Carolina Iglesias has just marked a milestone in the podcast and you’re looking for the next one. After converting together with Victoria Martín his stretching the gum in a live show, his last performance last Friday brought together 28,000 people (face-to-face and streaming) from the Wizink Center in Madrid. Although a few hours have passed since that success, it is almost ready The CaroLate, a Spotify program in collaboration with PRISA Audio that explores new paths in the format. It is “an experiment”, she defines herself, designed to be broadcast on video, close to the late night television and that orbits around his personal and professional universe.
With that essence of late-night shows, his new podcastwhich launches on Wednesday, October 5, adopts “a more frenetic rhythm than normal”, with a structure in permanent change. Monologues, interviews and sections with collaborators will be happening in each installment. The first of them will feature the presence of Eva Hache. She “she is the first woman who presented a late night in Spain and a benchmark for me”, says Iglesias this Tuesday at the Madrid headquarters of the audio platform.
The personal tone is key in this genre. Therefore, the weekly interviewees will always be people who mean something to their presenter. So are the two women she creates the show with. Laura Marquez (screenwriter of Comedy club and of Late Motiv) and the comedian Charlie Pee, in addition to having their own section, are in charge of writing the scripts for El CaroLate. The presence of both is a way of vindicating and promoting the monologue, which has brought a lot of talent to Spanish comedy in recent years —”from Ángel Martín and Dani Mateo to the boys from girl Nui”, Iglesias points out – and in which she started herself. One of the sections, it advances, will give space each week to a new promise of comedy so that it can make itself known to the audience.
And, although “it is not about making television”, they will also take care of the aesthetics of the podcast something more than usual, always “within naturalness”, points out the Galician. This connection of The CaroLate with the video it extends the strategy of Spotify by the image, which began with its first video podcasts in the summer of 2020. In fact, Eduardo Alonso, director of Spotify Studios for southern and eastern Europe, admits that YouTube is already a great competitor in the fight for the music market. podcast. This new modality has brought with it the arrival of piracy of movies and series in that video section of the application. Alonso recalls that Spotify has detection and complaint tools that the user can activate when they find this type of publication that infringes copyright and exploitation rights.
Although the spokesman for the Swedish company insists that “audio continues to play a fundamental role and video is only its accompaniment. The format always has to work without an image”. Many creators have decided that they prefer to release their shows this way and Spotify has decided to do it with some of their original content, such as fourth millennial Y The cock and the kinky because “they attract a young generation that is used to audiovisuals”, he argues.
The second project with which Spotify seeks to broaden horizons in its catalog of podcast it is sound of crime, his first sound fiction, also in collaboration with PRISA Audio (the transversal platform of PRISA, publisher of this newspaper). The plot revolves around the disappearance of the young Carla Serrano on a university campus. Olivia Menes, the voice chief of the police forensic acoustics laboratory, is in charge of analyzing them in search of clues.
María Mínguez, creator of the series, makes the leap to the format with this project. “It came up with a news item in the newspaper that revealed to me the existence of the forensic acoustics laboratory. I found it very curious that he was so little known, despite having solved cases as notorious as the kidnapping of Anabel Segura. They found a clue when in a recording they heard in the background a man in a bar using a word that is usually said in Toledo, ”she comments at the Spotify headquarters.
Until now, the screenwriter had made movies and series, but she understood that the sound of crime It was a story that had to be told in the same way that it happened: through audio. He went to the organization’s headquarters in Madrid and discovered many of the techniques they use. “They make recognition wheels with voice and vocal passports [una huella dactilar sonora]. In addition to policemen with highly trained ears, its members are speech therapists or linguists”, he explains. With all this new information he created a fiction starring actors such as Marta Etura, Javier Pereira, Ariadna Gil, María Castro, Victor Clavijo, among others. There will be six chapters that last between 15 and 20 minutes “and they will be full of final twists,” says the creator of it.
According to the results of the annual report on consumer habits of podcast in Spain produced by Spotify, the consumption of this format has doubled in just one year, experiencing a growth of 106% and the total number of listeners has grown by 37% in these months.
Until now, the rise of the format was attributed to confinement during the coronavirus crisis, but the data from this last year confirm that this new form of leisure that many Spaniards have discovered has remained in their daily lives. The key is also found in how the ecosystem of creators has grown, points out Eduardo Alonso. Among the most listened to, titles related to health and comedy continue to dominate, but one of the booming genres has been news. In recent months they have launched formats such as A.M Y TODAY IN THE COUNTRYwith a good reception from the listeners and those who “unfortunately, have favored the fact that the informative year has been so convulsive”, comments Alonso.
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