During his farewell tour, the Spanish songwriter Joaquín Sabina spoke about the rise of far-right leaders around the world, naming Donald Trump in the United States and Javier Milei in Argentina as examples. He described their ascent as horrific and did not spare the voters who backed them, addressing them directly with a blunt line that translates roughly as a push back to the people who cast their ballots for them: “Well, you know what? Screw them for voting for them!” The remarks surfaced in a broad interview conducted as Sabina was passing through New York, a city he visits on his itinerary, while his schedule also included eight concerts in Buenos Aires from April 2 to 18. The moment captured a veteran artist wrestling with politics, his career entering a new phase, and a willingness to blend cultural critique with current events.
Sabina used the moment to touch on the personal weight of the tour. The farewell shows in the United States were part of a longer arc that has carried him across continents, and the Buenos Aires performances formed a closing loop in his own terms. Audiences in the Argentine capital would see eight performances in a tight window, underscoring how his connection to listeners remains a central thread of his life as a live performer, even as he contemplates stepping back from regular touring.
On the political front, Sabina offered a sequence of pointed comparisons. He labeled Trump’s conduct as horror and drew a line to Milei, then expanded the critique to the wider stage by noting that he had just finished reading Navalny’s autobiography and reflected on Putin’s actions and Elon Musk’s public persona. He described Musk as a business figure who treats workers poorly, a job-destroyer, despite vast wealth and a life that has often revolved around science fiction and video games. The remarks were direct and delivered in a manner that reflected a long-standing habit of mixing political critique with cultural commentary. — interview
Beyond politics, Sabina spoke about identity, insisting that homeland exists in language rather than geography. He admitted to having a comfortable home and another place in Cadiz used for August, while noting that money does not define him. He recalled that paying 1,600 euros for Madison Square Garden seats would not fit his sensibilities. He argued that much of the discussion around his remarks should be viewed through the lens of art rather than money, and he dismissed the debate as a misreading of his work. — interview
On media dynamics, Sabina suggested that much of the public conversation around him is built on rumor rather than fact, and he aimed to steer focus toward the heart of his craft. He said the truth about his finances or his motives matters little to the art he creates and that chasing headlines would distract from the creative process. He kept the emphasis on what he makes and the work behind it rather than the noise that often accompanies fame. — interview
Looking ahead, Sabina laid out concrete artistic plans. He intends to publish around one hundred new sonnets after his farewell tour, a nod to his life-long love of lyric writing. He also mentioned a studio album in progress, with five or six songs already written, and his sense that release timing would guide any future moves. While he spoke with caution about memoirs, he did not close the door, indicating that any such project would require thoughtful timing and careful consideration. — interview
Finally, Sabina revealed a personal aspiration connected to the Buenos Aires scene. If a deal with a local theater comes together, he would be willing to use his dressing room near the venue as an intimate space to sing once a month and invite an audience. The plan signals a bridge between the farewell moment and an ongoing artistic presence, a way for a beloved performer to maintain a living link with a city that has long supported his art. — interview