Who said a lifetime of indie could stay apolitical? Listen and applaud tracks like Fake freelancers, Audience decides, or Sexo, mar y sol, where It took my love years becomes It took my love years. The growing influence of Antonio Luque’s words on Chinarro’s new album Reality show is shaping a punchy, provocative catalog of pop songs. It will be presented to audiences in Barcelona at the Wolf Room this Friday, a night that promises sharp commentary wrapped in catchy melodies.
The cover reveals a sweeping Barcelona vista seen from a corner of Park Güell, signaling an album rooted in Catalan roots. Luque renews the lineup with Dani Vega from Mishima on guitar, Miquel Sospedra handling bass from projects like Alizzz, Amaia, Mazoni, and Xavi Molero on drums, who has also collaborated with Zahara and Iván Ferreiro. Described as a top group with a classy, subtle, and elegant touch, the ensemble reflects a renewed energy. The album was recorded at Molins de Rey, and the cover features Blanca Viñas, a regular Barcelona presence. Much of the music was composed in Cornellà, where Luque spent years alternating between cities and studios.
a little humor
Created in Málaga, where he remains based, the lyrics offer a skeptical take on the spectacle of daily life. Luque acknowledges, with his characteristic edge, that his stance toward reality has hardened over time. The sense of absurdity persists, but he meets it with humor rather than despair. He reflects on aging, noting that at 52 the world sometimes seems increasingly ridiculous. He even jokes about past political choices, breaking the stereotype that aging brings conservatism. He recalls voting for the PP at 22 to counter perceived hypocrisy, and now he observes a shift toward more provocative options meant to rattle conventional thinkers. The point is made with a touch of caustic humor and a readiness to challenge norms.
In the new material, a track titled Coward offers a candid line about love, yet optimism remains elusive. Love is framed as a life force, but the narrator sits in a more cynical moment. The sense that the album credits its creation to all four band members underscores a collective spirit. Songwriting, to Luque, centers on vocal melodies and harmonies, with plenty of room for experimentation by the musicians involved. He notes that assigning exact authorship percentages is challenging, a habit he maintains as part of the creative process.
Far from Vallenato
With Vega, Sospedra, and Molero in the core, plus two collaborators, Georgina Wolkowicz on chorus and Josep Vilagut on guitar, Luque has produced a pop record with dynamic energy, bold choruses, and a balance of strong and subtle synth textures. The reference to a fictional British pop influence—think a prelude to the era of New Order and Echo & The Bunnymen—helps situate the album in a broader historical continuum while keeping it firmly rooted in present sensibilities. Luque dismisses vallenato dance as not his preference, and he challenges the idea of novelty in music today, even questioning the use of auto-tune as a modern cliché.
By carefully steering the sound and the details, Luque continues to expand his catalog. He muses on what might be wonderful in the world: music, love, food, and family. Chinarro is described as the father of a contemporary scene that still nods to old-school sensibilities from the 80s while defending dignity. The singer remains prolific, already looking ahead to the next release. When asked about possible new directions, the response hints at fresh explorations while staying true to the band’s distinctive voice. The spirit remains unapologetically bold, with a hint of playfulness that invites listeners to rethink what they expect from pop.
[Citation: Interview coverage and album notes provided by music press, with attribution to Luque and the Chinarro project.]