You say that in the music world, it's hard to be a woman. Why?
Because in general, it's harder in this society to be a woman. It is clear that the conditions are not the same, and in music there are also many limitations that we find. To begin with, when I did my musical studies, I never had a female referent, and for many years I played male pieces. In the scenes, 90 percent of the artists I saw were men. The singer's work has always been worse valued and, yes, you could see a woman, because she was a more aesthetic than musical profile.

To what extent has it been difficult for her career to be an activist, not just a woman?
Many doors have been closed to me, but so many doors have been opened to me. Anyway, in this society that we live in, people want to be quiet, because programmers don't commit. In any case, I have generally received different answers, and although I am very hard, with my musical speech many people connect it.

The data are worrying: In 80% of the most sold concerts in the Spanish state, there are no women as main artists. Why? Men
have historically had more opportunities, so today they have more visibility. Therefore, if the responsibility of the programmers is to fill the rooms and make money, it will be easier to have hired Txarango, Manel, Els Amics de les Arts or so many other groups. Culturally, women have not gotten used to selling us, trusting ourselves and being creative, and although things are changing, and there are a lot of powerful women in music, programmers are still prioritizing money from a gender perspective.

How can this trend be changed?
Through quotas. Parity must be compulsory in culture. That's the only way to change the dynamics so far. It's time for men to leave their place in the space of privilege they have in music. And those men's teams should not agree to participate in a group as long as there are no women.

Despite the difficulties, you are 32 years old and you already have eight records publicados.He taken out eight records because I have self-financed them: I have resources and, fortunately, I have around me a
family that has protected me, if I cannot pay them, they would pay. What's more, I always explain that I'm a pianist because I've been born into a family with economic resources. And I've been able to do my piano studies, because I've been very lucky and I haven't had to serve glasses. It is essential to take this into account, as not everyone has it in their favour.

And if in my trajectory I've prioritized creativity, it's because there have been resources, especially. Otherwise, it would not be possible.
It breaks with stereotypes that have historically been sculpted and claims the figure of women invencibles.El change in patriarchal society is essential and, once and for all, to understand that
inequality enriches, building a world for all. We're late, so I reclaim the prominence of invincible women, because we have to occupy spaces and be brave. And along this road, men have to be comrades, leaving spaces free as well.

In October you published the album Estomac. How has the reception of this new work been?
I am very pleased to have received an impressive response. Estomac is a collection that dismantles romantic love from a gender perspective. We've already done about eight or ten concerts, and we're still going to do as many.

What are your challenges from now on?
I'm making a new album in music, I'll publish it in a year and a half, but I'm already doing it, OK. And as for the theater, I want to keep doing a pure activism through the Inpuxibles theater company that I created with my sister. We are now performing the Painball show, an interesting street show that deals with freedom of expression. And from 23 January to 3 February we will be at the Teatre Lliure in Barcelona with AÜC, a show on sexual violence. From March, finally, we will release in the Beckett room in Barcelona the show Suite Toc that we have created around mental suffering. I am very happy on this journey.