Robe Iniesta moves beyond Extremoduro turmoil, reaching a high point as the Ni santos ni inocentes tour revisits tracks from the 2023 album Se nos lleva el aire. The audience feels the momentum in every performance, as the artist bridges his past with a vibrant present.
The piece traces Iniesta’s evolution from a one-off project to a lasting solo venture, showing how new material fuels energized performances and audience connection across the venues he visits.
Iniesta admits he too expected the venture to be a one off. The debut was born from curiosity, with no plan to tour and even a DVD released as a keepsake, a promise of a single, never repeated performance. Yet as time passed, spirits aligned, joy grew, and the project endured, becoming a defining chapter in his career.
Asked whether the project altered him, Iniesta gives a straightforward answer: it changed his life. Life reshapes a person, and his music has evolved with him. Returning to the same songs he wrote thirty years ago would feel odd. The natural course is evolution in his craft, even if preplanning is impossible; what arises stems from within and reflects life’s shifts.
Turning to the new album Se nos lleva el aire, the opener El hombre pájaro hints at vulnerability, a reading some take as a sign he could step away from music. He does not let that interpretation steer him. At present the tour stays vigorous, and shows carry significance. The lyrics invite personal reading; the song communicates through implication rather than a fixed message from the writer.
Today he stands in a favorable phase of his career, with a record that reaches a broad audience and brings joy to the stage. Given the option, the set would be exclusively new material, performed again and again.
Does a veteran performer burn out after decades on stage? Energy comes from fresh material. Without new songs, shows lose momentum. When a new idea takes hold, there is a rush to release it in the studio, during rehearsals, and in mixing. The goal is to channel that momentum into the live show. The band must stay alive and avoid settling into one sound. He must surprise himself to keep fans engaged.
Iniesta has watched big changes reshape the music business, from streaming to the fading traditional album model. His view of the shift is nuanced. Singles reach audiences quickly, yet the clout once wielded by labels has diminished. The change isn’t wholly negative; it simply operates differently.
Asked about the biggest change, he highlights the shared sonic moment — everyone hears the same thing together. It’s striking to see young artists rise overnight, while the industry’s power dynamics have evolved. Yet Se nos lleva el aire landed on the charts beside younger acts, and the breadth of its audience surprised him. A million listeners feels significant, though for many artists a million streams is routine.
Many have heard at least one Extremoduro song. That visibility can boost a performer’s confidence, but balance is essential. Artists rely on public support because art carries no fixed measure. Art isn’t a verdict to be weighed like a wall; audience response should motivate, not pressure the creator.
Another artistic aim lingers: the next track will likely be his finest yet, for El poder del arte stands out as his current favorite.
He launched the project with a simple plea to fans to stay present and put phones away. After four albums and multiple tours, progress exists but can improve. People have learned to manage devices, yet many still film excessively, risking the live moment drowned in screen glare.
They have spent time talking without revisiting Extremoduro. Does it wear on him that the band keeps getting brought up? He concedes it can wear thin. A decade has passed since Extremoduro last toured and many years since the last release. The focus now stays on the present, riding the energy of the new songs and keeping an eye on life without dwelling on what was or what might come.