Beer, gastronomy and music come together in the Estrella Galicia Museum’s program for Friday, April 29, when Marlango headlines the venue. In the midst of composing, Leonor Watling and Alejandro Pelayo enjoy each recital with a renewed sense of freedom and joy, making every performance feel like a first time for them.
And a concert in a beer museum—does that bring something new to Marlango?
That setting is indeed new. They previously performed at a winery, a warm and lovely experience, though not a beer-focused venue. This time, the arrangement places the guitar and piano in a social, beer-tinged space, and they are excited to explore how their music blends with the atmosphere on stage.
People describe each recital as a joy, a challenge and a victory. Have there ever been moments of doubt?
They embody those exact sensations and more. Doubt is part of the process, yet it never dominates the creative energy on stage or in the studio.
When touring around A Coruna, how does the decision to tour and create come about?
Creation is in progress, with a preference for ongoing live play even as plans unfold. Marlango enjoys improvising rather than strictly following a finished blueprint, resisting a fixed premise in the moment while allowing the next phase to emerge clearly. They are continuing to perform with Toni Molina on trombone, piano and voice, presenting new songs and fresh versions of existing pieces.
Was getting into the composition process difficult?
Alejandro has always found inspiration, and crafted a notable piano album, but for Watling there was a period of struggle to find desire and something to express. Recently, they have begun working together again with renewed energy and collaboration.
Was the pandemic a time of longing or creative drought?
For Watling, it was a period of silence and introspection. She describes a lack of appetite to discuss other topics, while many peers found a surge of creativity. Alejandro continued to work daily, a remarkable persistence, while Watling looked for new avenues of expression. The contrast was striking, as others shared a deep, inner quiet, almost like a deer frozen by headlights.
How does one unlock the musical door?
Watling suggests a combination of reading, desire and belief—that is, believing there is something to say and genuinely wanting to say it. The path feels personal and not easily boiled down to a single formula, with many influences shaping the direction.
Even so, the confinement era produced raw beginnings.
Alejandro stayed in Cantabria while Watling remained in Madrid and there were no concerts or rehearsals. Their friendship endured through music, and they decided to create something together. They recorded a new song with Guille Galván and connected with people around them to keep momentum alive.
They announced a return to a live Madrid audience and a vinyl release. Do Marlango still value physical formats?
Watling confesses a fondness for tactile objects. Records and books hold a special place for both artists, something they consider essential to Marlango’s identity and shared with their audience.
What role do books, records, and films play in their healing process?
For Watling, these sources provide fundamental comfort and insight. They help her understand herself and the world in new ways. Without them, she feels diminished and less complete.
What will the new Marlango album sound like?
There is no fixed plan yet. The idea of having something to say after all these years is exciting, and they look forward to discovering how they will tell that story through music.
Having worked together since the early 2000s, what makes their collaboration so enduring?
Watling attributes the success to a fortunate balance. They thrive creatively while maintaining a strong, vital connection. Touring and studio work become a kind of feast, where both parties can contribute ideas freely, or occasionally need space—yet always come back with something meaningful to say. First and foremost, their relationship is musical.
There was chatter about an end of Marlango before the pandemic. Have they ever considered closing the chapter?
Creativity remains central. Producing new songs is essential; without them, carrying on would feel pointless. A Spanish theater concert was canceled due to the pandemic, but Marlango returned to composing, treating themselves as a creative machine ready to push forward.
Did the break in any way empower Marlango?
While it brought fear and unsettling times, it also yielded some positives. The artists admire Paco León’s remark that people don’t stop during wars or epidemics: they fall in love, create, and persevere. Rodrigo Cortés has a notable film about a game born from the Warsaw Ghetto; survival isn’t only about surviving—it’s about building and loving, and new things inevitably arise from hardship.
Watling has also collaborated with Paco León on recent audiovisual projects. How did the epidemic affect the arts sector, particularly music?
The impact was severe on cinema, with production and investment shrinking, and fiction consumption increasing. The performing arts faced significant challenges, but music proved to be a particularly resilient field. The entire ecosystem relies on a large team behind the scenes; two or ten people on stage are supported by many more offstage. It is a broad, interconnected system that sustains live music.