Ana Guerra's incognito concert in the Metro: "Is it her? It can't be!"

To Ana Guerra, who came from the chicharrona calm of her island, fame came by

, at the rate of

, with a 19% share of the screen.

packed his bags for stardom in 2017, the vintage of Aitana, Ricky Merino, Amaia Romero and co., And since then the anonymity is a luxury that no longer fits neither on the agenda, nor on the pillow, nor in the life. But yesterday GRAN MADRID made a compliment to fate and Ana was simply Ana again, without additives or popularities: for an hour, and accompanied by nothing more than a very Spanish guitar, the Canarian sang some of her songs incognito in the Metro from Madrid.

The appointment is mid-morning in the corridors of Avenida de América, the second busiest station in all that intrigue of underground galleries that section the city from north to south. Ana, stuck to the bone in the launch of her second album, gave her canary courage and did not hesitate to accept the challenge, perhaps because she is not a rookie in these troubadours. «Before

I spent four years singing in the streets of La Laguna, in Tenerife », he says. “But there is a big difference between that and the automatic pilot that is breathed in the capital. In my land the rhythm of the people is very different, they went to the coffee and the market, they stopped ... What happened here has nothing to do with it. There are people who have not even found out that we were there, that music was playing. Madrid is hard, because we miss so many things by not stopping for a moment to look at what is happening around us ... Today, three women have smiled at me. And even if it is during those five seconds that you pass by, enjoy them, because I am offering you something, I am giving you a part of me. Five seconds, just that. It has been very strong, because I have once again felt the anonymity that I had lost. And I have also felt it singing ».

As mathematics does not deceive, let us use numerology: last Monday, the Madrid Metro received 1,746,000 passengers in its gut. Yesterday, Tuesday, the day of the experiment, 215,672 people had already boarded a train before eight in the morning. This was the starting point

of Ana Guerra's

. The staging of this experiment underground, forged at the trot of a hurried audience that was going to listen, in its traffic of transfers and corridors, three songs from his new album -

,

and

- and another song from the first -

-. And with the added difficulty of the mask.

Before the pilgrimage of passengers who sprinkle the Avenida de América station every day, where lines 4, 6, 7 and 9 converge like Amazon rivers, Ana and her guitarist, Sergio Sancho, launched themselves into the void of singing without radio formulas. no record label tricks; not even with a small amplifier to help project his voice through the narrow corridors. "On television you can think that everything is made up, that there are tricks, but here there is no cheating or cardboard and what you see is what there is," explains Ana. for something like this: that they look totally naked in the face of reality, however crude it may be, that they expose themselves, that they prove themselves. And it's fucked up, because in a corridor like today it's not easy to reach anyone's heart, it's not easy to make people feel.But in this way you also learn.

After the first minutes, some passersby think they remember that familiar voice under the mask, those southern eyes, that catchy chorus in the distance.

"Is it Ana Guerra?"

They record it with their mobile, still incredulous.

What are you doing singing here?

Can not be".

But the pandemic continues to mark too many distances, too many barriers, too much rush in that rush hour where everyone goes and nobody comes.

And they end up leaving so as not to miss the next train.

Just a year ago, on any given Tuesday in October, flustered by the de-escalation, Ana Guerra turned her life and her career upside down.

The same swerve that has brought her right here, to her new album,

, of which yesterday he outlined some verses in the underworld of Madrid. Also on Tuesday. Also in October. "I was not having a good time, and that Tuesday I had a crisis and I broke out," he recalls. “Music had always been my refuge, and I realized that after the pandemic it was not. After leaving Operación Triunfo I was singing reggaetón, urban music, and that was very good for a while. But confinement changed me, it made me ask myself many questions: 'Who am I, what do I want, what do I do in Madrid while my family is in the Canary Islands ...'. One of the clues that something was wrong came from the music I was listening to. I would sing a commercial roll and then I would hear Juan Luis Guerra, Luis Miguel, Los Panchos ... I thought: 'I can't go back up on stage singing what I'm not' ».

-And after the bombshell of

, how did the record company take such a revolution?

-Two days later, on Thursday, I had stayed at the offices to listen to the album that we had already finished.

A reggaeton album, urban genre, more commercial, where they had invested time and money ... Imagine.

And I told them that album was not going to come out.

I played a ballad on the piano and asked them for a year of time to compose a new, more personal work, of classic pop.

They accepted, and here I am.

What if they had said no?

-I would have gone to another company.

-What if there was no other company?

-Well, to sing in the street.

-Those little things that Serrat used to say ...

-I don't need money and recognition to be happy. If it comes, great, because who does not like a good sweet. But I don't want an ephemeral success, to sound on all the radios or for people to come to my concerts just to dance. And thanks to these three years of learning I was able to sit that day in front of the people in charge of the record company, play a song for them on the piano and tell them: 'This is who I am and this is what I want.'

In this new album that sees the light after the earthquake of the pandemic, Ana has shaken a good part of that girl who came out of

most famous musical

of all time. "Sometimes it seemed to me that the character had eaten the person," he confesses. «I have been going to therapy for two years and I am getting person and character to shake hands, and that my music is the mirror of this process». Aware that audiences are volatile and capricious, he knows that this script shift towards less commercial territories can take its toll. Or maybe not: «When we left

We also went from the millionaire audiences of the TVE galas to people who stopped following me because they didn't like the reggaeton that I did, and now I may re-engage with more classical people. There are people who tell me that I have finally found my way.

Regarding her time at

, reviled by some triumphs over two decades of comings and goings of reality TV, Ana Guerra only has words of thanks: «I worked at El Corte Inglés in Castellana and I entered the Academy because it was an intensive three and a half months of singing, dancing, acting ... And I would do it again.

I remember when I was selling perfumes and heard over the PA system that Sergio Dalma was going to sign records two floors up.

And now, when I am the one who is going to sign them ... I still don't believe it ».

And if one day luck changes course, there will always be a metro station to return to the origins.

Even in Madrid ... and with a mask.

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