Jorge Drexler, born in Uruguay in 1964, constantly pushes beyond his comfort zone. This drive fuels originality, challenges stereotypes, and keeps him from stagnating. He is a fearless writer who confronts blank pages with courage. He embraces change and is currently deep in a promotional tour for a new chapter in his career, inked by the album Ink and Time, a project that speaks to the mantra of letting creativity unfold without forcing it on the page.
You repeat the scenarios, but this time with a new band and a new record.
He collaborates with a group of six musicians—three men and three women—whose talents span Madrid, Catalonia, Argentina, and Bilbao. Each member pursues personal projects and enjoys strong reputations in their scenes. It is generous of them to suspend individual pursuits for months to join him on this artistic journey.
Then you come with a good friend.
Drexler describes a well-rehearsed band and a strong live show. They have already performed 30 to 40 concerts across countries including Argentina, Brazil, Chile, Uruguay, Colombia, the United States, Puerto Rico, and Spain. The new album brings immense joy and a remarkable sense of happiness to the collaborative effort.
This platinum record, Ink and Time, features a white cover that Drexler interprets as a tribute to the blank page confronting any creator. The stage design mirrors this idea: a vast white canvas with a white floor, a white backdrop, sparse lighting, and projections. The goal is to make the blank page a visible driving force behind the creative process. When releasing a disc, one reveals battles won on that blank page, yet acknowledges that many battles remain unfinished. Writing requires humility and patience, as ideas often take time to emerge, something Drexler knows all too well. The song Ink and Time reflects this mindset, a personal reaffirmation to let ink and time guide the process rather than forcing results. The pandemic added another layer of difficulty, yet Drexler persisted, writing extensively and waiting for the right moment to complete the songs. Progress resumed as audiences returned to public spaces.
The opening track on Ink and Time, El Plan Maestro, has been described as the most scientific love song by Jaime Altozano. Drexler, who has a medical background, notes that science informs his approach to music without dictating it. He argues that songwriting resists the predictability of scientific models and that, like Leonard Cohen suggested, nothing in composition follows a strict recipe. He admires Cohen’s honesty about the mystery of creating songs and embraces the idea that true inspiration often defies reproducible methods.
In Tocarte, a collaboration with C. Tangana, Drexler explores urban rhythms that diverge from his usual rhyming patterns. He acknowledges that collaborations can unlock new territories that would be hard to reach alone. Those collaborations rarely stem from industry decisions; they arise from shared creative impulses. He would welcome more unexpected connections like Tangana’s and is eager to learn from contemporary urban music while remaining faithful to his own artistic trajectory. He is open to immersion in new codes of the genre while preserving artistic integrity.
“I am very willing to apprentice, roll up my sleeves, and let go of teaching”
When asked about the moment he won seven Latin Grammys, he frames his success as part of an ongoing search for truth. He describes his work as a handmade project, modest when compared to global pop giants, and stresses that his ambition is not to chase attention but to stay connected to real people, producers, and the authentic voices of his collaborators. He rejects the idea of absolute truth and emphasizes authenticity as the real measure of artistic work.
He reflects that truth can be interpreted many ways. For him, truth means authenticity and a real connection to his craft. It is not a claim of universal certainty but a pursuit of sincerity in musical storytelling.
“The algorithm is likely to know better even what I have to say in terms of the media”
Regarding Oh, Algorithm, he explains that music is not steered by a deterministic algorithm. The track uses humor to critique how modern life can feel steered by unseen systems, while emphasizing personal freedom and the artist’s responsibility to shape the work. In practical life, algorithmic tools assist with logistics like computing routes or finding affordable travel, but Drexler remains clear that important creative choices come from individual vision rather than automated guidance. He treats the song as a reflection on autonomy and the human need to decide for oneself, even as technology supports daily tasks.
When asked how he avoids stereotypes in exploring themes like love, he admits that bias can creep in. The key is to resist routine patterns, refuse to repeat old schemes, and take creative risks. He believes that staying receptive to new methods and voices, and sometimes embracing the role of an apprentice, helps prevent stagnation and keeps the music fresh.
Putting on his white belt again, he refers to the ongoing effort to push beyond comfort zones. Each new record is a chance to test boundaries and to grow through what could be called deliberate dissonance—the choice to experiment rather than rely on familiar formulas.