IN STEREO

Well, I started with native music, then from that I went to play in the countryside for the Aymara New Year. What happens, as I said, is that there are melodies that are played for different parties. One of the masters called Eusebio Mayta has always led me to these types of events. And it's weird, because normally an urban person who learns rural music does not go, because I wasn’t born in the country. So it's weird that they always hire us. I don’t know what Mr Eusebio saw in me, but he once said to me: “If you have taken root with it, the people from the countryside will always take you with them.” Here in the urban area, it is not so deep. For me, it is very important because I had a certain experience in which I changed.

I [now] have a way of thinking of the differences between [performing in] the city and in the countryside. It is very different when you play an instrument here than in the countryside. For me, it is important because I feel more connected with nature. So when I play in the countryside, I feel totally free, right? I don’t feel pressured by anybody – by the public or by anything. As I told you, when I have more contact with nature, I feel free to interpret the instrument. But here, when you play, you are pressured by the people – those who watch if you are wrong or not. Instead, [in the countryside] you are playing for the people, for the animals, for the trees. And that’s what has arisen in me. That's why I'm going to play there. – Lucho