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Anna. I'm gonna do a word association.

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What do you think of when I say?

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effort

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message inspiration, beautiful

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ray of sunshine.

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Since in

0:43

Nita.

0:44

We've been a fan of hers here at Alt Latino

0:46

for years as of so many other people

0:48

and we're talking to her this week

0:50

because she has her new album with her first

0:52

blast of original material in

0:55

seven years, it's called dead

0:57

dolus Las Flores.

1:23

For

1:23

anyone who is like unindoctronated

1:27

into the Alia Legacy.

1:29

Like, you have to understand that she

1:32

is truly,

1:34

like, a presence, a

1:36

beloved not just artists,

1:38

but I think it's fair to say individual as

1:41

well. think in Mexico and and and

1:43

across Latin America. And she's

1:45

had this really incredible broad history

1:48

of, like, starting in the pop world and

1:50

then totally pivoting and

1:52

going to to the old stuff. I

1:54

mean, can't think of many other

1:56

artists that have done this like her.

1:59

One

1:59

of the

1:59

things that she did during the last seven

2:02

years is that she reached back into Mexican

2:04

music history to record two records

2:06

of music that gained tribute to

2:08

the great Montana singer, Ceville Labargas.

2:10

She even recorded those albums with some

2:12

members of a band and went on tour, even

2:15

did a tiny desk for us here at

2:17

NPR Music.

2:18

Then she did two albums worth

2:20

of Mexican folk music with an

2:23

all star list of vocal collaborators,

2:25

truly some of the best.

2:27

And picked up a whole arm

2:29

full of Latin Grammy and I mean nominations

2:31

and wins in the process. And, you

2:33

know, she's not been sitting around for the

2:35

last seven years.

2:36

We were lucky enough to actually get

2:38

to sit down with her in this Wild.

2:40

Another wild pivot moment in her

2:43

life. Right? Where she's been reaching back

2:45

to the the work of the greats and now she's

2:48

really looking forward and and making

2:50

music as almost a new nthalia.

3:08

I like to think about

3:11

the songs like little

3:14

humans that have wings

3:17

and they fly whatever they want. with

3:20

AcelRès has been like that. At

3:22

first, it was something

3:24

very, very intimate personal

3:27

It was my musical diary at the

3:29

moment, all biographical.

3:31

And I never imagined

3:34

that, like, how much people take

3:36

a song and it becomes theirs.

3:39

It becomes everyone's. I

3:41

think that is beautiful but

3:43

I didn't think that before because

3:46

I never experienced that so

3:48

strongly. So with

3:51

AcelRise, that happened and that

3:53

let me have a view

3:55

of that fact in music.

3:57

And now

4:00

It's a different moment, but it's

4:02

also me and it's a

4:04

period of time in my life.

4:06

Like, I found this music like from

4:09

geers, like, that was, like, waiting.

4:12

The songs were, like, okay,

4:14

I hope she can't she record

4:16

us because we're being waiting

4:18

for a long time. It felt

4:20

like that. So it's a new moment

4:22

and I am so happy

4:24

to see what happens.

4:43

You said all of that stuff was

4:45

just sitting there. Just waiting for you to

4:47

rediscover while you were recording

4:49

other music. You even did that amazing performance

4:52

in the film Cocoa. Right? Yeah.

4:54

What was that songwriting process? Like,

4:56

did you learn, for example, from

4:58

all those other composers whose songs you were

5:00

singing on those other albums. Yeah. Did you

5:02

learn anything about the process

5:04

of songwriting that inspired

5:06

you?

5:07

old dad music was

5:09

a school for me. I was

5:11

learning things consciously and

5:14

unconsciously. At certain point,

5:16

I was writing music, but it

5:18

wasn't because I wanted to release

5:20

an album. I realized that

5:22

now. Right? For me writing songs

5:25

is a way of letting

5:27

go emotions. That's

5:29

my very personal process

5:32

through music, to relieve my

5:34

emotions. There was a point I

5:36

was wondering if I was ready

5:38

to record an album that was only

5:40

my music. And I yeah.

5:42

A friend of mine was telling me that,

5:44

like, he was saying like, you

5:46

know, I really like

5:49

what you do. I know the projects

5:51

that you've been to, but

5:53

I am starting to really miss

5:56

Natalia very much. Like if

5:58

you're not doing any

6:00

project that it's only your music

6:02

or something that comes just from you.

6:04

I'm so curious about hearing

6:06

what you have. him saying

6:09

that since I admire him

6:11

so much, that was like a

6:13

moment that even I

6:15

felt very, like, Oh

6:18

my god. I don't have any music. I

6:20

haven't done anything and it

6:22

wasn't true. Right? Because then

6:25

like, two weeks after that conversation,

6:27

I was like, I'm sure I have something.

6:30

Like, it's been a while since

6:32

I don't do this. So and I went

6:34

to my cellular and I went

6:36

through the years and then I was

6:38

like, wow, there is something here. There is

6:40

something here. I mean, it's

6:42

not all that the album

6:45

because that was just the starting

6:47

point of making

6:49

a new album that was my

6:51

music. Natalia, like,

6:54

you are a singer songwriter.

6:56

You're like an acclaimed singer

6:58

songwriter. What caused you to

7:00

get it in your head that you shouldn't be

7:03

or wouldn't be writing songs.

7:05

At the moment, I was very into

7:08

all the projects that I was doing. I was

7:10

so happy and so into that

7:13

that I wasn't thinking about the new

7:15

music and all that. That's

7:17

why I called the album of all

7:19

the flowers the tallest floor

7:21

is because it felt like going

7:23

back to my inner

7:25

garden to that very

7:27

personal space that I

7:29

needed to revisit,

7:32

but I didn't realize at certain

7:35

in my career, how much I

7:37

needed to go

7:39

back to my own music, to

7:41

my own way of writing

7:43

a song or or making

7:45

an arrangement or music. I was

7:47

doing that, but

7:49

mixing many other things.

7:51

outside. So this time, the

7:53

toilet floor is was about an

7:56

inner journey. It was inside.

8:31

So what

8:32

did you discover about yourself

8:34

and who you are now? It

8:36

was very beautiful rediscovering

8:39

the songs, learning the songs,

8:41

you know, it was a process and

8:43

that was beautiful. Just me,

8:45

my guitar again, like,

8:47

not too many people around

8:49

because it was a pandemia also.

8:52

So that helped me to

8:54

really face that silence

8:56

and to really take care of that garden

8:58

myself. I was

9:00

dreaming about working

9:02

with people that I admire a lot

9:04

and that also would be

9:06

friends and very close to me and it will

9:08

be a different experience. Then

9:10

you try it, right, to How

9:12

did you say this in English as

9:17

to to reinvent. I'm

9:19

learning English. I King. Are you

9:21

still Hi. If you're in learning

9:23

English, I'm learning English too. Oh,

9:25

it's it's all learned. So,

9:29

yeah, to reinvent yourself as

9:31

an artist. It's that's I

9:33

found it so challenging

9:35

to to do that. Then I

9:37

was thinking about Adhan Rudarovsky as

9:39

a producer. I called him and

9:41

he said, yes, let's do it.

9:44

we were exchanging WhatsApp

9:47

for almost a year. He

9:49

was asking me, like, send me a

9:51

song. Send me a song. Then I was,

9:53

like, just sending,

9:55

like, one or two songs a

9:57

week because I really

9:59

wanted him to

9:59

take

10:00

the time to really listen to

10:02

the music and to understand what

10:04

I was sending to him. So

10:07

it was a very, very slow

10:09

process step by like

10:12

I wasn't in a rush and I

10:14

love that. Do you feel

10:16

like now that you have

10:18

gone back to that part of yourself?

10:20

looking back on those seven years where you

10:22

were kind of away from that, do you

10:25

feel differently about that

10:27

time? Does that fit differently with you?

10:29

yeah, it felt different because every time it's

10:31

different. Right? For me, there is a

10:33

moment when the music is telling

10:35

me what to do.

10:37

It's like an energy that is

10:39

just like knocking the door

10:41

and say, like, get out of my way

10:43

because I'm calming.

10:59

he

11:15

And it's

11:16

beautiful to get there. This time for

11:18

me was amazing to

11:20

set up all those

11:22

little details and different things

11:24

in order to be

11:26

ready to receive this

11:29

music, you know, like wonderful musicians

11:32

around this incredible

11:34

studio, Sonic Ranch, this

11:36

space, like, the tape machine, I always

11:38

wanted to make an album

11:40

all life playing at the same time with

11:42

a metronome, with the tape

11:44

machine on. So

11:46

there was so much Adrena

11:49

Lina in every track

11:51

because it was going to be that

11:53

trap. You know? It was gonna be okay.

11:56

Ready to start and rolling.

11:58

And then you used God and

12:00

and it was only like twelve

12:02

days with the musicians and

12:04

the band. and

12:06

it was about reading ourselves

12:10

and it was about sharing

12:12

the music and being

12:14

there in the service of the

12:16

music. So that was really beautiful

12:18

for me to go back

12:20

and doing it in

12:22

this way. The guitar player of

12:24

the album is one of my favorite

12:26

guitar players and smart keyboard.

12:43

and

12:44

He

12:46

was saying, like, it's so

12:49

wonderful to see how music

12:51

and how the real magic

12:53

that happens. in

12:56

very little time moments,

12:59

like, it's a very very

13:01

small amount of time.

13:03

that you are going to reach

13:06

that magic

13:08

that it's actually the

13:10

spirit and the essence

13:12

of of an album or of a song or

13:14

whatever you do. That

13:16

time is really hard to get to

13:18

that point. So it's so

13:21

I see it now. Like, it's so interesting

13:23

to see all of the things

13:26

that happen around in

13:28

order to have that that moment and you

13:30

have that life. You have that in the

13:32

concerts. You can experience

13:34

that in a live concert.

13:36

But in the studio, it can

13:38

be different ways. the thing

13:40

that happens with music. Of course,

13:42

it is like that. Like, you don't know

13:44

when it's gonna come. I'm

13:46

so glad you mentioned Mark Ruble he's

13:48

one of my favorite guitar players out

13:50

there because he really makes

13:52

this record stand out. And it's a great

13:54

way to reintroduce us or to come

13:56

back with original music because he

13:58

always seems to find the essence of the musicians

14:01

he's performing with, and then he

14:03

compliments that he doesn't take over, and

14:05

that's exactly what he does on this

14:06

record. Yeah. He's he's a master. It's

14:09

really about the music. It's

14:11

really about the songs and

14:13

the lyrics and what you're

14:15

trying to build. by

14:19

putting other elements around.

14:21

But it's about getting into

14:23

a mood that you want to

14:25

create. And when you have all the

14:27

musicians around, you're creating that

14:29

mood altogether. So

14:31

it's It's like a dance. So

14:34

I I found it beautiful.

14:38

dot

14:40

We'll

14:41

be

14:44

back with this interview with Natalia LaForte

14:46

right after this break.

14:47

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15:21

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15:23

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15:26

and journalists. Join us every

15:28

Tuesday and Friday. Listen and

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subscribe to it's been a minute from

15:32

NPR.

15:33

This

15:38

season on the story core podcast from NPR.

15:40

We're sharing stories about the stigmas

15:42

we carry. doesn't

15:43

mean I'm a bad person. It doesn't

15:45

mean that I'm someone that people

15:47

would look down on. And

15:48

how it feels when we set them down.

15:51

You can

15:51

find it on the MPR1 app at MPR dot

15:53

org or wherever you get your podcasts. Going

15:57

back seven years ago

15:59

to when you kind of stop creating in

16:01

this way for yourself and started

16:03

leaning on the work of of other people and

16:05

building something beautiful out of

16:07

that. What made you decide to

16:09

go to the works of other

16:11

artists from

16:11

before and kind of start making

16:13

their music into something,

16:15

what initially inspired that. It

16:17

was the fact that I was loving,

16:20

listening to that music. When

16:22

we were touring Estee

16:24

Laudery's, I don't remember

16:27

exactly who were, but it was a

16:29

hotel, someplace. And

16:31

I was here. Yeah. And

16:33

I was listening, I was

16:35

listening to Chobello Vargas in the room,

16:37

and I was, like, going

16:39

through this ritual.

16:42

And I remember listening to

16:44

the music and saying like, I

16:47

love this music. It has

16:49

so much spirit. It's

16:51

so super fun and

16:53

deep, and I've never experienced singing

16:56

this. And I

16:58

I went to try. So

17:00

then I was like, picking

17:02

certain songs on this Spotify and I was just

17:04

doing a playlist and I was

17:06

just trying to see how that sounded in

17:08

my voice and I was think like

17:10

it's really hard to sing this. It's

17:12

not so easy music. This is

17:15

something else. So I said,

17:17

I think I need to learn this.

17:19

I think I need to connect to

17:22

this energy and and and this

17:24

music. So that that

17:26

turned on my curiosity to

17:28

to keep listening to other

17:31

composers and writers, so

17:33

many women that I was recognizing

17:36

and and saying, like, this

17:38

is Spanish and

17:41

beautiful and it's like,

17:44

I don't know.

17:47

Like, I was just connecting to all this

17:50

music that I didn't in

17:52

the past. I just thought I

17:54

needed to really go

17:57

through the process of learning and

17:59

knowing

17:59

and that

18:01

made me say,

18:02

I want to

18:05

record a tribute.

18:19

That's how you

18:22

I'm

18:24

so glad you mentioned Elephant Show

18:27

because I think that there's a through

18:29

line. Right? There's a continuation.

18:32

Between somebody like the great

18:34

Ranchetta singer, Tavela Vargas -- Yeah. -- who you

18:36

paid tribute to on one of your records the

18:38

way Chavella interpreted other

18:40

people's songs. And the way for

18:42

example, somebody like Ella Fitzgerald in the great

18:44

jazz vocalist that I know you love

18:46

so much Yeah. The way they interpret songs.

18:48

That's part of the art of jazz singing,

18:50

that song interpretation. Yeah. You

18:52

know, I saw Elliott's Gerald

18:54

once and she did the BERTback rack

18:56

too, and a house is not a home.

18:58

And I've heard a million versions of that

19:00

song, but when she did it,

19:02

it completely devastated

19:04

me because I was in my

19:06

fields. Right? I was experiencing that

19:08

moment through her interpretation. Yeah. And I

19:10

think that's exactly what you did

19:12

when you did music composed by other

19:15

people. It

19:15

was beautiful to do that because

19:18

when you have jazzed

19:20

you want everything to happen very fast.

19:22

And it doesn't mean it's

19:24

a wrong thing. No. I

19:27

was learning to

19:29

get into the timing,

19:31

into the mood,

19:33

to really be able to

19:35

interpret this music. I

19:37

had to live

19:39

literally, like, to

19:41

live and bring all these

19:43

aspects of life into

19:45

my interpretation so that

19:48

I could approach the

19:50

real spirit of the music that I

19:53

was trying to to sing.

19:55

It let me understand how

19:57

much that music is like

19:59

a huge

20:01

landscape of

20:03

possibilities. It is so

20:05

amazing to hear you say that because you

20:07

talk about this lesson that you learned of

20:09

taking it slow and here you

20:11

are earlier in this interview telling us like,

20:13

yeah, this took so much

20:15

time, and care, and thought,

20:18

and it so clear to see where you

20:20

learned that and how you've now

20:22

grown to doing that with your

20:24

own songwriting. It's incredible.

20:26

how did they experience over last seven years? Because

20:29

it's been seven years since you put out

20:31

an album of original material. How

20:33

did all those experiences impact

20:36

your performance on the new

20:38

material stuff you wrote. Are we

20:40

hearing a different Natalia than you

20:42

were seven years ago? for

20:43

me this time, it was very important

20:46

to try new things,

20:49

to reinvent myself,

20:51

to take music in a different

20:54

way. The chance to to make a

20:56

different painting, you know?

20:58

It felt like that. It was like,

21:00

okay. I'm gonna go into this studio and I wanna go

21:02

do things differently than

21:05

before. I was having this

21:07

conversation with Adan. and

21:09

we were saying, okay. What do we

21:12

do? Okay. First, it's

21:14

going to be my music. Okay.

21:16

No doetos. No doetos. Then

21:18

the tape machine. That

21:21

was very strict rule

21:23

for us. Like,

21:25

everything is going to go

21:27

like analog tape machine, like in

21:29

the old times, there was

21:31

a day when

21:33

the computers at my house

21:36

in the studio in my house. Yeah. They didn't

21:39

how do you say? They crashed.

21:41

Yeah. They didn't crash. Yeah.

21:43

So we had to get counsel

21:46

to put the the machine into

21:48

that. And that was the only thing

21:50

that we have only the So that was

21:53

really special for us

21:55

because we wanted to to

21:57

regard Nagam that

21:59

way. So I don't know how for

22:01

for reason destiny gave

22:03

us that experience. Like, we

22:05

were actually recording the music, like, in

22:07

the old times when you weren't

22:10

able to see on a

22:12

screen what the music looks like in

22:14

colors and trucks. Literally,

22:16

it was like, okay, we

22:19

can redo, we can

22:21

edit, or we can do any of that.

22:23

It's it's just the music in there

22:25

and hopefully It's

22:26

okay. Hopefully,

22:29

this is good. Oh, yes. So

22:31

sick of me

22:32

up

22:33

there. So

22:44

for

22:46

me, it was about having a new

22:49

experience I think I really wanted to feel like

22:51

it was the very very first time

22:53

of doing

22:54

music. I am

22:56

like trying so hard in

22:58

life right now to let the universe

23:00

just carry me. And

23:02

like just follow what feels good

23:04

and just listening to you talk.

23:07

Every decision you have made

23:09

in your music and life, you

23:11

just followed what feels good. Just

23:14

you're like, I don't know if this is gonna be something

23:16

I publish. I don't know if it's gonna be

23:18

something other people hear, but it's just something

23:20

I need to do. And that's just like

23:24

so inspiring, it really is.

23:26

Alright. Thank you. I think that's

23:28

something we all should

23:30

try. Right? Why not? Of

23:32

course, there's a moment. You find yourself.

23:34

I find myself being like

23:36

a very anxious and

23:39

very late. my god,

23:41

what is going to happen, you know, when I listen

23:43

the album, I remember the day we listen

23:45

to the whole album.

23:48

that we just record the

23:50

last song and all the musicians

23:52

and Ivan, we all

23:54

were just silent. they didn't say

23:57

anything for, like, five

23:59

seconds or something, but that

24:02

felt eternity.

24:03

it was, like, those five

24:05

seconds were, like, mama

24:08

mia, I

24:10

was so nervous. And so

24:17

Is this going to be

24:19

okay? in my career? Is this

24:21

going to connect? Is this going

24:24

I mean, there is seven minute songs.

24:27

It's very long introductions. of

24:30

the songs and very long endings

24:32

of the music, and I never

24:34

done this, and I am

24:37

improvising with the music positions. With the

24:39

band, we're just

24:41

playing. But, I mean, that that's not

24:43

the way certain music

24:45

is done those

24:47

days. And maybe this is not

24:49

going to work or I was

24:51

having so many different

24:53

things going on

24:55

like in my mind and then

24:57

the ban, they didn't say anything. So

24:59

I would like, nobody is

25:02

saying a word, and

25:04

there's nothing we can do because, I

25:06

mean, it's Oh, done. They're leaving

25:08

tomorrow early in the

25:10

morning. And this is

25:12

it. Then I thought I

25:14

mean, it doesn't matter. Like, it's

25:16

something that I needed to do,

25:18

and it was something that that

25:20

I embraced for myself.

25:22

And I went back to that

25:25

reason and decision

25:27

that I made. I

25:29

really recommend to I

25:31

don't know. To try things. It's good to

25:33

try new things. We

25:35

that are the most

26:12

I have to

26:14

tell our

26:15

listeners that we're recording this

26:17

on tape, but we're also recording

26:19

this by Zoom so that Anna and I could

26:21

see each other. And Anna, I gotta say you

26:23

were sitting there. You were transfixed. You

26:26

were transported to some other place, and

26:28

I could tell just by the expression on your

26:30

face during that conversation. She

26:32

was like

26:33

speaking to my soul. I was like,

26:35

I kid you not. This is

26:37

something in this moment within me

26:39

that I'm wrestling with. Right? Like, you know

26:41

this feelings. I'm like at this moment in my

26:43

life where I'm like,

26:45

how do I just embrace

26:49

pursuing what feels good? And she

26:51

is to hear how

26:53

just, like, unwavering is

26:55

in, like, this quest of just

26:57

being herself. Like, at every

26:59

point, at every pivotal moment in her life,

27:01

she was like, yeah, I just

27:03

needed to do this thing. I wasn't sure if it

27:06

was gonna be a record, if it was

27:08

gonna ever see the world, if it

27:10

was gonna for me, for me and my

27:12

family, but I just knew that I

27:14

had to do it. Even when that

27:16

moment, oh my god, wouldn't she say she's in

27:18

the studio, she's panicking, like,

27:20

what's everyone gonna think? And then all of a

27:22

sudden, she's like, oh, actually, it doesn't matter

27:25

because it needed to be made. And I

27:26

think that's what has attracted us to

27:29

her music. And I think what makes people so connected to

27:31

her music -- Mhmm. -- is because her

27:33

message is so universal. You know a

27:35

lot of people are going through the same thing. She just

27:37

happens to be in a place as

27:39

many artists are, you know, they're living their

27:41

lives sort of publicly. And so these

27:43

things that you and I go through privately

27:46

or that we share with amongst our

27:48

friends or family, a lot of times these

27:50

musicians have to go through this in a very public

27:52

way and they deal with it through

27:55

songwriting. They deal with it through their art and

27:57

their craft. And it's

27:58

incredible too for someone like her

28:00

who really didn't get into this

28:04

industry into this life, like, you're talking about

28:06

this very public life, like, at a pretty

28:08

young age, in a way,

28:10

her leaning into these older

28:12

sounds, these ancestral sounds.

28:14

I feel like it was almost

28:16

a course correction that someone like her

28:18

would have to make in order to find a

28:20

way to grab themselves in a in a life like

28:22

that. Right? Like to be in it so

28:25

young, you'd have to figure out how to make

28:27

it work. Most people don't, I

28:29

think. Most artists can't. And

28:31

she, like, not only

28:33

figured out a way to do it, but figured out a

28:35

way to, like, thrive and

28:37

blossom and be this amazing inspirational

28:41

captivating artist that she

28:43

is today. And

28:43

when you consider that she

28:46

started so young, I mean, she was

28:48

seventeen when she got her first record

28:50

contract and she was doing pop

28:52

music. and she's gone through all of this stuff and she's produced

28:54

all this amazing music. It just really

28:56

astounds me that we have

28:58

so much more to expect from

29:01

her. In addition to all the stuff that

29:03

she's created so far, and I think

29:05

the sky's the limit in terms

29:07

of what we can expect from her in

29:09

the future You know what

29:09

I mean? And then also to add to that that she's

29:12

so unconcerned about what that

29:14

means. She's not sitting here

29:16

like Oh, my prospects

29:18

are just unlimited,

29:20

like, boundless. She's just sitting here like,

29:22

I don't know. I did this thing. I'll

29:25

do another thing. gotta

29:27

keep going, keep making. Do what

29:29

feels right. I'm paying attention.

29:32

And we

29:32

have to keep making podcasts because that's

29:34

the end of this one.

29:37

You've been

29:37

listening to Otlato from NPR

29:39

music. Our editor is Hazel

29:42

Sills. Our audio

29:42

editor is Ron Scalzo.

29:45

Our production assistant is the great Fe O'Reilly

29:47

and the woman who keeps things running

29:49

on time is Grace Cho. And

29:51

of course,

29:51

thanks to Hefe in chief.

29:54

Keith Jenkins, VP of Music and visuals.

29:56

You've

29:56

been listening to all Latino. I'm

29:58

Felix Contreras. And

29:59

I'm Anamari Assair. Go

30:02

Go Say it. See you

30:03

next week.

30:46

This season

30:49

on

30:49

the story core podcast from NPR.

30:51

We're sharing stories about the stigmas we

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carry. doesn't mean

30:54

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30:56

mean that I'm someone that people would

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