Ever Arturo: Heartfelt Latino Romantic Pop with a Twist

A few weeks back, I had the fantastic opportunity to meet with Ever Arturo, a gifted musician and singer-songwriter, in the comfort of his home studio in Dallas. Our conversation was a delightful blend of laughter and profound introspection, a testament to the transformative power of music. It was a true honor to spend an afternoon immersed in his music and dreams, and I’m thrilled to share the most memorable moments of our encounter with you.

Ever Arturo, a musician and singer-songwriter, hails from the picturesque town of Cedral, and Nuevo León, in northern Mexico. His musical odyssey, intricately woven with his family’s passion for music, took a significant turn when he decided to venture into the United States. This pivotal move would shape his career in ways he could never have imagined.

JS: Give us a timeline of your music journey.

EA: Music has always been a part of my family’s life. My dad was a member of a band and also taught music to everyone in our town. He introduced me to music at a young age, starting with the keys when I was just six. However, it was when I turned 11 that he began giving me more focused, non-professional lessons. From 11 to 18, I remember spending every day playing the keyboard. Then, I transitioned to drums. My passion for music was undeniable.

JS: When was the first time you played on stage? Did you?

EA: Yes, and it’s quite a memorable tale. I was a thirteen-year-old, typical Friday afternoon. After school, my dad surprised me with the news, ‘Hey, get your shoes. We’re going on a long drive. We have a show at the Guanajuato fair and will perform on the main stage.’ I was taken aback because I didn’t know any of the songs. He handed me a small keyboard with batteries, and I had to learn a dozen songs on the way there.

JS: That must have been a moment of panic and stress.

EA: I had earbuds and a Walkman (remember those?) with the music they would play. I was in the car playing and playing, learning the melodies, and trying to learn fast! However, it was such a good experience. We arrived late, just when the band had been presented on stage and started to play. There may have been around five thousand people clapping and taking pictures. When I saw that, I started shaking, and my dad set up the keyboard and the patches and chains for the setlist. I had written everything on a little piece of paper and had no time to feel my nervousness in the frenzy of those moments. That said, the show went smoothly. I was proud because I did not even make one mistake and did not hit a wrong note. The only time I got distracted from being immersed in the moment was when a lady in the front row took off her bra and flashed me. I continued playing, but my hands were trembling!

JS: That’s amusing and disconcerting at the same time <chuckling> You got thrown into the whole experience of live music on a stage – at thirteen, no less!

EA: Oh yes, it was wild. Besides that, I connected with the audience, the music, and my instrument while playing on the stage.  I felt some tremendous energy within me. That’s when I told myself, “I want to do this forever.” I have not found anything more passionate and extraordinary than performing live: the satisfaction of the people, the energy, the atmosphere; it just makes one feel incredible.

JS: So, it was a hands-on, direct, fly-by-the-seat-of-your-pants approach! Is it fair to say that music theory, metronome, and timings did not come into the picture then?

EA: Timing is something I learned when I was 18. I started writing songs when I was 13. Then, I realized that most of my writing and playing sounded “out of time.” I don’t think it was a bad thing per se – I felt, and feel, music differently. I have been around musicians who will “simply” play the notes within the timing but lack the passion and interpretation. Sometimes, I instinctively know how a note progression should be, and I go with that. I can tell you about the one time I was around 12 and in high school. I often went to see a very well-known guy who played piano well. He taught me note progressions and some tricks. That’s when I learned my first Mozart piece. As I was playing by ear, he told me, “Oh, that note is wrong!” At the time, people used to correct me all the time, and I was like a sponge, taking it all in and absorbing any information. Later, playing guitar, I discovered that the “corrections” were often wrong!

JS: You play keys, drums, guitar, bass, and many other instruments – in short, you are a veritable multi-instrumentalist. Now, you are using your voice as well.

EA: Yes. Last year, I started exploring that side of me, and I thought, “Let’s see how people will respond to my singing!” I certainly do not consider myself the greatest singer. I know that my audience has appreciated my songwriting and my music productions. Some people will not like the change or the singing path I want to explore.

JS: Speaking of musical paths, Mexico is home, amongst others, to cumbia and norteña, two musical styles and rhythms steeped in tradition. Are you tied to or inspired by them?

EA: I don’t want to be rude, but my favorite artists are not necessarily from Mexico, though I respect their craft (though I do like bands like Sin Bandera and Camila). I identify more with people like Harry Styles or Bruno Mars and that type of pop. Side note: I can play the accordion but hate playing it. The Latino population thrives on music in Mexico, Latin America, Europe, and elsewhere. I am trying to add and implement my style into that. I am a romantic pop writer who is seeking a modern update. I cannot define it, but it is like romantic pop meets 80s pop with a contemporary twist. Is it sort of a new 80s?!