Finally we interviewed the creator of our favorite album in Spanish of 2024: Luisa Almaguer, who spoke to us from honesty and experience about the creative process behind Weyesa material made from intuition, without great planning, in the midst of a moment of vulnerability. In addition, it reflects on the challenges of being independent music in Mexico, the difficulty of living from art without romantizing the precariousness and importance of caring for mental and physical health before undertaking projects.
There are some screens and a failed Internet connection by Media; or but that does not prevent the warmth and kindness of Luisa Almaguer. For artists, giving an interview is essentially “part of the work”; But she articulates and sings with the desire of someone who wants to be there, genuinely, to share with you.
This conversation happens in our favorite moment: at a prudent temporal distance so that the issue remains relevant but with sufficient temporal gap so that neither of the parties eats euphoria.
Just over six months have passed since Weyes And we continue to think that it is the best album in Spanish of 2024. And we are not the only ones … But what do she think of this? How to live in your own work, that in which you violated, while the environment acclaims it?
This talk delves into it, and in a paradoxical way to the depth and sober emotionness of the disc, our dialogue passes with a comforting lightness.
Luisa, first of all, thanks for being here. How are you?
“All good, baby. And you?”
Very good too. At the distance from the launch of Weyeswhich has generated so many positive reactions, how do you feel that the album is aging in your head? Beyond what we say the media or the public, you as a creator: are you still listening to? How do you live it now?
“I still take” carnita. “We are preparing the show for ceremony and the album is still the basis of what we touch. It still excites me, it feels honest, correct, and it makes me want to continue singing. Although I do not hear it as such, because now I am concentrated in the live versions, it is a different way of living it. And sharing it with the band has been super pleasant.”
‘In an interview you mentioned that in music you can trust, that it does not leave you in seen or betray you. But of course, one thing is music as art and another the music industry. How have you lived this personal evolution, now that you have exposed yourself to more things to just create?
“It has been a huge change. After the bahidemora and open to Damon Albarn, my manager appeared in my life, after ten years of being alone. Having that team of incredible women —uchi, Marian Net and mixed Music – changed my life. They help me navigate the industry, to professionalize everything, to collect well already make space in this place. I can think of a thousand things about music. monetize it.
And more when this big recognition comes, as what happened with Weyes. Sometimes it can be overwhelming. Returning to the essence of the album, I noticed two aspects in the public conversation: one from the taboo and another from the idealization, without questioning the content. How have you perceived those reactions?
“I believe that if you are faithful to yourself and you have clarity about your intuition, the album can be heard from many layers. I hope that whoever listens to it, without knowing anything about me, can enjoy it because it is good music, because it is well sung and well executed. There enters Santiago, the producer, who made everything sound like this.
Beyond what I can say as a trans woman, he added a lot to heard as a solid musical product. And when the album comes out, external interpretations are a plus. I feel very fortunate for the warm reception he has had. ”
I like that Weyes It is an album with layers and complexity, but it is also very entertaining, seductive … even pop. What have you learned as an artist and music at this time? What would you say is your greatest learning?
“That the connection with your intuition must be clear. To create, I need to be fine: well food, well asleep, have had my coffee. Before it made records from pain, from the broken heart, but now I know that stability is also key to having clarity and creativity. As Virginia Woolf said, you have to have your own room.
You need minimal conditions. The system wants the opposite: that we are precarious. I have learned that to make a good album, I have to be fine, although I have taken ten years to understand. I also recognize that I have had privileges and luck that most trans musicians in this country do not have. ”
Completely. In the industry, precariousness is sometimes romantic, misbeG and sleepless rockstar, and that should not be.
“Exactly. It is a chamba and you have to treat it as such. We need dignity to do our job well. Sometimes the artist’s life is very idealized but it is like any other profession in the sense that you must be healthy to make it in the best way: to be well food, well asleep, well exercised, well attended to the head … it is created in a better balance when you are simply fine.”
You have presented the album in very different contexts: when you opened Weyes Blood, Casa del Lago, Indie Rocks and now ceremony. They are scenarios with very different energies. If you could describe your show at Ax Ceremony as an experience, how would you?
“It will be very exciting. Ax ceremony is a chid festival, which is committed to proposals. We are going full band, with choristers, new visuals and Santiago Mijares as a musical director. We will not be on the LGBT or betrayal stage, but in a lar Meet, heat and sensuality. ”
I love it … and talking about reinterpreting the album for different shows, how has this process to adapt it to different contexts?
“It has been very interesting. The band with which I played it did not record the album, so it has its own interpretation. Now, with Santiago on board, we return a little to the original sound, but we also have to adapt to the available wool. Not always is enough for Full Band. We are working in smaller formats to be active and pay everyone with dignity.
It is not the same to travel to another city than to play at a large festival. This forces you to be creative: how to solve a show with only two musicians? But that also excites me. I love working with my musicians and thinking about new ways to tell these songs. ”
Before saying goodbye (for now), what was the last song that gave you chicken skin?
“One of Fontaines Dc. Not
Now I’m in love with those weyes. ”
