Recognize, ten thousand kilometers away - those that separate Valencia from Buenos Aires - be immersed in a "strange city". And not just for football, so rarefied as a result of that final of the Libertadores that had to be played in Madrid before the violence that was experienced before near the Buenos Aires Monumental stadium, but because of the irruption of the first summit of the G-20 on the ground South American, which has taken the center of the capital. Fito Páez (Rosario, 1963), with more than 30 years of career and three and a half million records sold, is news in our country because he returns, nine years after his last visit, in a sleeve of four concerts in which he will hardly enjoy more company than your piano. It will be on January 29 at the Teatro Circo Price (Festival Inverfest), on January 31 at the Auditori de Barcelona (Festival Guitar BCN), on February 2 at the National Auditorium of Andorra and on February 9 at the Alfredo Kraus de Las Palmas
"It makes me very happy to sit alone at the piano because it gives me a lot of freedom and I almost do not have to make lists for concerts, besides it allows me to be like in the living room of a house, accepting requests from the public and playing music from all the authors I know, from Jacques Brel to Troilo, Chico Buarque or Bob Dylan ", he confesses about a format that is the same with which he came to Spain for the last time. Almost a decade ago In fact, the central backbone of what was his last album, The liberated city (2017), he was born in a very spartan way, almost in minor roles: "What happened was that I came to the Sony with 60 songs and I was very lost", he says, something that clashed with the requirements of the multinational, which They told him "they wanted a song for the radio". That forced him "to work with a band, which in any way is something that I love", and to take charge of the matter and "rebuild the album back, which took more than a year and ended in 18 songs".
The result, that even reported a new Latin Grammy, the sixth, for the song Your life my life, threw that marked eclecticism brand of the house, and how common it is to the great names of the Argentine song. "In my father's house, through what my father and mother heard, I've always had that training, because Argentina was culturally formed in the sixties and seventies as a great hybrid," he says, with what was not strange " listen from the Brazilian music of Jobim and Joao Gilberto to the tangos of Aníbal Troilo, Horacio Salgán, Edmundo Rivero or the Polish Goyeneche, until then the Beatles arrived and Charly García and Luis Alberto Spinetta emerged, with all their baggage of modernity and new language that left the conservatory area ". Páez, whose leafy conversation is a true reflection of the vast Argentine musical legacy, recalls: "That was a new modernism in a country already of modernist traditions, such as that generated by Borges in literature or Berni and Fontana in painting."
Interestingly, his role as celebrity and totem indisputable in his country, along the lines of some of the names he himself sketches, never caught the same echo in Spain. He has an explanation. "Both Calamaro and Ariel Rot or Moris have lived there, and have made a career almost like Spaniards, without losing an iota of Argentina, and that has facilitated it," he argues. Besides that he thinks that "Spanish popular language goes to the point, it's more dylaniano, he uses few elements, while the Argentine is more expansive and recharged, he does not have such a direct entrance ".
Páez took advantage of his last incursion in the Grammy to claim the non-Anglo-Saxon musical legacy, stating that "young Latin American and Spanish musicians have a great responsibility to recover this chest of invention and madness, including the European chest, the French, the Spanish or the Italian to be able to nurture works of excellence and intervene in this time and not only to please the time, "and recognizes that all his background as a novel writer and film director, was also influenced by music and vice versa:" I I do it like breathing, everything works, and when you're editing a novel, all the baggage you bring with music or movies helps you a lot to venture into unexplored lands, because the musical experience feeds everything, and is a permanent feedback. "