Vetusta Morla closes its long tour at the Wizink Center: “Just seeing that match for the last time is going to be worth it”

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Vestusta Morla is one of those groups that has been fighting for 25 years to make a living from what gives meaning to their life, music. Although it was difficult for them to get started, once they achieved the success they deserved, they managed to occupy a space in the indie scene that has made them headliners at many festivals.

They have just released the soundtrack of Andrea’s love, their second foray into cinema that seems to have opened a new avenue of creation in the group. On this occasion they have not focused only on the central theme of a film Manuel Martin Cuencabut they have composed all the music for the film.

They have been working hard for two years, because to this creation we must add a long tour since they released their last album, Ground Wire. The time has come to take a break and say goodbye to a tour that has left them with great moments like the one captured in the documentary about their concert at the Metropolitano.

On November 30 and December 1 they will put an end to this stage at the WiZink Center in Madrid.

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Almost two years on tour, how do you endure that without it taking its toll?

Fag: With a lot of fatigue on my back. You accumulate, accumulate, accumulate and when the end of the tour arrives, a funnel of a lot of things that you have been producing at the end of the year is produced and it all comes together at the end of the party. Looking forward to finishing and resting a little and taking stock of everything that has happened in these two years, which are many years, but it is also a celebration for us.

You say that two years is a long time, there are people for whom it flies by, I see that is not your case.

David Garcia: The second part is missing, two years is a long time for a single album tour. In the end you spend a lot of time playing, and we could continue playing quietly and continue with the tour.

Fag: Two years in someone’s life is a lot of things too. And in ours, perhaps, it is something more intense. Time is very relative.

Every time we see that more importance is given to these tour purposes, are you proposing something special for this November 30th and December 1st?

Guillermo Galvan: There are going to be two concerts with the band with which we did the presentation concerts and with which we did the Metropolitano, which, with that alone is a good kilombo because we are going to be, on many occasions, twelve musicians on stage and we will do a show similar to the one that people could see at the Metropolitano with this whole Celtiberian band of traditional musicians reinterpreting part of our repertoire and we will have our part of the six solos on stage with all the most rock energy. Without having fully defined what is going to happen, I think that just the fact of seeing that meeting for the last time, because the tour ends here and it is difficult to take that production to another place, I think it will be worth it.

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When the end of a tour like this comes after two years on the road, do you approach it with the desire to finish, with vertigo about what will come next or how?

Jorge gonzalez: The tours, even if they last two years, we always try to separate them into blocks so that those who go to different concerts see different things and so that we don’t end up putting on autopilot and experience the concerts as a repetition. Just like last year there were concerts where we played with all these people and we were very focused on the album ground wire, we have had a year of festivals where the repertoire has changed, only the six of us are going and we are bringing musicians and musicians with whom we are sharing the bill at the festivals to play on stage. Although on the outside it may seem like two years of the same tour, internally each concert, luckily, is a world where there are variations. Right now, as Pucho said, after two years, you realize that you are a different person, you have incorporated things, there are others that you have gotten rid of and all that helps you project what is to come. Now we were talking about the soundtracks and there is a kind of union or trilogy between what was the soundtrack of The daughter, Ground Wire and this soundtrack is very marked by instrumentation, traditional music, certain textures and sonic colors that have formed a bit of an umbrella in these three works. There are things that will remain, but there is a certain feeling that we are closing a stage in this Wizink and with this film. I see an arc from the end of the pandemic to the end of 2023 that ends and something else will come.

The Metropolitano concert was reflected in a documentary released by Movistar+, how many times have you seen it?

Jorge gonzalez: Many montages. We have seen it several times. I think it’s something that’s going to stay there. Many times we remember many concerts that we will not be able to return to because they were not recorded and this one in particular was very special because the whole process was really ending the pandemic, which is something that will have a big impact on all of us in time. those of us who lived it and it was like reintegrating ourselves. It was complicated because many people had to get back into music, we are talking about technicians and people from the industry. It was complicated at the production level because there was a lack of material everywhere, but that will remain in the anecdote, although, well, I think the anecdote was the blackout that occurred in the stadium, that we had never been in a stadium in the city and how beautiful It was being able to relive it and, above all, all the learning that we took from the people who accompanied us on stage and all the reflections and reflections that we gave to understand what we wanted to do, which intuitively came out in Cable a Tierra but then We had to provide it with tools and these people guided us and gave us a path to reinterpret certain songs, how to take it to something a little more communion between everyone. In the end, Ground Wire It was our search for our folklore, but in the end you have to share and songs, in principle, so small, playing them on stage helped to tell what the album was in a larger way.

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You decided to leave the blackout that occurred during the concert, many would have hidden it, what led you to make that decision?

Guillermo Galvan: I think we were all clear that the song had to be on both the album and the movie because, even if it was negative, it was one of the most significant elements of the day and if we wanted to take a photo of what happened that day, it had to be. It is true that there were several interpretations of what the blackout was. In fact, when they were sending us the mixed songs, when that song arrived we saw that the audio was played from beginning to end and we called those in charge of mixing and production to ask them what they had done. ‘We’ve managed to recover the sound from the rehearsal the day before and don’t worry, it’s perfect’ and it was like, ‘no, no, maybe we haven’t had this conversation before, but we have it now, if we want it to happen.’ cut, how it happened and that it is recorded like this because it is part of what happened that day.’ And, in fact, the reconstruction of that blackout took us much longer than mixing many of the songs that are on the album because it was a real blackout where the microphones stopped working and that at an audio level does not give the sensation of a blackout but of Your music system has broken down. We had to recover microphones that were in the environment, sounds that were from cell phones that were from people, microphones that had not completely gone and it was a job to reconstruct that song and involve the audience who continued singing, more complex than it seems. .

You say that you are closing one stage to begin another, but you have already confirmed presence at a festival for next year, do you confirm and then see what is going to happen?

Fag: It is like The endless story, But that’s another story. Many chapters have been finished.

David Garcia: In periods between albums, when a cycle ends, we do have individual concerts for the next season, but that does not mean that we cannot take breaks, take distance and focus on what is going to be next, in this case, these concerts that will be held next year, that some festivals are already announcing, it will not be a tour Ground Wirewhich ends now, will be another story.

You are almost newly arrived from Latin America where you were touring in September and October, what is the anecdote that you are still talking about?

David Garcia: The last concert we did, which was in Buenos Aires, at the Teatro Gran Rex, legendary, very important there. Like any good old theater, it has a pit for the orchestra that plays, just below the stage and there is a small gap between the end of the stage and the stalls and through that gap Pucho stumbled and fell in one song. There was a net that saved you from falling three meters, all the way down, but…

Fag: I did not know.

David Garcia: I did notice, I said, ‘this is dangerous, I hope nothing happens’, but he stumbled and fell and the irons that hold the net itself… he had a couple of scratches.

Fag: I fell into the void without knowing where I was falling.

David Garcia: It could have been something dramatic, but it remained tragicomic.

Jorge gonzalez: From dancing until the blackout to dancing until the hostion.


Written by

Christopher Johnson

Christopher Johnson is a dedicated writer and key contributor to the WECB website, Emerson College's student-run radio station. Passionate about music, radio communication, and journalism, Christopher pursues his craft with a blend of meticulous research and creative flair. His writings on the site cover an array of subjects, from music reviews and artist interviews to event updates and industry news. As an active member of the Emerson College community, Christopher is not only a writer but also an advocate for student involvement, using his work to foster increased engagement and enthusiasm within the school's radio and broadcasting culture. Through his consistent and high-quality outputs, Christopher Johnson helps shape the voice and identity of WECB, truly embodying its motto of being an inclusive, diverse, and enthusiastic music community.