“Would you like a really cool beer? We have a fridge full of them.” It is the 9th of July and David Muñoz, midfielder Estopa, receives a team of three journalists in the changing rooms of FC Barcelona at the Olympic Stadium. His brother José will arrive a little late. He is recording an interview for the documentary Tow. A silly and hot afternoon (produced by Sony Music Vision for Movistar Plus+, available on the platform from Friday 18 October). There are 24 hours left until this historic concert takes place at the Olympic. Quite a milestone, because it is the first Spanish band to fill this stage to the brim with 60,000 people who will return home, on the morning of July 11, completely out of tune after leaving their vocal cords screaming about how to eat – at night I hide in chub, gram by gramknowing why your eyes have no owner because they are not of this world.
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“Well, it’s clear that all of this is beyond us, as any normal, ordinary guy would overcome”, explains David about the expectation before this historic live show. The Olympic one is another stadium concert in this tour, but “the most important of all” in a tour that ended last Friday at Sant Jordi. They don’t live it like before. Now there are children, families and a desire to play, but also to live quietly. “Except for the concerts in Latin America, where we did seven concerts in thirteen days, here we travel on Saturday, the same day we play. We arrive with the sound test and on Sunday we return home. I spend the day sleeping and on Monday I’m back to being the person who goes to do the weekly shopping and goes out to throw out the rubbish. If we can’t reconcile, what kind of life is this?”.
It’s been 25 years since they revolutionized everything with The modelthat nameless debut that would end up being called what it was, and that first went on to be almost smuggled in by pirates with a photocopied cover and that would then jump from Baix Llobregat to twinned neighborhoods all over Spain. Estopa celebrates half a century without becoming intellectual, without nostalgia and without the need to recreate its legacy. “Do you think we’ve opened doors?”, David asks in amazement when asked what influence Estopa may have had on other artists of the Baixllusuch as Rosalía or Alizzz. “It would make me very happy to know that we have served for people to shake off the complexes of charlatanism or not being so rich. I don’t know if we have opened doors, I imagine that maybe yes, but I don’t know to what extent”, he reflects, to finish with laughter and with a provocative joke that “Barcelona is now the periphery of Cornellà”.
In the documentary they argue that being a “people group” is the best insult they have received. “We are exactly that, a group from the people. We are the smell of churros, the smell of an orchestra, of Christmas Eve”. For Jorge Ortiz de Landázuri, manager of non-fiction Originals of Movistar Plus, the documentary reflects “the rock rumba of the group that best connects generations and classes”. For Sergi Reitg, vice president of Sony Music Vision and Sony Music Latin-Iberia, the film “celebrates the career of extraordinary artists”. They continue not to feel that they are. Neither extraordinary nor people from the neighborhood who like everyone because they are full of simplicity and friendliness. “We are not such good people! We have a dark side too, huh! Some producers and big fish have tried it. But we can’t pretend. We don’t like to act, we like to flow”, says David. And José, who joins the interview, laughs when asked how he values the fact that there are now so many artists performing the neighborhood and poverty without being any of that. “There are a lot of fictitious ones, aren’t there? Now even the people of Pedralbes dress in canis. From the canis and they are not. Just like there are some who are singers and it turns out they’re not.”
