Maximiliano Calvo, from opening for The Killers to leaving everything for Sabina's Madrid: "The city by day seems quite tragicomic to me"

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In his early twenties,

(Rosario, 1992) decided to leave the successful group he was part of in Argentina to take a solo plane and come to find the Madrid that Sabina sang in her songs.

Thus,

while enjoying the nightlife in Madrid in the company of

or

.

"I consider myself more an anecdotist than a singer, what I like is telling stories," he says.

QUESTION - I want you to know that the first time I heard about you was because I saw you at a party with some Save Me collaborators.

How has this happened?

ANSWER -

Ha ha ha ha, I think a lot of people find out about me because of the party.

I am very fanatic of poeticizing everything, that is why I like the night.

It is much more eloquent and magical and, above all, the one in Madrid.

In Madrid, the day seems quite tragicomic to me.

But I'm amused that you first heard of me at a party and I like to relate to that.

I like to associate with the celebrations.

Q.- Why do you say that especially the night in Madrid?

A.-

I think there are cities that have that nocturnal thing and cities that don't.

In Madrid nightlife beats a lot and that bohemian thing.

You meet super literary people, worthy of having a song.

To have a piece of your words and your poetry.

I think what I like the most is the story of the drunks in the bars, of the geeks who walk down the street.

And I also consider myself one.

Although I come from the countryside, it is nice to accept the nature that each one has.

Sometimes I feel like the world wants to shut down artists by telling them it's childish.

I think you have to deal with that playful part, that's why I always try to take care of it.

CARLOS ONETTI

Q.- You start in music in the group Intrépidos Navegantes.

You were successful but you decide to leave it and sing solo.

Why?

R.-

I think that the groups separate and it also influenced that we were very small.

I was the one who said to separate thinking that it was a normal decision, that later I would release my music and everything would remain the same.

But it was a brutal reality check.

We played at Lollapalooza, at many festivals, and when I started to release my music, which was also super different, it was very complicated.

But I wouldn't trade it for anything.

It's good to face things, it makes you strong.

I highly advise seeking your own destiny.

The crazier the better and the more fun.

I remember coming on the plane writing down what I wanted in my notebook.

And then I look at the notebook, I keep them all, and many of the things I wrote down have been fulfilled.

You think it's crazy until it's not.

Q.- What had you written down in that notebook?

A.-

One of the things was to meet Drexler and he came to the first concert I did in Madrid.

When I saw him I almost forced him to go on stage.

I said, "I'm going to sing 'Across the River' and I can't sing alone if you're here."

To this day we laugh when we meet.

I met Drexler at my first concert in Madrid and forced him to go on stage

Another thing was to be part of Madrid's bohemia, I don't know, like flamenco.

And, in the end, the first families that nested me here were the Carmonas, the Morentes, the Flores.

I was in an absolute flamenco core, which was what I came looking for, and everything surprised me.

It was like magic.

I was the most flamenco of all flamencos.

Now you normalize it a lot, but I know that it is not so easy to have access to it.

Q.- Why do you choose Spain as a destination?

A.-

If I am completely honest, I think it was because of Joaquín Sabina, because of the Madrid that he counted on.

In Joaquín's pen and voice everything sounded very magical and spectacularly bohemian.

Then I can tell you that he did not disappoint me.

Well, I also demanded that I live it and try to find what I had in my imagination.

Create my own city.

I think we all have our own cities.

I have my little paths where I know there is a window that I like, a building... I don't know, the streets of the neighborhood of Las Letras, which I love.

Q.- Have you gotten to know Sabina, like Drexler?

A.-

Well, I only saw him once, coming like I did at a party and I burst into tears.

He told me: "it will pass, kid".

I have such a childish thing with my idols.

Something very strong inside because they changed my life.

If those people hadn't existed, I don't know what would become of me.

CARLOS ONETTI

Q.- How do you think being Argentine has influenced looking at Madrid with those eyes of illusion?

A.-

There is an artist that I like a lot, Copi, who said that it seemed absurd to him to have a passport and that there had to be an artist's passport.

I think you shouldn't think that an artist is from one place or that music is from one place.

I don't know, flamingo.

Flamenco belongs to the world.

There will be a part of a site, but then you give it away.

I think that maps, countries and global politics mark enough borders for us, the artists, to be marking with an imaginary line how far yes and how far not.

Q.- Your aesthetics and your music have changed a lot compared to when you were in the band, why that change?

Do you feel that now you are really you and that before you were not?

R.-

I think it's not me yet.

I'm on that constant search thing.

At the time of the group he had not yet finished school, he went to La Salle de Rosario.

At that moment, Litto Nebbia, Gonzalo Aloras and Fito Páez appear in the recording of the album.

That for us was crazy.

I always feel that situations have overwhelmed me.

We opened for the Killers, we went on tour with Café Tacuba... It was all crazy.

But I think it's normal for styles to change.

The important thing is to have fun.

Have you seen that there are times in the long career of an artist that you see when he has stopped having fun?

That's why I admire people like Raphael so much, he's super inspiring.

CARLOS ONETTI

Q.- And you, apart from having fun, what are you looking for as an artist?

A.-

There is one thing that happens to me, which is that sometimes I feel that nothing is enough.

I think there is an absolute need to account for everything.

That there was a time when they put the art inside the figures.

Pure and hard mathematics.

You're number one, number two... I'm looking for that not to condition me when making music.

Being a good artist is very different from being in the global top 50

That is not in my cerebellum or in my heart.

It's a bit scary to have the feeling that you want to do this for life and to see if they let you.

I think that being a good artist is very different from being in the global top 50, but it affects the rest of us and you ask yourself: "why can't I be there?".

It's not that I want to have a "

" life or fill four Sports Palaces, I just want to continue doing this and grow old.

Q.- And, then, what does a good artist have to have for you?

A.-

Courage.

You have to be very brave to be moved and be inside art.

Then, a special sensitivity.

That it is not that you have touched, it is that you work.

And I also think that the important thing is not to have ties.

Go as light as possible through life so that it does not influence when making artistic or movement decisions.

Therefore, being an artist is a mystery.

And that's the beauty of it, that everyone looks for them as best they can.

That's why I say that the most important thing is to feel like an artist and then work and work.

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