The Zaragoza-based musician is releasing *No Me Llames Artista* (Matrioshka Edition), an ambitious reissue of his 2025 album featuring three previously unreleased songs and ten new covers in collaboration with some of the most interesting names in Spanish pop and indie music. The celebration will come to life on stage on November 18 in Madrid.
DELACUEVA has decided to take his own album apart and rebuild it. And this time, he doesn’t plan to do it alone.
One year after releasing *No Me Llames Artista*, the musician from Zaragoza presents *No Me Llames Artista* (Deluxe Edition – Matrioshka Edition), a reissue that brings back the ten original songs, reimagines them through collaborations, and adds three previously unreleased tracks.
The result is a 13-song album, featuring guests such as Nena Daconte, Miriam Rodríguez, Roi, Sobrezero, Grasias, Mía Berlín, and TERE!, among others.
But what’s truly interesting isn’t the number of names that appear in the credits. It’s what DELACUEVA does with them.
Because here, collaborations aren’t just a marketing gimmick: they serve to shift the perspective of the songs, add new characters to their stories, and show that a composition can have many lives.
From 2025 to 2026 and the Second Life of *No Me Llames Artista*
Originally released on October 24, 2025, *No Me Llames Artista* solidified the artistic vision of Manuel de la Cueva, a musician who has carved out his own niche within Spanish guitar-driven pop.
His musical world combines catchy melodies, rock energy, biting humor, and lyrics brimming with references to film, literature, and pop culture.
His songs feature heartbreak, nostalgia, characters who can’t handle their feelings, and situations that seem straight out of a movie.
All told with a blend of irony and sensitivity that keeps him from taking himself too seriously.
The album also marked the beginning of a particularly intense period of live performances. DELACUEVA has performed this repertoire in more than 40 concerts, building a direct connection with the audience and solidifying an independent project developed through self-management.
Now, with the Matrioshka Edition, he has decided to bring that chapter to a close in an unconventional way.
Instead of simply reissuing the original recordings, he invites other musicians to contribute to them.
And the songs begin to tell different stories.
Nena Daconte, Miriam Rodríguez, and ten collaborations that transform the album
One of the great appeals of this reissue is its ability to bring together different generations and sensibilities within Spanish pop.
Nena Daconte features on “Así Bailaban Los Muertos,” a song that champions the freedom to live without constantly worrying about what others think. Mai Meneses’s contribution brings a radiant sensibility to a composition that blends melody and rebellion.
Roi transforms “Soy un Puto Criminal” into a shared confession, while Lucas Lera adds to the sentimental nostalgia of “Partido en Dos.”
The track’s most electric side comes through in “Estoy Jodido,” where Sobrezero reinforces the song’s rebellious spirit.
“Premio a Mejor Guion Original” is particularly interesting, now performed alongside Mía Berlín, a member of Lala Love You.
The original song was about a romantic relationship reconstructed through memories. With the addition of a second voice, that story no longer belongs solely to the one telling it.
The woman who previously appeared only in the protagonist’s memory now has something to say as well.
And that small transformation changes the meaning of the song.
The second half of the album continues to broaden perspectives.
Grasias, Sandra Sabater’s project from Ginebras, features on “Me Pareció Ver Un Lindo Gatito,” a song brimming with generational references and sentimental humor.
TERE! brings her own flair to “Triple Salto Mortal,” while Javi Chapela joins DELACUEVA on “Amor a La Deriva.”
“Cuando Más Te Necesitaba” features Víctor Mejías, lead singer of Anabel Lee, and Alber López, adding new voices to a song with a carefree vibe.
And the finale is reserved for one of the project’s most moving collaborations.
“Y Ahora No” and Miriam Rodríguez Turns a Ballad into a Dialogue
The collaboration with Miriam Rodríguez deserves special mention.
“Y Ahora No” already held a prominent place on the 2025 album. It was the song that closed out the album, a ballad built around a sense of absence and the feeling of having lost one’s way.
In the new version, the Galician singer transforms that personal confession into a conversation between two people.
The song begins in an intimate setting, with restrained instrumentation, and gradually builds until it reaches a much more intense climax.
The voices no longer merely accompany one another.
They respond to one another.
And what once seemed like a story told from a single perspective takes on a different emotional dimension.
It’s one of the best examples of what DELACUEVA aims to achieve with this reissue: not to simply repeat a song, but to find a new way to tell its story.
“Don’t Kiss the Singers” and “Matrioshka,” the three previously unreleased songs
The Matrioshka Edition does more than simply reinterpret the past.
It also includes three new compositions that help explain the meaning behind the project.
The first is “Don’t Call Me an Artist,” a brief piece that introduces the album’s central theme.
Next comes “No Beséis A Los Cantantes, ” one of the album’s main tracks and likely one of the most provocative songs in the repertoire.
The song uses sarcasm to question the idealization of musicians, fame, and the distance that can exist between a public figure and the person behind the facade.
DELACUEVA pokes fun at his own persona and the contradictions of an industry that turns musicians into objects of admiration.
The third previously unreleased track is “Matrioshka, ” the song that gives this release its name.
It draws inspiration from Russian nesting dolls, which are nested one inside the other.
It’s a metaphor the musician uses to talk about human relationships, the different layers that make up our personalities, and how we perceive those around us.
It also serves to explain the album itself.
Each song holds new interpretations.
Each collaboration reveals something that was previously hidden.
And every new voice allows us to view history from a different perspective.
Why doesn’t DELACUEVA want to be called an artist?
Behind the album title lies a reflection that goes far beyond mere provocation.
Manuel de la Cueva, born in Zaragoza in 1994, defines himself first and foremost as a musician, composer, or songwriter rather than as an artist.
In an interview with Mondo Sonoro in February 2026, he explained that his rejection of that label began when it started being used to describe him simply because he was a solo artist.
His approach is unique: he believes that art depends not only on the person who creates a work, but also on the emotion experienced by the person who receives it.
In other words, a song may be written, recorded, and released, but its meaning is only fully realized when someone connects with it.
That idea takes on even greater meaning in the album’s new edition.
Because DELACUEVA doesn’t just share his compositions with the public.
Now he also shares them with other performers.
And he accepts that his songs change when they’re sung by other voices.
DELACUEVA & Amigos, Nena Daconte, Roi, and Sobrezero will be in Madrid
The release of the deluxe edition will be marked by a special celebration on stage.
On November 18, 2026, DELACUEVA will perform at Sala El Sol in Madrid in a concert titled DELACUEVA & Amigos.
The event will feature the announced participation of Nena Daconte, Roi, Sobrezero, Grasias, and TERE!, as well as other guests yet to be confirmed.
It will be an opportunity to bring the collective spirit of the reissue to life on stage and hear some of these collaborations in a format specially designed for the occasion.
On December 19, the musician will return to Zaragoza to present the project at Sala López.
Both concerts are part of the finale of a tour that will continue through the first few months of 2027.
All announced DELACUEVA concerts
| Date | City | Venue |
|---|---|---|
| November 18, 2026 | Madrid | El Sol Hall |
| December 19, 2026 | Zaragoza | López Hall |
| January 9, 2027 | Seville | Fun Club |
| February 19, 2027 | Bilbao | Cotton Club |
| February 20, 2027 | Huesca | The Twenty-First |
A deluxe reissue that has something extra to offer
Deluxe reissues have become standard practice in the music industry.
Sometimes they include outtakes, alternate versions, or collaborations designed to extend the commercial life of a release.
DELACUEVA offers something slightly different.
Their Matrioshka Edition isn’t meant to replace the album released in 2025, but rather to offer another way to listen to it.
The inclusion of Nena Daconte, Miriam Rodríguez, and the other guests transforms a repertoire written from a personal perspective into a collection of shared stories.
And, at the same time, it brings together musicians from different generations and scenes around the same songs.
There’s pop, indie, guitars, irony, nostalgia, and plenty of humor.
But above all, there’s one idea that runs through the entire project:
A song doesn’t have to end when it’s released.
Sometimes all it takes is for someone else to sing it to discover that it still had a lot more to say.
Don’t Call Me an Artist (Deluxe Edition – Matryoshka Edition) has been available since November 4, 2026.
