Germán Salto

Some days, Germán Salto (Madrid, 1984) takes to the sky in the co-pilot’s seat of a passenger aircraft. Other days, he steps onstage, guitar in hand. A pilot and a musician, a musician and a pilot. The order doesn’t matter because Germán loves both equally. He also feels immensely proud because for him, piloting for Iberia—the same airline as his father—“is like working for the Real Madrid of aviation.” Not to mention the applause from the audience, critics and musicians when he walks down the airstair. His latest work, Ojo de bife (Calaverita Records), has received resounding applause. A collection of songs full of calm warmth and timeless beauty. A delight for fans of Americana produced by Ricky Falkner, who has collaborated with the likes of Love of Lesbian, Iván Ferreiro, Sidonie, Zahara, Lori Meyers, Quique González, Luz Casal or Mikel Erentxun. Germán proudly enjoys his freedom beyond commercial pressure, largely thanks to the peace of mind of having another occupation. He is a bit of a rare bird within the industry. A privilege he is aware of and will not give up. On tour, he will soon visit Zaragoza (26^th of February), Logroño (27^th of February), Bilbao (28^th of February), Gijón (13^th of March), Seville (9^th of April) and Granada (10^th of April).

Aviation is part of your roots, but what about music? Where does that passion come from?
My father was very musical, and I grew up listening to Simon & Garfunkel, Bob Dylan, Elvis Costello… But nobody sang or played at home. There were also my uncles, my mother’s brothers, who were rock ‘n’ rollers and showed me incredible music as a teenager. At the beginning, in interviews I would say that I owed it to them, but they told me: “Don’t say that because we used to bore all our nephews with our talk of music and now the only one with musical talent is you.” In my first band, one of them played the base. They were key to the beginning of my musical journey.

They say you have 7,000 vinyl records and you declare that you are a melomaniac before a musician. Is this reflected in your music?
Yes, it has a big impact. I always say that what helps me is largely listening to so much music and studying what those who came before me have done. This has helped me to learn what I like and what I don’t. Also, to understand that I am particularly drawn to artists with a lot of emotional baggage, those who have something to say. They have defined the type of artist I am. Regarding my vinyl records, I used to have a spreadsheet where I would write them down, but I got lazy. I stopped counting when I had 7,000, so I guess I’ll have a few more now (laughs).

“I’m in the perfect situation and I welcome whatever musical success may come my way, but I am also passionate about aviation and I’m never going to give it up”

What is it like splitting your time between working as a pilot and your music career?
So that you can get an idea of my love for music: I’m a long-haul first officer, which is taxing on the body, and I have given up on doing the short-haul captain course because I would have fewer days off and less time for music. This way, I can continue writing, rehearsing, doing concerts and recordings… Other pilots don’t understand my decision to give up being a captain for music, but it is my passion.

Germán Salto features Nina de Juan (Morgan) on one of his songs on ‘Ojo de bife.’ © Sara Irazábal

Have you ever felt like you had to choose or do you feel like you couldn’t be one without the other?
I believe I could play each role separately, but my life is fuller with both. I’ve never been in a situation where I’ve had to choose because music is a very tough world. At the beginning, I used to see it as something negative because I thought it was better to do one thing well than two poorly, but over time I have realized that is not the case; you give the best of yourself anyway. This way I can also make the music that I like. I’m in the perfect situation and I welcome whatever musical success may come my way, but I am also passionate about aviation and I’m never going to give it up.

Do you think your travels enrich your music? Do you feel inspired far from home?
Getting to know new places is always stimulating. Even onboard a plane, I get to see beautiful landscapes that help fill my well of inspiration. When I am in Los Ángeles and I wake up at three in the morning, I start reading, writing, writing music… I take an electric guitar and don’t plug it in to not bother the room next door. I also travel with a harmonica because I don’t play very well and want to improve, but then I always forget that I have it with me. Sometimes, at security, they have thought it was a gun magazine (laughs).

“Getting to know new places is always stimulating. Even onboard a plane, I get to see beautiful landscapes that help fill my well of inspiration”

If your last album, Ojo de bife, were a trip, where would your songs take us?
I’d say California. Or that’s what I’d like to think. Because of the type of songs but, above all, because of the type of production and instrumentation. Even though the title is a nod to Buenos Aires, I picture it more as an album that could have been recorded in California.

You have worked with big names in the music industry. In fact, Nina de Juan (Morgan) worked on Ojo de bife. How did you establish those connections?
It sounds arrogant of me to say, but honestly, it usually comes from them liking my music. Also specialized journalists. The general public is something I still have to work on. Specifically, Nina, Paco and Ekain, from Morgan, played in my band when they weren’t as well known. When they became a hit, I had to fire them, even though they were my best friends (laughs). “If you can never come, I’d rather play with other people more often than with you once a year,” I told them. They are the first to wish me well. Nina sings Te oí decir with me. She has such a special voice… You fall in love at first listen.

Germán Salto, as well as being a musician and long-haul pilot at Iberia, is a huge melomaniac. © Sara Irazábal

Do you think combining music with a fixed income gives you a kind of freedom that other musicians don’t have?

1000%. Let me give you an example. Before starting my solo music career, I used to be a guitarist for other bands. I love when the spotlight is shining on someone else and I’m on one side of the stage playing the guitar. It also takes the pressure off. But at that time, I said yes to projects I didn’t love and, not to sound corny, but that hurts your soul. I’d also torture myself for the artist I would play for. I’d go onstage almost apologizing. It was sad and I decided I didn’t want to go through that ever again. There was no need. I love having the freedom to do whatever I like and being happy about it.

Music critics have always given you generous praise. How does it feel to be considered so talented?
First, I feel gratitude and joy. Then, I almost feel embarrassed and think: “Don’t paint me in such a good light because then people will say: this guy has good publicity, right?” (laughs). There was a journalist on Onda Cero radio station who said that he liked my record more than Neil Young’s last five albums. You come to believe it and when you release something that goes unnoticed you miss it… You become addicted. In the end, we are all human and we like people to enjoy the things we put so much effort into.

Speaking of talent, what does that word mean to you?
For me, talent is not something you have or don’t have, I think it’s something much more fluid. Something funny happens: talented people play it down and attribute it to hard work and discipline. For example, Beethoven said that talent is only 2%, what really matters is the work you put in. I put on an Elliott Smith album and always think that no matter how much time I dedicate to music, I’m never going to be at his level. I’d say that talent resides in the difference between good and exceptional.