– Postponed, new date TBA
Postponed, new date TBA
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Enrique Bunbury started his singing and songwriting career in 1986, as a member of the legendary Spanish rock band Héroes del Silencio. The group was together for ten years, during which they recorded four studio albums that redefined Spanish rock. Héroes created their own signature style by combining national and international influences while touring Europe, Latin America and North America.
With Héroes del Silencio, Bunbury worked two fundamental aspects which later helped him to define his solo career. The first was the mixture of influences without losing his Spanish-Latino identity and the second: his creative philosophy that recognizes change as an engine. The group was created with a pop debut “El Mar No Cesa” (1988) and began to rock with the classic “Senderos de Traición ” (1990). Their sound hardened with their two final albums: “El Espíritu del Vino” (1993) and “Avalancha “(1996). While the band kept traveling on international tours, releasing hits and accumulating fans with unprecedented success in Spain; Bunbury continued to grow as a singer – defining his character, a restless musician, an exceptional lyricist and unique figure in the Spanish musical scene.
In 1996 the band dissolved and Bunbury started a solo career that has extended to the present. For seventeen years he has continually expanded as an artist, crossing musical boundaries with bravery and courage. “Radical Sonora” (1997) was his first solo album; a fusion of electronic and organic rock with edge delivering new songs which included the singles ‘Salome’ and ‘Alicia (evicted into wonderland)’. A catharsis following the presentation of the debut tour ended up in the recording of “Pequeño” (1999), in which Bunbury reformulates himself as a musician capable of dominating his native land by savoring and fusing his Arabic and Latin American roots. Songs like “Infinito” and “El Viento a Favor” opened the door to a new audience which found in Bunbury an exceptional singer, able to interpret his feelings of everyday life with the best poetry and the best melody.
For his live performances Enrique put together a band that he baptized “El Huracán Ambulante” with which he toured all over Spain and Latin America, strengthening his connection with the audience on both sides of the ocean. Additionally, he produced “Pequeño Cabaret Ambulante” (2000), a live album in Mexico that reinforced his new phase of reinvention and to which he added the release of several singles, full of new and unreleased material. If “Pequeño” was humble, “Flamingos” (2002) became a great successor, which continued to feed on personal feelings but at the same time confronted adversity with ‘inner strength’ and rock sounds of thick guitars and sturdy metal. The resulting sound was luxurious and exciting, a trip to the end of the night in which there are many secrets, madness, ecstasy and sorrow embodied in “Lady Blue”, “Sácame de Aquí” and “Al Final”. These songs would become some of his greatest hits. The DVD “Una Cita en Flamingos” (2003) was noted for a spectacularly long tour which again traveled between two continents and left the singer at the end of his strength.
After “Bushido” (2004), a collaboration with fellow musicians Morti, Carlos Ann and Shuarma, “Panero” (2004)- another collaboration with the poet Leopoldo María Panero, came about. Bunbury later recorded “El Viaje a Ninguna Parte” (2004), a double CD full of the Pan-American sounds he likes most, from Argentina to New Orleans, jazz and cumbia, tango and Brazilian sounds. These became key moments in his repertoire highlighted by “Que Tengas Suertecita”, “El Rescate” and “Canto”. His growth as a lyricist took him to compose verses that moved away from the commercial concept but keeping close to the heart of the immortal popular music. This variety resulted in a rich musical orgy, in which Bunbury reconciled himself with ghosts to whom he gave farewells with hugs and kisses to avoid their return. The tour schedule was modified for a short time to give form to a unique show called Freak Show, in which Bunbury and “El Huracán Ambulante” would invite the musicians Ivan Ferreiro, Adría Punti, Carlos Ann, Mercedes Ferrer and Nacho Vegas as VIP guests. All of these moments were featured in the movie “Freak Show” (2005).
It was precisely with the Spaniard Nacho Vegas that Bunbury started a new artistic phase – after a period of meditation- recording “El Tiempo de las Cerezas” (2006), in which Bunbury turned around the compass and focused on North American sounds perhaps in response to his previous Latinization of years, making exquisite pieces such as “Puta Desagradecida” and “Ahora”. He did very few live performances, one of them being “Liceu BCN” (2007), recorded in Barcelona with additional material from the Mexican concerts.
In his next artistic project Héroes del Silencio was resurrected, for a single tour, selling out its ten selected stops in the U.S.A., Latin America and Spain. As a tour testimonial an album and DVD “Tour 2007” (2007) were recorded, the photographic book “Tesoro” (2008) was published featuring photographer Jose Girl and a bonus DVD with the last show of the tour, was included.
With renewed energy, Bunbury returned to his solo career to record “Hellville Deluxe” (2008), a new album that continued to work with North American sonorities, adding border touches and small Latin details that enriched his new band’s sound, which had more rock elements than ever before. In “Santos inocentes”, his new set of musicians, Bunbury replaced the winds with two guitars, raising the electric guitar octane. “Hellville Deluxe” contained the psycho rock sounds of “El Hombre Delgado que no Flaqueará Jamás”, the author’s pop elements in “Hay Muy Poca Gente” and the southern influenced “El Porqué de Tus Silencios”. The album was very well received and got reinforced by a new transatlantic tour with a show designed for larger venues that the audience loved.
Two years later came “Las Consecuencias” (2010), an intimate album that Bunbury had begun recording after his previous work and that critics highlighted out as one of his greatest works. Bunbury had returned to captivate with a hard and rich sound. Naked intention and introspective feelings were being externalized. The main singles were “Frente a Frente” (Jeanette’s version), “De Todo el Mundo” and “Los Habitantes”. The Anglo-Saxon influences that blossomed again, in “Las Consecuencias” were welcomed by the audience in every market. This time Bunbury did a long tour across the U.S.A, without neglecting his Spanish-speaking homelands. The triple vinyl “Gran Rex” (2011), recorded live in Buenos Aires, closed this phase and opened a new one for “Licenciado Cantinas” (2012). This album contained new versions of some of South and Central America’s most popular songs, perhaps as a reaction to all those years, partially away from Latin sounds. He revisited the work of Willie Colon, Hector Lavoe, Louie Ortega and Atahualpa Yupanqui, among others, to create an album that told stories of heartbreak and death, utilizing hot rhythms and combining poetry with groove, as ever before in his career. To complement this work a short movie “Licenciado Cantinas-The Movie” (2012) was filmed, under the direction of filmmaker Alexis Morante and released as part of the “Licenciado Cantinas – Reposado Special Edition Box Set” (2012), adding to the original CD the live recordings of the tour performances and a DVD with audio-visual material.
In 2013, Bunbury reinvents himself with “Palosanto” (2013), an album with aseptic and cold production applied to hot and emotional songs reflecting on the world’s revolutions as well as the self-inner revolution. It is a new journey of cosmic guitar sounds, earthy rhythms and irreproachable songs, including the first single “Despierta” and other soon to be anthems such as “Más Alto Que Nosotros Sólo el Cielo” and “Todo”. A record of his time for an artist of his time.
The album is celebrated with the “Palosanto Tour”, a spectacular, prolific and long tour in which Bunbury and Los Santos Inocentes offered a powerful and critical repertoire with a magical and extraterrestrial aura. The concert in Madrid on June 29, 2014 is recorded on the CD-DVD “Area 51” and it is released on October of the same year. In addition, the book “Bunbury, en Plano Secuencia” (Cúpula, 2015) by Jose Girl is published, the book gathers a beautiful collection of intuitive ‘flashes’ from the same series of concerts.
The joint mini-tour led by the Aragonés Errante and Andrés Calamaro during the months of October and November of 2014 in Mexico is a kind of mitosis of the “Palosanto Tour”. In the final set of the show, both artists interpreted together songs like ‘Sin documentos’, ‘Maldito duende’, ‘Estadio Azteca’ or ‘Aunque no sea conmigo. These songs played together are included in the live album, “Hijos del Pueblo”, released on April 2015.
On November of the same year, Bunbury published his MTV Unplugged: “El Libro de las Mutaciones” The album is an apology for reinvention, the revision of a songbook that is almost a song of deeds, focusing, mainly, in songs from his days with Héroes del Silencio (‘La Sirena Varada’, ‘El camino del exceso’…) and Los Santos Inocentes (‘El boxeador’, Doscientos huesos y un collar de calaveras’ …). The tour “Mutaciones Tour 2016” followed the album. On March 2016, Alexis Morante premiered the documentary “El camino más largo” which reflects the experiences lived during the tour of “Las Consecuencias” in the US, a daredevil challenge that, as we have seen, has produced excellent results. The albums “Archivos Vol. 1: Tributos y BSOs” and “Archivos Vol. 2: Duetos” are also released in 2016.
Now, in 2017, Bunbury releases “Expectativas”, it is perhaps his most ambitious, radical and innovative album. The composer’s 11 songs place us in an atrocious ecosystem: the changes that were glimpsed in “Palosanto” have either been a lie or worse. Bunbury incorporates the saxophonist Santiago del Campo to Los Santos Inocentes. Songs like ‘En bandeja de plata’, Al filo de un cuchillo’ or ‘Bartleby (Mis dominios)’ are exquisite samples of an explosive and magnificent cocktail of rock, cutting-edge and lucid criticism. Another proof that, as he sings in ‘El hombre delgado que no flaqueará jamás’, from “Hellville de Luxe”, the artist continues as “always in an act of service”.