If I collaborated with Billie Eilish, it would be either a rainbow or a storm, says singer Alvaro Soler | iRADIO
A significant part of his fans do not speak Spanish, but they can easily sing along to an hour-long set. Singer Alvaro, who returns to Prague after three years on September 23, is one of the most prominent faces of the Latin pop scene. Would his upbeat summer hits work in collaboration with Billie Eilish’s melancholic handwriting? Which instrument would he not dare to play? And is it even possible to be original in Latin-pop? I answered in an interview for Radiožurnál.
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Latin pop is a very specific phenomenon in the world. Despacito, for example, is still the most played track on YouTube, and Enrique Iglesias, for example, popularized this discipline very successfully in the 1990s and 1990s. Why is this genre so popular?
This is of course a good question and one that I also ask myself from time to time. On tour, I regularly make most of the stops in countries where Spanish is not an official language and people do not know it very well. But even so, mostly fans sing with me at concerts. It surprises me every time and I find it almost unbelievable that they can sing in a language they don’t know otherwise. People are probably attracted to it by the “vibe”, the cheerful atmosphere that it naturally has. As a result, music is probably the international language that everyone can use to get along, and because of that, people can easily connect.
As a performer, it’s very rewarding because you’re constantly in contact with good-natured people and you’re generally in a strongly positive environment, which in itself is very rewarding. What you put into concerts or composing, you get back pretty much immediately. So I’m very happy that I can perform in Prague again after a few years, because I know it will be great. It’s always great here, every time I’ve played here people have given me a warm welcome. I also have a small surprise prepared for the Czech concert, so hopefully the fans can look forward to it as well.
As you say, the lyrics of your songs are mostly known even in countries where Spanish people don’t know much. But do you still play better in countries where Spanish is the official language and the fans are fluent in it even at that level of communication?
I think not. Here in Prague, for example, I was really shocked when I saw that the fans knew the lyrics to all the songs, and not just the biggest hits like Sofia. I was like, “Wow, how is it possible that you know every word even to songs that were never released as singles? I almost don’t even know the text here.”
In Spanish-speaking countries, of course, people are a bit positive that even without dictionaries or translators they understand what I’m singing about and I can also interact with them in their mother tongue at the concert. But that’s about it. It’s really more about the energy that comes from people. It’s kind of two different energies between me and the fan exchange. And it doesn’t matter where a person is from or what language they speak. Whoever wants to enjoy it, just enjoys it.
Recently, when I was backstage after a show, someone came up to me and said, “Why do you keep repeating at every show that it’s a great concert and that you’re having a great time? It’s not possible.” And I replied: “No, it’s not impossible.” But you probably have to experience it to understand it, so I understand that it seems strange to some.
Originality versus guardrails
Is it the positive mood and energy exchange that you are talking about, why did you choose Latin pop? Because you also have roots in Belgium and Germany, where the music market looks diametrically different, and this is also a possible way.
Actually, probably not. I didn’t think much of it at first, I just tried it and it worked. I have to thank Spanish, she is doing well so far. But it’s funny to see how each country and culture reacts to the songs differently. For example, some songs are popular only in Italy and in other parts of the world, fans don’t react to them that much. And I have absolutely no idea why.
And it’s not just a case of Italy, it happens almost everywhere. It happened to me in Belgium, in Germany, in France and here in the Czech Republic. It probably has something to do with how they perceive culture in general in that country, how it can capture the heart and how close to home it is to people. We all have different traditions and different humor, so it can also play a role in how people experience my music and how I perceive it myself.
I personally have no experience in composing Latin pop, but to what extent can one be original in this genre? Because, willy-nilly, they have to stick to certain barriers, which are not very broad from a musical point of view.
I understand what you’re getting at. A lot of Latin pop songs just sound similar. The song becomes Latin pop basically just because it is sung in Spanish. If I took music from songs by Justin Bieber or Ariana Grande and sang it into Spanish, it would probably make Latin pop too. In my opinion, it may not be so much about the chord composition and the rhythm as much as it is about the language. But at the same time, I think that it is definitely possible to be original and that genre provides a lot of freedom.
Like any other genre, really. Personally, I really enjoy trying new things, experimenting with music, and if Latin pop didn’t allow that, I think I wouldn’t be doing it. I feel like Alvaro Soler about it and there was definitely no calculation behind it.
As it is influenced by language, have you ever thought about trying to leave Spanish and thus Latin pop? From what I’ve read, you speak six to eight languages fluently. Have you ever considered a multilingual record?
I know a few languages, but I wouldn’t dare to make music in all of them. But of course I thought about it. First I thought of a multilingual record, and I even flirted with the idea of having a multilingual song, on which I would collaborate with different artists from all countries, the region of the language would be heard there. So, for example, a Japanese part with a singer from Japan, a German part with someone from Germany or Austria, and who knows, maybe I’ll come up with a Czech part as well.
It would also be a challenge, because in a song like this, it takes up to ten languages to make the idea stand out. And I definitely don’t know that many of them, so it would probably sound a little funny in my presentation. I would like to see myself singing in Chinese or Korean. But it’s still a long way off, see.
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Když mluvíte o skladatelských výzvách, narazil jste už někdy na své vlastní limity nebo právě na limity žánru, kterému se věnujete? Že jste prostě nevěděl, jak skládat dál?
Samozřejmě, to se mi děje pořád. Jsou i měsíce, kdy mám pocit, že všechno, co dělám, je úplně k ničemu. Že já jsem k ničemu. V tom tvůrčím procesu je to ale hrozně důležitá fáze, protože si člověk uvědomí, jak třeba věci nedělat nebo že se už musí posunout někam dál.
Bez špatných písní nevzniknou ty dobré. Je důležité to nebrat nijak moc vážně, je to přirozený proces. Stejně jako fotbalista neodehraje každý zápas dobře, ani mně se nemůže povést každá píseň. A formu občas hledám pořádně dlouho, tak to prostě je. O to větší radost mám, když se po delší době zase třeba něco povede.
Vaše show jsou hodně výpravné a písně atmosféricky značně taneční. Prošel jste nějakou pohybovou průpravou?
Pár hodinami nějakého tanečního kurzu jsem prošel, když jsme měli natáčet klip k La Cintura. Tam jsem chtěl mít náročnější choreografii a chtěl jsem ji taky dobře zatancovat. Což bych bez tréninku nezvládl. Ale na podiu nikdy připravenou choreografii nemám. Mám pár pohybů nebo prvků, které často opakuji, ale vlastně ne nijak záměrně.
Mám rád koncept toho, že má člověk připravenou kvalitní profesionální show, ale něco přesto nechá náhodě a tomu okamžiku. Je to pak celé lidštější a upřímnější. Chápu, že si někdo chce připravit choreografii do posledního detailu. Třeba Beyoncé. Ale já to mám asi jinak. Tu pohybovou složku nevnímám jako hlavní aspekt svých koncertů, dělám to hlavně kvůli hudbě. A tanec je pro zábavu.
For the third time in the Czech Republic
He is not the case only Beyonce you mentioned. A number of Latin pop musicians base their work on movement. But from the way you described this style, it sounds like it should be more about freedom. Is it possible that you perceive your genre diametrically differently than your colleagues?
I think the perfectionism and detailed shows come a bit from the American perception of music. You can see this at any ceremony where everything is flashy, the male or female singer is moving perfectly in sync with the members of the dancers and so on. I probably don’t need any of that. I’ve never really wanted to have helicopters and exploding bombs on stage.
Of course, I don’t begrudge other musicians that they like it that way, there’s nothing wrong with that. But personally, I try to rely more on the simplicity and power of the very moment I spend with my fans in one place. Music brings us together, which I think is the most important thing. That’s just Alvaro Soler’s style.
You are now returning to the Czech Republic after three years, but you have already played several concerts here. Is the Czech audience something special? Except that he can sing in Spanish and not speak.
I got to the Czech Republic for the first time just when I had my first concert here. I have never been here as a tourist before. When my tour manager told me that he had a well-known colleague here and that we should organize a concert in Prague, I thought he was crazy. I told him: No one will come. Why should anyone in the Czech Republic be interested in my concert? I don’t want to play for the two people they bring with them. He finally talked me into it and then it was the biggest show of the whole tour. And now I’m not just saying this for the sake of talking to you. The Czechia is one of the best stops on every tour.
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Před necelým rokem jsem mluvil v rozhovoru se zpěvačkou LP, která mi vyprávěla o tom, jak se na jednom jejím českém koncertě fanoušci v první řadě málem poprali o její pivo. Máte nějaký podobný zážitek?
Nikdo mi ještě pivo v Česku nevypil. Ale je pravda, že se tu vždycky děje spousta zajímavých věcí. Vlastně se dost těším, jestli se zase něco bizarního přihodí. Třeba minule tam stálo hodně lidí s cedulí, na které stálo, že by si se mnou rádi zazpívali nějakou konkrétní píseň. Tak jsem to asi třikrát zkusil a byla to zábava. Někteří z nich navíc vážně dobře zpívali a byli dost odvážní, že si vůbec troufli vystoupit před tolika dalšími lidmi, kteří je můžou kritizovat. Takže něco podobného můžeme klidně vyzkoušet i teď v září. A kdo ví, třeba ještě objevíme nějaké nové talenty.
Vy se talentovanými lidmi obklopujete dlouhodobě, s řadou z nich také spolupracujete. Flo Rida nebo Jennifer Lopez. Je někdo, s kým si spolupráci představit nedokážete?
Páni. Čekal bych, že se spíš zeptáte, s kým bych pracovat chtěl. To je hodně těžké. Myslím, že s Marilynem Mansonem bych asi nenašel společnou řeč. Je určitě zajímavý, ale ani on by si se mnou asi spolupráci moc neužil.
Spolupráce s Billie Eilish?
A co třeba Billie Eilish? To je vlastně popová hudebnice, ale rozhodla se nejít tím vysluněným směrem jako vy, ale její skladby jsou spíš melancholické, depresivní a takové zasněné. I její publikum je asi dost jiné. S ní byste si spolupráci dokázal představit?
S Billie Eilish bych vlastně spolupracoval moc rád. Byl jsem na jejím koncertě v Berlíně a odcházel jsem nadšený. Bylo to fakt dobré, smekám před ní. Kdyby se do toho chtělo jí, já bych určitě nebyl proti. Mohlo by být zajímavé spojit to, jak vy říkáte, vysluněné ze mě a trochu jejího deštivého, sychravého a upršeného hudebního charakteru. Vznikla by z toho buď duha, nebo ještě větší bouřka. Na každý pád by to ale bylo zajímavé. Jak už jsem říkal, miluji experimentování, miluji netradiční a neočekávané věci. A tato spolupráce by mohla být přesně něčím takovým. Takže doufám, že Billie Eilish tenhle rozhovor poslouchá a půjde do toho.
A byl už jste v minulosti nějakou spoluprací takhle překvapený?
Zatím všechny překvapující spolupráce nedopadly moc dobře, což moc nepotvrzuje to, co jsem právě řekl. Snad jediná, která mě překvapila a povedla se, byla s Rayem Daltonem na písni Manila, která vyšla vloni. Osobně jsem ho předtím neznal, slyšel jsem jen některé jeho písně. Ze začátku ta skladba vůbec nikoho nezajímala a moc se neuchytila, ale po čase se z toho stal hit, což nás oba dost překvapilo. A určitě příjemně.
Desire to experiment
In your work, you often use the contrast between the positive character of musical components and texts with sadder or negative themes. Why take it? Musicians usually try to do the opposite – so that their music goes atmospherically hand in hand with the lyrics.
I think this again comes from my natural curiosity and desire to experiment. When you add lyrics that are a little different to a cheerful and purely positive song, no one expects much and it’s not boring. Moreover, negative experiences are a part of the daily life of almost all people in the world. And it would be wrong not to work with them just because the character of your music is tuned differently. The right balance must be maintained so that it doesn’t look ridiculous again. But if the border is well guessed, some seriously good songs can be made. If I just kept singing about drinks on the beach and beautiful moments in life, it would be cheap.
And could it be done the other way around? So that you would compose something that is musically more Billie Eilish but lyrically more Alvaro Soler?
It would probably be a bit worse, but I think it would be possible. If it is handled smartly and, above all, honestly, so that it is not an unnecessary calculation, then maybe it is possible in combination. It has to be tried, it has to be experienced, and it always comes somehow. I’ll repeat myself again, but freedom is the most important aspect of music. So if you want to make a melancholic song with humorous or any purely positive lyrics, it’s definitely possible if it comes from you and how you experience the music. There are no rules. Things in music work as long as you want them to work. And that’s what it’s all about.
Unconventional tools
When recording, you often work with various non-traditional instruments. For example, in the song Hawaii, you said you used a kind of Colombian flute. Is there an instrument you would never dare to play?
It might sound too determined and egotistical, but no. I am not afraid of any instrument. I can imagine trying out some crazy heavy metal guitar as well. I would do it just for fun. When you use an instrument correctly and know what to do with it in a given song, it can never be a bad idea.
Whenever I go somewhere, I try to discover local musical instruments. Perhaps even historical ones. It’s very inspiring to me, and it often comes through in the composition process. Recently, for example, I brought a traditional koto from Japan. It’s a stringed instrument that looks like an oriental banjo. I haven’t found a use for it yet, so we’ll see when it comes. For example, on the multilingual recording we were talking about.
On the Internet, I often come across videos like “how complex a song in such and such a genre”. And I also found one to teach people how to create an Alvaro Soler-style composition. But what surprised me was that you were the author of it. How much of this was a self-deprecating recession and how much was a real demonstration of how you demo your hits?
The video probably didn’t have any specific purpose, I was just bored in quarantine and wanted to film something. So I thought: Yeah, I’ll show people how I compose music or how to compose music. It’s not a complete parody, but it’s very simplified. Composing music is by no means as simple as it appears in the video. The song doesn’t even have lyrics and the production is very raw. And it probably won’t be another either, because I probably won’t go back to it. But for the purposes of the video, it was enough, and hopefully it amused people.
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