Pablo López wanted to be a journalist, a complicated job at that time that he replaced in time with music, where he has made a solid career as a singer and composer that has led him to publish four albums, but above all to act, his great passion Seu holds the record for having performed 82 live concerts during the most complicated part of the pandemic, the last one in a Palau Sant Jordi to which he will return on May 12 with the usual themes and a couple of singles ( Quasi and El abrazo más grande de todos los tiempos ), which are a preview of his next album, which, he promises, will be released in the fall.
What do the discs have?
Making an analogy with the written press, discs allow you to establish an order on how you want to tell your news, your story, an opportunity that we cannot waste. You can’t ignore streaming, but every time I hear the word I cringe. The most important thing is not how many listens a song has, but what you have in front of you when you get on stage. I am hopeful that albums with a story to tell can still be made.
He performs at Sant Jordi, as he did two years ago.
Last year I didn’t do any touring, and Sant Jordi is very dizzying. On top of that, with the feeling of people huddled together and without a mask: it seems like a fantasy to me.
The single Quasi is illustrated by a hummingbird.
Even if it sounds mystical, it comes from a trip to Mexico where I don’t know if it was mescal or tequila, but I dreamed of a hummingbird, my own hummingbird. I’ve never seen one in person and imagined it bigger. I got it tattooed before I wrote the song, and the same day I got the tattoo I finished recording Quasi. The hummingbird is a tribute to this day, to this wave of emotions that is working in America, where they have another language, even if it is the same, and another intense way of experiencing things.
The tour begins in Mexico. What is your connection?
I have been there many times, little by little, weaving a path similar to the one I started in Spain ten years ago when I played for 40, 60, 100, 150, pressured so that the songs were in front of me. Mexico gives me the same feeling, it lets me be me, they respect the will of the artist.
He’s an established musician, but he talks like he’s just starting out.
I still have the same fears, hopes, longings and needs that I had when I started.
How do you start composing?
I’ve been writing since I was 14 or 15 years old, I started flirting with the expression out of a need, the need to be heard by some girl, or to describe some moment of frustration I had.
Where is the inspiration?
In life itself, there is nothing more surreal sometimes than sitting with a beer in a bar and watching them go by. Life gives you many reasons and stories to write.
Last year he dedicated himself to composing Victoria for Raphael. Did he give you instructions?
That he wanted me to write to him, because he believed in me a lot. I only had one chance to ask him and he said: “What the hell! I don’t write songs or produce, you’ll do all that.” What I did was trick him into coming to my house every Wednesday afternoon and we would talk. He told me his stories, which are overwhelming, they don’t fit in a book.
He maintains contact with numerous artists.
I have very good friends who have been and continue to be my idols. With Antonio Orozco I have a practically family relationship, literally, but I also have a lot of friendship with Alejandro Sanz, with Pablo Alborán, with Fonsi, with Laura Pausini, people you can sleep on their sofa.
Does this microcosm enhance creativity?
Absolutely, I have a superpower, which is to steal everything, I steal their souls because I really like listening to them. I am still the smallest of all, the last to arrive, and this gives me the advantage that I listen a lot and play to continue imagining and dreaming about it.
