Asturian artist Rodrigo Cuevas unveils Manual de Romería, a new album that nods to tradition while pushing it forward.
Asturian artist Rodrigo Cuevas has been recognized with the 2023 National Prize for Current Music. He presents his latest work, Manual de Romería, and highlights a personal project close to his heart: the rescue and ongoing management of the La Benéfica theater in his hometown of L’Infiestu, a project he leads in collaboration with a local association. He expresses a clear wish to see the venue restored to its former glory and to keep the space alive for future generations.
Asked about choosing Eduardo Cabra, known for his work with Calle 13, as producer for an album rooted in Asturian tradition, Cuevas explains that the album’s concept dictated the collaboration. He wanted Cabra on board from the outset and made the proposal with confidence, noting that he was already a fan of Cabra’s creative approach. Cuevas also cites his admiration for Cabra’s collaborations with Rita Indiana, highlighting a shared goal: to fuse folklore-inspired melodies and rhythms with contemporary dance music. This blend, he argues, broadens the audience for traditional music while ensuring it remains vital and accessible.
Cuevas acknowledges the challenge of marrying traditional forms with modern soundscapes. He believes the process inevitably alters the original material but argues that such transformations invite a wider audience to discover the traditional world. For him, blending the old with the new serves to popularize heritage and invites communities to participate in its living evolution.
The title, Hajj Handbook, signals a focus on both pilgrimage and the entertaining aspects of folklore that risk fading away. The artist aims to elevate these elements while preserving the enjoyment and fun that hallmark the music.
When the question turns to the reception of his previous album, widely regarded as an emblem of traditional music, Cuevas reflects on the pressures of expectations. He notes that both audience and personal expectations can be heavy, yet the artist’s task is to distance himself from fear and stay focused on his creative path, even when others urge different directions. The singer-songer emphasizes that true freedom in art comes from navigating those pressures rather than avoiding them.
Freedom, for Cuevas, is earned through the battle against constraints. He describes the process as liberating, likening it to shedding inner shells. Although painful at times, the release is ultimately transformative and empowering.
Regarding the Asturian repertoire included on the album, Cuevas explains there is less traditional material here than on Manual de Cortejo, which featured a curated selection of traditional songs. Most of Manual de Romería is newly written by Cuevas, with the exception of Casares, a traditional piece drawn from a family collection. Cabra contributed alongside Cuevas during field collection, recording sessions, and collaborative crafting of the four songs that feature local informants. The artist prefers material enriched by direct informant references over straightforward band interpretations, seeking to preserve authenticity while interpreting it through a contemporary lens.
In discussing the involvement of Josefa Diebra, Manuel de Cortejo, and Mariluz Cristóbal, Cuevas confirms that Cabra accompanied the team during filming in Asturias, Zamora, and León, focusing on recording rather than extensive fieldwork.
Interestingly, the opening track of the album is performed by the Corsican vocal group A Filetta. Cuevas expresses long-standing affection for Corsican polyphonic singing and recalls a recent invitation to perform in Corsica, where he connected with organizers and the ensemble. The collaboration was welcomed, and the artist felt the cross-cultural exchange enriched the project.
On the song Sing Me Ramo Verde, Cuevas addresses the hostility faced as a child and reflects on the difficulty of translating painful experiences into music. He acknowledges the cost of confronting such feelings but believes addressing them publicly is essential, given ongoing instances of hate speech and the rise of far-right sentiment in some institutions. This openness marks a deliberate stance toward resilience and social progress.
Speaking about handling hatred over time, Cuevas describes it as a lasting presence that can resurface unexpectedly. He likens it to a scar that remains with a person, reminding them of past harm. Yet the artist also notes that progress is possible and that the work toward equality continues, even when hurtful rhetoric persists.
Finally, Cuevas advocates listening to the wilder, less conventional impulses every now and then. He believes allowing some reckless play and exploration keeps life and art vibrant, preventing art from becoming merely solemn or overwrought.