“Making music was a therapeutic process”

He was born in Barreiro 37 years ago under the name Joel Plácido, but it is Jimmy P that the public knows. In his final imprisonment, he wrote a number of songs that would incorporate a new EP and should be released in June. Right now you can hear “Heartbreak” the new single.

This single was released on May 6th and has more than 196,000 views and promises a different sound than what we’re used to. The six-themed EP will also include Syro, an aspiring artist who wanted to incorporate this work.

Jimmy P, the son of Jorge Plácido, a football player who moved to clubs like FC Porto or Sporting in the late 1980s, was known for precisely this detail, but over the years it has captured his place. In 2020 he celebrated his ten-year career with a concert at the Coliseu do Porto in March and went through the Festival da Canção with “Abensonhado”. All of this before the pandemic turned its rounds and 40 canceled concerts were canceled.

He has currently lived in Porto for several years and has been sharing his music with the world ever since, always defending his roots, even if it means extra efforts. Speaking to NiT, he explained how the last year has gone, what we can expect from this new work and also revealed some plans for the future.

What’s the story behind this topic?
This has a lot to do with the stage of delivery and everything we’ve been through. I got through the first delivery relatively well because it came from a phase when I was full of work and full of things – I released the album, had the Song Festival and then did the Coliseu. All of these things got my career moving. Since it came out of that phase, I continued to make music, produce, and produce content while in first detention. It turned out that the restriction was easier to deal with. Then that expectation was created that we would suspect, and then we started limiting ourselves again. The entire EP, not just the single “Heartbreak” but the entire EP, reflects a bit of that state of mind that she experienced during the delivery. The aesthetic is less fictional, a little lower, more emotional, more instructive, more sensitive and more vulnerable. The “heartbreak” in the heart is a story of regeneration because I think we all had to reinvent ourselves and be reborn in a certain way, taking into account what we experienced during delivery. So this theme reflects that state of mind.

How do you connect with others on the EP?
The entire EP has to be seen as a capsule in my career, because in the end the themes are musically and aesthetically different from those in my albums. The music is much more naked and there is much more diffusion of the voice and in some cases even just the voice and guitar for example. The “Heartbreak”, despite being a digital song, is pretty bare-bones, just boredom and drums to back up the voice, doesn’t have a lot more elements for that very reason. The EP follows this aesthetic a lot, even though everything is digital, it is much more naked just to pass on this more emotional and sensitive part.

What can the public expect differently in terms of sonority than before?
I think what makes me stand out, or what has shaped it in those years of my career, is that people who hear from me are waiting for it to transmit good energy, lift us up and generally make us feel good. My subjects that are generally known are not bass songs and this is the opposite of what is happening here. In any case, the songs are more of a low-fi, a lot lower, and I think the EP ends up being a bit demystified that has to do with the cultural environment we come from, namely hip hop, urban music and rap. in which there is often a very masculine attitude – not to mention macho – that we sometimes have and that people find it difficult to accept or accept that they are also vulnerable, that they are sensitive and have feelings. Sometimes they find it difficult to accept these emotions and then translate them musically. Here’s what I’ve done, a little without a filter and without worrying too much about the image this might give, or the reaction this can provoke in people.

Is this also a reflection of the pandemic and the times we live in?
Yes, definitely. I think it translates very well musically in the moment in which we live, and especially in our state of mind. I think everyone has experienced this and not everyone has managed to get through quarantine and detention in a good mood and in a positive mood. Suddenly our expectations were betrayed and we had to adapt to a whole new reality and a new life. It is evident that this leads to imbalances and emotional instability.

How was it for you last year on an emotional and professional level?
Despite everything, I produced a lot of music during this time because I was much more closed. Making music was a therapeutic process. During the first delivery, I came from a very good phase of my career when beautiful things happened. I was doing a project called “Mercury” with Carolina Deslandes that reflected that state of mind. Everything is much happier and in a good mood. In this second project, as there was an expectation that things would return to normal and we would be locked up and locked up again, I produced music again, a lot of music, but with a slightly different energy and mood than in the first quarantine.

Last year he had a ten year career. Did you have any celebrations planned that have changed due to the situation we are going through?
After that event [o concerto no Coliseu do Porto]Everything indicated that this would be the best year of our lives and careers for me and my team. I remember that after the Colosseum concert we had planned almost 40 concerts and that is a lot. The arrival in March and the setting of 40 dates already guarantee a large part of the income for this and the following year. So we were all confident that the scenario was ahead of us. Until they removed the carpet from us and we knew we wouldn’t get any of it. Many good things were approaching that ultimately didn’t happen.

How many of these 40 concerts took place?
None. [risos] The truth is, no one happened. It looks amazing, but it didn’t happen at all. Others happened, I did a lot of livestreams and ended up giving other concerts in the context of the pandemic, the restrictions and all the rules by which we were allowed to do shows, but it wasn’t at all what we expected. It’s a bit strange, especially when we are used to giving concerts to a lot of people, in which there is always a lot of energy, and suddenly act in rooms with a reduced capacity, where people are sitting and we can’t see their faces. Mainly because our music, which is digital, lives from the rhythms and how the public reacts to what we do on stage. In these circumstances everything is different. But I think it was enriching as I ended up doing different things. I’ve done a lot of acoustic concerts, which I haven’t done often in my career, and I even realized that it’s a format that I enjoy doing. It’s more intimate, there’s a closer relationship with people, and it’s almost like a storytelling exercise, we’re closer, and it’s almost like a conversation with people.

What has changed in the ten years of your career?
I am an artist who ended up living two realities. I appeared at a time when records were still selling and at the time when some musicians like me were also going digital – from YouTube and the platforms. That’s why I know the two realities of selling records and living off the sale that takes place on a digital level. Basically, it was a process of adapting and realizing that the industry paradigm has completely changed. It’s completely different than when I started making music ten or 15 years ago. But I think I managed to adapt to these and last times because not many artists of my generation have survived this change. It is also an exercise in learning and resilience. I think music is just that, a dynamic process. We don’t know everything, we always and especially learn with new artists, with living together and sharing the studio and moments with other artists. I think it was mostly a learning curve because things are always changing.

What is different if you want to make music your job and live in Porto?
First of all, I think the attitude is to try to decentralize everything that happens in Lisbon. There are many questions that everything that happens happens in Lisbon. As a musician from here, the exercise is as follows: You try to draw the attention of the people here, knowing that beautiful things are happening here too, which are valid and can attract people’s attention. My decision to just do the Coliseu do Porto is exactly that. When I was promoting the Coliseu, I was asked why I wouldn’t do the Coliseu de Lisboa. To which I replied: “For the same reason that there are artists who only produce the Coliseu de Lisboa and not the Coliseu do Porto”. Basically, people who wanted to see this ten-year festival concert would have to come to Porto to visit me, because this is my city – and that’s exactly what happened. We had people from the Algarve, from the Alentejo, from Lisbon, just like these people sometimes go to Lisbon to see concerts. I think it is also a feeling of pride that we can reiterate that we are from here and try to draw people’s attention to the fact that very good things are happening in this city too and there are very good musicians . Maybe it takes twice or three times the effort because more things are actually happening down there.

Are you still seen as the son of Jorge Plácido?
I don’t think so – or I hope not. At the beginning of my career there was always that connection with my dad and my football, but I think I’ve also reached a point where I’ve built a space that is mine and I’m also an artist that is enough and relevant Has done enough for people to say this is Jimmy P and not the soccer player’s son.

But football should be your career too, right?
Yes, football is a sport that is always present in my life because I love football. I follow, I see and I come from a family of ex high competition athletes and it is normal for these conversations about football to keep happening in my house. So it’s something more important than music in my life, no, it’s very far from that.

What else did you like to do in music?
There are always things to do. The challenge of doing great and iconic things is always to understand what we’re going to do next. I think from now on I would really like to go backstage a lot. Give the platform I have already created access to artists who I think are talented and who are emerging and who I believe can do beautiful things in Portuguese music. Give them this support, the tools to start themselves with and the chance to shine at the same levels that I went through. I don’t know how long I would like to make a room even bigger than the Coliseu and full here in Porto, according to the image of my ten-year career. From now on this is the challenge.

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