Pablo Embon

Interview With Pablo Embon

SBS:  Hello and welcome to ya!  It’s always best to start off with some kind of introduction to who you are and what kind of music you make, isn’t it?  Tell us a bit about yourself & the history of your music, and give the people out there reading a couple of concrete reasons as to why they should be listening!

Pablo Embon:  Hello, and thank you for having me – it’s a pleasure to be here.

I’m a composer, orchestrator, and music producer working at the intersection of cinematic, orchestral, and jazz-influenced music.  My work is very much driven by storytelling – I tend to approach each piece not just as a standalone track, but as part of a broader narrative or emotional journey.

Over the years, my music has evolved from more traditional composition into a hybrid language where orchestral writing, modern production techniques, and improvisational elements coexist.  One of my recent projects, for example, is structured almost like a concept album – where the first and last tracks are thematically connected, and the listener travels through different sonic landscapes along the way.

Alongside composing, I also dedicate a big part of my work to teaching music production and composition.  That dual perspective – being both a creator and an educator – has really shaped how I think about music: not just emotionally, but structurally and technically as well.

As for why people should listen, I’d say there are a couple of concrete reasons:

First, if you’re someone who enjoys music that tells a story without relying on words, my work is designed to take you on that kind of journey – there’s a strong focus on narrative, development, and emotional arc.

And second, if you’re interested in the blend between orchestral depth and modern production, that’s really at the core of what I do.  I try to bring together the richness of traditional composition with the clarity and impact of contemporary sound design.

SBS:  While we’re still getting to know you and quite possibly introducing you to these pages of ours, what would you say is the newest and/or most exciting thing you’ve got going on with your music right now?  Is there anything you’ve been working on that just got released, or something happening behind the scenes that you haven’t mentioned yet?  What should your fans be looking forward to this year?

Pablo Embon:  Right now, the most exciting thing happening in my world is the release of my latest album Journeys of a One Man Band, which represents a very personal milestone for me, and probably myself looking at the mirror as one single person carrying and generating music by myself around the world.  It’s a project that really brings together everything I’ve been developing over the years – cinematic storytelling, orchestral writing, and modern production – into a cohesive narrative experience.  It’s not just a collection of tracks, but something designed to be heard from beginning to end as a journey.

At the same time, a big part of what I’m doing behind the scenes is refining and developing proven methods for music production and composition.  Through my work as an educator, I’ve been systematizing a lot of what I’ve learned – breaking down complex creative processes into practical frameworks that other musicians can actually apply.  That’s something I’m continuing to expand this year, both in terms of content and how I share it.

Looking ahead, I’m also planning to bring the music into a live setting, which is something I’m really excited about.  The goal is to move beyond the studio and start translating these pieces into live performances, potentially in collaboration with other musicians.  That opens up a completely different dimension of interpretation and energy.

So for listeners and followers, there are really three things to look forward to this year: experiencing the new album, gaining deeper insight into the creative process behind it, and eventually seeing that music evolve into live performances and collaborations.

SBS:  So far to-date, what do you feel like is the song of yours that listeners respond to the most?  Do you feel like you knew they’d like it when you first created it, or was it just another song to you at the time?  Sometimes it takes a few spins and a bit of time before we realize how special a song truly is.  What is it about this particular track that you feel people connect to?  If someone was to ask you to play one of your songs to get them interested in your music, would you choose the same one that listeners seem to enjoy the most, or would you risk it and choose something different from your catalog instead?

Pablo Embon:  One track that seems to consistently resonate with listeners is the opening piece from my latest album, “The One Man Band Overture.”  It’s interesting because this track really sets the tone for the entire journey – it begins in a very intimate, almost minimal space, and then gradually evolves into something much more expansive and complex.

When I was writing it, I did have a feeling that this kind of slow-building narrative would connect.  There’s something very natural about music that “cooks itself” over time – where the listener is drawn in gently, and almost without realizing it, they’re carried into a much more intense and immersive experience.  That sense of transformation is something I focus on a lot in my work.

I think what people connect to in this particular piece is exactly that arc – from simplicity to complexity, from solitude to something more cinematic and collective.  It mirrors a kind of emotional progression that feels familiar, even without words.

If I had to introduce someone to my music, I’d probably start with this track because it represents that core idea of storytelling through sound.  That said, I’d definitely be tempted to also show something contrasting – because a big part of what I do is exploring different textures and approaches within that same narrative mindset.  So it’s a bit of both: this piece as the entry point, and then something unexpected to expand the picture.

SBS:  Is there a concert you’ve been to that…maybe it was the best you’ve seen, maybe it wasn’t, but it was a completely unforgettable moment in time that you might not even see from the same band or artist again if you saw them play in the future?  Know what I mean?  Like, maybe a band you saw was touring a certain album and they never played those songs again…or like, maybe an artist climbed up the frame of the stage like Eddie Vedder did, and of course he’s probably not doin’ that now as an older dude…there are countless examples of amazing shows from the artists & bands we love most that we will never see happen twice.  Tell us all the details you can remember about an unforgettable show you saw, and why you don’t think that if you saw that same artist/band today that it could all happen again.

Pablo Embon:  I’ve been fortunate to experience a few concerts that really stayed with me, but two stand out in a way that feels almost impossible to recreate.

The first would be seeing Pat Metheny live – actually on two different occasions.  His music has been a huge influence on me, especially in shaping my approach to jazz fusion and composition.  There’s something about the way he builds musical narratives, the harmonic language he uses, and the emotional depth he brings to every performance that I connect with on a very deep level.

What made those concerts unforgettable wasn’t just the technical brilliance, but the sense that you were witnessing pure creativity in real time.  His performances feel alive in a way that’s never exactly the same twice, and that kind of spontaneity is something I’ve always tried to bring into my own work.  Even if I saw him again today, I know it would be incredible – but it would never be that exact moment again, with that same energy and connection.

The other one that really left a mark on me was seeing Ray Charles live in Phoenix.  That experience was something else entirely.  He was already in the later stage of his life, and I remember having this very clear feeling while I was there – almost like I was witnessing a piece of history that wouldn’t exist much longer.

There was a depth, a soul, and an authenticity in his performance that’s very hard to describe.  It wasn’t just about the music – it was about everything behind it, the life experience, the legacy.  And when he passed, it really confirmed that feeling I had during that concert – that this was something truly unique to that time, that artist, and that moment.

Both experiences, in different ways, reminded me that live music at its best is not just about performance – it’s about presence.  And sometimes, you just know you’re in a moment that won’t ever come around again.

SBS:  I’ve heard it said many times that it’s harder to write a song in a happy mood than to write one when you’re feeling down.  Of course, for some folks, the opposite is just as true…I guess maybe that’s a reflection of who we are on the inside perhaps?  From YOUR perspective, what’s the particular emotion you associate with the most, or connect to the strongest when you’re creating your music?  How does it play a role in what you write & why do you feel like that specific emotion gets the best songs out of you?

Pablo Embon: That’s a really interesting question, because for me it’s not so much about a specific emotion like happiness or sadness – it’s more about a state of mind.

The emotion I connect with the most when creating is a sense of freedom.  By that I mean a mental space where there are no internal barriers – no overthinking, no self-judgment, nothing that interrupts the natural flow of ideas.  When I’m in that state, it feels like the music can move forward without resistance, almost like it’s unfolding on its own.

That freedom allows me to see the bigger landscape of a piece while still being connected to the details.  I’m not forcing the music in a certain direction – I’m exploring it.  And I think that’s when the most honest and compelling ideas tend to emerge.

In contrast, whenever there’s tension in the mind – whether it’s doubt, pressure, or trying to “get it right” – it tends to block that flow.  So a big part of my creative process, both in music and in life, is about protecting and maintaining that state of openness.

I feel like that’s what brings out the best in my work – not a specific emotion, but the absence of restriction.  It’s in that space that the music becomes more natural, more expressive, and ultimately more meaningful.

SBS:  Let’s ask ya this…would you rather create a massive hit song that the whole world knows and sings along with, or risk toiling in obscurity for the length of your career to fully keep your artistic integrity intact?  Is it really that much better to be one of those artists or bands that are only known for one song, or is it better to build a whole catalog you can proudly stand behind that might not be known at all?  One-hit wonders tend to get judged pretty harshly and are often crushed under the weight of constantly trying to find that second hit – but the flipside of that coin is the right hit song can be so financially lucrative that it can often be enough to build a whole career around.  Still…I have to wonder whether or not that would suck all the joy right outta the craft…maybe it’s really better to have no hits than one hit – what do you think you’d prefer and why?  Do you feel like creating a hit song is truly crucial to a music career?  If it’s not, what’s the alternative?  Can you still have a career without really becoming known?

Pablo Embon:  That’s a great question, because it really gets to the heart of what kind of career you want to build.

For me, the priority has always been developing a strong musical identity rather than chasing success tied to a single piece.  Of course, having a widely recognized track can open doors – and there’s nothing inherently wrong with that – but I don’t see that as the ultimate goal.

What matters more to me is that if someone listens to different compositions of mine, they can recognize a consistent voice behind them.  Whether it’s the orchestration, the way the harmony evolves, or the overall sense of storytelling – I want there to be a signature that connects everything I create.

In that sense, I’d much rather build a catalog I can stand behind as a whole, rather than be defined by one moment that happened to resonate at a particular time.  A “hit” can sometimes be a reflection of timing as much as intention, whereas identity is something you develop consciously over years.

I also don’t think creating a hit is crucial to having a meaningful career in music today.  There are more paths than ever – through niche audiences, education, collaborations, and direct connection with listeners.  It’s absolutely possible to build a sustainable and fulfilling career without being universally known.

For me, the real success is when people don’t just recognize a song – they recognize you through the music.  That’s something that lasts much longer than any single hit.

SBS:  Alright.  Personal taste.  It’s a weird thing right?  Impossible to predict, isn’t it?  We always talk about A-sides and B-sides when it comes to making music, and I like to believe that albums are generally put together with the artist or band bringing their best (theoretically, the A-sides) to an official release.  But once a song has been put out there into the world, it takes on all kinds of different meanings to every set of individual ears listening, doesn’t it?  For example – I’ve heard plenty of songs on what are considered to be B-side albums, or second songs that came along with a single that I might like even more than an A-side.  On the same side of that coin, just about every artist and band I know of tends to like certain songs they release much more than the ones their fans respond to the most.  So…I guess the question is…is there really such a thing as an A-side or a B-side to begin with?  What’s the point in worrying too much if everyone out there will draw to their own conclusions about what they like anyhow?  Should we just put absolutely everything we make out there online & let people be the judge?  When we label something as an A-side or a B-side, doesn’t that somewhat limit the listener’s objective ability to assess how they feel about a song on their own?  Who really decides what’s an A-side or a B?

Pablo Embon:  I completely agree with the idea of not pre-judging what should be an A-side or a B-side.  Once music is out in the world, it really belongs to the listener – and they’ll always connect with it in their own way, regardless of how it was labeled or intended.

In my own experience, I’ve actually found that many times – probably around 70–80% – the pieces I personally considered less impactful ended up being the ones that resonated the most with listeners.  And that was a really important lesson.

I think a big part of that comes down to the difference between the musician’s mindset and the listener’s mindset.  As composers, we might get excited about a sophisticated harmonic idea, a complex structure, or something technically interesting that feels very meaningful to us.  But the listener is experiencing the music in a completely different way – they’re responding to emotion, atmosphere, and connection, not necessarily the underlying mechanics.

Over time, I’ve learned to respect that difference instead of trying to control it.  I still create music that I personally believe in first – that’s essential.  If I’m not genuinely moved by what I’m creating, I can’t expect anyone else to be.  But at the same time, I’ve become more aware that once the music is released, the listener ultimately decides what matters.

So in that sense, I don’t think there’s a fixed definition of an A-side or a B-side anymore.  Those labels can even be limiting, because they suggest a hierarchy that might not exist for the audience.

For me, the goal is to create something honest and meaningful, put it out there, and allow people the space to form their own connection with it.  Sometimes they’ll surprise you – and that’s part of what makes music so powerful.

SBS:  Who’s someone you would be able to pinpoint as an influence on your music, or who you are as an artist, that even your fan-base might not have expected?  How has that person affected the way you make your music, and do you really feel like the influence ends up showing up in your sound, or not?  Maybe it’s something they said, maybe it’s something they did, maybe it’s something they accomplished that you hope to as well someday…maybe they’re simply iconic, or have become legendary.  Tell us why this particular inspiration matters to you & how they made an impact on how you view the art of music.

Pablo Embon:  One of the biggest influences on my music – and probably one that people wouldn’t immediately expect – is actually my Jazz piano teacher.

What made his impact so significant wasn’t just the technical side of learning the instrument, but the way he taught me to think in musical terms.  He introduced me to the language of Jazz in a way that went beyond chords and scales – it became a mindset.  It was about how harmony moves, how phrases breathe, how tension and release are shaped over time.

That way of thinking stayed with me so deeply that even today, I often find that I’ve written something with a strong Jazz influence without consciously intending to.  It’s almost embedded in how I hear and process music.

I think that’s a big reason why the piano plays such a central role in my work.  It’s not just an instrument in the arrangement – it often becomes the driving force and the connective element between different worlds, especially when I’m blending orchestral writing with more contemporary or fusion-oriented ideas.

So even though listeners might associate my music more with cinematic or orchestral elements, there’s this underlying layer of Jazz language that comes from that early influence.  It shaped not only what I play, but how I think about music – and that’s something that never really goes away.

SBS:  I’m going with a motto of being unafraid to fail this year, because I think even though I’ve failed in so many things that I’ve tried, maybe I still haven’t failed enough to have learned to not be so afraid of it yet, you know what I mean?  We can learn so much by failing…by trying different things…by stretching outside of our comfort zones – and heck, we don’t even know if we can find success at all unless we’re really willing to see what we’re capable of, right?  So let’s ask you this – what do you consider to be your biggest failure with your music to-date, and ultimately, how did that experience actually end up helping you later on?  What did you learn from whatever mistake you made & how did it assist your evolution?

Pablo Embon:  One of the biggest mistakes I made earlier in my journey was allowing external opinions to define what I thought I was capable of.

At one point, I was told quite directly that I wasn’t a singer – and that I should focus only on composing and producing, because that’s where my strengths were.  And for a while, I internalized that.  It influenced how I saw myself as a musician, and it definitely limited what I was willing to explore.

But something in me didn’t fully accept that conclusion.  I kept feeling that the voice is such a direct channel of expression, and I didn’t want to close that door based on someone else’s perspective.  So I made a conscious decision to work on it – to really develop my vocal abilities and understand how to use my voice to communicate emotion.

Over time, that process completely changed my relationship with singing.  I realized that it’s not about fitting a predefined standard – it’s about authenticity and connection.  In fact, I got to a point where I feel confident enough not only to use my voice, but also to teach others.

Interestingly, I didn’t feature my voice in my latest album because I was focused on a very specific instrumental direction.  But now I approach that choice from a place of intention, not limitation.

What I learned from that experience is probably one of the most important lessons in my career: you have to trust your own artistic instincts over external labels.  Feedback can be valuable, but it shouldn’t define your identity.

And who knows – there’s a good chance that in the near future, I’ll bring my voice into my music in a much more open and unfiltered way.

SBS:  As I always like to remind people participating in our interviews, there is no such thing as an interview that has ever covered everything that someone would want to talk about, this one included.  We cover that here at sleepingbagstudios by offering you the ‘open floor’ at the end…a space where you can talk about anything else you want to.  You can mention anything we didn’t bring up.  You can talk politics if you want to.  You can swear.  You can tell us which websites we should go to in order to listen to your music.  You can tell us your favorite movie if you like.  Heck, you can full-on repeat yourself and say something you’ve already said if you feel so inclined – it’s YOUR space to say whatever YOU would want to say to the people out there, completely free of our influence on the conversation…all I suggest is that you take it for a ride and make good use out of it.  Thank you so much for talkin’ tunes with us!!!

Pablo Embon:  I’d like to touch on something that’s really shaping the future of music right now – the combination of digital distribution and AI-generated content.

On one hand, music has never been more accessible.  But that accessibility has also reduced its perceived value.  Behind every piece of music there are hours – sometimes years – of work, yet it’s often consumed as if it were disposable.

Now with AI entering the space, it adds another layer of complexity.  We’re seeing music being generated instantly, sometimes without clear authorship, and often raising serious questions about originality and copyright.  It challenges not only how music is created, but also how it’s owned and valued.

For artists, this creates a strange contrast: investing deeply in something personal and crafted, while existing in an ecosystem where music can be replicated, distributed, and consumed at almost no cost.

I don’t think this is entirely negative – but it does mean we need to be more conscious, both as creators and listeners, about what we value.  Music isn’t just content – it’s expression, identity, and time made audible.

So if something connects with you, support it.  That connection is what keeps real artistry alive.

Find out more about Pablo Embon online at:

Facebook – Instagram – Bandcamp – Spotify – YouTube – Pablo Embon Academy – Linktree

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