Part 2

What are the potentials and limits of your voice? How much of your vocal performance can and do you want to control?

I believe my voice is in constant evolution, and its potential expands as I explore it — technically, emotionally, and creatively. I’m always working to push its boundaries, but I also respect its natural qualities and honor both the successes and the mistakes (which is one of the reasons I chose to record the album live).

I’ve learned that control is important — especially for consistency, stamina, and expressive power — but at the same time, that excessive control and the pursuit of perfection can actually pull me away from those very things. So I prepare every day, but I also leave room for spontaneity, for emotional instinct, for the unexpected to happen — because that’s often where the real magic lies.

I try to find that balance: mastering the technical side just enough to feel free when I sing. That search is my potential — and the limits shift along the way.

As a singer, it is possible to whisper at the audience, scream at the audience, reveal deep secrets or confront them with uncomfortable truths. Tell me about the sense of freedom that singing allows you to express yourself and how you perceive and build the relation with the audience.

Singing has given me a sense of freedom in so many ways.

Every stage of my life has been a kind of unlocking — moving me closer to where I truly want to go. In fact, choosing to become a singer, knowing it would be a diffcult path with little support, was actually an opportunity to be free and write my own story.

As for how I build a connection with my audience — I do it through humor. I’m always joking around, and on stage I just can’t help myself. There are moments when I have to remind myself, “Okay … they didn’t come to see a stand-up show — sing!” And then I begin to share my truths — what’s in my heart, my nightmares, my fears …

Like in my first single, “Creí,” which talks about coming out of a depression.



Music is where I speak seriously.

I'd love to know more about the vocal performances for Memorias Imaginarias de un Universo Sin Tiempo, please, and the qualities of your voice that you wanted to bring to the fore.

Rhythm and interpretation were the two main things I focused on. In “Creí”, there’s a chorus where the voice creates an unsyncopated rhythm using sixth intervals — I really like that part and I’m proud of it.

In “Cuando me dejes,” I wanted to sing that 5/8 time signature in a very fluid, dance-like way — something between traditional and my own style.



In “¿Qué has hecho conmigo?”, I reinterpreted a standard ("I remember Clifford") — I translated it and performed it in this new musical and lyrical context, and I’m really happy with the result.



I could talk about every song, honestly, but I’ll finish with “Tonada de Luna Llena”, a traditional Venezuelan piece where my drummer and I improvised.



He’s from Réunion Island, and he started improvising maloya rhythms on the drums, and I began improvising the melody of the tonada, adapting it to that 6/8 groove. The result … I absolutely love it.

So yes — rhythm is very present in my work, and I think you’ll definitely hear that throughout the album.

When you're writing song lyrics, do you sense or see a connection between your voice and the text? Does it need to feel and sound “good” or “right” to sing certain words? What's your perspective in this regard of singing someone else's songs versus your own?

Not really — I don’t see it that way. I think after writing, I might go back and fix things if they don’t work vocally … but for me, writing and composing are something else entirely. I only really think about my voice to make sure the notes are within my vocal range.

But since my musical universe is often inspired by concepts — sometimes even a bit intellectual — I give myself total freedom in the creative process. And then … well, how I’ll make it sound good? We’ll figure that out later!

Strain is a particularly serious issue for many vocalists. How do you take care of your voice? Are the recipes or techniques to get a damaged voice back in shape?

Honestly, I don’t feel like vocal strain is one of my main issues. I’m very in tune with my body and I try to warm up my voice regularly. At the slightest strange or uncomfortable sensation in my throat, I take action — whether it’s tea, honey, ginger … and rest! Lots of rest.

But vocal strain hasn’t really been a major problem for me — I’m actually lucky in that regard.

How has technology, such as autotune or effect processing, impacted singing? Has it been a concrete influence on your own approach?

For me, yes!

I’ve been experimenting a lot with vocal effects — although it’s not really noticeable on this particular album, since I only used them on one track, “Áurea.” In that song, I used an octaver.



But in other groups I’m part of, and in the explorations I’ve been doing with my new compositions, I feel that effects will become essential.

They’re a powerful tool that allow us to create more moments, more musical atmospheres — and we should definitely take advantage of that.

For recording engineers, the human voice remains a tricky element to capture. What are some of the favourite recordings of your own voice so far and what makes voices sound great on record and in a live setting?

Between studio and live settings, the big difference is that in the studio, what makes the voice sound good is the fact that you're completely isolated and can hear yourself very clearly — so you can be more precise, and nothing interferes with your sound.

That’s completely different from live performance, where during the soundcheck everything is balanced, because all elements are going to blend together.

At the moment, my favorite recordings of my voice are on this album I'm releasing — it's my first recording as a bandleader. If I had to choose one song in particular, I’d say “Cuando me dejes”.
 But I’ll let you all decide what you think

Motherese may have been the origin of music, and singing is possibly the earliest form of musical expression, and culture in general. How connected is the human voice to your own sense of wellbeing, your creativity, and society as a whole?

Yes, I believe singing holds something magical and deeply human. It’s not just an art form — it’s a tool for well-being, creativity, and connection. Singing invites us to breathe consciously, to be fully present, and to release tension. For me, it’s a deeply therapeutic act.

Creatively, the voice is limitless. It's so personal — both fragile and powerful — and through it, I discover new parts of myself all the time: my strengths, my flaws, my emotional landscape. And socially, singing brings people together. It’s the most direct and universal form of communication. Everyone relates to the human voice. Whether joyful or painful, a sung message resonates beyond language or culture.

Every singer expresses something different, and that diversity is what makes the voice such an incredible vessel — for the self and for the collective.