Abel Pintos He had planned to play in Montevideo in this final stretch of 2023. While he was looking for a venue to do the show, a proposal came to him: to be part of the festival lineup. America Rockstarswhich will take place this November 25 and 26 on the Rambla del Golf in Montevideo.
And the Argentine singer-songwriter said yes, because he was interested in giving the Montevideo public a presentation format that is usually more common in his shows in the Uruguayan interior.
“The songs that one brings are usually the same, the story is different in a proper concert than in a festival, and the story makes up the spirit of the concert. In my own concerts I aim to take a tour with a certain degree of introspection and emotionality. And at festivals, emotionality relies a little more on euphoria. I found it interesting that the Montevideo audience that has been following me for a long time can see me in the festival format,” Pintos told The Observer.
In advance of the show, the artist spoke about his work on television, his latest projects –which range from an album of Argentine national songs to a walnut plantation—, He told how he beats boredom after 30 years of musical career, and revealed what artistic dream he seeks to fulfill soon.
How are you getting along with the extra exposure that comes with your new role as a jury on the Argentine version of Got Talent?
I liked coming into contact with a work dynamic that I didn’t know, which is television, and consequently, with a type of exposure that I didn’t know. Whenever you do any crossover action in music, or in art in general, you have to be clear that not only do you come into contact with audiences that are not natural to what you do, you come into contact with everything that comes with that (laughs). But the experience was fun, I learned a lot. At first I didn’t agree that it wasn’t live, but today I feel grateful that it was all recorded, because it also allows me, at the same time, to stand from the other place and see myself as an audience, to be able to criticize myself and learn a number of other things.
What were those first times seeing yourself like?
It was like when you listen to your recorded voice and say “I don’t speak like that.” Or you ask yourself “do I speak like that?”, as a problem. The same happened to me. The first three programs I told my wife and daughter, “Am I that serious?” (laughs). I don’t know if I got used to it over time, I think I actually criticize myself less.
How do you get along with experimentation, which in some ways is also experimentation?
In general I get along well. Throughout my entire career, experimentation has been one of the supporting legs, let’s say. It must have to do with the artists who function as a reference for me. My fundamental reference is Mercedes Sosa and she was a person who simultaneously represented the deepest roots and at the same time the constant courage of innovation. Later, the same thing happened to me with Gustavo Cerati, even with David Bowie, they are artists who somehow fed me with that curiosity, a spirit of trying things.
The Argentine will appear on November 26 in Montevideo
Having started your career so young, I also imagine that experimenting is an antidote to boredom.
I return to Bowie because I’m just reading a book of his reports, and in an interview with him in the 60s he said something like how he usually realized that a path was not his own when he started to get bored. And I never got to the point of getting bored, when I start to sense that this could happen, I start to analyze where to continue, in what way to continue.
How have you managed to always be comfortable with what you do while continually changing?
(Thinks) I’ve never had to think about it. Probably this condition of finding a way to feel comfortable beyond the changes, or because of the changes, has to do with those who educated me and in some way fed me that idea or introduced me to that concept, because since I have productive memory usage and it always worked that way. I don’t feel like it was something I had to learn the hard way. It is something natural, not an adaptation strategy.
Pintos will be part of the América Rockstars festival
When it comes to experimenting, where does the idea of the project come from? High in the skyin which you recorded the Argentine anthem and patriotic songs in symphonic format?
It’s an idea that has been in development for almost 30 years, it’s crazy. When I started doing concerts at 11 years old I started looking for self-management, and festivals didn’t take me seriously because I was a child. I couldn’t find spaces. Then it occurred to me to negotiate with the director of my primary school and I asked her to be the representative of my class at all patriotic events. So that way she assured me five or six dates a year, and she negotiated with me, she told me “ok, you can sing whatever you want, but you also have to perform the national song that corresponds to that commemoration.” So I came into contact with those songs from a very young age, in a slightly more everyday way than my peers. And I have always really liked them as musical pieces, regardless of the feeling of patriotism. There is a sensation of songs or national symbols, in general, as of museum pieces that are only taken out of the display case for a little while and then they have to be returned without scratching them, and I don’t identify with that. Then I waited for the opportunity to feel that I had the necessary backbone on an artistic level to be able to make an album of national songs, not only to renew and refresh the audio, because the newest versions were already 25 years old, but above all to do a job in the background so that those songs, first of all, reach those who they need to reach, which is the entire educational system.
There are 70,000 schools in Argentina, both private and public and at all levels, so I worked together with the Ministry of Education, which listened to me and helped me get the songs to some places in digital format and in many of them physical format. but then also expand a little and try to make these songs become something of more everyday use. Let them be appropriated, more at the discretion of the people than by what the protocol dictates. And then that was when we started working with AFA, on the one hand and suddenly now I find myself singing the anthem before the national team’s matches, we are going to do work with the Olympic Committee, with the football clubs of the different categories. . It is a job to make these songs sound on occasions that are not protocol. But the most curious thing is that they ask me about this album outside of Argentina. In Chile they ask me to sing High in the skyo Aurora, it’s a flash. I saw it as something very Argentine, it’s good.
The album also comes out at a time when Argentina is very divided, especially politically. Did you also think of it as a unifying element, as an appeal to a common ground and history?
Yes, that ended up being a consequence, or it ended up being connected due to the circumstances themselves. It’s working that way, but my goal was to realize this thing that had been growing inside me for so many years, waiting for the right moment, it had to do with other things.
Do you have other projects that you say “now I can do them”?
I intend to become an orchestra conductor. Two months ago I started studying piano, and I intend to get there (laughs).
You also started your own production company, Divine PlanHow was that initiative and that facet born?
It’s another project that I’ve had for a long time, with all its universe. Maybe this doesn’t mean too much to anyone, but the rehearsals for my upcoming concerts at the Vélez stadium in Buenos Aires, and this upcoming concert in Uruguay, were done in my own rehearsal room, for the first time in my 30 years of experience. career. It was like “weeee, we did it” (laughs). I’m setting up my studio right there, and everything is part of the production company. That it is an artistic producer because it is still supported solely by the development of my career, but little by little we will open other veins, we have a field where we started to plant pecan nuts, which is a personal project, but which later began to open up others for us. places, we are going to create a farmer educational space within our project, which is clearly business, but that inspires us to open spaces that can be for the community and function in parallel to our personal interests.
We are also very dedicated to culture from the Theater, we have a theater in Mar del Plata, it is a historic theater called Tronador and which is, for example, where the most successful season in the history of Mar del Plata took place. Alberto Olmedo did. In fact, he ends his days in the middle of the season in that theater. We have had it for a few years, it was completely remodeled, and part of the Teatro Colón dance academy is operating there, and now we are beginning to generate a team within the theater to begin to ensure that in a few years the theater has content own, with artists from the theater company, the operation that was typical of the theater for many years and that has not been like that for some time now. We want to return to that, which is always a source of employment. So in the end the producer is a producer in the most intrinsic sense of the word, it is production, not only of music, but of everything that comes to mind.
Is it something that attracts you, producing things?
Yes, I am a curious man, and I am good at ideas. But I’m much better at continuing them, which is the most difficult (laughs).
Does this nuts project, especially in its social aspect, come from a motivation to help others?
Yes, honestly it is not the first imprint. It’s not that I thought about buying a field to be able to do things for solidarity purposes, but I understand in general terms, in life, I believe that shared things are worth double. When one is sad and shares that sadness, it is lighter; When one is happy and shares happiness, it is double. So what does come naturally to me is that with everything that I approach with a clearly personal interest, I look for where a door can be opened to collaborate. That space that is going to serve me to produce, can be a space in which someone else produces something too. Since I was a child I was taught solidarity as this concept of teaching how to fish and not giving the fish. I’m not saying that giving fish is wrong, but I find it more interesting to teach how to fish.
The post first appeared on www.elobservador.com.uy