BACKSTAGE

Jay-Jay Johanson returns to Mallorca. Not out of habit, but out of longing. Some bonds can’t be explained —they’re simply felt. Like the one between him and his audience here, on this island.

He brings with him Backstage, his latest album: a cinematic, delicate work where he explores new textures —a song in French dedicated to Rimbaud, an unexpected duet with actor Harry Goaz, a version of Lujon that gently brushes against Henry Mancini’s legacy.

All of it wrapped in that signature vaporous elegance he’s carried since Whiskey (1996), when he first began to whisper storms.

His voice still drifts like slow smoke, like a wound held in.

There’s a trace of Chet Baker in the way he tells stories without raising his voice, in how he suggests more than he says. Every performance is an intimate ritual, a moment suspended in time.

At the Teatre Principal in Inca, we’ll listen closely. Very closely. As if he were singing just for you.

Often hailed as one of Europe’s most sophisticated crooners, Jay-Jay seamlessly blends trip-hop, jazz, minimalist pop, and a distinct cinematic flair. Backstage is his 15th album, where he explores new sonic landscapes.