The Empowering Yourself Podcast - More Power to You ! - Carlo Moschetta and Andre Rehse
How can we actually live an authentic and more fulfilling life? The Empowering Yourself Podcast series, aim at inspiring and discovering what authenticity and being true to oneself really mean in practical everyday life. Do you respect yourself by embodying all that you are? Join us to learn more and More Power to You !
The Empowering Yourself Podcast - More Power to You ! - Carlo Moschetta and Andre Rehse
Revealing Authenticity Via Music & Silence – Feat. Kabeção, Handpan Virtuoso and Multi-Instrumentalist
In this episode I met with talented and inspiring Portuguese multi-instrumentalist, handpan player and composer, Kabeção.
We delve deeply into his life’s journey, dedicated to discovering and embracing his true self through the shared exploration of sounds and silences with his listeners.
Kabeção, also shares a powerful story about a transformative visit to his favorite handpan maker in Israel—a trip that sparked profound reflections on the coexistence of war and peace and the striking absurdities of life.
This episode is a powerful reminder of the impact of authenticity and the significance of intention in both music and life.
Episode 5, was recorded at Pangonia handspan festival in summer 2024.
We hope you enjoy it and if so we would love for you to share it wish someone you care about.
All the very best, Carlo and Andre.
Kabeção Links https://www.kabecao.com/
Opening Song: Taming the Shadow (feat. Ido Tzur) https://www.youtube.com/watch?v=yA1ZPye40MQ
Closing song: https://www.youtube.com/shorts/0DtFDwXjBFM
Pangonia Handpan Gathering https://pangonia.de/artists.php
Send us a message and let us know your thoughts, we'd love to hear from you!
We will upload at least one new podcast episode per month. Should you wish to get in touch on Instagram: @carlo.coach.berlin.portugal
Thank you and see you soon!
Carlo & Andre
My name is Carlo, I'm in my life 4.0, and this is my podcast. It is about empowering people and authenticity, and I hope it'll be entertaining too, because hopefully it will inspire you to be more yourself, so more power to you.
Andre:My name is André. I'm a filmmaker and science journalist. I got intrigued by Carlos' idea and we joined forces to bring to you this humble podcast. This simultaneously spherical and rhythmic music you are listening to is made with a handpan and it is played by a real expert and artist on this poetic instrument, the Portuguese multi-instrumentalist and composer . is Carlos' guest in this episode, which was recorded at the Pagonia Handpan Festival in Potsdam in summer 2024. We take a deep dive into the inspiring journey of a musician devoted to uncovering and embracing one's true self through the exploration of music. We hear about a transformative experience had while visiting his favorite hand pen maker in Israel, prompting profound reflections on the coexistence of war and peace and the striking absurdities of love. This episode is a powerful reminder of the impact of authenticity and the significance of intention in both music and life. We hope you enjoy it.
Carlo:Hello everyone and thank you for tuning in for another podcast, and we are still digging into. The questions. That I'm really interested in and I think is vital these days and age is the question of authenticity, and today we have a very special guest which I had a chance to meet in a handpan festival Carlos or right. Can you tell us a little bit about yourself so that the listener can understand who you are a little bit, and then we can dive right in.
Kabeção:Sure, first of all, thank you so much for receiving me in your podcast. It's a pleasure to be here, my pleasure and saying hi to all the listeners out there. Something about me well, my real name is Carlos. I'm more known as . I'm a musician, sound explorer, handpan player super passionate about handpan, actually and I've been playing music since I remember. I started with the age of eight with some percussion instruments At home. I've been always in a place of listening a lot of different kinds of styles of music. So, even if I didn't want music had been really present in my life since very young, none of my parents were playing musical instruments, but for some reason I felt playing them really therapeutic and somehow releasing things that I couldn't really comprehend back then. And with time and space, I started navigating to other instruments, started to play drum sets, a little bit of guitar and bass, a lot of flutes and bansuris from India. Okay, I became really fascinated about many percussion instruments. I started with the darbuka.
Carlo:Darbuka as well. Okay, beautiful. Yes, Completely different style with the fingering, yeah.
Kabeção:Yeah, I actually love to use it on the handpan.
Carlo:Ah, yes, you can do double strokes. You can do lots of techniques from the Taruka. I didn't think about that one. Yeah, good point.
Kabeção:Yes, and a lot of Udus and Tabla Pandeiro, berimbau all these ethnic world musical instruments, you know. Everything that is weird really fascinates me. Actually Started recently playing piano and I'm also in love with looping and synthesizers and life has been just like a hell of exploring sounds and silences.
Carlo:So you go from totally acoustic percussive instrument, which is traditional and it works without electricity at all, to looping and computerized music the lot.
Kabeção:I'm still not officially doing it live because it's something that still triggers me a lot of questions. I feel extremely comfortable being acoustic and organic and I know I can be in that field without really thinking too much, because as soon as you put a machine and something happens to the machine, you're gone. So I'm still questioning myself a lot regarding presenting my project's live with those machines, but it will happen in the future, okay.
Carlo:You want to expand using technology as well.
Kabeção:Yes, yes, of course. Technology is such an interesting part of music and can be such a new dimension to add to the acoustic things that I already do, and I see so many musicians doing it and some of them inspires me a lot and I'm already like for a few years navigating on this space but still taking my time to come to the stage with it.
Carlo:Right, and I obviously I saw you last night playing handpan, which is this instrument for the listeners. They don't know it looks like a ufo and and it's a very, very precious instrument and it's very special, like, in fact, you beside music, and I definitely would advise the listeners to check out your music because it's not just music, it's like a really. It's an introspective journey. I would say it's very powerful. But you started to say stories about the pieces, how the pieces were created and where you were in the world when things happened. And there was a point where I was completely, yeah, deeply touched, I have to say so. Maybe I don't know, because you love the handpan so much that you travel the world to go where they build it.
Carlo:Right. This podcast is all about you know the art and being true to oneself, because I feel that out there in the world, people are getting so distracted by so many things and they go out there to find God knows what and then they forget themselves and many times they don't even know what they really like, what they really want, what is really right for them. And we're trying to investigate in these talks, in these podcasts, what it means to be authentic and what it means to be oneself, and you've had some experience in your life and your message sounded very true to me. What is authenticity for you?
Kabeção:It's such a good question. What is authenticity for me? I think it comes to this simple point of being and this word that you said distractions it's something that is quite going in our lives constantly Technology, the logistics of being a human, all the responsibilities and the work, and somehow we have this tendency of forgetting who you, who we are, and then we become what we do, and if we only do stuff that it's demanded on us to do, then we kind of forget everything where we came from, what we are, what we are doing here, and since very early, I felt really this inner call to just follow my intuition and follow music, even though my parents or my family or some other people around me were not really believing in on it. I went through that disbelief and I made myself able to do it. I'm going to do it anyway. This is what I like, this is what resonates with me and honestly, I don't care if you like it or not, I'm going to do it and I'm still doing it for the last 14 years playing these beautiful instruments.
Carlo:The handpan.
Kabeção:yes, I was playing already professionally with other projects and musicians and bands, but suddenly I found the handpan and somehow this instrument brought me an opportunity to to go in layers of me that I never understood they were existing.
Carlo:Self-discovery, a journey inside rather than outside of ourselves. Yeah.
Kabeção:Really open to a really spiritual level. I've been always really open for it and I've been always surrounded by spiritual people. But I took my time to open myself for it and the handpen really brought me in Because it's a really personal instrument. It has this really UFO shape. It's usually on top of your legs so every resonation that happens on the instrument goes directly into your main chakra here and the sound, just it's exploding into your face and heart. It's something that became even more therapeutic compared to other instruments. I remember that after I got my first instrument that I took three years to get the first handpan, the first handpan and it was not the original one, it was a kind of a, and it was not the best quality, it was sounding like a Coca-Cola can, but it was the best instrument I got on that moment. On the second day I moved myself to the street and I played for three years of my life, every day for eight to ten hours on the street, same spot, just playing In Portugal Because you come from Portugal.
Carlo:yes, I forgot to mention.
Kabeção:Yeah, portuguese, based in the line of Cascais, cascais, close to Lisbon, yeah, and I was playing actually in Cascais, on the center, right on the center, and it was really interesting instrument because I could practice, I could jam, I could compose for the first time my own things, and it was really interesting because I could see directly on people what's the reflection of what I'm doing. And since I know myself, I'm really an observer and, of course, at the beginning was really it's a vulnerable place to be on the street, you put yourself on the spot.
Kabeção:Totally. It's one of the most interesting stages I've been in my life.
Carlo:Yeah, one out of a hundred probably can do that. Generally, I mean, people don't like to be on the spot, to be, you know, really under the spotlight.
Kabeção:Everybody can see every move and Literally, and there's no separation when I'm on stage. The stage there's like a physical separation from me to the public, and on the street there is not. So people can touch, you can reach, you can come and you know things happen.
Carlo:Right.
Kabeção:And that experience of being on the street and being really one with this musical instrument really open a lot of perspectives about being Right.
Carlo:What do you mean by being?
Kabeção:Sometimes music comes from these places where you really don't know, but sometimes you can really describe that it comes a happy place, a joyful place or a chilling place, sometimes a sad place or frustrating place or depressed place from within yeah, from within yeah, and was really interesting because if I was more robotic or more like into patterns, people were not feeling it so much.
Kabeção:And I experiment a lot. Okay, what about if I put this emotion how people feel it? Still the same melody, but what is behind what you say? Have an impact the same way.
Carlo:The energy behind what you are doing with your music, how you are, of course, the intention. Right right.
Kabeção:It can be the same note, but what you put behind? Yes, yes, it can be the same word, but your intention behind it has extremely powerful effect, and I experiment a lot of this on my journey on the street. There was actually one specific moment that made me realize a lot of things that I was in a need of money. I need money to pay my bills, my rent.
Carlo:Yeah, sure, yes.
Kabeção:So I went on that specific day to make money literally, because all the other days I was going, because….
Carlo:You were busking, but with the idea. Today I need to make money.
Kabeção:Exactly All the other days and I did this for three years I was like I just want to play, I love this instrument so bad and I just love to be in contact with it. And on that day I needed money and I was doing it quite good. I was doing like 200, 300. Sometimes you know a good amount of money per day. Yeah, that's quite good. I was doing like 200, 300, sometimes you know a good amount of money per day.
Carlo:Yeah, that's very good.
Kabeção:And on that day I needed, and I went with this need of I need money. And when I went on the street I passed like eight hours, I did nothing and I questioned myself for many days why, like? Why it didn't happen. And it was because of my intention behind. You know, I was like in a need and people felt that People don't want to feel this asking for money. I'm like I should be there offering my music because I like it. I have something to say and on that day I didn't have so much to say and with that experience kind of brought me to a different perspective of okay, if I'm speaking music, if I'm playing this language, what the heck do I want to say? So from that moment, on every note I do, it should have a purpose and a meaning. If not, I prefer to play the silence Right.
Carlo:Which is not an easy thing to say, to do, because even, for example, even just a meeting at work, sometimes there are few seconds of silence and many people find that silence very awkward.
Kabeção:Indeed, because they don't practice the silence. Silence can be extremely musical for my ears, and actually all the notes that are played, they only make sense when silence is in between. This is something that you need to explore by yourself and give time to just breathe with the silence. Maybe you remember yesterday night during my concert, I took a lot of time to start.
Carlo:Yes, you did yeah.
Kabeção:However, I was already starting, the silence was already part of the piece and at certain points everybody was already immersed in that silence and the public was part of it, because I opened that sacred space and I invite everybody to be part of it. And that's also a responsibility, because then if you invite people to come, then you should have something meaningful to say, because you got their attention.
Carlo:Absolutely, and I had never listened to you before and I'm exploring this new musical world thanks to also other incredible musicians that you know. And last night, when you opened, exactly, you created this so much space and silence and everybody was waiting for you to start and do something. But you took your time and imagine I was new, I was never heard you before and but after a while something switched and everybody started really, everybody was really silence, but everybody was really in the moment, present, waiting for something, and then you started the music and then, in fact, it wasn't just music, it was really a journey, I would say. And then you started and then it just took the shape that it took.
Carlo:I could see that you were even exploring things. It wasn't just the usual, maybe mechanical thing you do. It was really a creation within your song, but it was creating in the moment and I could see sometimes you were about to play a note but you felt no, and then you stopped and you took a longer breather, longer step and then you went back into it and it made it so real in the moment and so authentic. And that is why I was like this is in music, but people nowadays have lost in one way or another. They have lost even mothers and fathers. They have a big responsibility to their children, right? They teach them how to lead their life and more often than not they care about telling them what to do, how to get a good grade at school, rather than what do you really like, or what would you like to do, or who you know discovering.
Kabeção:Of course, the society is completely destroying the new generations, completely destroying the new generations.
Kabeção:I am a father myself for two years and six months and I've been like just a huge blessing to be the guardian of such a creature, and she teaches me so much, much, and my main goal here is for for her to be able to do her decisions with awareness, of course, protecting her all the time, but also giving her space to be, and since she was born, we explained to her everything that is about to happen and we asked her.
Kabeção:Of course, we always have the main decision as parents, but we try our very best to give the space for her also to be and take small decisions. Sometimes it's just like do you want a yogurt of strawberry or banana? You choose, you know, just having that open space for her to choose something that's already so good because she eventually will resonate with something or that or that, and that's for me also something that I love to carry into my music and also into my being. Is this resonating with me, yes or no? And if it resonates, I do it. If not, I do a pause and I think about it. Maybe I give a chance to do it or maybe I don't.
Carlo:When you say to people that are more used to using the mind to be more logical and it's beautiful, I mean mind and heart should be together. How would you describe this? This resonate and use some sort of not a technique, but you know what I mean, right.
Kabeção:I can share my personal experience. I do believe, and I feel that we are magnetic beings, that we vibrate with everything that is around us and, depending of how we feel, we vibrate with everything that is around us and, depending on how we feel, we vibrate certain frequencies and when we are in certain situations, we have this tendency of using more the mind because we think, we think and we think too much. And usually when I think too much, it's when the shitty things happen, or I do mistakes, or it's not really flowing because I'm thinking so much, I'm putting a lot of thoughts into the flow, and flow it's not about thoughts, it's about feeling. And I think, in order to connect the mind with the heart, I just feel that we need to come back to the breathing. I think the breathing, I think and I feel that the breathing is the connector between both.
Kabeção:As soon as you start taking breathing with awareness I'm not saying just, of course you breathe every day, if not, you die but just giving this opportunity of just being present with breathing, just present. You don't need to do nothing else besides just, and that first breath you take, with a lot of presence, will bring you again to yourself, bring within and it's exactly there, on that sacred space of in, that you can start to resonate. So you need to turn off a little bit the mind with breath so you connect your mind with your heart and somehow, when you start doing that, it's not the brain and the thoughts, it's more the heart that is resonating with things that maybe you are not so familiar because you forget, because when you see kids they know what is resonating or not.
Carlo:Yes.
Kabeção:Because they are not thinking so much. They are feeling.
Carlo:Not yet. They haven't been taught uninculcated stuff yet.
Kabeção:That's the malware of society. Yeah, and and this is what I love to do is to rescue within myself this inner child that I have and and being able to feel again as a child, to be curious, to be resonating with things and to be open and exploring and having fun. Yes, they are having fun all the time, and if I need to be in another mood sad or frustrated, I will also embrace this as part of my being. I will resonate with this, because sometimes you need to, and maybe I will also do music from that, or actually, most of the time I do it. So it doesn't matter how is my emotional being feeling. If I'm happy, sad, frustrated, depressed whatever emotion is there within me, I will use it to make music and I'm honest with it. I don't need to be happy and life doesn't need to be like unicorns and butterflies and roses and you know, to make music. No, music is not about just that. Music is about like big time, big shit and drama and a lot of stuff that is happening all the time around us.
Carlo:Yes.
Kabeção:Everyone is in such a huge process and I'm so compassionate about that Because myself, I also didn't have the most easy life and I don't take nothing for granted, especially life. So I really like to appreciate every single moment. And if you are thinking all the time, how the hell can you appreciate a moment? You're thinking all the time, so how can you resonate? If you're thinking?
Kabeção:It comes again to the main base of breathing. As soon as you start breathing just one time, with fully awareness, and you practice that a lot of times, then you're constantly, during during the day, aware of your breathing and suddenly extremely present and that resonating, that thing that can be maybe too far from our perspective start to be actually quite active and alive. And it's there that I love to vibrate and be, because I can be really honest with whatever. It's there that I love to vibrate and be, Because I can be really honest with whatever is inside of me, accept it and be. Doesn't matter what it is, sometimes like, big dark emotions come to the surface. They are not the most pretty. However, they are inside. I'm acknowledging them, I'm integrating them and, most of the time, transforming them into a beautiful piece of music.
Carlo:Right, and you in fact did last night, in a moment where you told us a story and when Israel, where this handpan factory is and you created a piece about that, would you like to tell us a story?
Kabeção:So I'm sponsored and I collaborate for many years with this company called Ishama. That, for me, is one of the most high quality handpan instruments made in this planet. They are just outstanding and they are made with a lot of intention, and I feel that actually. Anyway, I was in Israel for the very first time, living the dream of a handpan player. You know, I was there on this workshop of ishama, with a lot of instruments playing, different scales, different sizes, materials, and I have a really good connection with the maker. We are good friends since he came to one of my retreats hand pen retreats, okay and I was there to learn how to make hand pens, actually and on this first visit I was there, I was outside of the workshop and the workshop is on the north, close to the border of Lebanon, and it was night, the fire was beautiful, we were like around it playing some music, I was with a friend and you know, life was perfect.
Kabeção:And from one moment to another, the sky just got super red and I started listening to these sounds of bombs. It was tremendous. Yeah, I freaked out. I stand up from the chair, walk away from the fire, went inside of the workshop and I, panicking, said hey guys, we need to get out. You know, stuff is getting crazy there, bombs and stuff. And their reaction freaked me out even more. They said you know, kabe, just go again to the fire, grab your instrument and enjoy the fire.
Carlo:Yeah, shocking, as if it was a normal thing.
Kabeção:Exactly.
Kabeção:I'm a Portuguese guy, so I don't leave this reality of wars Well, of course I know they are there, but I never experienced such a thing and I would love that the world would not experience such a thing.
Kabeção:But I was there, I felt this and, having this experience to understand that this is normal. You know, we humans most of us, or a big part we are so spoiled. We have everything we have water, we have shelter, we have protection, we have food, we have a store, we have concerts, we have you know everything, car, we can get everything we can order on the phone. Tomorrow it's on your house, we can get everything we can order on the phone. Tomorrow it's on your house, you can order food. And there's a big part of us, of people, that don't have this possibility, and there's a big part of them that are just getting bombs in their heads, getting their home destroyed, families completely dead, and it's such a reality that, for me, really makes me wonder what the heck are we doing here as human beings? And I think I will never understand this because this just goes on.
Carlo:For since we are alive. Yeah, that's true.
Kabeção:How do we treat each other, how do we see each other? How do we listen to each other? How do we love each other? How can we coexist with each other? That's kind of like my biggest question. Even without agreeing with the other human being, can we just coexist and not be fighting? For Most of this is politics, right, yeah?
Carlo:The common people are the ones that die, but they don't necessarily want to go to war, they just get the bombs in their heads.
Kabeção:Unfortunately that's a big reality and it makes me really sad to acknowledge this. But Anyway, when I was there, after that moment and wondering, I decided to create a piece, a musical piece, that could reflect this coexisting and this dilemma of life and war and peace. So I composed a piece called Opostos. That is a Portuguese word that means opposites, and the pieces, as you can like you heard yesterday, I try my very best to bring that to a musical scenario and to tell the story using that musical language.
Carlo:Yeah, when you introduce the song with that experience that you had in that silence and also you again you took a lot of. You were not in a hurry, you were not, you didn't speak fast, you're speaking like now, really taking space and thinking what next word is not thinking, but just allowing the next word to just come spontaneously, without pushing it out. And when you said that experience, I was shocked because I thought a human being that is there enjoying the fire and all of a sudden sees the sky red and orange and he hears these bombs, it's a, it's a life changer. It's not. It's not just something that it's it's, it's a life changer. It's not just something that it's incredible, because there are people dying under those bombs and you manage with that thing to actually compose a very beautiful. You use that kind of energy it's insanity, really and you manage to transform it into music somehow. That ugly reality that many don't want to see Totally.
Kabeção:And it's happening every day. It's happening every day In so many places nowadays.
Carlo:It's insane and many don't want to see this. They turn their head on the other side.
Kabeção:All this amount of innocent people dying and all these wars happening, managed by these big people and big corporations and these politics and geographical interests. It's just insane, insane. I have a lot of questions regarding, like what can we do to change? My first reaction is to compose music about it. I'm a musician, so I use this art form to communicate how I feel, how I see the world, and making songs about this, about my experiences. It's, I think, one of the best things I can do, and, at the same time, I'm doing an art form that contests the world, contests these political choices, and most of the most strong and powerful music comes exactly from that message To question this and the politics, and reminds me Rage Against the Machine, for example. They are exactly about questioning and shouting out quite loud.
Carlo:Yes, quite loud yeah.
Kabeção:I'm playing handpan, but I do have a little bit of that also. I played yesterday just seven songs and they are quite long, but I have a lot of songs about many other topics and I'm using this specific instrument, the, the hand pen, and there's no, not not so many lyrics. I do sing sometimes, but in sort of singing lyrics I I really like to tell the story and the meaning behind before playing the piece so people can have a little vision of it, and I think it also helps and supports the listener to have a different and more profound journey.
Carlo:Yes, yes, this is exactly how I felt it last night. Your introduction was really very much part of the piece and, as you were playing in the song Opposites and after telling us the story, when he switched, it really felt a switch. It really was. The good part is over, it's now. It's the messy part, the insane part is on and the sound changed and the way you were playing changed and, yes, you're sending definitely a message. You're definitely sending a message which is a message of being present, being authentic to what happens, even if it's ugly, but that's happening, it's reality.
Kabeção:And most of us have a hard time accepting that Sure. And I think it's exactly there that authenticity really reveals, because if you are hiding your emotions, you don't accept them as they are, or you just try to hide, they will keep coming and you're just pretending to be something that you are not. And that's really tricky it is. It's really tricky because it's a dilemma and a constant game with yourself and I stopped for a long time to be that. I really want to be honest as much as possible, of course respecting the other. Sure, I will not just be screaming bullshit. I will always take in consideration the moment, the person and try to use my language the best way as possible to share the message.
Carlo:Of course that means being honest with yourself.
Kabeção:Of course, sometimes you know someone is hurting my daughter, you need to scream, sure, you need to like do something about it. So it's also part of it. We don't need to be all the time like sweet puppies. Sometimes big stuff needs to happen.
Carlo:Yes, yes, I feel that, but we see it all around us that more often than not, we don't tend to follow what we really want, but we tend to follow what we've learned, or what we learned. That is right to do, because we don't want people generally don't want to rock the boat and look different, they want to have an easy ride.
Kabeção:This is what society wants.
Carlo:Yes.
Kabeção:They want to have an easy ride. This is what society wants. And, yes, actually there is a part of me that I need to say this word, but I don't give a fuck. Honestly, if I'm on the stage, there's a big part of me who doesn't give a fuck, because if I give, then I need to be playing for them and then, and then I lose my pleasure of playing. First of all, it's me. I love to play this instrument and I want to share something. Because I want, because it's pleasurable for me. Of course, there's the other part that I do give a fuck, a lot. So there's like these two balances happening constantly. This is so, so interesting. When I'm telling these stories, they come from my life experience.
Kabeção:They are the soundtrack of my life. And if I ask you the story of your life, you're for sure going to think about what can be relevant to tell. And if you are in another moment of your life and someone asks you again the same question what's your story maybe you're gonna tell your story in a different way. I always leave a space for this musical story to be unique. Never repeat exactly the same, because if I repeat all the time the same story, even me will be bored, so I will not even have the pleasure of telling her. So it's more or less like 70% structuralized and 30% free to the moment.
Carlo:Right, you feel totally free.
Kabeção:Yes, and this is extremely time traveling, because I need to bring myself again to this specific moment of uh, why I compose this piece, why it's meaningful for me. So, again, taking a deep breath, travel to the time and and go back to the, the, the foundation of why the heck I compose this piece and what's the meaning behind, and now tell tell the story of why the heck I composed this piece and what's the meaning behind it, and now tell the story of it using music.
Carlo:Which is another definition of being authentic. Because you are authentic to the moment. The energy, the original energy that actually inspired you to write the music, comes from whatever that experience that you had. So by going back, you experience again that emotion that you had. So by going back, you experience again that emotion that you had before and that is the thing that energizes you to tell the story. So you are authentic. You're not just repeating the words.
Carlo:We try, because sadly in our society, it's more important to many times not all the time, of course, not all the time, but many times it's more important to look good and to use the right words and all that kind of surface, which is okay, but it is not the real, it is not authentic.
Carlo:You're making it like you are having a show, but not in the right words. You can have a show you had a show last night but it was authentic to yourself and vulnerable too, I would say, because it felt after the concert that you showed yourself there. You came out, you said things which are you, put out some ideas which you know. Even the story you told you just mentioned a little few minutes ago when you were in Israel, you were not afraid to show yourself. You just showed yourself, you said your story and so by the end of the concert it feels like that we know you a bit, we. We feel you, not just because we heard the music, but we felt what's inside, what makes you tick, what, what makes you, what gives you the inspiration to wake up in the morning and to live your life. It didn't feel you were doing a show because you are musician and you're doing a job because you get paid. Absolutely didn't feel like that Interesting.
Kabeção:I'm happy to pass like that.
Carlo:Yes, is it true or not? It is? Yeah, it felt like that.
Kabeção:That's the goal. That's the ultimate goal. Why I play music is to bring the listener back to himself and to start feeling it again Like, ah wait, I can. I think it was one of the only concerts that all the people were like sitting down in silence. Yeah, the people were like sitting down in silence Because there was a pure invitation to be. It was not just me, it was everybody playing it. But someone needs to take the lead of it, and if nobody is doing it, I take the responsibility of doing it Because I think it's really needed in this community. Yes, and I don't. I don't have this. I don't need to look perfect and beautiful on stage and like pretend that everything is good. No, like, let's do it you can just be yourself let's do it.
Kabeção:I think the most important thing is to make it happen Right. It doesn't need to be beautiful or ugly, just make it happen. Like the first attitude of making it happen is so inspiring for me.
Carlo:Right.
Kabeção:I actually have a song about it.
Carlo:Okay.
Kabeção:I didn't play it yesterday, but it's a piece called it Begins From Anything. Okay, it's a composition dedicated to the simple movement of starting something new. That is actually usually quite tricky to start a relationship, to start a project, to start a work, to start a new change in your diet or whatever. It's so hard to change to make that first step. For me, it's so inspiring when people can do that. Yes, in any art form.
Carlo:Why would you think it's hard in art and even beyond art?
Kabeção:Because we got too cozy on our comfortable bubble and the magic happens outside of it.
Carlo:Yeah, when we are available also to make mistakes. Perhaps.
Kabeção:Mistakes are so welcome. It's from them that we learn the most. Yes, true, it is true. I'm not really afraid of them. I'm really open to receive them as a potential thing to create something new, right.
Carlo:Yeah, yes, absolutely. I couldn't agree more. Fifteen years ago I used to have a couple of radio shows in London and nothing big or anything, but it was about. It was about publicising musicians that were not famous. And then I would meet, they would send me CDs and I would select the one that I liked and I would invite them on the radio and I felt it's so natural. Why? I didn't understand why, but now it's been like two, three years that this question of authenticity and being oneself and how to feel oneself and how to understand when you're not yourself, how do you feel with yourself?
Carlo:Maybe you take a decision, you say something to a friend or somebody that wasn't totally honest and you feel in your chest, in your body, like, ah, don't feel good. And I started to analyze these things, but long time ago, but I wanted to. Three years ago I started to think I would like to have a podcast to do this, but it took me three years because to put myself, because I'm not doing it now, because of I want to say to somebody else only oh, you are so great. I'm actually saying I want to learn, I want to. I want to say to somebody else only oh, you are so great. I'm actually saying I want to learn, I want to share with people what it means and how important it is to be authentic, especially in this day and age of insanity that we live every day. I feel that long is gone the world, that we need to have the big leader and everybody follow. I think we need to think that we need to reawaken the leader within each of us so that everybody can lead their own life and be fully themselves, authentic into themselves. And so I embarked on this journey, which is just to send a message.
Carlo:Like you said last night when I said wonderful music, but the message and you said it's all about the message, sending it out. For example, there was a little story of some sea stars that were on the shore and they were all dying and a little kid was running, tried to grab one and an old person was saying ah, kid, leave it. Look, there are thousands of them, they're all going to die. And the little kid said, once he started in the hand, he said, yeah, maybe they're all going to die, but this one is going to live because he had one and he was making the difference for that one. Of course, he's taking the choice. He's taking the responsibility in his hand, yeah.
Kabeção:It's not because everybody is going that direction. That is the right direction.
Carlo:Right, yes, and this is a big one, this is huge. This has always been in our society and we see it so much, especially in the last bunch of years we've been living in. Now there are a lot of people that rather not even consider what they want, but they'd rather agree more with whatever the people do rather than look inside.
Kabeção:It's easy more comfortable and doesn't create so many problems.
Carlo:But when you say to this person how about your children? What are you teaching them? That switches to another dimension now. Because are you teaching them to say yes without considering themselves? Or what is the most important thing that you want to pass on to them? Because maybe you're taking your choice, because you're grown up? You're taking your choice, but if you're a parent, you really have, as you said, you're a guardian. You have a huge responsibility.
Carlo:What is important for a child? Is it important to follow all the rules in the world, or is it important that they are valued, what they think? Discovering who they are is the value and then, from then, they can learn whatever they need to learn, but at least they, they know who they are, they discover who they are, and once they do that they can, then they can be themselves going on stage as a musician, writing a book, uh, being a mechanic, whatever it is, whatever, whatever. But they are themselves. They're not trying to be somebody, because it's a good job, you make money, but there was nothing to do with. But what do you like? Who are you? I mean, you are a human being and one life and before you know, it's gone.
Carlo:Human beings, I think, are very powerful and we forgot our power. We gave it away too easily, and it is time to remember that, because we can indeed change by changing ourselves. That's what we can do. We don't need to wait for somebody to change the world. We can just start by being more authentic. Thank you so much. It was indeed a really great pleasure. I really hope to meet you soon and listen to more of your fantastic music. Thank you, but on a personal level, it has been really, I feel, very lucky to have met you and had this exchange, so thank you also for your time.
Kabeção:Gnade.
Carlo:It was a pleasure.
Kabeção:Ciao.
Andre:Ciao, that's it for now. We hope you enjoyed it and if so, please share it with friends, give us comments and subscribe. Expect at least one podcast per month, so see you soon. And now just listen another minute to this wonderful, inspiring music. Thank you.
