Peces de Ciudad

Pablo Alborán's 'Peces de Ciudad' is a poetic exploration of love, loss, and the disillusionment that often accompanies urban life. The song opens with a nostalgic reference to a past lover who taught the narrator to kiss at the Gare d'Austerlitz, a train station in Paris. This sets the stage for a journey through memories and emotions, likened to the fleeting nature of a springtime romance. The imagery of 'amarillo y fugaz' (yellow and fleeting) evokes a sense of something beautiful yet transient, much like the brief warmth of an Indian summer.

The song is rich with cultural references, from Jacques Brel's melancholic tunes to the bustling streets of New York and the mythical mines of King Solomon. These references serve to highlight the narrator's sense of being lost in a world that is both vast and indifferent. The line 'No hay más ley que la ley del tesoro en las minas del rey Salomón' suggests a world driven by materialism and greed, contrasting sharply with the narrator's search for genuine connection and meaning.

The recurring metaphor of 'peces de ciudad' (city fish) who have 'perdido las agallas' (lost their gills) paints a vivid picture of urban dwellers who have become desensitized and disconnected from their true selves. The song's chorus, with its imagery of a heart 'ligero de equipaje' (lightly packed) and 'sobre un cascarón de nuez' (on a nutshell), underscores the fragility and vulnerability of the human spirit navigating the complexities of modern life. Ultimately, 'Peces de Ciudad' is a poignant reflection on the search for identity and belonging in a world that often feels alienating and unforgiving.