Who is Tomi Lebrero, the post Cromañon musician who edited 26 albums in 20 years and filmed a documentary going horse from Dolores to Salta

Tomi Lebrero And the mysterious pot turns twenty and celebrates it this Friday with a presentation at the ND/Theater. In a world where popular music is usually folded to the immediacy of the algorithm or recycled nostalgia, Tomi Lebrero emerges as a singular figure: A song craftsman that seems to inhabit its own timea crossroads between the telluric and the performatic, between the Creole root and the urban electricity.

The original name of the band left a still life that Enrique González Tuñón immortalized in his book Beds from a weight, Posted in the years’ 30.

Lebrero and Tuñon, according to Martín Graziano in his book Songers of the Río de la Plata. After rock: a popular music for the 21st centurya similar search between tradition and avant -garde. Graziano overturned in his book what he detected as an emerging phenomenon from 2000, of which Lebrero was part: A new generation of artists that, without completely abandoning the legacy of rock, other local traditions traveled to create a more intimate musical expression and, above all, diverse. A generation that decided not to embrace the rock dogma of authenticity.

“2005 was very strong because we realized that there were in the city ‘others’ grooveing ​​similar corners, in addition to Jano Seitún with whom we were always very friends. So we met Pablo Dacal and Pablo Grinjot and formed a luck of acoustic song front son of the rock culture, but with other influences to his belt, such as tango, folklore, classical music, Jazz, Jazz recalls.

They were then identified under the name “Songers of the Río de la Plata”, a kind of shared identity enriched in the differences, a look that the documentary Puddle. Songs of the Río de la Plata (2018), also showed through a group consisting of more than 70 artists, where diverse styles live in song format.

Lebrero discovered his twenty years that his song was the song while listening to a Buarque boy album. “The conjunction of music, lyrics and performance, that simple and mysterious format” – as defined to the song – led him to leave music studies in the faculty, turned to the bandoneon fully and began to investigate in a self -taught and more systematic way the song.

It must be said that Cromañón’s tragedy had to do with this group of artists turning to more contained expressions as the song format with acoustic instruments, in the middle of a kind of Collective duel with little tolerance to stridency. On the other hand, the public had also undergone a change in habits with a circuit underground transformed into a desert.

The twenty years of the mysterious pot brings these and other broader reflections of what happened to popular music towards the new millennium after rock in Buenos Aires. “Our moment passed and rather we remain as a ‘lost generation’, between the glories of national rock and the new so -called ‘urban music’,” says Tomi.

In these twenty years, Lebrero, black sheep of a wealthy family in San Isidro, He has been edited 26 albums with his acoustic assembly with guitars, violin, double bass, percussion and bandoneonthree of them published abroad: two in Japan: Nueva can put them on (2010) y Live in Tokyo (2014), both next to the violinist Alex Musatov; Pantopia (2022) was published in Germany – a selection of songs and Argentine artists linked to folklore – that offers a sound and visual portrait of Argentina.

From your debut album Tomi Lebrero and his mysterious pot (2005) until the most recent recording with the pianist and guitarist Tomi Mutio (he will leave this year as Tomi & Tomi), His searches remained eclectic and tireless. No album looks like the other.

In 2019, obsessed with freeing himself from all the material he had accumulated, he took out a series of records, under the title Sweetwith 218 songs. One left per month, from September to July, in August Tomi took three months for the birth of his daughter Nica, and in November the last album of the series came out.

“It was another bad step in my career,” he admits, “because it meant a lot of work and how we know, No one has attention to digest so much music”. At the height of that epic another project was proposed: Go horseback to Salta from the field of your family in Dolores. The Odyssey was recorded in It will not arrive (sic), a “horse movie”, in documentary format directed by Cristián Costantini y According to Bercetche.

Touring Lebrero’s discography is to tour an artistic life made of impulses, risks and freedom. From that debut that even today sounds worthy and sincere, to the huge project of the “twelve”, there is a vital pulse that combines creative urgency with a very personal poetic.

There are records more beloved by the public (Tomi things, 2008), others that were challenging (I regret everything, 2010), sense tributes (Vilca, 2023), experimental moments and even unplanned soundtracks such as the film Norma (2023).

Together, this work not only documes a musical tour, but also vital: the birth of a daughter, friendships, aesthetic searches, the constant desire to say something with songs, even when they are just “Sound Poetic events.”

20 years of Tomi Lebrero and the mysterious pot

Tomi Lebrero, bandoneon guitar voice; Alex Musatov (violin), Lucila Pivetta (bass), Nico Echeverría (drums) and Tomi Mutio (guitar) and guest musicians Date: May 2 at 21 Place: nd/statro (Paraguay 918, cabous)