David Summers Men Gmade on Television, Touring, and the Enduring Power of Hombres G
Television rarely lingers on his screen, yet the leader of Hombres G, David Summers, made an exception by joining the senior team on the show Incredible Duos on La 1. The band, which became a phenomenon in the 1980s, remains vibrant today as it embarks on a 40th anniversary world tour. The tour has sold out venues from Madison Square Garden in New York to the Palau Sant Jordi in Barcelona, underscoring the group’s lasting appeal.
Why did you want to join Incredible Duos?
Hombres G is touring, and Summers has little time. Still, the August shoot fit perfectly into the schedule. The program also celebrates live music, and that was a key attraction. It is a rare thing to see a Spanish TV channel back live music, and the decision to broadcast live added to the appeal.
Why not work more as a coach or judge on television competitions?
Every invitation has come with a challenge because of his commitment to the band. Even if he isn’t cast as a TV show regular, Summers remains deeply tied to G Men, which makes frequent participation in judging roles difficult to reconcile with ongoing tours and studio obligations.
Where did the invitation come from?
Not only from Spain; opportunities like La Voz México and La Voz Perú were explored as well. However, the busy touring schedule with Hombres G made those commitments impractical. The endless itinerary is still ongoing, and Summers wonders when it will end.
There were murmurs that Hombres G started dating careers early. Were those rumors true?
Many artists begin with flirtation and fun. Summers recalls that their early days involved experimenting with music for the sheer joy of it, meeting people, and simply believing they would not make a career out of it. The reality turned out differently, but the initial impulse was lighthearted and spontaneous.
Do you think the band received enough credit in the 80s? Was there anger about perceptions that it catered to a privileged audience?
Summers doesn’t hold grudges. In Spain, jealousy often accompanies popularity. When an artist achieves success, critics appear, while others shower affection. The band faced assumptions that their wealth equaled everything, which sparked inevitable insecurities. Summers notes that some observers believed the group would remain a fleeting trend, a misread that fueled occasional resentment rather than applause.
Is the drive to keep touring the main reason for continuing after 40 years?
There has to be more behind it than looks. The enduring goal has always been to bring happiness and to create songs about love that resonate with audiences. If the music continues to connect, the tour persists, regardless of time or aging.
“People prefer music on TV to a lot of nonsense on the air.”
Looking back with a critical eye, do these songs feel dated now?
There is a sense that some elements may feel nostalgic. Summers remembers a deliberate shift away from the 80s aesthetic—limited keyboards, distinctive hairstyles, and era-specific fashions. The band aimed to craft solid songs that stood on their own, regardless of trends like reggaeton. They do not plan to imitate current styles; they focus on what feels right for them. Looking at the past too closely is not the goal; the priority is to refine the present and stay true to the music they wrote, without regretting pieces of their earlier work.
Last year, a controversy on Pasapalabra arose when Ana Morgade criticized expressions in a song like Sufre mamon.
Summers explains that Sufre mamon is meant as humor and a playful musical joke. He has no desire to ignite a polemic with his lyrics, especially those written when he was younger. The intent was never to provoke, but to entertain.
Is music well received on television today?
There is a belief that music on TV lowers viewership, which has led to its gradual reduction. Summers recalls a recent appearance on El Hormiguero, where the team worried that singing might drop the audience. They urged through Sufre mamon, and the next day the show reported peak audience moments. It proved that music can draw viewers when presented authentically.
Many programs today rely on talent competitions like OT, The Voice, and Cover Night. Is that a sustainable model?
These formats keep music in the TV spotlight, but they often hinge on the show rather than the songs themselves. True breakthroughs come from helping young artists present new material, not just performing covers. The emphasis should be on the music and the writers behind it, rather than on a momentary televised performance.
In a previous interview you suggested OT was a form of karaoke. Do you still feel that way?
All formats where music takes center stage are appealing. Great artists have emerged from OT, such as Manuel Carrasco. The problem lies in performances where songs belong to others, turning the show into a cover contest. Encouraging artists and composers to release their own material is crucial, because the lasting impact is in the songs themselves, not merely in singing well on a show.
Were Hombres G once banned from visiting Cuba in the 80s for Matar a Castro? Do those restrictions still apply?
The ban persists in memory. Summers recalls writing about political themes as a young writer, guided by articles he read, and he imagined songs as little movies with a story. If he had encountered different titles or circumstances, the perspective might have shifted. Still, those early ideas travel with the music, shaping how fans perceive the band today.