Saul Hernandez Speaks about Music’s Freedom


[dropcap]S[/dropcap]aul Hernandez, iconic singer-songwriter of legendary bands like Caifanes and Jaguares, and three-time Grammy award winner for his work at Jaguares “45” (2008, EMI), returns to Chicago May 13 to perform at the House of Blues. EXTRA had the opportunity to talk to him in an exclusive interview.

EXTRA: For the audience who does not know your music, how would you describe it?

SH: I don’t know…psycho-tropical-horny (laughs). It’s simply music.

What does music mean for Saul Hernandez?

Music is freedom, wholeness, and amplitude where genres don’t matter but quality does. There is even a saying that goes, “Only two types of music exist: bad and good.”

What have you been dedicating yourself to this year?

I’ve been promoting “Solitario,” doing concerts, parallel to “Mortal.” I’m still working with Caifanes and dedicating myself as well to my family, a job that absorbs you 100 percent. I always say that God wants me whenever I’m working but he loves me whenever I sing.

Share with us an anecdote you cherish from Chicago?

I remember bringing my daughter when she was very young, and I introduced her to the public. It was welcoming, very pretty and natural. I made a connection with Chicago, my family and music. What else would you ask for?

Nowadays, when many become stars too fast and then disappear at the same speed, how do you keep that validity and loyalty to your public?

Precisely, by not thinking about that, about being famous. Think about doing whatever you want, think about what you are writing, and seek that connection with the audience. I cannot imagine myself doing anything else with my life except music. I would starve (laughs). I play my guitar, I travel, exist…that is the identity the artist creates for himself. The rest is always vanity; that would be a theme of confrontation with oneself.

How do you see the reality of the alternative genre in Spanish?

What is necessary is to analyze what musicians are doing. For example, in the 80s in Mexico, rock was discriminated. Whenever Mecano, Soda Estereo and Charlie Garcia came along, recording companies realized that when you’re inthe public, there will be an expectation. Groups are now born, and they face a structure that does not end; it is not like in the past, and this has affected groups’ creativity and development. The Internet gives them an international and open tool but they lack dynamic. It is necessary to retake a new structure’s “underground” dynamic.

You will be playing in Chicago. What can we expect?

In Chicago, I want to share songs from “Remando” to “Mortal;” poetry as well, whatever song they want to hear. With my musicians, I always talk about how far “we want to go,” no how far “we can go” in every show; that process is already beautiful, and I am very glad about how it has been developing itself. Avery particular energy is felt; expect a very spontaneous concert with a lot of interaction.

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