In this song’s video, you’ll see a child playing the piano and it is like all the music that he has in his head. It’s a very special song because the piano that you hear gives the album its sound and identity. I played on the piano first and later it was recorded very well by Ben Alerhand, who is an incredible musician and with whom I do a lot of music. It felt like I was contributing to the production of the songs on the LP and to bring my mind into that part of the creation, not just in composing the melody and the lyrics.

This song is super special. I wrote it during very specific moments, not for people to listen to, but to send to someone on WhatsApp. Really, simply because it was something you felt in the deepest part of yourself. In fact, I already had an initial idea for the song, I already had the melodies and some parts of the lyrics, and I finished writing it with Spreadlove via video call, because we weren’t in the same place at that moment, and we connected for like three or four days in a row.

This collaboration with Humbe means a lot in this album. He is one of the most talented people I have had the opportunity to meet, and he is a super sensitive soul. We have truly become very good friends. We connect a lot, and writing this song together was also like a journey, and it was like a miracle to find each other. We have very different writing styles and musical tastes — even though we both love pop, you listen to our music and it goes in quite different directions, each having its own magic.

I wrote this song in my home studio. It was my first time writing with Jorge Villamizar (Bacilos), whom I had always considered a genius and admired a lot. It is a very Colombian song because everyone involved in the creation of the song is Colombian. Casta, the producer, was also here; he played keyboards with me at some point during my shows when we both were starting out in Bogotá. Julián Bernal is also in the song. He lives in Mexico but he’s a Colombian singer-songwriter from Bogotá, and is very talented and very patient.

It’s a song very inspired by the first song of my best friend Jesus, who started making music and singing, and he does a bit of everything. But the first song he released was called “La Pelirroja.” I remember when I was in the hotel, I started playing and began with the first melody of the song. And I already loved it a lot, and I got together here with the rest of the guys to write it. And there was a part in the chorus where I thought of saying this about the red hair. And I said, “Of course, this is the song about Jesus’ red hair.” And so I took the lyrics more in that direction.

I wanted to make a protest song, and I had tried several times. In fact, when I showed this song to Jorge Drexler, he told me it wasn’t a protest song, but rather a propuesta song, or one that offers a different perspective. “Wow! It’s poetic; it’s poetry,” said Drexler. I remember talking with Andrés Torres and Mauricio Rengifo about how I felt, and at that moment, everything related to the war in Ukraine was starting.

I wanted to say things, but I think it’s impossible to criticize what’s around you or talk about it without first being critical of yourself, because we are all part of the problem and we are also part of the solution. So, I looked at myself from my position, where sometimes you want to go out and speak and say things, but you also don’t have all the information, that’s why I say: “What’s outside doesn’t match what’s inside/ The world is on fire, I’m at a concert/ Wanting to talk without wanting to hear/ And in this movie, the good guy isn’t the one who prays/ The bad guy doesn’t always start.”