Something strange has to be happening in the world so that the cherry trees have not blossomed in Madrid's Quinta de los Molinos. Rozalén, naturally optimistic , arrives and dismisses it. Instead, he praises the olive tree, a tree that reminds him of his roots in the Sierra del Segura, Albacete, and whose branch he has tattooed on his ankle. Now he is looking at a bird, it looks like a woodpecker. He comes from another mountain range, Madrid, where he lives next to a vegetable garden. "I'm going a bit crazy with the birds," she says, "we have set up booths for them and they come to eat birdseed and make a fuss … I love looking at them." Today there are no white flowers, but, in any case, it is already spring. "And I'm more from the country than the poppies," insists the singer-songwriter, who comes in green.
Rozalén: "I'm very intense for everything" Rozalén, advantages of singing the whole truth
She comes to make a video clip whose other half is gone to record on the other side of the pond: a collaboration with the Colombian musician Esteman. The singer-songwriter likes to collaborate with other musicians and receives many requests for it: she sees music as a field for cooperation rather than competition. In the pandemic he has been very present: "Someone told me that he saw me as much as Fernando Simón, but they asked me and I felt strong." He has no regrets. Soon a strange tour begins, that of his album The Tree and the Forest ("a therapeutic album, which asks a lot what is more important, whether the individual or the collective"), which will take him to large places with limited capacity, with all his band. "Let's see how it goes, I suppose that in some bowling we will lose money," he predicts, "but you have to work. People are tired and irascible, I am the first, but we are preparing some balls… people are leaving there wanting to live. ”
Rozalén has come with a cardboard box full of bottles of wine, I often get out. But it turns out that the expected bottles are not hidden inside the box, too bad, but a big head. Don Francisco calls him and it is the Goya award for the best original song he has won for the song Que no, que no. “They ask me to pose with him in the media, at home we are under construction, and I take him from one place to another. Let's see if Don Francisco rests now, ”he says. He also took it to his parents for a while, who introduced it to the whole neighborhood. “When [I won] the award, my parents reminded me a lot that I was humble, although I always try to be,” she says, “they always tell me to remember that my grandparents were poor, to remember where I came from. I have that very embedded ”.
"I have psychological movements , I am hypersensitive, everything affects me a lot," says Rozalén, who helps himself with music and therapies. In fact, he studied Psychology, and then a Master of Music Therapy, which is what he was going to dedicate himself to. She works a lot on the anxieties that public exposure produces: being judged, singled out, having to please others, having to say no. When things are going well, you feel like you have to apologize for it. “I sing since I get up . If I don't sing, I have to look at it, something happens to me ”, he explains,“ sometimes I wish I didn't feel so much, but that's what allows me to make songs ”. Not only the interior is concerned, but also its exterior, for social problems. That runs in the family.
His father, Cristóbal was a priest, and he fell in love with his mother, Angelita, in what was a "forbidden love" that he portrayed in a song thus titled. "It was from the Liberation Theology, they have a hard time when they see injustices on the news," says Rozalén, "I have been educated in that Christianity that says to be happy by making the one next to you happy." That social vein that runs through his discography, along with the concern for both geographical and family roots. Although Rozalén is optimistic, the world is not making it easy for him. "Maybe we have no remedy," he says, "but then I think that stale people are the ones who make the most noise, not the majority, otherwise we would have already gone to hell."
There is in contemporary music a return to the roots that is reflected in the work of many artists. "I come from folklore and this love had to come back to me: my first instrument was the bandurria," he explains, and recalls the rounds of Albacete and Murcia, songs that are transmitted orally and that speak of that rural world of which arise. He wants to investigate further in that regard. "What my grandmother told me was modern, more punk than many of my punk colleagues," he concludes.