Away from the stages and the masses of fans, C. Tangana has drawn some ideas in clean during the lockdown. The most famous trapero in Spain says that «I will not do more things out of inertia» and that, therefore, he is not willing to fill his agenda of the now popular live streams «simply because now everyone is generating content. No.»
At the origin of these definitions is «Well :(«, the EP that the artist recently released and on which he set aside reggaeton and trap beats.» The four themes were intended to sound a little like I see the moment we are living, which is like strange, a bit like science fiction, like an episode of ‘Black Mirror'», tells hoyxhoy from his home in Madrid, Antón Alvarez (29), real name of C. Tangana.
Among these four tracks is «Never I Am», which debuted at number 1 in Spain and in which El Madrileño, as he is known, quoted Rosario and Alejandro Sanz. The verses «how do you want me to love you if you’re not here?» and «who’s going to cure my broken heart,»» are part of the lyrics written by the musician who is also a philosophy graduate.
What did you mean by quoting two figures of popular culture such as Rosario Flores and Alejandro Sanz?
I’ve been claiming the popular culture of Spain for a long time and trying to make a hole there. I come from rap, but once we started this urban culture thing I tried to make it not stay like a particular trend of a generation, but to be part of the general culture. It is basically a phrase that Rosario said that served in his time for many people to feel represented, to bring it and for the kids to be singing a Song of Rosario and that sounds to this day. It’s a way of telling maybe older people, who don’t understand what we do, that we belong to popular culture, and that it’s something that’s going to transcend. I have been very excited that this song has been so good in Spain, because it gives me the reason that we are getting it and that in 20 years all this movement and all our music will look like something that transcends and that goes into popular culture.
How did it change your life with confinement?
It’s let me see a little bit what things I really like and what I’ve been doing a little bit for inertia with my career. And the reception that this EP has had gives me some certainness in that. But I also think that without this pandemic this EP would not have had that reception; people are more likely to hear something like that. But it has still served me as a precedent for really doing nothing for inertia and focusing on the things I like. And if those things are riskier or not, they’re what the radio would expect to play on or the DJ on duty to take it to the club, because that’s what there is and what I have to accept.
This EP has done very well in Spain, what is it like to live success in quarantine?
It has been strange, it has been a much calmer form of success, in several respects; first, most obviously, you’re not with friends celebrating around partying, you don’t have a show where you can take a little dough bath with the new song and play it twice or things like that. It’s been at home, sometimes with a little drink but no noise.
Have several virtual concerts been done, are you interested in that virtual connection with the public?
I do care, but you know what happened to me in the pandemic, which I’ve discovered that many people I thought were artists are just content generators. People who are looking to be completely present even if they have nothing to say or anything to contribute. And I honestly don’t want to be that. I don’t want people to remember me as a guy who was entertaining them, like someone who when they got bored they came to him to know what stupidity he was saying or if he had done anything foolish with the Tik Tok. I want to affect the culture and when I have things to say, I’ll do things.
You think we’re going back to the stadium concerts?
I’ve been circling an idea and it’s that we’ve become obsessed with the fact that music events have to be macro, and this is an idea that has been imposed on artists, although in the background is the ambition of the artists who want to fill stadiums. And live (live) formats are kind of attached to this idea of being very big and at festivals, but maybe concerts become something much more exclusive, something much smaller, in a meeting with an artist you really admire.
Last year C. Tangana was in Lollapalooza Chile and, months later, he launched his collaboration with Paloma Mami, «I shouldn’t have kissed you.» On the Chilean, the Spaniard says that «I was very eager to do that session; At first when Paloma Mami’s career started, I felt it was going to be a giant boom, which I think is happening in Chile and that could be happening all over the universe.»
Go ahead that might not be the only collaboration between the two: «I remember it was one of the most productive moments I’ve ever had, but well, at the moment we’ve only released one song so I can’t tell you much more.»