If you don’t already have plans for the weekend, we suggest that you go to see the Andalusian composer Alberto Alcalà during his Catalan tour through Barcelona. The singer will present his album “Ensayo y Error” two years after its release, in the middle of the process of creation of the second LP. Alcalá plays with sounds that move between the flamenco tradition, bossa nova, copla and tango, but not forgetting to explore new paths within a kind of literary musical conception. From ShBarcelona we invite you to discover the great music of our country in three essential dates: today April the 17th at 7pm in the library Altaïr and 11.30pm at Voilà in Manresa; and Saturday April the 18th at La Sala Rubí at 9pm.
First of all, who is Alberto Alcala?
A boy from Antequera (Málaga) and 28 years old that play songs for pleasure and sings at sites that are receiving them, trying to possess originality and rigor in composition and interpretation, and seeks to relate to musicians who learn and who perform when he can.
Tell us a little bit about your musical career … How did you get started and what awards you received?
I sang some songs of others and some of my own in my hometown at age 14, some more in Málaga, and at 18 I moved to Granada where I made contact with most composers and musicians. I spent ten years there and a door to go outside from there was singing at song contests in which I received a warm welcome from the start. I got several awards (Cantigas de mayo de Ceutí, Elche, Burgos, Granada, Esplugues, etc…) that was a nice boost for me.
What are your musical references and how they have any presence in your music?
I have no clear references, I try to be many for my songs to be original. Yes I can remember that when flamenco and songwriting had no apparent link to me, appeared Javier Ruibal and I went crazy, I thought that was what I wanted to do in my music, and knew it was an arduous journey that I’m still traveling. Lately I think the Uruguayan singer, Fernando Cabrera has influenced me a lot and I was obsessed for a week with the structures and histories of the songs of Serrat, but I try to empty my head out of influences when I sit down to write.
How has the process of making your first LP, “Ensayo y Error”?
I started to record the album with Diego Guerrero as the producer and arranger because one of my best friends, Joaquín Sánchez, musician that usually works with me, was recommended. In between came a tiny label that offered to pay the disc and move it around when it came out. We recorded at the home of Diego Guerrero and Nasrine Rahmani (also drummer) without any artistic pressure about what we had to sound. I appreciate what I learn during the recording process and hanging out with Diego to see in perspective the songs.
Where can we hear the songs of this album?
The songs can be heard on Spotify and youtube channel of Oído Records for free. Also in the concerts can be heard in its latest version and buy the physical CD’s.
Specifically this weekend I will be on April the 17th at 7pm in the library Altaïr and 11.30pm at Voilà in Manresa; and Saturday April the 18th at La Sala Rubí at 9pm. In all concerts with me my friend and musician Gastón Pose playing the guitar.
What do you think about the current state of music in Spain?
I haven’t lived another time; I lived the end of the “caches” in bars; then we started to earn all the profits from the tickets except four miracles per year. Music as a product that still exists in an industry that reinvents itself, and is a bussiness rather than an art, with few exceptions.
And lastly, can you tell us something about your future in the medium-long term as a musician?
I’m writing songs that I think are very different from ones on the first album, that makes me want to record again and keep fighting.
I’ve done some songs for other artists per order without knowing if they are going to use it after and I have collaborated on some other albums with other artists as the singer Victor Lemes and Vania Cuenca and The Muffins group. I do versions of songs in concerts in Madrid in La Fídula (Huertas, 57) on Saturdays and Sundays, allowing me to learn a lot from composers and performers I admire and I recorded the guitars of some fellow songwriters albums.
This year I played outside Madrid only when I have been asked, without putting much thinking except the album I’m working on. When the second album is out I will play it exclusively to make it sound everywhere I go.