Sal de mi cabeza is the song that has made her known to a massive public that is hungry for urban music in general (and songs produced by Alizzz, specifically). However, it’s difficult for this artist to get out of anyone’s head, because she’s building in front of our eyes unique imagery and a personality that could make her the next great millennial diva.
Sal de mi cabeza was the song that introduced Paula Cendejas into most people’s radar. In a moment in which Alizzz is beginning to become ubiquitous and his signature (that ay-ay that repeats itself at the beginning of his songs) is almost omnipresent, his production for Cendejas shines above many others. And, in the end, we’ll have to infer that this is thanks to both Alizzz and Paula. Together, they’re the dream team.
And Cendejas has been doing this for a while now: although Sal de mi cabeza put her in most people’s maps, the artist had long been making a name for herself in the industry, becoming one of the staples from the YouTube generation. The generation that has been skyrocketing through covers on streaming platforms and that has been taking the plunge towards big record labels, that are obsessed, as always, in capturing the next big obsession of these newer generations.
Admittedly, Paula Candejas is likely going to become that next big obsession: she has the songs (we have to add to Sal de mi cabeza her very recent hit with Alizzz: Ya te avisé), she has style, she has her own personality… And she has the perfect artistic profile to explode inside the urban music container, which might not exist as a certain style per se, but that is helping the industry to monetise a generation that was once thought to be lost in this respect. No, we can’t get Paula out of our head. And that’s why we had to interview her.
At first, you became known through several covers of songs that were doing really well on YouTube… What do these covers have that has become one of the greatest musical pleasures of your generation?
For me, these covers are like discovering a new song: it’s the same song, but each artist interprets it in a different way, they make it their own. There are even changes to the lyrics. That’s what makes them unique, and that’s what hooks people of my generation so much.
Are these covers an effective way for people to start to get to know you in a music world that is becoming more and more hyper populated by new artists that are trying to make a name for themselves?
In my case, that’s what happened. The world of covers has made my Instagram community and my fans grow in numbers, until what it is today. But I’m not that sure that it will work for everyone.
Is there a cover you haven’t done yet that you’re enthusiastically saving up for a later time?
There are so many! I would cover songs every day. But, if I had to say one, I’d say Waiting by Mac Ayres. It’s an alternative R&B track that I love.
You’ve formed a really interesting creative duo with Alizzz, who at the same time is one of the most important names to understand the new urban music in our country, what does he provide you that nobody else can?
We provide each other with many things. He provides me with a lot of knowledge, from musical production to industry insights. We’ve been working together for more than a year and a half, and you always learn something new.
By the way, the urban music label… Do you hate it, or, in contrast, do you find it to sort of make sense?
I don’t really care. My intention is to “sound like the future” in each track that I release and, for me, the perfect label and what I consider that I do is New Pop. But I listen to different genres, from urban, Latin or pop…
Then, if we’re trying not to use the corset (or rather the free reign) of urban music, which would you say are the musical co-ordinates that you’re interested in exploring in your immediate career?
Right now I’m exploring in each song I make. I have it very clear in my mind how I want to sound like, and that is Paula. I have so many influences, but they’re always related to me, right now I’m very interested in latin music and a more of an alternative R&B.
Sal de mi cabeza was a turning point in your career. How have these past few months been, since the single was released?
They’ve been good and I’ve worked a lot. I’m very happy because people can listen to the song that for the moment is most special to me (including all of the songs that I have in store). I feel like that one’s the most like me.
You published it with Whoa Music, Alizzz’s label, but together with Warner. Does this mean more pressure? Do you feel that you’re conditioned in any way?
I don’t feel conditioned. Both Whoa and Warner have given me a lot of freedom for me to choose my creative path, they’re advising me but I have the last word.
In the future, will there be a first album or are albums not in fashion anymore and maybe it’s better to release single after single?
For now, there will only be singles. Because we’re considering on the option of the album for the next year. I’m in no rush, but it would be a great way of ending a year of hard work.
Ya te avisé’s video is also quite exuberant, visually-speaking. Are videos an essential way to define your own creative imagery?
For me, they absolutely are. I believe that the public understands you better if you follow a single with a music video.
In that video, by the way, you don clothes by Manémané and Biis. And, in general, your fashion sense is quite interesting. Are aesthetics a vital part of Paula Cendejas?
They also are. My interest in fashion has always been a part of me: I’m obsessed with the big designers, but we have too much talent in Spain to not give them the visibility that it deserves! I’m proud as an artist to be able to wear designers from my country.
What is your favourite garment that you could fill your closets with?
I think they’re pantsuits. I’d have them in all colours, they can always help you in a time of need.