A black sky that anticipates autumn causes it to get dark early in Barcelona. It is one of the last days of summer and a storm breaks out while a hundred people we see Alice Wonder acting. However, we are not aware of the rain until after going outside and seeing the puddles.
For just over an hour, the only storm we have attended is the one the artist has deployed in the living room of any loft in Barcelona, as part of cycle 43 Tour in Kasas, which takes live music to houses in different cities throughout Spain.
With 20 years and a record in the market, Alice Wonder is part of that generation Z that has already taken over the millennial in that of wanting to change the world and do things his way.
He describes his music as "dream rock pop", mostly composed in English and sings with the voice and security of someone who doubles his age. A bit like the public that manages to congregate, a heterogeneous mixture of young people in the last years of adolescence and adults who look at it trying to contain some tears that, many times, escape by listening to it interprets acoustically the themes of Firekid, his debut album.
Wonder, based in Madrid, was an early girl. He learned to play piano and guitar at age 10 self-taught and was released by uploading other artists' covers to Instagram at 14. Something that he says he has done motivated to stop feeling "the geek" and use in his favor everything that made her feel different to become "an aunt who would cool everything".
The play went well and can boast having managed to have a record in the market before the age of 20, with their own songs. We talked to her before her most intimate concert to get to know her a little better and to know what she would like the future to hold.
'Firekid' It is entitled as a metaphor for the innate talent within ourselves. When were you aware of yours?
I don't remember thinking that I had talent, I remember thinking that I felt weird all the time. What I knew was that I came home and had to play the piano. I felt very strong things and needed to get it out. That is the beginning of a talent that is emerging in you and, if you listen to it, you develop it. Listening to one is very important.
So you think everyone has an innate talent? You who have known how to develop it from so early, what advice would you give others to cultivate yours?
Everyone has a talent, clearly. We all have a sensitivity for something and, although it may seem totally useless to society, it sure is useful for something. What happens is that there are many people who do not listen. If you spend time with yourself, you focus on yourself and stop looking and listening around you will find that thread to pull. Although for this you also have to be calm and peaceful.
It was your friends who convinced you to share that talent with the rest of the world and upload covers to Instagram, how important have others been to you in your career?
They have had all the importance. I wouldn't be here if my best friend hadn't asked me for my first songs to listen to on his mobile. We arrived at a party and put them on. I had a terrible cut but people liked it. He was the one who taught me that, once I had done it, the song was not even mine anymore, others could keep it too. So I relaxed and began to compose without pretending they were nothing more than stories.
You met on social media, are you obsessed?
It goes for times. Who says that social networks do not obsess a little is lying. I try to take it easy and show myself natural. When the disc came out I scratched myself because I thought that the people who followed me did it because of my voice but not because of my songs. I was afraid they wouldn't like it. So I had a lot of followers but I had to win them back little by little.
How do you feel playing in spaces as intimate as this? There are artists who claim that they intimidate more than act in front of thousands of people.
Totally. I didn't imagine it was going to be so small and close. The truth is that another roll but it's cool. The challenges are cool and the magic that is generated in such a space is very heavy.
And, as a spectator, is there a concert that has marked you especially?
Bon Iver's in Madrid in 2014. He made magic … The other day, for example, I was in Billie Eilish's and people sang everything, shouted … Instead, in Bon Iver we were about 5,000 people and did not speak a soul. No one wanted to sing, everyone wanted to hear and for me that is the top of the world.
I, if one day I sing in a Sports Palace, I don't expect people to copy my songs, I hope there is a connection. It is something that I have already noticed playing live and is very strong. When the music arrives, all people have in common at that moment that they are floating. It also happens that I have never been a fan of anyone so I don't want my viewers to be fans but to enjoy.
Spanish music is now living a very nice moment with Rosalía playing all over the world, do you feel that it is helping the rest of the new artists?
I think so, that it benefits completely. They are looking at us at all levels. It's happening in music, it's happening in the series and, in fact, I tell you that I think Spain is going to be fashionable. On an artistic level we have always been the host, our legacy is great and music is going to be the next step.
Spain has given great artists, but it seems that in music it costs us a little more to stand out, why?
I think we have been very medical. When I started They told me not to make this music because it wasn't done here. And I thought, because of that I am precisely going to do it. What about imagining new things and making them possible? This is how it starts.
And have you ever been told not to sing in English?
When I started to compose my own songs in Spanish, they did tell me that in English everyone already did it but I thought they were not right because nobody is me. The songs I write can only be like the ones I do. I can write in English because I have spent the first half of my life speaking in this language. I went to a bilingual school where the only subject in Spanish was language and literature, so I thought in English.
Do you notice differences between the feelings that one language and the other awakens when composing?
I like English because it is very direct and that makes me very direct thoughts. Spanish, as it is more complex, I use it to tell more convoluted stories. The truth is that I am surprising myself about how I compose in Spanish but, at the same time, I think I am a little bit younger in this language. I look more felt.
The first thing you think when you hear your name is in 'Alice in Wonderland', What relationship does your artistic name have with the character of Carroll?
It occurred to a friend because Alicia's character is a girl who gets into a dream of life and lives many things. It reminded him a little of me for being so adventurous and not be afraid of where he goes.
In Trendencias we are very readers, what book would you recommend for this autumn-winter?
Tokyo BluesIt is very winter. I would recommend it because it is a book with which you can imagine almost everything you are reading. The solitude of prime numbers I also liked it a lot and it came to me, it's a very nice story. The truth is that they are two novels a bit nostalgic but winter is nostalgic.
What would you like us to publish about you in a few years?
I want to do many things. I want to win a couple of awards. It would be cool for me to be the most important, the one that most prizes for the musical quality and not for the paint. That or that I have filled a Palau Sant Jordi.
A Palau Sant Jordi with 17,000 people in silence?
That, that is what I would like (laughs).
Photos | Miguel Álvarez and Cristina Cascajo.
Alice in Wonderland / Alice through the Looking Glass (13/20)
Tokyo blues (Norwegian Wood): 3 (MAXI)
Loneliness of prime numbers (Pocket Letters)