You have a rich career and background, and I bet you know what works lyrically and what makes a good song. How do you know when you’re making progress or creating something unique?

For me, it’s more about the connection I feel with the process. It’s that moment when you’re digging into something, whether alone, with your team, or in a social setting, and you sense whether something is happening or not. When you’re creating, like a song or any piece of work, and translating what your deep instincts are telling you, that’s when something ignites—and you can notice it or not. It’s pretty easy to tell when you’re on the right track—whether you can keep working or developing the idea until you find something new or special. But you never really know. You start with some intuition, and sometimes it leads nowhere or results in something disappointing. Now, I’m more aware of removing all the expectations for success or rhythm.

Following up on what you said about removing expectations, how do you know when a song is done and that you have reached the limit of where it’s supposed to be?

At the beginning, it’s hard to know. In my new album, I have a few examples of when I knew it was done and how some songs are so generous. It’s as if every thought or idea you have, strangely, fits. But most of the time, it is trial and error, and then something starts happening. And sometimes after certain attempts, too, you say, “Okay, let’s switch. Let’s move on. Let’s destroy this and let’s start with a new one.”

But it has to be a game. It’s about playing more than [the] game [itself]. You’re playing with these ingredients to create something, and you don’t know what you’re going to cook. You reach a point where you say, “Oh, that’s it. That’s what I’m cooking.” Or “I know what the flavor is.” So, chasing that, sometimes you’re not creating as much as you’re discovering. Just, “Oh, I have this stone, so now I have to dig what is inside and sculpt it because it’s there.” There are different ways to find a piece.

And what about the opposite? When do you know how to stop pursuing an idea? Can you let go of something that you have invested time and energy in, or do you keep trying?

I believe you need some talent or practice to know when to leave things. Whether something turns out interesting or not. Because sometimes, when you feel, “Oh, I made that. It’s incredible,” it can be dangerous. You might think, “Okay, I can add everything—chocolate, vanilla, salt.” But passing that point can ruin the piece. At the same time, when you’re aiming for something and don’t get it, it’s usually clear that it’s not going to happen.

That’s why, in my experience—initially with the band, bringing in ideas or songs at the start of an album or during the creative process with the team—you often don’t know how your ideas will be received. Sometimes, I have expectations for certain songs and think, “Oh, those are the ones I like.” But very often, the team prefers something else I didn’t expect. I think, “If you like that, then it’s good.” Having an outside perspective is valuable in the creative process, and that’s mainly what producers provide.

For this album, I needed a big-picture view. I was creating something, but wasn’t sure if the songs were worth it or if I should bring them to the band. The songs were already produced because the composition led me to add elements—music and production—but I realized, “No, this is overproduced for the band.” The band usually starts with a rough idea or arrangement, but most of the arrangements were already well-developed. I knew it wasn’t for the band, so I asked Gustavo Santaolalla to listen. He shared his perspective and clarified what I couldn’t see, which was very helpful.

Then, you hand over those decisions to others—that’s when you learn to let go. If you have someone else’s point of view or a team that can tell you, “Okay, stop it now,” or help you decide whether to keep going, that’s important. At a certain point, you need help. From my experience creating music or videos, having a team is essential.

In your new album, you are singing in all of the songs. What is your relationship with your voice and with singing?

I can recognize and honor the way I’ve been. I was about to say I was unconsciously preparing myself for this, but it was probably something conscious, or maybe my subconscious deeply said, “Oh, someday you’re going to need me.” So, let’s start with that. I’ve been taking singing classes with the same teacher for 20 years. My singing teacher, Erika, is incredible. She has guided me to something that, now I realize, has supported my vocal growth over the years and has supported this project. It’s the songs and the vocals. And I don’t know—it’s like the chicken and the egg: which came first? But it’s closely related because the way I perform from the beginning, from the construction and creation of the songs, carries an energy I didn’t understand until one of the collaborators said, “Oh, this is important.”

Even though I feel more confident with my voice, I don’t yet have the same experience that singers build over the years. I lack the muscle memory of the instrument. Now I’m starting to learn and discover I have other practices—stage presence, keyboard, dancing, whatever—that help me control the machines and see the show from a specific perspective, knowing what to do and how to push to enhance the show and the energy. But now, working on the album and carrying it forward, it’s something I’ve been experiencing, and I really like it. I didn’t expect it, but now I realize I’ll have to do it again in life and think of myself as a singer. And that’s still processing in my brain, or maybe my consciousness is asking, “Why are you questioning that?” I don’t know. I just feel that I’ve been doing one thing for more than three decades, and now I have to suddenly switch gears and trust that I am really a singer.

Also, you are going to be a full-time frontman for the first time.

Yeah. Your senses have to be ready for that.

In what ways?

The most important, to the audience because it’s all about them. We can play or perform in a rehearsal, but what makes the show happen is the audience, and the way you relate to them is the way the show is going to become something or not. And I’ve been going to the best university to learn how to be a frontman, which is to see Rubén every night performing when we play in front of an audience. He’s the master of that. And he has built something. He has it. From day one, he has had it, for sure; he built something incredible. And the rest of the band knew that, and we just worked to take care of that. All the shows, we just put the land so he can do what he knows or wants to do every night.

But watching him doesn’t make me a frontman. So now I am practicing, and I have to create something that I don’t know how to do. In the past few shows we’ve had, I said, “Just be yourself.” I don’t know how to speak to the audience. Well, I don’t have to, but I can try. If I make a mistake, well, it’s a mistake. It’s a happy problem. As long as you enjoy the moment, stay present and trust in the music, perform, have fun, and enjoy witnessing an exciting audience, then that is a connection.

Each one of you in Café Tacvba brings a unique creative energy and talent. Can you describe the moment when that creativity aligns when you are working together?

It’s interesting because it happens in the studio, when we are rehearsing, or when we’re working on a song or on an album. There are certain moments when the band knows, “That’s it.” It’s like another entity, right there. We are four people, and then there is the band. So we’re a community that is pretty connected. But we can have very dispersed points of view and contrasting ideas. And that’s natural, but that’s one of the elements of creation, chaos, and friction. But being able to work inside the chaos is fundamental, which is very chaotic.

And then suddenly something happens, a chunk, a spark, and “Oh, that’s really nice.” Or “I don’t know what happened, and I don’t know what it’s sounding like,” and that’s another hint that something is good. Is when it doesn’t sound like what we were expecting, and we don’t understand it, but it’s really exciting. So when we know, “Oh, it sounds like something”, or it seems pretty close to something that we either like or that another member is like, yes, but why don’t we just move to another direction? Or when someone is having doubts, as a team, we can say, “No, no, no, no, no, it’s incredible. Just leave it. “

You have worked with Gustavo Santaolalla on multiple projects. What makes this collaboration so unique?

Well, he’s very talented and has been honing his skills. He has an instinct and trusts it so deeply that it helps you recognize when you’re in a good moment. At the same time, he can zoom in and focus on the small details, then zoom out to see what’s happening with the song, the project, the band, the energy, the health of each person, the future of the career, the past, the relationships, and the industry. Then he can return to the note. “No, this is the chord.” That’s pretty special, especially in a relationship that’s now more than friendship—more than brotherhood.

We have developed a language and respect for each other that’s very important when working on something. How he approaches the work and views his role matters a lot. He often says, “The most important thing is the project, not you. Or in this case, not even you as a solo artist. What does my opinion have to do with the project you’re part of? I see you’re building a career, so it’s important, but if you don’t agree with me, it’s okay. That’s your problem.” He’s willing to push boundaries, sometimes to the point where you’re uncomfortable, but he’s just pursuing what he believes is right for the song, for the idea. That determination is crucial when you’re in the middle of chaos, which is pretty normal when creating something without a clear point of view. It helps you grow.

You just mentioned that there are moments in the creative process when you don’t feel comfortable. How do you know when to push through that or when it is better to switch directions?

Well, you never really know. You have to test what discomforts are so intense that you cannot stay or stand by them. Being able to try and being more flexible is part of the challenge—like a dog’s tail wagging and saying, “Okay, that’s enough. That’s enough. Oh, I’m going to break. I’m going to break.” Probably your team or the producer says, “Okay, that’s enough. Good that you moved a little.” Or you say, “Let’s try this.” And they reply, “No.” Then you suggest again, “Let’s try, let’s try.” Until finally, you say, “That’s enough.” Sometimes, you don’t see the boundary or limit, and that’s what mainly happens in creative teams. Someone pushes too hard and breaks something, then says, “That’s it. No more.” Usually, several times until they declare, “That’s it. I can’t keep this conversation or relation anymore.” Truly, in a band or during a creative process, this happens a few times. But when you think, “Oh, maybe he went too far,” you have to speak up or prepare to be clearer next time. Honest conversation always helps. It’s healthy to talk openly. But again, sometimes you just need to test it. The incredible part is that you have the chance to test various uncomfortable situations. It’s more common to face discomfort than to stay in your comfort zone, which everyone says to avoid. For some, it’s okay to remain there, but I’ve been discovering that at first, it might be uncomfortable, yet eventually you become comfortable because it becomes part of you on a deep level.

You are part of Café Tacvba, of course, one of the most important bands in Latin America. Is that liberating in the sense that you have nothing else to prove and you can have complete creative freedom, or is it more like it comes with some limitations?

I am discovering it right now, but I am pretty open to everything. I have my principles, and there are certain things that I probably cannot do, but I believe the band showed me that freedom. It’s some of the values that you’ve got to keep throughout the creative process of your career. That’s what the band has been practicing and proving, that every time it’s a success. It’s a success in the way that if you try to reinvent yourself as many times as you like, but there are certain things that you can create in a different way, that maybe can allow you to become something different.

What does success look like in this particular moment of your career?

Exactly this. I mean, I’m in New York talking about the new solo project during a very interesting conversation. Of course, I want the new music to reach as many people as possible, but you never know. Also, I realize that in this digital era, there are so many options competing for attention. But I am a veteran, I have been doing this for over three decades, and I’m here, enjoying it. I hope this new album will help me keep performing and give me the opportunity to continue doing what I love. I’m exploring, and I hope it will open new doors, so I can feel uncomfortable and probably discover something new at the same time. Returning to the band and other projects that bring me joy.

You have been with your band for over 35 years, have travelled the world and set foot on so many stages, collaborated with so many talented people, one of your albums is ranked as number 1 in a list of the 50 best Latin American Rock Albums, and you just called yourself a veteran! What would you say to the 20-year-old Meme?

Enjoy everything. Enjoy everything. I did it, but when you’re young, you don’t have the perspective on what is happening in the present moment. When you’re 20 years old, you’re not close to the end of your life. You don’t know when it’s going to end. But what I’m sure now, if I am lucky, is that I’m closer to the end than when I was 20. So being right here right now, it’s a success of living anyway, but sometimes you’re so conscious about the gift you have and the opportunity and how fortunate you are. I always know, and I know I’m conscious right now, and I have always been, but I probably miss a little bit of joy in a certain way. I like to say, “Okay, that’s a happy problem.” So just relax.

This content originally appeared on The Creative Independent and was authored by Miriam Garcia.

This post was originally published on Radio Free.