Joaquin Will Be Back started from a beat that already had a certain weight, but it did not fully make sense until another voice entered the track. I sent it to Carlos without much explanation because the idea was not to over-direct it. The track needed a human element, and what interested me was seeing what kind of response the music would provoke on its own.
What made the collaboration work was the way his guitar arrived with exactly the right kind of restraint. There was no need to force a bigger gesture or ask for more takes. The part already carried something specific: hesitation, space, and a melodic sensitivity that gave the track its center. When that happens, production is less about adding and more about recognizing what just became essential.
From there, the work was about arranging around that contribution with care. I wanted the guitar to breathe, keep its character, and let the track grow without losing the feeling that made it worth finishing in the first place. In songs like this, direction comes from understanding which element is really holding the emotional weight and making sure everything else supports it.
The video ended up reinforcing that atmosphere in a natural way. Those dinosaur visuals brought a nostalgic and slightly melancholic tone that sat surprisingly well with the music, as if the visual side had found the same emotional register the track was already carrying. That kind of alignment does not always happen, and when it does, it gives the whole piece more identity.
That is why I think of Joaquin Will Be Back as one of those tracks where the essential thing was not complexity, but precision. It came together when the right gesture appeared, and the rest of the production was about giving that gesture the space it needed to be heard.