Ferrol, Feb 25 (EFE).- Jairo Zavala (Madrid, 1973) goes by the name Depedro when he dresses as the musician he is, a renowned artist with a reputation for his cocktail of root sounds, who goes a step further with “Máquina de piedad”, his most recent album, with which this Saturday he lands at the Ferrol Auditorium.
He talks to EFE and is “happy to be back”, although he appreciates that he lives “on a perpetual tour” for which he feels “lucky” to have “the privilege of doing my job and that he gives me the most beautiful things that happen to me , receive emotion and affection from the people who come to see me”.
Therein lies his commitment, since he states that “things are done to communicate, we do nothing but try to attract attention”, and in that objective he commands “what we have in our chests”, a heart that promotes his advances no matter how ” naif” that seems to speak of hope or positive feelings.
“A friend told me that hope includes waiting, resistance,” says Zavala, who prioritizes in his lyrics “things that are relevant on a day-to-day basis,” also on this album, an evolution from “El pasajero.”
He maintains that “artists talk about two or three things”, love and heartbreak are usually some of them, “but we vary in how to tell them” and in how to offer the menu, since these are times in which collaborations set the tone .
In his “Máquina de piedad”, Depedro goes hand in hand with figures such as Leiva, Iván Ferreiro or Guille Galván, from Vetusta Morla, and this work based on understanding is not new for him: “From the beginning, I understand music as a dialogue; There is nothing negative about it, I have always nourished myself from it”.
He values as enriching that his contributions pass through the sieve of the “eyes and mouths of others”, which will meet with Spanish references, one of the “most mixed-race countries in the world”, endowed with a muscular and varied cultural “identity”.
For this reason, Jairo Zavala affirms that he has to be “smart” to try to “steal from all kinds of influences”, including those that come from his own origins, a “somewhat atypical family” with a Peruvian father and a period in which that their parents resided in Equatorial Guinea.
Since his childhood, he shamelessly combined African music with The Beatles or Led Zeppelin; Now, he doesn’t know “if it’s because of his age”, he tries to “make better use of his energy” and the “literary references” that have marked him the most flow more vigorously.
He has landed in the “Máquina de piedad” after his experience with “El pasajero” and a foray into children’s music, an audience that is especially grateful “when you treat him without condescension; I found myself putting things from thirty years ago on my children, what is now too sweetened and they are children, not idiots”.
His are melodies that flee from the conventional commercial channel, before which Depedro appreciates that the “important thing is that they leave secondary roads for those of us who want to do different things”.
The artists who have collaborated on his album, he adds, provide their own “colors”, nuances to a common line with a key: “I am very careful that the sounds do not overwhelm the song; It is a luxury to have these giants, they give you their talent”.
And he stresses that “emotions” emerge without labels, with “14-year-old boys singing songs by Víctor Jara” decades later “and it doesn’t squeak” or with fellow workers like Guitarricadelafuente, who drink from those pioneers to remain pure by sharing their art.
Raul Salgado
