty and I think in order to write anything, I I need to to go inside and kind of research and do a bunch of automatic writing and, you know, There's going to be some on that page. >> Yeah.
39:56
There's going to be some rage on that page, right? >> Yeah. Yeah.
40:01
>> Different things, different feelings.
40:02
Like it's going to be wild.
40:03
>> At the same time, it's like again, I I need to go to nature just to kind of channeling a little bit of this idea of we are part of nature, so there's hope. We forget that. >> We forget that, no?
40:20
We are the ones that can actually heal. That's where we go. Exactly.
40:25
So, I feel like there's also a beautiful way of, you know, understanding this period of time.
40:30
And I think hope and imagination so important right now, you know, to be able to imagine like what a better world would be, no? Yes.
40:42
And yeah, I I I'm really trying to open that space in my head just to just to imagine and to allow myself to to dream.
40:54
Um and I think that that's currently like my process my creative process.
40:57
How challenging is it for you to quiet your mind? It's very challenging.
41:02
It's very very very challenging.
41:07
Um Probably I will be, you know, I've I've I've been trying to meditate so many years and it's it's not I'm terrible at it. >> I'm so bad at it. I No, I'm the worst.
41:18
I will be like, you know, my mind will be like, "Okay, you're meditating. Okay, this is great."
41:26
You're thinking about lunch.
41:27
What are you thinking about lunch?
41:30
>> Come on, you're not even hungry.
41:31
It's just like It's like, "What am I doing?"
41:33
>> It's impossible, but, you know, I guess just um music again, it's like my way of like calm my mind a little bit. >> sleep? Do you sleep well? Sometimes.
41:46
Um now I'm sleeping so good, actually.
41:51
I spent 3 years without sleeping making this album.
41:57
And now I'm sleeping like 8 hours each day. And yeah, I'm so happy.
42:05
It's amazing what it does.
42:05
You know, I've spoken to a few artists about this recently and this conversation began for me bringing this up in conversation uh with the conversation I had with Thom Yorke, who was Yeah.
42:12
about the importance of sleep. Yeah.
42:14
And even just like he's just pro napper. He's a pro napper.
42:18
He's like, "Just give me 20 minutes."
42:21
And he's back in the room, right?
42:23
>> Do you read this uh I think it Wilco did this Jeff Tweedy did this how to write a how to write a song and he's like part of his process is actually taking naps.
42:33
He will be like in the middle of a creative process and then he'll be like, "Oh, time Time to nap."
42:39
And then he will be Nappers, man. Who could just nap? Like, can you nap?
42:44
I mean, I try to nap, but I know some people who could I have a friend Jamie, I'm putting you on blast, Jamie.
42:50
Jamie will be driving to meet me for lunch and then I'll get a text from him saying running 30 minutes late. I think he's at work.
42:57
No, he just pulled over on the side of the road cuz he just felt like >> Wow.
43:01
>> he'll just arrive in such a good mood and he's like, "Sorry, mate, I had to have a nap."
43:04
I'm like, "I thought you had a meeting." He's my hero now.
43:07
Who is my You've got to meet this guy. He's everybody's hero.
43:10
When you meet him, you'll be like, "Oh, you're for real my hero." North London Jamie.
43:15
He will nap as and when it He's like, "Everything can stop until I nap." I really love napping.
43:20
I'm actually >> You're pro napper. >> I'm pro napping. Like I'm pro napping. I really love it.
43:25
All my family it's pro napping.
43:28
Like my parents are like artists of nap.
43:30
Is it not part of the culture though?
43:32
Is this not what we are talking about?
43:34
Isn't this part of the everyday cycle of life?
43:35
Is the siesta is the idea of allow yourself to space to reset your mind before your body, your heart, your spirit and then whatever comes later will be much better dealt with.
43:46
Yeah, it's, you know, it's it makes sense. >> Yeah. And we have it so wrong.
43:51
I'm just LIKE, "JUST KEEP ON GOING. IT CAN ONLY GET WORSE."
43:55
SO, YOU KNOW, YOU HAVEN'T DONE HAD A GOOD DAY.
43:56
THIS has got as bad as it can get.
44:00
If I don't get to 10:00 p. m.
44:00
and I'm just like, "All right, I feel the worst I've felt all day and I have not achieved my goals."
44:05
Well, it's crazy because, you know, here in the States it's nobody's taking naps. >> Nobody's napping.
44:13
But then I'll see like a few days ago we were in New York and I and I was on the train, you know, on the on the metro, on the subway and I saw a couple of people just like, you know, like kind of sleeping and I was like, "That's it, you know?
44:30
Maybe you're not acknowledging it, but that's that's the perfect >> fit in. >> Yeah, yeah, exactly. I do the same.
44:39
Sometimes I'm in the middle of a, you know, promo day or touring and I'm like, "You know what?
44:44
I'm going to go to the green room. 10 minutes."
44:45
I've had at least two artists in my life nearly fall asleep in interviews with you before. Oh, really?
44:50
They're just either working too hard or I was not reading the room or I was really not on my game that day. Right?
44:57
I was my ninth different variation of let's talk about the bass guitar and I was like, "I don't know what else you want me to tell you, man.
45:04
It has four strings on it." No.
45:07
But you know, what I can do is to take a nap the day I need to perform. >> Mhm.
45:14
That's like the worst decision ever. >> Yeah, yeah, yeah.
45:17
But you're never recovered.
45:18
No, you're not No, I'm telling this you know, to all the performers out there, never take a nap before the show.
45:28
It might look like the best idea you could have. >> Yeah. No, it's a mistake.
45:34
>> If I ever see you perform live and you're just not on your game, you're just kind of a little bit light.
45:36
You sound great, you're performing great, but, you know, few people who I'm with know that you're not on your game.
45:41
I'll be like, She took a nap. She napped today. She napped, right?
45:48
Daniel will be like, "I told her not to nap.
45:50
I said don't take a nap and she took a nap.
45:52
I said I said, 'What are you doing? Don't take a nap. What are you crazy?'"
45:55
Wow, you're so good at imitating people.
45:58
Now I know that about you. >> Only my friends. Only when I'm invited.
46:02
I never interview anybody.
46:02
I'm not I can't get away with it.
46:04
I don't want to be on anybody's list.
46:06
I'm now I'm so excited for you for for what's to come and with this body of music now, two albums to be able to perform and to and to and to give new life to your first album as well with the maturity and growth of this album.
46:18
You must be so excited about the shows and just seeing people's faces.
46:22
Yeah, and I really believe in Especially on the last day of promo.
46:26
Yes, no, now my my faith is back. My hope is back.
46:31
>> Yeah, yeah, yeah, yeah. No, I'm really excited.
46:33
I I really believe in in live shows.
46:34
Um I mean, it's like you can believe or don't believe, but I I do believe that, you know, live performances are like the modern kind of, you know, in social encounter for people that doesn't know each other.
46:49
Oh, it's the excuse for us to come together regardless of of of shifting ideologies or beliefs and actually experience something common.
46:58
Yes, it's it's kind of this um modern ritual that I guess thousands of years ago was like just reunite just around the the the fire and dance and do whatever.
47:11
This is the modern ritual of, you know, like a like a soulful connection with with the unknown regardless of what you believe or, you know, So, I really try to create like safe space for everybody in my shows.
47:31
Um I also feel like I'm really excited to be touring here in the US because I also feel like the Latino community really needs to feel, you know, welcome.
47:42
Um these are really tough times for Latin people here in the US. >> Yes.
47:48
So, I'm really excited to create these shows in order to, you know, create a safe space, welcome everybody, um you know, take care of each person.
47:57
I know it's kind of impossible, but it's a it's an energy you put, no?
48:02
To actually take care of everyone's energy during during a concert and Create a safe space.
48:11
>> Yeah, create a safe space.
48:11
I think a lot of queer people listens to my music, a bunch of women, beautiful beautiful kind people listen to my music.
48:20
I couldn't be more proud of the people that comes to my shows.
48:25
They are nice just sweet, humble, caring, loving people.
48:31
people. So, I'm Yeah, I'm just excited to see them and to sing with the people because something that happens in my shows is that everybody's singing and everybody's like answering and like it's it's it's so kind of it feels a little bit like we're all in my home in Mexico and I'm like serving
48:52
mezcal to everybody and I'm just playing, you know, in my living room for everyone and it's so intimate and I believe that this intimacy really creates a space for everyone to be vulnerable and to really connect with their emotions and, you know, Oh, I really you're more than invited to any concert because I think you will love it. Um
49:17
Um just the energy it's so nice.
49:18
People is like crying, laughing. >> wait.
49:22
It's Yeah, it's really nice. >> see you perform.
49:24
I mean, it's one of the it's one of those things that I've yet to do and I'm having met you now and listened to your music and and as we get to know each other and as everyone gets to understand who you are, I mean, you know, not to sort of add to the perfect observation, but but just to say that that environment that you feel so welcome in is because you create it. >> Mhm.
49:42
And your music encourages that behavior from people.
49:45
Um there's a nourishing energy to what you do even when you're going through it yourself.
49:51
There are songs on here which you can tell through the performance and what you capture as producer, writer, performer of this album that you were really going through some very, as we discussed in brief, really intense life growth. Mhm.
50:05
>> Um and yet people want to go and have that experience with you, which is amazing. I mean, that's the gift. Yeah.
50:12
That you give us and that we give you and that's the whole point, isn't it? >> It's the whole point.
50:15
Just is this beautiful infinite form between audience and artist and audience and artist.
50:22
And it's I I feel like it's a it's full of um vi- vi- vi- virtue? Mhm.
50:31
And yeah, it's just grace.
50:31
Just like a deep connection with just yeah, something greater than us, but at the end it's us, you know? It's humanity.
50:42
And sometimes I think we should be, you know, pro- I know it's hard to be proud of humanity, but it's so beautiful.
50:49
Like, you know, we're here talking about music and people's going to be listening to what you we have to say.
50:55
It's we are, you know, it's just so beautiful to be human.
50:59
And I I think if we fall in love again with the fact that we're alive, we're human, we have, you know, technology and poetry and movies and >> They're all great. >> Yeah. >> What's this? >> Exactly.
51:12
So, I'm really grateful to to be here with you today. Really, thank you.
51:17
>> a brilliant, wonderful hour, Silvana Estrada. Thank you. Thank you.