Ernesto González

Ernesto González

Photo: Courtesy of HLN

Harold López-Nussa told you

Nine years ago, on a night in December drinking a cup of coffee made by Maria Fernanda, we talked at length about his career and his album Canciones, which I fell in love with and was the door to a friendship―admiration that only increases in the face of the virtue and risk of Harold López-Nussa in each new installment of his career. His most recent album Te lo dije took me back to Canciones, to that very Cuban way that Harold has of telling us about music from simplicity—not simpleness—, the humility of breaking molds and the clarity of understanding that music doesn’t know of lots. “With Te lo dije, I try to make fun of myself and play with that belief that Cubans have that we know everything and that we are number one in everything. It is a game with our Cubanness and that innocent arrogance that I like so much,” he tells me in a conversation through social networks, since nothing and no one can escape COVID-19 and its impacts. And, of course, music and its industry are no exception. An album that was released at the least expected moment, in a context marked by a pandemic...


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