The São Miguel-born artist reflects on her musical roots, creative independence, the challenges of artificial intelligence, and the enduring connection to the islands that continue to inspire her.
Azorean singer-songwriter Sara Cruz is preparing a new chapter in her musical career, promising fresh recordings in 2027 while maintaining the intimate, organic approach that has distinguished her work. Now based in Lisbon, the São Miguel-born artist says that leaving the Azores was necessary to expand her professional opportunities, although the islands remain central to her personal and artistic identity.
In an extensive interview, Cruz discussed her musical upbringing, songwriting philosophy, the realities of the contemporary music industry, and her determination to preserve human creativity in an increasingly technology-driven environment.
Her musical background reaches across generations. She is the granddaughter of Victor Cruz, a well-known Azorean entertainer and broadcaster, and the daughter of Paulo Cruz, former drummer and vocalist of the popular 1980s band Stress.
Although she was too young to experience her grandfather’s career firsthand, she grew up hearing stories about his work in radio, television, music, and community life.
Her father played a more direct role in her musical development. At seven, she received her first drum kit, followed by a guitar a year later. He taught her both instruments, introducing her to artists such as Queen, Bryan Adams, Phil Collins, Supertramp, and The Doors.
Music quickly became a natural part of her childhood. By approximately age 13, she was performing publicly, beginning a journey that would eventually lead to songwriting, recording, and professional concerts.
Despite her early musical ambitions, Cruz pursued a university degree in Social Communication and Culture at the University of the Azores, a decision encouraged by her family and motivated by her interest in writing and communication.
She briefly attended a music conservatory but ultimately developed her abilities largely through practical experience, later recognizing the importance of musical theory in expanding her compositional possibilities.
Her recorded work includes Above Our Heads, Fourteen Forty-Five, and Live & Acoustic, projects that reflect her development as a songwriter and performer.
Cruz describes her creative process as deeply personal, drawing inspiration from relationships, everyday experiences, literature, films, and conversations.
Rather than relying exclusively on autobiography, she observes the lives of those around her, collecting phrases and impressions that may eventually become songs.
Her goal, she explained, is to create music capable of generating the same emotional connection she experiences when listening to artists she admires.
For Cruz, songwriting also requires discipline, careful revision, and attention to detail. She considers herself a perfectionist, particularly regarding lyrics, arrangements, and recording quality.
She worked closely with musician and producer Flávio Cristóvam on Fourteen Forty-Five, describing the collaboration as an important experience in developing her artistic identity.
She also believes that simplicity and silence are essential elements of musical expression.
“Music is also the silence we allow to exist in songs,” she observed.
One of the interview’s central themes was the growing influence of artificial intelligence on artistic production.
Cruz expressed strong reservations about AI-generated music, arguing that the creative process itself gives artistic work its meaning.
While acknowledging that technology can produce convincing recordings, she believes the dedication required to master an instrument, develop a composition, and collaborate with other musicians will become increasingly valuable.
She worries that AI-generated content is already becoming commonplace in advertising, television, and digital platforms, often without audiences recognizing its origins.
For Cruz, the experience of musicians working together in a recording studio remains irreplaceable. She values the experimentation involved in finding the right instrumental sound, arrangement, or vocal interpretation.
Her comments also addressed the pressures created by social media, short-form videos, and digital algorithms.
As a graduate in communication studies, she expressed particular concern about misinformation and the tendency of audiences to consume headlines without engaging with the substance of news and cultural content.
She acknowledged that artists increasingly feel compelled to produce short promotional material to remain visible, even when those formats do not adequately represent their work.
Despite these challenges, Cruz remains enthusiastic about her next musical project.
She has returned to the recording studio, working both in her home setup and with musician Francisco Santos, who recorded the drums for Fourteen Forty-Five.
She confirmed that new music is expected in 2027, although she intends to explore a somewhat different musical direction rather than repeat her previous album.
Her artistic independence remains important. Cruz is represented by Locomotiva Azul, which manages her bookings, career development, and releases while respecting her creative decisions.
She also discussed her participation in a version of the song folded, released through the Right Right project associated with António Graça, known artistically as Left.
Her next announced performance is scheduled for November 14 at 5 p.m., at the Complexo Municipal dos Coruchéus in Lisbon, as part of the Um Teatro em Cada Bairro initiative. The concert will feature a solo acoustic format.
Although Lisbon offers the professional connections, recording opportunities, and collaborations necessary for her career, Cruz continues to maintain a profound attachment to São Miguel.
She recently spent two months on the island, describing the visit as essential to restoring her energy and preparing for another period of composition.
She acknowledged that she initially resisted the suggestion that an Azorean musician needed to leave the archipelago to pursue a professional career in original music.
Over time, however, she recognized the importance of being close to other musicians, producers, studios, and professional networks.
Her decision to relocate was motivated by those opportunities rather than academic considerations, since she had already completed her university education in the Azores.
Nevertheless, she remains committed to collaborating with regional artists and maintaining her connection to the archipelago’s musical community.
Asked whether representing the Azores creates a burden, Cruz rejected the suggestion.
For her, it is a source of pride.
She explained that leaving São Miguel always brings mixed emotions, even though she has established friendships and a professional life in Lisbon.
Having one’s heart in two places, she suggested, is not necessarily a disadvantage. It means belonging to two environments that offer different forms of fulfillment.
Looking ahead, Cruz hopes her career will eventually provide greater financial stability without compromising her artistic freedom.
She also hopes to avoid the more difficult and potentially exploitative aspects of the music industry.
For now, her priorities remain clear: continue writing, recording, collaborating, and developing an artistic voice that reflects her experiences while remaining open to change.
Her journey illustrates both the opportunities and challenges facing a new generation of Azorean musicians who must often pursue their careers beyond the islands while preserving the cultural and emotional connections that helped shape their identities.
Source: Based on a Portuguese-language interview with singer-songwriter Sara Cruz in Complexo N…You can read th entire interview in Portuguese on the porjects Facebook page
https://www.facebook.com/photo/?fbid=122186768360677115&set=a.12210597539667711
Foolow her here…
