{"id":26330,"date":"2026-11-05T13:51:50","date_gmt":"2026-11-05T12:51:50","guid":{"rendered":"https:\/\/www.loffmusic.com\/delacueva-reinvents-his-album-no-me-llames-artista-with-nena-daconte-miriam-rodriguez-and-ten-surprise-collaborations\/"},"modified":"2026-11-05T13:52:13","modified_gmt":"2026-11-05T12:52:13","slug":"delacueva-reinvents-his-album-no-me-llames-artista-with-nena-daconte-miriam-rodriguez-and-ten-surprise-collaborations","status":"publish","type":"post","link":"https:\/\/www.loffmusic.com\/en\/delacueva-reinvents-his-album-no-me-llames-artista-with-nena-daconte-miriam-rodriguez-and-ten-surprise-collaborations\/","title":{"rendered":"DELACUEVA reinvents his album “No Me Llames Artista” with Nena Daconte, Miriam Rodr\u00edguez, and ten surprise collaborations"},"content":{"rendered":"\n

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.<\/em><\/p>\n\n

DELACUEVA has decided to take his own album apart and rebuild it.<\/strong> And this time, he doesn\u2019t plan to do it alone.<\/p>\n\n

One year after releasing *No Me Llames Artista*<\/em>, the musician from Zaragoza presents *No Me Llames Artista* (Deluxe Edition \u2013 Matrioshka Edition)<\/em><\/strong>, a reissue that brings back the ten original songs, reimagines them through collaborations, and adds three previously unreleased tracks.<\/p>\n\n

The result is a 13-song<\/strong> album, featuring guests such as Nena Daconte, Miriam Rodr\u00edguez, Roi, Sobrezero, Grasias, M\u00eda Berl\u00edn, and TERE!<\/strong>, among others.<\/p>\n\n

But what\u2019s truly interesting isn\u2019t the number of names that appear in the credits. It\u2019s what DELACUEVA does with them.<\/p>\n\n

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.<\/p>\n\n

From 2025 to 2026 and the Second Life of *No Me Llames Artista*<\/em><\/h2>\n\n

Originally released on October 24, 2025<\/strong>, *No Me Llames Artista*<\/em> solidified the artistic vision of Manuel de la Cueva, a musician who has carved out his own niche within Spanish guitar-driven pop.<\/p>\n\n

His musical world combines catchy melodies, rock energy, biting humor, and lyrics brimming with references to film, literature, and pop culture.<\/p>\n\n

His songs feature heartbreak, nostalgia, characters who can\u2019t handle their feelings, and situations that seem straight out of a movie.<\/p>\n\n

All told with a blend of irony and sensitivity that keeps him from taking himself too seriously.<\/p>\n\n

The album also marked the beginning of a particularly intense period of live performances. DELACUEVA has performed this repertoire in more than 40 concerts<\/strong>, building a direct connection with the audience and solidifying an independent project developed through self-management.<\/p>\n\n

Now, with the Matrioshka Edition<\/em>, he has decided to bring that chapter to a close in an unconventional way.<\/p>\n\n

Instead of simply reissuing the original recordings, he invites other musicians to contribute to them.<\/p>\n\n

And the songs begin to tell different stories.<\/p>\n\n

Nena Daconte, Miriam Rodr\u00edguez, and ten collaborations that transform the album<\/h2>\n\n

One of the great appeals of this reissue is its ability to bring together different generations and sensibilities within Spanish pop.<\/p>\n\n

Nena Daconte<\/strong> features on \u201cAs\u00ed Bailaban Los Muertos,\u201d a song that champions the freedom to live without constantly worrying about what others think. Mai Meneses\u2019s contribution brings a radiant sensibility to a composition that blends melody and rebellion.<\/p>\n\n

Roi<\/strong> transforms \u201cSoy un Puto Criminal\u201d into a shared confession, while Lucas Lera<\/strong> adds to the sentimental nostalgia of \u201cPartido en Dos.\u201d<\/p>\n\n

The track\u2019s most electric side comes through in \u201cEstoy Jodido,\u201d where Sobrezero<\/strong> reinforces the song\u2019s rebellious spirit.<\/p>\n\n

\u201cPremio a Mejor Guion Original\u201d is particularly interesting, now performed alongside M\u00eda Berl\u00edn<\/strong>, a member of Lala Love You.<\/p>\n\n

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.<\/p>\n\n

The woman who previously appeared only in the protagonist\u2019s memory now has something to say as well.<\/p>\n\n

And that small transformation changes the meaning of the song.<\/p>\n\n

The second half of the album continues to broaden perspectives.<\/p>\n\n

Grasias<\/strong>, Sandra Sabater\u2019s project from Ginebras, features on \u201cMe Pareci\u00f3 Ver Un Lindo Gatito,\u201d a song brimming with generational references and sentimental humor.<\/p>\n\n

TERE!<\/strong> brings her own flair to \u201cTriple Salto Mortal,\u201d while Javi Chapela<\/strong> joins DELACUEVA on \u201cAmor a La Deriva.\u201d<\/p>\n\n

\u201cCuando M\u00e1s Te Necesitaba\u201d features V\u00edctor Mej\u00edas<\/strong>, lead singer of Anabel Lee, and Alber L\u00f3pez<\/strong>, adding new voices to a song with a carefree vibe.<\/p>\n\n

And the finale is reserved for one of the project\u2019s most moving collaborations.<\/p>\n\n

\u201cY Ahora No\u201d and Miriam Rodr\u00edguez Turns a Ballad into a Dialogue<\/h2>\n\n

The collaboration with Miriam Rodr\u00edguez<\/strong> deserves special mention.<\/p>\n\n

\u201cY Ahora No\u201d 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\u2019s way.<\/p>\n\n

In the new version, the Galician singer transforms that personal confession into a conversation between two people.<\/p>\n\n

The song begins in an intimate setting, with restrained instrumentation, and gradually builds until it reaches a much more intense climax.<\/p>\n\n

The voices no longer merely accompany one another.<\/p>\n\n

They respond to one another.<\/p>\n\n

And what once seemed like a story told from a single perspective takes on a different emotional dimension.<\/p>\n\n

It\u2019s 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<\/strong>.<\/p>\n\n

\u201cDon’t Kiss the Singers\u201d and \u201cMatrioshka,\u201d the three previously unreleased songs<\/h2>\n\n

The Matrioshka Edition<\/em> does more than simply reinterpret the past.<\/p>\n\n

It also includes three new compositions that help explain the meaning behind the project.<\/p>\n\n

The first is \u201cDon\u2019t Call Me an Artist,\u201d a brief piece that introduces the album\u2019s central theme.<\/p>\n\n

Next comes \u201cNo Bes\u00e9is A Los Cantantes<\/strong>, \u201d<\/strong> one of the album\u2019s main tracks and likely one of the most provocative songs in the repertoire.<\/p>\n\n

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.<\/p>\n\n

DELACUEVA pokes fun at his own persona and the contradictions of an industry that turns musicians into objects of admiration.<\/p>\n\n

The third previously unreleased track is \u201cMatrioshka<\/strong>, \u201d<\/strong> the song that gives this release its name.<\/p>\n\n

It draws inspiration from Russian nesting dolls, which are nested one inside the other.<\/p>\n\n

It\u2019s 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.<\/p>\n\n

It also serves to explain the album itself.<\/p>\n\n

Each song holds new interpretations.<\/p>\n\n

Each collaboration reveals something that was previously hidden.<\/p>\n\n

And every new voice allows us to view history from a different perspective.<\/p>\n\n

Why doesn\u2019t DELACUEVA want to be called an artist?<\/h2>\n\n

Behind the album title lies a reflection that goes far beyond mere provocation.<\/p>\n\n

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.<\/p>\n\n

In an interview with Mondo Sonoro<\/em> 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.<\/p>\n\n

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.<\/p>\n\n

In other words, a song may be written, recorded, and released, but its meaning is only fully realized when someone connects with it.<\/p>\n\n

That idea takes on even greater meaning in the album\u2019s new edition.<\/p>\n\n

Because DELACUEVA doesn\u2019t just share his compositions with the public.<\/p>\n\n

Now he also shares them with other performers.<\/p>\n\n

And he accepts that his songs change when they\u2019re sung by other voices.<\/p>\n\n

DELACUEVA & Amigos, Nena Daconte, Roi, and Sobrezero will be in Madrid<\/h2>\n\n

The release of the deluxe edition will be marked by a special celebration on stage.<\/p>\n\n

On November 18, 2026<\/strong>, DELACUEVA will perform at Sala El Sol in Madrid<\/strong> in a concert titled DELACUEVA & Amigos<\/strong>.<\/p>\n\n

The event will feature the announced participation of Nena Daconte, Roi, Sobrezero, Grasias, and TERE!<\/strong>, as well as other guests yet to be confirmed.<\/p>\n\n

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.<\/p>\n\n

On December 19<\/strong>, the musician will return to Zaragoza to present the project at Sala L\u00f3pez<\/strong>.<\/p>\n\n

Both concerts are part of the finale of a tour that will continue through the first few months of 2027.<\/p>\n\n

All announced DELACUEVA concerts<\/h2>\n\n
Date<\/th>City<\/th>Venue<\/th><\/tr>
November 18, 2026<\/td>Madrid<\/td>El Sol Hall<\/td><\/tr>
December 19, 2026<\/td>Zaragoza<\/td>L\u00f3pez Hall<\/td><\/tr>
January 9, 2027<\/td>Seville<\/td>Fun Club<\/td><\/tr>
February 19, 2027<\/td>Bilbao<\/td>Cotton Club<\/td><\/tr>
February 20, 2027<\/td>Huesca<\/td>The Twenty-First<\/td><\/tr><\/tbody><\/table><\/figure>\n\n

A deluxe reissue that has something extra to offer<\/h2>\n\n

Deluxe reissues have become standard practice in the music industry.<\/p>\n\n

Sometimes they include outtakes, alternate versions, or collaborations designed to extend the commercial life of a release.<\/p>\n\n

DELACUEVA offers something slightly different.<\/p>\n\n

Their Matrioshka Edition<\/em> isn\u2019t meant to replace the album released in 2025, but rather to offer another way to listen to it.<\/p>\n\n

The inclusion of Nena Daconte, Miriam Rodr\u00edguez, and the other guests transforms a repertoire written from a personal perspective into a collection of shared stories.<\/p>\n\n

And, at the same time, it brings together musicians from different generations and scenes around the same songs.<\/p>\n\n

There\u2019s pop, indie, guitars, irony, nostalgia, and plenty of humor.<\/p>\n\n

But above all, there\u2019s one idea that runs through the entire project:<\/p>\n\n

A song doesn\u2019t have to end when it\u2019s released.<\/strong><\/p>\n\n

Sometimes all it takes is for someone else to sing it to discover that it still had a lot more to say.<\/p>\n\n

Don\u2019t Call Me an Artist (Deluxe Edition \u2013 Matryoshka Edition)<\/em><\/strong> has been available since November 4, 2026<\/strong>.<\/p>\n\n

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