Showbiz

pop star who admires Amy Winehouse and is obsessed with Nathy Peluso

Alessia Cara is, in several ways, the perfect embodiment of the current model celebrity. He had his media explosion via YouTube conquering with his 2016 theme Here a nation of troubled teenagers; “Pessimistic antisocial”, as mentioned in the lyrics of the hit.

Parallel, generated haters a troche and moche: from the classic attacks on the networks to the questioning of his first Grammy in 2018 for Best New Artist. He suffered with anxiety and insomnia throughout this process of “success”.

This 25-year-old Canadian today is back in the spotlight with the edition of his album In The Meantime, in which he continues to speak of his various demons and does so in a mature, careful and effective musical environment.

Yes, In The Meantime it’s his best album so far and, from her body language and good humor noticeable from Zoom’s screen, she seems to be sure of this.

On her third album, Alessia Cara shows an interpretive poise worthy of being celebrated.  Photo Press

On her third album, Alessia Cara shows an interpretive poise worthy of being celebrated. Photo Press

In this new plate he shows his obsession with Amy Winehouse both in music and in fact since composed the cut Shapeshifter at the Miami house where Winehouse worked on her most representative album, Back to Black. But beyond that detail, the album shows Cara with a striking interpretive poise and worthy of being celebrated.

His emotional journey runs through 18 songs with hook and intelligence, produced and expressed with precision, partly as a result of the fact that Cara is an artist committed to her feeling as a marginal (post) adolescent, overwhelmed by excessive success and overexposure, conditions in which she found her fuel for creativity.

As a good descendant of Italians (her real surname is Caracciolo, from Reggio di Calabria), Cara takes everything very seriously and is passionate, both to respond to a hater on Twitter and to talk to Clarion.

With a clear course

-It is usually considered that the third album is the one that defines the career of an artist, how is your case? How do you feel about In The Meantime?

-It’s a good point, because I feel that the first album is the one with which you see how things are coming, the second brings a lot of pressure to continue with the good that was achieved in the first and third I feel like I really grew up as a creator, as an artist, as a composer.

So yes, this album is the one that will define my journey. I am very proud, it is a great achievement for me. I definitely feel like it’s much more sophisticated and mature music than my early days, I feel like my skills improved, which is great.

-Why did you write a song like Best days? Aren’t you too young to be nostalgic?

– (Laughs) You never know when nostalgia can appear. You can be nostalgic for yesterday. I tend to be very melancholic and The idea that time passes so fast always challenges me. I tend to think of something that happened yesterday as something that will never happen again.

I am very young for this but at the same time I am not. At 25, especially, you are no longer a chick but not a responsible adult either. At the same time I am already on the path of growth and no one will give me back my past years. That was my fear when I wrote that song.

South America and the obsession with Nathy Peluso

Bluebird has a strong Bossa Nova influence. How important is the music of Brazil or South America in general for you?

-1000%! I am a huge Bossa Nova fan. I love South American and Brazilian music, he was a great influence when writing this album. Sonic and lyrically. That way Bossa has to express open-heart lyrics… I listened to that music all last summer; it’s practically the only style I put on.

There are an Argentine artist named Nathy Peluso, with whom I am obsessed. She is possibly one of the greatest Argentine artists ever.

Like Nathy Peluso, Alessia Cara puts her body, in addition to her voice, at the service of her songs.  Photo Press

Like Nathy Peluso, Alessia Cara puts her body, in addition to her voice, at the service of her songs. Photo Press

-Are there other Argentine artists that you like?

Nathy Peluso is my biggest reference; I like that he uses traditional Latin American elements but is also very up-to-date: he raps and sings in a very cool way. If you could recommend more music from there, I will be delighted.

-You did an intense job on the video of Shapeshifter, in which you played numerous characters. Was it rather fun or did it generate a lot of pressure?

-Both things, yes. There was a lot of pressure because I had to change nine times in one day, and to meet the times it was running back and forth all the time. Mustache-wig-mustache-wig a million times which is stressful; but yeah, it’s also a lot of fun, acting all those different characters, dressing up like them, I love doing that.

-The video is a kind of Italian story, and your family comes from Reggio Di Calabria. How did your family influence your decision to make music?

-Well, they were very important to be honest. My parents don’t sing but they love music. I grew up listening to a lot of Italian music. My grandfather was a huge musical influence on me: he played all those classic Italian folk songs on the accordion, he showed me singers, bands and all that.

I grew up with the culture, music and dance of Italy. It was definitely very central. I even think that this influence can be seen in my music.

Amy Winehouse and the toxic industry

-You wrote Shapeshifter in a house where Amy Winehouse worked. Beyond being a fan of Amy, do you see any similarities between you and her? Is his story presented to you as a wake-up call for how the music industry can work?

– Regarding the similarities, I think there are always some when it comes to young female artists. I feel like she had a lot more success and exposure, and I am grateful to have some of the privacy that sadly she did not have, because I don’t know if I could have dealt with it.

It is horrible that the example exists because it cost her her life, it is clearly a lesson: you have to put energy into surrounding yourself with the best possible people, stay on the road as much as possible, because it is very easy to get off.

When you are young and there are many people pressing, and especially if you are a sensitive person, like her or me … I work so hard to stay protected in that sense, surround myself with the right people and be disciplined so as not to get out of the way. You must protect yourself as if you were a child; it is that kind of fragility that is exposed.

I take that lesson from her, and I would have loved to have had a second chance. It is clearly an alarm for the music industry.

-You talk a lot about your emotions and feelings in your songs. Can you stay emotionally balanced when so many people ask a lot of you and at the same time put you on a pedestal?

-Yes, it is something very challenging. It’s a pretty toxic relationship like when someone says beautiful things to you and then immediately degrades you. This is the industry. The good moments are those that manage to balance the bad ones, but it is still a constant challenge.

Alessia Cara received her first Grammy in 2018, and with it, the pressure and also the mistreatment of some "haters".  Photo REUTERS / Andrew Kelly

Alessia Cara received her first Grammy in 2018, and with it, the pressure and also the mistreatment of some “haters”. Photo REUTERS / Andrew Kelly

I am not someone very stable; that’s the reason I make art, I’m super sensitive. The industry is anything but stable, so for me it’s a double job. There are usually many young girls that we feel disposable, the atmosphere is very frivolous.

It’s like all the time you have to give proof of your talent and be super extraordinary. If not, someone will take your place, very meat grinder. It is difficult, they are situations that can make you feel very insecure.

But the good times appear when I can connect with the purpose for which I am in this and I feel the energy of other girls and boys who look at me and who see themselves in me. Well that’s what keeps me on track. Without this there would be no reason to be here. I have to stay focused on the goal: talk to people who are interested in my proposal.

Stay in memory

-And what are your artistic goals, beyond the humanistic?

-Look, the other day I was listening to John Mayer, his entire catalog. It was his birthday and I dedicated myself to listening to him in detail, I have always been his fan. I realized that some of his songs written ten or twenty years ago are still very good.

And that all I can wish for at that level is Someone in ten or twenty years to put on my music and think that it still makes sense to him. May I still want to hear that song. Hopefully people can rediscover my music and give it a new life. As it happens with other artists that I love like Coldplay, John Mayer or Amy.

-How do you get along with HereWhat is the issue that made you transcend?

-It’s complicated, because strangely I’m more tired of other songs that came after Here what of Here. I still love that song. And that’s why it’s easy for me to sing it. Well, it’s actually technically very difficult, it’s like I never stop singing, I hardly breathe, but I still enjoy it a lot.

I still don’t hate her and I hope that doesn’t happen, because there are others that I no longer want to know anything about (laughs)

-Are you thinking of going on tour now that it seems that everything is coming back?

-Yeah right! Sure! It is the plan. I really want to go everywhere, obviously to South America. I played in many places but I have a lot left to visit for the first time.

IT IS

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TAMMY SEWELL

Tammy Sewell is our Writer and Social at OICanadian.com. Tammy loves sports, she writes our celebrities news. She spends time browsing through several celebs news sources as well the Instagram. Email: Tammy@oicanadian.com Phone: +1 513-209-1700

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