Do Not Pull will present his next album Etopia, planned for release in March, marking a 25-year career milestone. A conversation unfolds about the journey, the road trips, and the moment when the brothers David and Jose Muñoz stepped onto the awards stage with the band Estopa. The scene is set against the backdrop of the Kings League.
In the video for El día que tú te anthems they are seen writing a song. Do they compose and play guitar with the same enthusiasm as they did 25 years ago?
David confirms that the spark is the same: the thrill and the fear coexist. Facing a blank page and guiding a melody toward a clear spirit remains deeply gratifying and a source of pride as they craft music that carries their essence into the present moment.
Is it more fulfilling to write a great song or to perform before a crowd of 20,000?
David offers a balanced view. Creation feeds performance and vice versa. For the duo, the real pride lies in keeping a fresh, joyful mindset and continuing the journey, even with the looming challenge of a demanding tour ahead.
José recalls a milestone: performing in venues as large as those in Madrid and Barcelona and witnessing tickets disappear in moments, a sign of evolving exposure.
You missed the screen there too.
David admits that the scale surpassed expectations, yet the overwhelming warmth from fans was undeniable.
José notes that the love from the audience has become a familiar, comforting presence.
David adds that when a long creative pause ends, there is a sense that someone has taken their place. Returning, they are met with surprising affection from listeners.
José reflects that every new album seems to attract new fans while maintaining longtime supporters, a reminder that the duo continues to be a presence they resist leaving behind.
“An album full of rumbas”
The video is rich in references to their career: Seat Panda, the pig in Destrangis, the astronaut in Rumba el unknown. They even brought back Chonchi Heredia, who sang backing vocals on their first song. Nostalgia is a theme that runs through the project, which leans heavily into rumba while maintaining a rock edge.
David says nostalgia played a part, and reuniting with Chonchi served as a clear artistic statement. The album will emphasize rumba while embracing rock textures.
José adds that the duo explores many colors and even experiments with singing modes within their performances.
They swapped the smoky tuxedo for a dressy look, and references to festive imagery appear in the material, hinting at a broader stylistic palette that includes ska and other lively influences.
José cautions that this may be mistaken for a farmhouse style, but the versatility is intentional, with ska proving adaptable to many moods.
David notes that ska brings energy and texture to the sound, reinforcing the idea that music can be stretched in unexpected directions.
Can rumba or transgressive rock be made without conforming to traditional production lines, family bars, or park benches?
David argues that stripping away context can lead to a hollow sound; songs need heart to avoid losing their soul.
Estopa has always honored its influences—La Polla, Sabina, Los Chichos, Albert Pla—and this respect shapes their work. They acknowledge the importance of recognizable inspirations while leaving room for their own voice.
David emphasizes the principle of vocal honesty when fans react emotionally to what they hear. The question of influence is a dialogue with the audience and with those who shaped their path.
José speaks about energy sources, hinting at the balance between inspiration and personal drive in a long career.
David adds that some choose to lean on influences more than others, and the decision is a personal one for each artist.
“We are like waiters 24 hours a day”
Do they feel more loved or more respected?
David answers with warmth, describing a sense of closeness. Jose adds that people often treat them as colleagues, while expressing that compassion can be more meaningful than mere respect.
David stresses the value of being shown kindness and empathy in public life, rather than standing on ceremony.
One of the recurring impressions is that the Muñoz brothers are seen as approachable yet influential, carrying a sense of responsibility that comes with visibility.
Jose compares their status to waiting staff who must deliver good service at all times, while David notes that many moments in the public eye are simply about being present and authentic.
There are countless moments when the brothers appear at festivals, beach venues, and stands, a familiar scene. David jokes about borrowing Bill Murray’s knack for showing up where it’s least expected, a nod to spontaneous appearances that define their public persona. Jose adds a playful aside about Inspector Gadget as another figure they resemble in public life.
“Sometimes we experience imposter syndrome.”
Why Inspector Gadget?
David explains that the image adds a playful complication; gadgets and nephews and dogs symbolically mirror their own unusual path. They acknowledge moments when explaining their success feels tricky.
They discuss how a fortunate encounter around the start of their career created opportunities. A historical coincidence helped them land a pivotal moment in EMI, shaping a whirlwind ascent.
David calls their career a remarkable whirlwind, while Jose emphasizes being in the right place at the right time.
They recognize that making songs is just one factor in success. There are many variables that contribute to a breakout, including timing and audience resonance. Some songs hit hard while others do not, despite the creators’ efforts.
Imposter feelings surface at times. Jose sometimes wonders what they are doing there, confessing that they are not defined strictly as guitarists or singers. David affirms that they are composers, and that title carries its own responsibility.
They reflect on a line from the past and the way life can be funny or tragic, often leaning toward poetry. They cite the great Spanish poets of the late 20th century as influences, and admit that language can be compressed and stylized with irony when crafting lyrics.
They acknowledge inspirations like La Polla, Sabina, and Los Chichos as touchstones. In discussing current lyrics, they recognize tension with conservative voices in media while defending their own approach to expression, even when it challenges norms.
“Our children are proud of their parents’ songs”
Is there censorship around songs such as El del medio de los Chichos?
David explains that the song was created to be performed by the group itself. When it was chosen for the album, someone suggested caution because a family member might hear it. The duo chose a cautious path but maintained the work as a statement, winding the wound with a bandage of resilience.
As parents, they note their children take pride in their songs and understand that not every track is literal truth. It is a reminder that public personas are carefully balanced with personal reality, much like recognizing that Bill Murray is not a real ghost hunter.
Sometimes the line between person and character blurs, and the brothers acknowledge that acting is a demanding craft. They prefer to present themselves honestly, without playing a role.
Fame arrived with a rush about 25 years ago. They speak of the fun of those early days and the ease of meeting fans on the street. While freedom to move around has diminished in major cities, they have learned to adapt and continue their journey with the same spontaneity that marked their rise.