“Maybe it’s time to claim another model of live music”

After concerts by Zea Mays and Mc Enroe, Lou Topet will give his third session in Victoria Eugenia after the closing ceremony. Aranzabal’s band will combine their own songs with versions of the folk albums ‘Abesti bat menos’ (2015) and ‘Seeger gogoan’ (2017).

– How did you spend your forties?

Lou Topet.

Victoria Eugenia Theater (San Sebastián).

Sunday (19


12 euro.

– Entered the house. (Laughter) I walked on Dad’s skin because his partner was a doctor and he had to do a lot of work. Doing care work has allowed me to spend more time with my little daughter, which makes your heart swell. Although it is a cliché, it has helped me to ‘reset’ my head and find out what my priorities are.

“In the next album we want to question a system that seems to have no alternative: prison” “We should encourage closer concerts, without huge intermediaries”

– You have your latest album from 2017 … Are there any new songs on the way?

– Harkaitz Cano and I were working before the confinement. The next album will be about the concept of prison and the lyrics will be written by Harkaitz himself. My social landfill worries me. We all live in supposed freedom, but we throw away and forget everything that doesn’t fit with this society, just like we do with garbage: we consume a lot, we don’t worry about the waste we generate and a lot of people don’t even recycle it. There is a parallel with prison. Angela Davis says prison is another variant of slavery, a system that has hardly changed in history. And in this project we want to question the system that is so accepted, that there is supposedly no alternative.

– Most festivals have been canceled, capacity has been reduced, small venues will have a bad time … How will music survive?

– There won’t be much change for us, because we’re used to small capacities … (Laughter) I agreed with the issue of restrictions with the concerts for 60 people that we organized in Garoa bookstores. We tend to measure everything in numbers, and it seems that the more people there are, the better, but there are proposals that are of great cultural interest even in small numbers. Perhaps the time has come to proclaim another model of live music, leaving aside the massive venues and festivals: we need to promote formats that can work very well, much closer, without huge intermediaries, that puts the artist and the listener on a par …

– You are not a professional musician, but surely those who live in music will need a bigger and more stable system …

– But in the overall circuit, what is the percentage of artists who need these huge infrastructures? They are not so much! For the last few weeks I have been directing the ‘Black Mirror’ program on Donostia Kultura Irratia and the last time I spoke to Ricardo Lezon from McEnroe. He has more listeners on Spotify than Berri Txarrak, but he can’t live with music. Why? Maybe it’s time to take a look back at the music industry, we should question the accounts that have become commonplace. Without renouncing the large format of theaters – it’s a pleasure to play in Victoria Eugenia! – other models can be created to interact with artists, even more so at a time when intermediaries are falling apart. We need to make artists more and more sovereign and that should be taken advantage of.

“In that sense, Zart!” You have created a group with Harkaitz Cano, Alain Urrutia, Petti, Rafa Rueda, Mikel Urdangarin, Elizabeth Macklin and many other friends …

– We have released Mikel and Petti’s latest albums, the re-release of the book ‘Abesti bat menos’ … But the aim is not to produce, but to group. As I said, there has been a huge shake-up in the cultural industry, models are changing and this is more difficult than before. Acquiring sovereignty over work is key … We have shared our fears and concerns and sought complicity in collaboration, which is when the most interesting things happen. This has been the case throughout history.

– After the film ‘Painter’ (2019), you have another project with the artist Alain Urrutia …

– I started filming a year and a half ago but I can’t tell you much yet. For ten years I will continue Alain’s work around the world with the camera and from there a film will come out. I have several ideas but the main premise is that we don’t know what will happen.


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