The Uruguayan singer-songwriter Jorge Drexler (Montevideo, 1964) is starting a new one around Spain in the Galician city of Ferrol (northwest). And in this first stage, he has already found success: an audience with almost no tickets available to enjoy his first songs and those of his latest ink and time.
This public response “is a great joy,” he says in an interview with EFE extensionin which he points out that since he began his “relationship with music and living professionally” from it, “at the age of 30”, “things have happened to him that I never even dreamed of”, while acknowledging that the urban music has brought “our language to all corners of the world”.
The singer alludes to a “very slow process” because in his “first ten years in Spain” things “went very slowly”. They didn’t “do well” commercially, but he couldn’t “be happier” with the record of a decade, from 1995 to 2005, in which he released “four albums that went unnoticed” in sales and which, instead, scored him.
“I started living on music at 30, relatively well at 40 and a little better at 50”acknowledges Drexler, who says his journey started “late,” but that his enthusiasm has lasted “a long time,” and he feels he’s “still discovering himself” in front of an audience.
He claims that with “the passage of time” he has learned “to perfect the sound and audiovisual tools of the concert”.
Really, “the first time” who takes the stage with a large presence of women in his bandthree out of six members, 50″the gender demographics of the stage are similar to those of the audience.”
Jorge Drexler admits there are consequences, like the ‘kind of musicianship is different’ than when ‘the majority were men’and values how “Ink and Time” manages the balance between collaborations with established voices, the case of the Panamanian ruby bladesor the emergence of phenomena such as the Spanish C.Tangana.
“I’ve always liked to have disco and open ears; I don’t believe in nostalgia, in that good music we used to make and now it’s shit, I didn’t believe it in the 70s, neither in the 80s nor now”, adds l ‘Uruguayan
There are “always talented people and people who don’t interest me, the majority,” he says, and proclaims that it is necessary to “recognize and give thanks to what urban music has done to bring our language to all corners of the world.”
Time of change in the music that plays and how it is heard, something Drexler exemplifies in his own family: “I have a 25-year-old son and a 14-year-old son, There is more technological difference between them than between my 25-year-old son and I; Everything is changing very fast.”
At 58, he believes that one must “be careful and try to take advantage of the good things that has the amount of information” to which he has access, although he acknowledges that “dispersion is the norm and one must learn to concentrate”.
He is no stranger to this, he confesses that he reads “less” and listens to music “more dispersed than 30 years ago, but it is my responsibility”, he adds, unlike the support that his proposals find in the market.
Jorge Drexler supports it he was sometimes “a bad ticket seller and a bad record seller”.
“There is no relationship between ability and happiness,” adds the musician, who has edited ink and time after basically five years without a new album. “Records have been spaced out for the simple reason that while I do better in my career I’m more in demand to play gigs; while I’m on tour, I can’t compose and I can’t record,” she says.
Yes when it turns out sway (2001) his record company was already asking him for songs for another album “in a few weeks”, given the scarce backlash “on the radio”, he landed in Ferrol with “a whole year of touring” ahead of him and a 2024 that is already “closing” with dozens of dates marked in red on your calendar.
Source: EFE/Raúl Salgado
Source: Clarin
