The Flauters, Now Luis Prado, Returns Home to Alicante
The Flauters began as a project led by Señor Mostaza and later became the work of Luis Prado, born in Alicante in 1972. A versatile musician, Prado has shared stages with Miguel Ríos, Tequila, and M-Clan, and collaborated on recordings with Coque Malla and Guille Milkyway. Throughout his career he has been recognized as a pop singer known for sharp, emotional, and ironic lyrics. His discography includes two solo albums, including emotional tsunami and my favorite fears. Prado is now returning to his hometown, with a show scheduled for Saturday, the 25th, at 20:30 in the Arniches Theatre in Alicante.
Is this show similar to football and is there an advantage to playing at home?
Prado notes that he has not visited Alicante in quite a while, recalling past performances at venues like the Stereo Room and Ocho y Medio about a decade ago. He has occasionally joined forces with Miguel Ríos, yet he continues to pursue his own material. Still, he believes there are advantages to performing locally.
You don’t hold a gold record, you aren’t in the Top 40 or Cadena 100. Yet you have appeared on Radio 3 and performed with major names like Miguel Ríos, Tequila, or M-Clan, and you have shared a record with Coque Malla. Guille Milkyway has praised your work and your lyrics.
Prado carries pride in his journey. He is aware that many talented artists never break into mass popularity, yet he considers himself fortunate to live the life he wants and to keep creating. Positive comments from peers are welcome, but the real value lies in staying true to the music and the audience that supports it.
As if you never wanted to be a rock and roll star…
He never set out to be a superstar. Still, there was a time when he hoped to reach a wider audience, yet external factors can block that path. He does not view himself as a rock icon, but he would welcome broader recognition as it helps sustain his work.
“I love acting in the tragicomic, appreciating humor and irony while staying true to the song”
A magazine featured you in a piece about musicians who work behind the scenes.
Prado sees himself as occupying a middle ground. He acknowledges a difference between session players and artists who helm their own projects, yet he does not see himself as living in shadows. The term suggests a quiet influence rather than a lack of visibility, and he believes those who collaborate with well-known acts help broaden the musical landscape without spotlight dependency.
Is this more of a voluntary role, a constant edge toward wider fame?
Over time, some fans know a lot about his projects. The reality is that loyal followers are earned with steady work. Prado and Señor Mostaza enjoyed a long run outside the prominent indie festival circuit, which made their path distinctive. Yet the long arc remains clear: a connection with audiences endures, and streams on platforms show a steady, dedicated listenership. Even without being at the top of lists, the recognition has grown steadily over twenty years.
Let’s get to the lyrics. They blend everyday references with love, heartbreak, critique, and occasional protest, all carried with humor or irony.
Humor and a touch of wry humor define his approach. While some songs carry serious themes, the irony tends to attract more attention. That playful edge often guides the mood of his best work, and he uses it to navigate emotion without losing sincerity.
Could some of your songs work as self-help verses?
He does not see his songs as self-help. They act as reflections, presenting situations that resist easy fixes. They offer a viewpoint and a prompt for thought rather than direct solutions.
If a listener outside the Spanish-speaking world hears a ballad, the music might suggest romance while the lyrics reveal something different.
That contrast rewards careful listening. A melody may lean on folk sensibilities, yet the lyrics keep an ironic edge. The artist admires how English-language rock integrates music and words, citing Bowie as an example of unusual phrasing.
Emotional tsunami, Prado’s second solo album, and a forthcoming record—will any new songs debut in Alicante?
The new material is still in development, so live premieres in Alicante are unlikely. The plan is to vary performances, offering fresh arrangements of a theme while building the backbone around emotional tsunami and my favorite fears, plus the material from Señor Mostaza.
“The fans around Señor Mostaza or Prado are always carefully chosen”
What remains of Señor Mostaza when the leader pursues projects solo?
There is a lot. A practical pause in the lineup allowed for a period of independent songwriting, but the path remains continuous. Prado has returned to 100 percent focus on writing within Señor Mostaza, maintaining the creative thread across projects.
Are The Beatles, Leon Russell, or Nina Simone among your major influences?
Passion for these artists remains, but myth-making has faded with time. Reading about musicians continues to inspire, yet the key is recognizing the people who shaped the sound. The Beatles were a strong reference during the Flauters era, and lighthearted parodies of their world gave the group a sense of humor about the industry.
Imagine performing your red piano for an audience of 20,000. Would the show change?
Perhaps a bit. A larger crowd might lift the experience, but the musical core would stay the same. The energy would shift, bringing more excitement, but the essence of the performance would endure—faithful to what the artist has always pursued.
In Alicante, which song are fans most likely to request?
Fans rarely demand the same pieces. There are recurring favorites, but the crowd often signals a desire for something a little less common, requesting tracks that break from the usual setlist and offer a more personal moment with the artist.