"The only key in creation is freedom and feeling that everything is possible." This is how the musician Pablo Alborán has described the moment of composition of his songs, which have made him an "emblem of Spanish popular music", in the words of EL PAÍS journalist Fernando Navarro. The two met on Monday, at the Luchana Theater in Madrid, to talk about the reissue of I promise, an album in which the malagueño has invited some of its references, such as Alejandro Sanz and Niña Pastori. The appointment, which was also attended by a group of subscribers and readers of the newspaper, is part of the program of exclusive events of EL PAÍS+.
Alborán has broken the limit of time that elapses since an artist goes out to the stages of the EL PAÍS Meetings until his audience begins to cry. It was to settle into the piano seat to open the interview with a song and the sobs were already replicated in the auditorium. Touched I promise, song that gives name to the album, that closed the year 2017 as the best seller, when I had only been in the market for two months. Alborán recalled the creation of the main theme: "I remember it was night and I had been listening to Silvio Rodríguez for a while." Without structures, he began to "spit the song" to the piano, with the sole intention of building. "Method in itself I do not have," he acknowledged. He throws his ideas back into his mobile, in a chaotic and even contradictory way, to then create freely, without even temporary constraints.
The reissue of this work, which comes out next Friday, includes the collaboration of Alejandro Sanz, who Alborán thanked for his "simplicity" and "closeness" and how it has helped him "to understand many things" of the music industry, in which "it's easy to go crazy". He gave some examples with which he has learned to relativize the pressure, like his Grammy nominations: "I remember the previous headlines that were Pablo Alboran nominated to I do not know how many thousand grammys and the return, empty, Pablo Alborán returns empty-handed; then, from there, if you want to take it as the owner you can sink into misery, but this year I went and I did not care about the consequences ".
He ruled out the rivalry that some media have tried to imbue with comparisons between him and Sanz: "I have never felt it personally, on a professional level I think we are in the same market, but there is a phrase that I always say, music is not competing, but to share and he has been very generous with me ". He also had words of admiration for Rosalía, to whom he wished the best, and Niña Pastori, for which, he recalled, he queued up to see her at a concert. Although he assured that he has never had a musical idol as such, he confessed that he had disguised himself on many occasions from Michael Jackson.
Among the memories of the young Alboran, came the first concert, with "13 or 14" years and accompanied by his brother. "I had the same illusion. That has not changed, "he vowed. He participated in all kinds of competitions, without winning any, and in that rejection he discovered that his engine was the mere act of playing, not recognitions. Passionate about flamenco, his brother later discovered jazz. Later came classical music and the rest of genres. The first videos with which he made himself known, recorded in his studio in Malaga, began. The first was a garage lined with boxes of eggs and now he has professionalized.
There arose his first followers, some of them, he said, present in the room. "That's very beast," he said with tears in his throat. They have even accompanied him to Las Vegas, where it was held the last edition of the Latin Grammys. It has been surrounded by more and more fans, but also by a team that has been sifting. "You have to be clever because you can hit a lot of people around and, at the same time, you can believe many things," he said. He said he can not stop trusting people and that he values "honesty" when it comes to working, so he appreciates the people "who want to add" in his career. That has made him move away from some people, but also take a decade accompanied by others.
That team was the one that also gave him the confidence to stop for two years. An impás that took in 2015 "tremendously necessary" after an "animal impulse" in which he felt the need to return home. "I knew I did not want to leave the music, but the frenetic pace," he said, describing a blockage so strong that he could not write. "It was necessary to focus," he said.