There’s a lot of recurrence in your songs…

Yes, there’s a lit and roofless labyrinth, from where you can see the sky. There are lots of questions from a luminous pleasurable place.

Are you optimist?

Yes, I try to capture the most healthy situations. Not only I get hit by pain and poverty as a social expression of our times, but it also hurts to find out individual human cruelty. I can’t understand evil, I’m not capable of it. I try to promote the most human places. While he takes his jacket off, the orange glow of his t-shirt dazzles everywhere and his melancholic eyes replay the colour of the window. The landscape seems to get through him, but suddenly he returns and talks about his projects and wishes. The enthusiasm grows big inside this being far away from the meaning of the evil world.

How do you explain the dichotomy between your romantic side (the composer) and your concrete side (the manager)?

I’m versatile, I change all the time. I dream a lot but I’m also very down to earth. I have both sides all the time, they trade places. Songs are a great escape from reality.

Which are your projects from now on?

First, I want to promote my album in the country and abroad. I’d like to edit the book of girls pictures. I took photographs of 33 different girls portrayed in their own atmosphere, close to their own point of view. Some of them are portrayed in places I thought were close to their style. I also included some of my short stories. The book’s title is “I took off with her”, like one of the songs.

Birabent talks proudly about his girls. Comfortably sat back in his chair, he’s found a cozy position he maintains during the whole conversation. Now life not only lives in the outside world. The boy in almond-shaped eyes gets passionate when he talks about his music, his motivations, his safe place. He lets himself be and now he needn’t explain how clear he is. He simply is. He’ s also many more things, and the deepest labyrinth lives between his hands and in each one of his poems. Almost no one has access to that place, and those who do, have a limited time.

“Where are you? Are you already in this world? What’s your name? Am I your man?”, he wonders on stage, staring at the public with a fixed look, maybe in search for someone who’ll redeem him from the world. A big boy looking for a hand. His songs are looking for him.

Do you think previously what you say in your shows?

No, and that’s a major risk. Many singers plan everything before they speak in a show. But I’m not a politician nor a speaker, I’m not used to talking in front of 600 persons. I’m too shy for that. I do it because people need something from the artist, they need to know if he’ll say the same things he writes down in his songs. It’s weird, but in the end they don’t believe him until he actually talks live.

How do you make your facets of actor and singer compatible?

I like acting, I have fun doing it. When you act you compose a character, just like you have to compose a song. In English it’s very clear, because we use the same verb “play” for a song and a theatre piece. And it also refers to the recreational component. The difference between acting and making music is that music depends only on me and I have it everywhere. Even if I’m alone in the world, I could always make music. In regards to acting, I like quality movies or TV series. Nowadays, TV isn’t very good, I’ve been offered many things which I rejected. I’m interested on a worthy product. If not, I’d rather not do it.

Where and when do you write your songs?

I always carry a pen in my pocket, I write everywhere. In Buenos Aires I don’t write much. I write when I’m far from home and family. I have the urge to write when I’m totally alone. I use to spend a lot of time without doing it, and suddenly it overflows and everything I’ve been carrying in me jumps to the outside. That’s what happened with “Cardinal”; even as I was writing it it was shaped like a record.