—Singing these songs is pure pleasure, they are part of my life and I needed to borrow them from Bob and Paul, and sing them, make them my own for a moment. Clearly it can be intimidating to face a repertoire that is already in people’s ears, but I found my voice to do it. Maybe it was just losing my shame, but after so many years of singing, I knew I could do it right. My career has two sides, that of an author and that of an interpreter, and I enjoy both very much. It is wonderful to sing a song that bears my signature, but it is also wonderful to sing one of those songs that are the soundtrack of my life and that of many people. Does the world need Tiago doing Dylan, Elvis, Sinatra or Beatles songs? Probably not, but I do have a need to put my voice to these songs that I love.
—Many artists will feel that every time they sing they pay homage to these rock and pop heroes of the 60s, but what other greats of music influenced you when choosing the path of music and when composing your songs?
—The Beatles are my Bible, and after a long time of listening and analyzing them I am still learning. It is an inexhaustible source of musicality and inspiration for me. But it is clear that it is not all. In my songs you will find signs that will lead you to the Beatles, Elvis, Dylan, Tom Petty, but also to Charly and Fito especially. Charly was my first great reference when I was entering adolescence, from him I learned to compose songs. With him was the beginning of my journey. I am discovering new influences, but in old artists. I am always researching the roots of rock. What happens with music today doesn’t seduce me, it’s not my thing, I don’t feel it, and that’s why I don’t push myself. I don’t waste time trying to get me to like something.
—You are the typical musician who does not stop uploading materials to Bandcamp, recording on Spotify and recording on YouTube. Is it worth creating, performing and showing what has been produced regardless of whether the record industry is interested or not?
“It’s always worth creating!” Artists need to put into words and music what we imagine, see and feel. Create our own world and, to quote my friend Pablo Jubany, we need to continue to marvel at bringing something into the world that did not exist before. The second step is what to do with all that. When I recorded my first album with my band Ravi Sup in 1999, a cycle of how to do things was closing; but rock, punk and pop were still at the center of the scene. Everything changed and that upset me. Of course I took advantage of the new technologies. With my band The Kavanaghs we managed, by the miracle of the internet, to get to tour the United States and England, record with a Grammy-winning producer, play at the Cavern Club in Liverpool and the Whiskey A Go Go in Los Angeles and that our theme “Hyde Park” was the official song of the Royal Parks Half Marathon in London. But even so, it’s still difficult for me, that’s why the idea of Tiago & Los Pájaros was to play everywhere again, let the neighbor know us. Today the industry goes one way, I go another. And I no longer despair. I want to make the best music that I can and keep singing songs by artists that I love. Grow, improve myself as a composer and performer and share. Some things return, others are lost, others take time or never arrive, but I learned to enjoy the journey.
—The Dylan thing is an amazing job, because of the climates you achieved, the repertoire you chose and also many of the songs you played alone and in a garage, which gives it a rare intimate aesthetic. What moved you to make this double album? What other giant artist could you honor with a material of these characteristics?
—I’m very proud of these records. They are like snapshots, photos of the home. I had a console and a microphone that I put in the garage at home and to test if it worked correctly I recorded “Blowin ‘in the wind”. When I listened to it, I said to myself: “What if I record an entire album?” And I went off to record. The songs chosen were the ones that sought me out. I didn’t think of a “greatest hits” or over-plan. Those songs were calling me and I opened the door of my house for them. The versions are recorded live with only a few overdubs and are of shameless low fi quality. If you listen carefully you can hear the bus pass by, the door opening, the sounds of Pia and Anita at home. I have almost ready another album in which I sing songs by Eagles, The Byrds, Beach Boys, Serú Girán, The Band and others. I estimate that it will be ready by the end of the year. Now with all this about Paul’s birthday and the recording we did at Beatmemo with my producer and friend Pablo Miechi, I’m more than excited about making my own McCartney album. I already have it written down in my project calendar.
– Tiago & Los Pájaros continues on their way and they will surely come back live, when the pandemic allows it, to present this album. But when do you plan the new material of the band with your own songs?
—The pandemic put us all on pause, and the work of Tiago & Los Pájaros could not escape from that. Still, we were able to do some interesting things, like becoming the first Argentine, and perhaps Latin American band, to perform a concert in a theater via streaming. It was in May 2020 at the Atlas Cultural Complex. But we take all this with a lot of responsibility and we don’t get together anymore to rehearse. We had been preparing the songs for our third album, after “Todo lo real” from 2017 and “Diario de Carretera” from 2018, an album that was celebrated as Best Rock Album at the Rosario Edita Awards in 2019. The goal is to have some material for before the end of the year, but time will tell. Songs are left over, but we haven’t had the time to work on them. Yes, the fifth album of The Kavanaghs will be released soon, which we recorded remotely during the quarantine.
—Today is the time to sing about the pandemic and the drowning for not being able to go out or maybe it is time to kick the board and make songs high up, catharsis type to vent before the restrictions that this world virus bequeathed us?
—Each artist will be able to decode what happened to him with the pandemic. At first I was desperate not to be able to play. For 3 or 4 years the direction was to touch, touch and touch. With Los Pájaros we went from opening for Dios Salve a la Reina at Luna Park to playing for 20 people in a little bar, with the same enjoyment. All in all, I was doing about 150 shows a year, every Sunday with the Beatles a la carte at Beatmemo, my second home, so the brake was painful in that regard. It’s not being able to do what gives you identity, somehow. So I focused on producing the Kavanaghs album, another one for covers, ordering my archive and rescuing songs and videos and composing, but it wasn’t easy for me. While I feel like I’d like to compose something high up to kick the board, for the moment these are songs of pure introspection. There is the pain of what was lost, but also hope and love. The songs arrive and you have to receive them with the feeling that they are bringing. I dream of doing an all-night show in a pub by the time this is all over. Get that meeting going again.
The day he almost opened for McCartney
Although he is a beloved son of rock, Tiago Galíndez uses a tango expression when he tells how he missed the possibility of opening for Paul McCartney in 2010 and Ringo Starr in 2011. “We were close, they beat us by a head”, he says. Almost as if it were a final, Super Ratones managed to open for Ringo, and Ciro and Los Persas for Paul, instead of The Kavanaghs, who were one tris away from playing in both cases. However, Tiago opened for many figures, including none other than Charly García, David Lebón, Pedro Aznar, Alejandro Lerner, Enanitos Verdes and Los Tipitos.