KULTURA / CULTURE
influenced the music you’re now producing? “It’s pretty tough to reach an au- dience that isn’t from the area where our language is spoken. That’s why we’re particularly appreciative when people take an effort to understand and research what I’m singing about and what we do. And we’re aware that few people have time for that kind of research today. I’ve even been contacted by a few people who became interested in the Ser- bian language and started learning it through our songs. To me, that feels like receiving some important award. But popularity, whether in- ternational or domestic, doesn’t in- fluence the way we make music.” Your songs always include strong messages and are socially engaged. Do you consciously take a risk with such an approach, without pandering to the audience? “I’m more inclined to say that it’s a matter of choice, and not a risk. Risk might also imply fear of losing the audience, and I can’t say I fear that, though it feels good that our work gets so much attention and that we can earn money from that work of ours. Already back when I had a much smaller fan base, I re- alised that this way of working – where I do what interests me and
riod of high school and my stud- ies, I would often go to Fest and Bitef. I also grew up in New Bel- grade, and the Sava Centre is one of the symbols of New Belgrade, which is important not only because of its contents, but also because of its outstanding architectural values, which we’ve managed to preserve.” What are you preparing for Belgrade show, some new song perhaps? Will you perform Zemlja Gruva songs; can we expect some interesting guests? “At the Belgrade concert we will perform things that we don’t usually have an opportunity to perform. As such, we will have guest instrumen- talists, the premiere performanc- es of four songs, while we’ll also have some other surprise guests... We generally also perform as Kon- strakta and Zemlja Gruva, so the band’s songs are implied in our performances, and the audience is particularly attached to some of those songs. All in all, we are pay- ing special attention to this con- cert because it’s also a special oc- casion for us.” You’ve experienced great challenges and advances in your career over the past two years. How much has international popularity
what I like – is the only way that makes sense for me. So, I write about what interests me, and the audience will come to the extent that they recognise themselves in that music, and to the extent that I have media support.” Risk has actually paid off for you already – you once said yourself that you didn’t expect wedding guests to sing “Enlarged spleen is not good, it’s not pretty”. Could we conclude that no one knows what song could become the next hit? “That seems close to the truth to me; that there’s no recipe for a hit for those who haven’t gained pop- ularity yet. Those who are already popular have a platform that works for them and allows them to easily reach an audience.” Do you still see yourself re- maining primarily in mu- sic; do you have a desire for new artistic challenges, or perhaps slight nostalgia for architecture? “I use music as the medium that supports what I write, and the text of a pop song as the format that’s just right for me - in the sense that it’s open enough for lyrical expres- sion and everything that can bring – emotions and wisdom, and humour, and fantasy etc. I also like the fact that the format is short enough that it won’t stand for superfluous ex- planations. More is achieved with fewer words. So, my answer is yes, I see myself remaining in music. There are more things that I want to do. And architecture has remained in some parallel universe.” Do you like planes; how do you spend your time on flights and how are your impressions of Air Serbia? “I love aeroplanes because my mum was a flight attendant, so I’m particularly attached to that line of work. Unfortunately, until Eurovi- sion 2022, I hadn’t travelled by plane often, but then I’m a frequent flyer nowadays, and I mostly travel with Air Serbia.”
68 | Muzika » Music
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