With his unflinching, eclectic flair and instantly recognizable sound, J Balvin has been pushing the limits of reggaeton, while continually rewriting the contemporary Latin pop playbook. Since his arrival to the global spotlight in the early 2010s with La Familia, the 36-year-old superstar has impressively churned out some of the biggest hits in modern Spanish-speaking pop. Just look no further than 2015's Guinness World Record-winning "Ginza," and 2017's 3-billion-streaming banger "Mi Gente." Seemingly perfecting the hit-making formula, the Medellín powerhouse has helped solidify and globalize the sound of Colombian reggaeton, his stage name unintentionally becoming synonymous with the art form.

Although his distinctive style is quintessential to the genre (he is often dubbed "Príncipe del Reggaeton," or "the Prince of Reggaeton"), Balvin's multi-faceted background is what informed his own music creation. After growing up listening to '90s grunge and rock, he took cues from the reggaeton pioneers of Puerto Rico. "We always have someone that inspired us to start [making music]. Daddy Yankee was my biggest inspiration — he still is," Balvin tells GRAMMY.com. "I wanted to be like him, but then I was like, 'There's no place for two Daddy Yankees.'"

On Balvin's sixth studio album, Jose, released in September, the Latin pop hitmaker offers a more intimate look: Reintroducing himself with his first name, José Álvaro Osorio Balvín, he expands his horizons with club-ready EDM alongside Skrillex on "In Da Getto" and tinkers with Dominican dembow on "Perra" alongside Tokischa. The music video for the latter song, however, was recently removed from YouTube as critics labeled it misogynoir for its hypersexualization of Black women. Speaking to GRAMMY.com a week prior to the album dropping and long before the video's release, Balvin argues that "Perra" is a song of empowerment. "We wanted to keep empowering women and show that we are the same. If you want to be a dog, then we can be dogs together — straight up," he says. "And Tokischa is straight up. She doesn't mess around when it comes to the lyrics. It's pretty PG-13." Controversy or not, Jose debuted at No. 1 on the Billboard Top Latin Albums chart.

Ever the iconoclast, J Balvin — who's currently nominated at the 2021 Latin GRAMMYs for Song Of The Year for his collaboration with Tainy, "Agua," among other categories — has delivered riveting music works and has made exhilarating appearances across the music and pop culture realm this year. GRAMMY.com Skyped with the reggaeton icon where he spoke about releasing Jose, stepping into Latin drill, starring in an Amazon documentary, and how his personal routine drives success.

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This summer you headlined two massive festivals: Baja Beach Fest in Rosarito, Mexico, and Governors Ball in New York City. How did it feel to return to the global stage, not only as a headliner, but simply being in front of a massive crowd after going through quarantine?

It had been so long. It's like learning how to ride a bicycle — but if you stop using your bike everyday, you will lose a little bit of your skills. So it's about warming up and getting better and better again. That's how it feels. I love the people in the crowd, and you start to realize that you can give them more and more. It's about getting back to feeling that vibe again. It's absolutely amazing to see the love and to see my fans. I'm a fan of my fans right now.

Your latest album, Jose, brings forward an array of different sounds. What are some of your personal top tracks?

I'm going to go with "F40," which is the first song of the album. It's about paying respect to the old sound of reggaeton. What Arcángel says in his speech is pretty amazing. I mean, every song is different. "Billetes De 100" with Myke Towers, it's really powerful and strong. And with "Perra," we wanted to keep empowering women, and show that we are the same. If you want to be a dog, then we can be dogs together. Straight up. And Tokischa is straight up. She doesn't mess around when it comes to the lyrics. It's pretty PG-13. So it's about that. It's a dembow. That's what the Dominican Republic sounds like on the streets and it's really cool. The video's fun too. There are too many songs.

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The music video for "Que Locura" portrays an interesting concept where humans are on display in an art gallery for the entertainment of others. What inspired this? 

We wanted to have a bright and strong video. Film Headz, the producers, the director Jose Sagaró, the DP, Chris Guerra, and the whole team were amazing. They get my ideas really easily. It's just simple to work with them because we vibe on the same aspects. The video shows that we [humans] are art, but it also tells a story about this lady you can't get out of your head.

And what producers did you work with for this new album?

The main producers and secondary producers were Sky [Rompiendo] and Tainy, but also Tainy's brother, Masis. There's also Taiko. Diplo is a producer of "Que Locura," and Skrillex produced "In Da Getto." There's a lot of vibes, different colors. There's another producer called Lexuz from Colombia, and he's the one who did "Otra Noche" featuring Khalid. So there are definitely different producers and different vibes. This is José, it's the music that I listen to.

You've been working with Sky for many years, since the beginning of your career. What were some of the things that drew you to his work?

That's my right hand. It was just a natural connection. Effortless. We grew up together, with music. When we started working in the media, we always had a connection. And of course, there's Tainy too. Both are amazing producers. Tainy has been in the game since he was a little kid, so he inspired us a lot.

Can you name me three artists, whether dead or alive, that influenced this new album?

Well, I have a lot of inspiration for artists, but what I want to do in my album is basically my sound: J Balvin. I want people to get inspired by our sound. There are a lot of artists that inspire me, but I wasn't looking to make something that looks like someone else's work. Of course, I'm inspired by Drake, Michael Jackson, Coldplay, The Weeknd, Dr. Dre, Eminem, and Jay Z. But, in this case, I just wanted to express myself, and that's why the album is called Jose, because it's how I feel and what I like.

In the documentary Boy From Medellín, viewers get to know that José more closely. Did you get a sense of relief to be able to display that version of yourself that the public didn't often get to see?

I'm always being real on my Instagram and my accounts on all these social media platforms. But, of course, in this case, it is a documentary, so they can see a lot of intimate moments. So, yeah, I feel great because I showed that I'm just another human being like everybody else.

You gave reggaeton another life by reinventing it into a style that is not only unique to you, but has also become the signature of Colombian reggaeton — a sleeker, more seductive approach. It's obviously different from the original, more hard-hitting, and maximalist approach that was invented in Puerto Rico in the '90s. What were you drawing from when you were creating that J Balvin sound?

We always have someone that inspired us to start. Daddy Yankee was my biggest inspiration. He still is. I wanted to be like him, but then I was like, "There's no place for two Daddy Yankees." The entire team, from the sound engineer Mosty to my producer Sky, to Bull Nene [Cano], who started as a solo writer. We all were just doing our thing. We were not trying to sound like someone else, because then we will be one more. But it wasn't even an intention, it was just the Colombian flavor.

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You have become one of the most nominated artists for Latin GRAMMYs, and you hold a good handful of them as well. When you get nominated and awarded, what goes on in your head?

The Latin GRAMMYs have always been really — let's say sophisticated and inspirational. It always feels great to have a GRAMMY, of course.

Earlier this year we saw another musical side of you, stepping into drill music with Eladio Carrión in "Tata," and were later joined by Bobby Shmurda and Daddy Yankee for the remix. Do you think that Latin drill is gonna be the next big wave to hit Latin music, like how reggaeton and then Latin trap were?

Hmm, it could be — it could be if more artists keep making the drill sound. But we are happy that we were one of the first ones that, let's say, elevated drill in Spanish. Having Bobby Shmurda on the remix and Yankee... Bobby is one of the drill kings, and we did our homework of finding him. He was such a nice person. And also Daddy Yankee, he is the GOAT. Carrión opened up the floor for us so it was really cool.

I believe it is important to be aligned spiritually, physically, and mentally to elevate creative results, whether that's exercising, taking vitamins, meditating, or doing anything that promotes wellness. Do you have a specific routine or ritual you follow?

Yeah. I wake up pretty early, like 5:00 or 6:00 AM. The first thing I do is hit the weights, and then I go for a run. I do an hour of cardio. Normally, when I'm doing cardio, I'm listening to a podcast, or checking things out that inspire me. Or maybe someone's dropped a new album, so I listen to the whole album — or at least, what I can listen to through the hour of cardio that I do. After that, I meditate for 30 minutes. So yeah, basically every day I have three or four hours for myself and then I start working. I'm giving myself the permission to be José, to be focusing on myself.

You have an eccentric fashion style as we all know. What influences do you draw from to create your own personal aesthetic?

Everything circles back. Right now, I'm rocking the 2000s. What I have on is this FUBU shirt, and I'm wearing super baggy jeans. Today I was like, "Let's go to the 2000s." Style is a way of expression. I'm fearless about that, too. If I feel that I want to wear a skirt, I will wear the skirt. And I have done it before, and it's like, "What's the problem with that?" I just think we have to embrace our culture more and keep staying elevated. Of course, it takes risks. But if we don't do it, who's going to evolve culture?

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Since 1959, the GRAMMY Award has been music’s most coveted honor. Each year at the annual GRAMMY Awards, GRAMMY-winning and -nominated artists are recognized for their musical excellence by their peers. Their lives are forever changed — so are their career trajectories. And when you have questions about the GRAMMYs, we have answers.

Here are seven facts to know about the value of the GRAMMY trophy.

How Much Does A GRAMMY Trophy Cost To Make?

The cost to produce a GRAMMY Award trophy, including labor and materials, is nearly $800. Bob Graves, who cast the original GRAMMY mold inside his garage in 1958, passed on his legacy to John Billings, his neighbor, in 1983. Billings, also known as "The GRAMMY Man," designed the current model in use, which debuted in 1991.

How Long Does It Take To Make A GRAMMY Trophy?

Billings and his crew work on making GRAMMY trophies throughout the year. Each GRAMMY is handmade, and each GRAMMY Award trophy takes 15 hours to produce. 

Where Are The GRAMMY Trophies Made?

While Los Angeles is the headquarters of the Recording Academy and the GRAMMYs, and regularly the home of the annual GRAMMY Awards, GRAMMY trophies are produced at Billings Artworks in Ridgway, Colorado, about 800 miles away from L.A.

Is The GRAMMY Award Made Of Real Gold?

GRAMMY Awards are made of a trademarked alloy called "Grammium" — a secret zinc alloy — and are plated with 24-karat gold.

How Many GRAMMY Trophies Are Made Per Year?

Approximately 600-800 GRAMMY Award trophies are produced per year. This includes both GRAMMY Awards and Latin GRAMMY Awards for the two Academies; the number of GRAMMYs manufactured each year always depends on the number of winners and Categories we award across both award shows.

Fun fact: The two GRAMMY trophies have different-colored bases. The GRAMMY Award has a black base, while the Latin GRAMMY Award has a burgundy base.

Photos: Gabriel Bouys/AFP via Getty Images; Frederick M. Brown/Getty Images

How Much Does A GRAMMY Weigh?

The GRAMMY trophy weighs approximately 5 pounds. The trophy's height is 9-and-a-half inches. The trophy's width is nearly 6 inches by 6 inches.

What Is The True Value Of A GRAMMY?

Winning a GRAMMY, and even just being nominated for a GRAMMY, has an immeasurable positive impact on the nominated and winning artists. It opens up new career avenues, builds global awareness of artists, and ultimately solidifies a creator’s place in history. Since the GRAMMY Award is the only peer-voted award in music, this means artists are recognized, awarded and celebrated by those in their fields and industries, ultimately making the value of a GRAMMY truly priceless and immeasurable.

In an interview featured in the 2024 GRAMMYs program book, two-time GRAMMY winner Lauren Daigle spoke of the value and impact of a GRAMMY Award. "Time has passed since I got my [first] GRAMMYs, but the rooms that I am now able to sit in, with some of the most incredible writers, producers and performers on the planet, is truly the greatest gift of all." 

"Once you have that credential, it's a different certification. It definitely holds weight," two-time GRAMMY winner Tariq "Black Thought" Trotter of the Roots added. "It's a huge stamp as far as branding, businesswise, achievement-wise and in every regard. What the GRAMMY means to people, fans and artists is ever-evolving." 

As Billboard explains, artists will often see significant boosts in album sales and streaming numbers after winning a GRAMMY or performing on the GRAMMY stage. This is known as the "GRAMMY Effect," an industry phenomenon in which a GRAMMY accolade directly influences the music biz and the wider popular culture. 

For new artists in particular, the "GRAMMY Effect" has immensely helped rising creators reach new professional heights. Samara Joy, who won the GRAMMY for Best New Artist at the 2023 GRAMMYs, saw a 989% boost in sales and a 670% increase in on-demand streams for her album Linger Awhile, which won the GRAMMY for Best Jazz Vocal Album that same night. H.E.R., a former Best New Artist nominee, saw a massive 6,771% increase in song sales for her hit “I Can’t Breathe” on the day it won the GRAMMY for Song Of The Year at the 2021 GRAMMYs, compared to the day before, Rolling Stone reports. 

Throughout the decades, past Best New Artist winners have continued to dominate the music industry and charts since taking home the GRAMMY gold — and continue to do so to this day. Recently, Best New Artist winners dominated the music industry and charts in 2023: Billie Eilish (2020 winner) sold 2 million equivalent album units, Olivia Rodrigo (2022 winner) sold 2.1 million equivalent album units, and Adele (2009 winner) sold 1.3 million equivalent album units. Elsewhere, past Best New Artist winners have gone on to star in major Hollywood blockbusters (Dua Lipa); headline arena tours and sign major brand deals (Megan Thee Stallion); become LGBTIA+ icons (Sam Smith); and reach multiplatinum status (John Legend).

Most recently, several winners, nominees and performers at the 2024 GRAMMYs saw significant bumps in U.S. streams and sales: Tracy Chapman's classic, GRAMMY-winning single "Fast Car," which she performed alongside Luke Combs, returned to the Billboard Hot 100 chart for the first time since 1988, when the song was originally released, according to Billboard. Fellow icon Joni Mitchell saw her ‘60s classic “Both Sides, Now,” hit the top 10 on the Digital Song Sales chart, Billboard reports.

In addition to financial gains, artists also experience significant professional wins as a result of their GRAMMY accolades. For instance, after she won the GRAMMY for Best Reggae Album for Rapture at the 2020 GRAMMYs, Koffee signed a U.S. record deal; after his first GRAMMYs in 2014, Kendrick Lamar saw a 349% increase in his Instagram following, Billboard reports. 

Visit our interactive GRAMMY Awards Journey page to learn more about the GRAMMY Awards and the voting process behind the annual ceremony.

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Los Angeles' legendary Conga Room is closing its doors, but will not go quietly into the night.

The 25-year-old venue has been home to countless Latin music performances and celebrations — including the 2001 Latin GRAMMYs — and will host its final event on March 27. The official, invitation-only closing celebration will feature a performance by Puerto Rican salsa star Gilberto Santa Rosa and the Conga Kids, as well appearances from Jimmy Smits and Paul Rodriguez, both of whom were investors in the space. 

First opened in 1999 on Wilshire Boulevard by real estate entrepreneur and Latin music lover Brad Gluckstein, the Conga Room drew investors like Jennifer Lopez and Sheila E — all of whom were committed to the venue’s vision of being an upscale nightclub devoted to live Latin music and dancing. In both its Miracle Mile location and its later space at L.A. Live, the club attracted an absolutely staggering lineup of talent, including Celia Cruz, Buena Vista Social Club, Tito Puente, Carlos Santana, Alejandro Fernández, Fito Paez, Jerry Rivera, Bad Bunny, and Maluma. The venue also hosted performances from non-Latinx artists like Prince, Ed Sheeran, Lenny Kravitz, Kendrick Lamar, Stevie Wonder, Chaka Khan, and Avicii.

"I saw Prince perform in venues the world over, but his very first performance at the Conga Room was magical," says talk show host Tavis Smiley. "Of all the times I witnessed my friend on stage, from Madison Square Garden to Montreux, the Conga Room remains my favorite Prince performance."

Gluckstein says that the Conga Room was able to draw such great talent not just because it was one of the only major venues that leaned into Latin music in the United States, but because there was a mutual respect between the artists and the venue. 

"We couldn’t compete financially with [Goldenvoice or AEG], but we were able to bring an incredible amount of talent to the venue," he tells GRAMMY.com. "I was talking to Jerry Rivera’s agent the other day and I said, ‘Jerry just played in front of 10,000 people in Venezuela. Help me understand why playing in front of 1,000 people at the Conga room was so important.’ He went on for 10 minutes about what the room meant to these artists and the way we respected them, the sound system, and the way they were treated. The fan engagement, too, plus the fact that there was never really a comparable room anywhere else, even in New York."

"We provided a stage and a voice for acts that didn’t have a way of getting to their audience here in L.A., because no radio stations were playing their kind of music," says Marcella Cuonzo, the venue’s publicist. "For reggaeton, for example, the Conga Room was a pioneer in the movement around 2010. Radio wasn’t playing that music, but the Conga Room took a gamble on the sound because they saw its vision." 

The Conga Room was also the first venue in Los Angeles to host a wide-range of Cuban musical talent starting in the mid- to late ‘90s. "We had probably 50 shows," says Gluckstein. "We got everything from Bebo Valdés to [Diego] El Cigala to Pablo Milanés, who played his first show ever in the U.S. at our venue. He’s the Bob Dylan of Cuba. We brought Los Van Van, who’s probably the most famous salsa or timba group in the history of Cuba. They couldn’t play in Miami, because Miami wouldn’t allow Cuban music, so the GRAMMYs gave them their trophy [for Best Salsa Performance] at the Conga Room."  

The Latin GRAMMY Awards moved from L.A. from Miami in 2001, and the ceremony was set to take place at the Shrine Auditorium on Sept. 11. That telecast was understandably canceled following the tragic events of that day in New York, and rather than rescheduling the whole event, winners were announced at a press conference on Oct. 30 at the Conga Room. Alejandro Sanz came away with four awards, including Album Of The Year, and Juanes took home three Latin GRAMMYs, including Best New Artist.

"I remember Celia Cruz giving a beautiful speech that night in Spanish, thanking the firefighters and policemen and saying ‘this is for you, but also a little bit for us," says Gluckstein. "In later years, once we were at L.A. Live, we hosted the Latin GRAMMY nominations several times. I have footage of Andy Garcia doing them on-stage with Jimmy Smits." 

The Conga Room is closing now because, Gluckstein says, it just seems like the right time. "The pandemic, of course, played a role," he explains. "And I think the enormity of AEG and Live Nation, with how fierce the competition is, all of that has made buying talent much more expensive and has made talent more selective in terms of what's the best economic opportunity for them." 

There’s also the rising success of Conga Kids, the venue’s non-profit arm, to consider. A county-wide organization with about 100 employees, Conga Kids reaches roughly 50,000 elementary-aged kids in largely under-resourced communities every year, using dance and music from the Afro-Diaspora like salsa, merengue, cumbia, reggaeton, Charleston, and hip-hop to promote social and emotional well-being, as well as diversity, equity, and inclusivity. 

Though fans and artists will undoubtedly miss the space, energy, and community the Conga Room provided, Gluckstein says the venue’s closure doesn’t have to be sad. Instead, he says, it can be celebratory. 

"We accomplished so much," he says. "Now, the venue will just have to live on in the hearts and minds of people, instead of as a brick and mortar space." 

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The 2023 Latin GRAMMYs may have occurred months ago and thousands of miles away, but the leading lights in Latin music also shined at the 66th GRAMMY Awards. From historic wins and meaningful nominations, to electric performances and interesting installations, Latin music excellence was everywhere. 

In anticipation of the 25th anniversary of the Latin GRAMMYs in 2024, the exclusive GRAMMY House — the site of multiple GRAMMY Week events — included a significant installation dedicated to the Biggest Night In Latin Music.

The cylindrical display showcased some of the biggest moments in Latin GRAMMY history, including images, facts, and even a real Latin GRAMMY award. 

The celebration of Latin music continued throughout GRAMMY Week, with several Latin GRAMMY-winning artists also winning on the GRAMMY stage. Among the major moments at the 2024 GRAMMYs, Karol G won her first golden gramophone for her 2023 LP Mañana Será Bonito. "This is my first time at GRAMMYs, and this is my first time holding my own GRAMMY," the Colombian songstress exclaimed during her acceptance speech. 

Música Mexicana star Peso Pluma also took home his first GRAMMY; his album GÉNESIS won in the Best Música Mexicana Album (Including Tejano) Category.

Premiere Ceremony presenter Natalia Lafourcade — whose Todas Las Flores won big at the 2023 Latin GRAMMYs — also took home the GRAMMY Award for Best Latin Rock or Alternative Album. She tied in the Category with Juanes. 

Premiere Ceremony performer Gabby Moreno also took home a GRAMMY Award for Best Latin Pop Album for her album X Mí (Vol. 1). 

Beyond the stage, Latin artists graced the red carpet and the nominations list. For example, producer and songwriter Edgar Barrera was the only Latino nominated in the Songwriter Of The Year, Non-Classical Category.

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Spanish singer/songwriter Pablo Alborán has a unique history with the Latin GRAMMYs. Although he receives a nomination for each album he releases, he has yet to win a golden gramophone. 

At the 2023 Latin GRAMMYs, Alborán was the Spaniard with the most nominations. He received a total of five nominations, including Album Of The Year, Record Of The Year, and Song Of The Year. Yet on the Biggest Night In Latin Music, none of the envelopes that announced the winner had Alborán's name. Since 2011, he has been nominated 29 times without a win; his most meaningful accomplishment, however, is the freedom to continue making music and having untiring support from his family, friends, and fans. 

"Refer to last year's #LatinGRAMMY post," Alborán wrote on X (formerly known as Twitter), followed by a series of smiling emojis after the ceremony.

At the 2024 GRAMMYs, Alborán's 2022 album La Cu4rta Hoja is nominated for Best Latin Pop Album. The record competes against Don Juan by Maluma, A Ciegas from Paula Arena, Pedro Capó's La Neta, Gaby Moreno's X Mí (Vol. 1), and Beautiful Humans, Vol. 1 by AleMor.

During his Latin American tour, Alborán sat down with GRAMMY.com via Zoom to speak about the lessons from La Cu4rta Hoja, his history with the Latin GRAMMYs, and his return to the stages in the United States.

In 2011, you received your first Latin GRAMMY nominations for Best New Artist, Best Male Pop Vocal Album for his self-titled debut LP, and Song Of The Year for "Solamente tú." What do you remember from that ceremony?

When they told me about the Latin GRAMMYs; it was an enormous thrill. I wasn't familiar with the Latin GRAMMY because my career just started. They called me and said, 'Hey, Demi Lovato is going to sing with you,' which was also very intense. 

I remember taking my parents [to Las Vegas], which was the terrible part because they dressed formally. My mother looked like Cinderella, my father looked like a prince, my brother... They were all there and seated a little farther from us. When they announced the winners…I looked back, and my parents' faces, poor things, they looked as if I had been killed. [Laughs.]They were outraged, trying to pretend they were okay so I wouldn't see them upset. I had Sie7e and his wife sitting next to me, the happiness they felt when he won the Best New Artist award; I was shocked at how happy and excited they were. 

I was genuinely happy, suddenly seeing their happiness after so much work. I understand there's a competitive aspect; we're human beings, but I've been watching the Latin GRAMMYs for many years, living how it is, enjoying, learning to enjoy under pressure.

Unlike in the past, you had no talismans for the 24th Latin GRAMMYs ceremony. Although you did not use any at the 2023 Latin GRAMMYs, you often use talismans such as eagles, twins, and silver clothes for luck. When did this practice start? It appeared that it became an obsession, as you constantly searched for signs everywhere.

It was a way to protect myself and hang on to something and, of course, be able to let go of it as well. Thank goodness I didn't win the Latin GRAMMY when I had all the eagle signs; otherwise, my house would be filled with eagle talismans (laughs). I could see myself getting hooked on the eagle stuff. We must put everything into perspective and live the experience without overthinking. I try not to be too superstitious about anything, anyway, because it's a kind of slavery.

It has been a year since the release of La Cu4rta Hoja. What have you learned from the album and its 11 songs?

Each album is a journey; it is a new experience. Each album teaches you something different, and this one has taught me to live at the speed of musical consumption and not lose the essence in the middle of this journey. 

Being able to innovate while simultaneously maintaining your roots and supporting what you like in music —that balance will always be more challenging to maintain due to what surrounds you, the speed with which music is consumed, and the fact that millions of songs are released weekly. There are times when that effort is more challenging and other times, it is effortless. 

Touring gives me the illusion of seeing an audience that wants to feel the songs regardless of their style. People want to feel and want to see their feelings reflected in the lyrics and the music. And that reminds me why I make music and why I am here. 

Have you been surprised by reactions to any particular song from La Cu4rta Hoja?

"A Batir las Alas" surprised me a lot during concerts because it is a very personal song and, at the same time, a little strange… The lyrics, the way of singing it, the structure, and the response from the people in concerts were excellent. 

"Voraces" also surprised me a lot. It is the third song on the show's setlist. It amazes me that people sing and like it since it is a song that wasn't a single and has a strange concept; it's like a tanguillo [an upbeat and catchy flamenco palo] and, simultaneously, a chacarera [a polyrhythmic Argentinean folk subgenre].

You've always been involved with producing your albums, but you've taken a more prominent role in your last two albums. Why was that? 

In [2020's] Vértigo, I worked remotely, which was challenging. That album was very complicated to put together because I worked with Julio Reyes Copello from Miami, the strings were made in Prague, and my guitarists were in [Spain]. It was a fun process on the one hand but cold on the other. I felt like things were lost. I learned a lot on that album as well. In the end, you know how you want your song to sound, so you have to be very involved. 

On this last album, some songs didn't change much from the demo I produced at home. We wanted to stick with that first idea…playing it live and improving some things. But that production was already done. For example, "A Batir las Alas" worked with a guitar and a string, and there was not even a drum; there was barely a bass. It is a reasonably large ballad, yet we wanted to make it small. There are other times that the producer's work obviously, no matter how much I am involved, [is needed].

What do you like the most about producing?

The freedom. You feel an absence of judgment, an absence of limits. I can spend hours in the studio without eating, without seeing anyone, working with the musicians and the producers, or whoever is there. It feels like anything is possible — not because you know that the process can change suddenly, but because you know that what you produce, maybe you will hear again the next day, and it seems like a disaster, or it could be the best thing in the world.

So I really enjoyed it, knowing that moment was mine and that of those who were there, no one would hear it or give their opinion. Once it's finished, that song is no longer mine; it belongs to everyone. But it is enjoyable to feel that you are jumping into the void and that you are going to fall into the water.

La Cu4rta Hoja was created during your last tour. Has the album inspired you to create new songs?

There are ideas... When I'm on the plane, I spend hours listening to the voice notes on my phone, which are ideas [for] millions of songs I have. I'm in the hotel room, coming from a show or going to a show, and an idea comes to mind, and I record it and then review it. 

Silence is indeed necessary to create. So, I am very focused on giving 100 percent on this tour. There are many trips, many countries. It is the longest, almost the most extended tour we are doing, and then when I return home, and I am in that silence and in that tranquility, everything I am experiencing will explode. There are a lot of emotions and inputs that I'm receiving that I still can't capture because I'm non-stop.

This is the most extensive tour you will do in the United States. What is it like preparing for all those dates? You will go to cities you've never performed in before.

There's a lot of enthusiasm and excitement. We were already in the United States a few years ago, and it was necessary to come back, and the fact that people want it is a gift to me. 

Different things happen at each concert, the repertoire changes, and we let ourselves be carried away by what happens and the place we are in. We also sing versions, maybe a song by a local artist, and in the United States, I'm excited to do some covers of things I already have in mind.

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