She has lived by music for four decades, and she explains it was possible because she found the conditions Virginia Woolf described for a free woman and a writer: financial independence and a personal space to create. How did the road unfold for her?
Her path hasn’t felt harder than anyone else’s. There were moments when everything clicked, and she kept a steady, hopeful balance. The message is clear: it is possible to build a long, professional life in pop music, a path that surprisingly few women reach. There are very few who continue beyond fifty with an electric guitar slung over their shoulder. In this sense, her career demonstrates that a life in music can harmonize with family and dreams—and that story offers encouragement for the next generation.
He is a figure who spent years in duos and bands before earning recognition in music. In the early ’90s, did doubts persist about a woman’s legitimacy compared to the quality of her music?
Being a woman made the early years more costly and harder to gain respect. Yet from that moment, she enjoyed sufficient support, and most importantly, public backing that spoke without hesitation. That public affirmation was the surest guarantee of continuity, without any doubt. (Citation: contemporary interviews and press coverage)
“Although she does many things, she sees herself first and foremost as a songwriter.”
Her work spans genres, styles, and languages, yet at the start there were always lyrics. She regards herself as a songwriter first and foremost. If her songs endure, it is primarily because of their words. In her view, what makes songs immortal is their words. (Citation: artist statements and lyric analyses)
She has always carved her own path of surprises and improvisation, moving from a pop breakthrough with Álex and Christina to a rock singer‑songwriter who resonated with the more alternative scenes. Was that a bold move at the time?
She has never backed away from crossing styles. Her first band touched on punk, while Álex y Christina represented a pure pop project. Later, she leaned toward rock projects, even delving into experimental music, but always within the broad frame of a political idea of the “popular song.”
Critics often place her in the indie domain, but she prefers the label of popular. The line between independent labels and major labels has blurred over the years, with smaller outfits sometimes swallowed by larger ones, and inside some majors there are sub-labels. The result is a landscape that has become tangled and less distinct than before.
As she marked thirty years since her solo debut, the year brought a mix of nostalgia and fresh momentum. How does she experience this tour that revisits her early work?
What began as four concerts to celebrate a landmark album unexpectedly expanded. The resurgence of interest across Latin America, plus the demand from promoters in various countries, turned a planned quartet into a broader tour that includes a show in Las Palmas de Gran Canaria. She feels a rare mix of excitement and skepticism about nostalgia, noting the public’s strong engagement as a powerful motivator. (Citation: tour press and fan accounts)
People have connected deeply with the lyric craft of this album, she notes with a smile. The songs carry weight, and their words carry memory. Thirty years later, that milestone is worth acknowledging in its own right.
“Her career proves that it is possible to have a family and still pursue dreams.”
She has just completed her eleventh solo album, featuring pure, focused verses. The first preview is scheduled for release later this year. What guided the creative process when revisiting the concept of returning music to a classical muse? The project emerged from a collaboration with Grec from Barcelona, who helped prepare a show about the ancient Greek poet Sappho for the Mérida Classical Theater Festival. The aim was to recapture the idea of Sappho’s original poems in sung form, but without attempting historical accuracy. The approach was to fuse the spirit of Sappho with a modern rock sensibility, transforming the poet into today’s pop voice. The result is an album that gathers the seven songs performed in the performance and two more she wrote later, all inspired by Sappho’s verses. It marks a distinct departure from previous albums, with every track exploring love and the world through a contemporary lens. (Citation: festival program notes and interviews)
One notable accomplishment this year was composing her first original score for a Mexican film. Upright men presented a fresh challenge, as the director trusted her to craft an instrumental soundtrack built around guitars. About 95 percent of the score is instrumental, and the closing credits feature a song drawn from a fifteenth‑century Cathar hymn. The director offered ample creative freedom, allowing her to shape the music in a way that felt authentic and liberating for a creator. (Citation: film credits and interview coverage)
So what comes next after this project? The answer is simple: the craft never ends. There is always a sense that the defining song awaits, a feeling that keeps a musician returning to the instrument. Some songs gain long life and resonance, while others remain evocative for a moment. Yet the belief remains that each new day can yield a song that surpasses the last, a faith that fuels continual, restless creativity.
All in all, the career stands as a testament to sustained artistry and unflagging ambition. The journey continues, fueled by a love for melody, language, and the unapologetic pursuit of musical truth. (Citation: retrospective analyses and artist profile)