RGM caught up with Gonçalo Serras aka Fritz Kahn & The Miracles’ about his debut ‘Attila, The Crow’ EP, released this week.
Hi Fritz. What made you decide that music is a thing for you?
That’s a very precise question, but I’m not sure it can be answered precisely. I don’t know if there was a specific moment or situation that made me believe I was meant for music. However, I do remember feeling lost and scared in this world, yet still hearing myself singing through the nightmare.
It eventually made all the monsters go away, so to speak, allowing me to carry on with my life. Music opened a new path for me—it was a gateway to perception, quoting Aldous Huxley. It became the only possible path to peace and freedom, one where I’m still evolving and developing. Music was the future, even if I didn’t realize it at first, until everything started falling apart, and I was forced to step forward.
Introduce us to you all and your musical history.
I was once a child prodigy in music and beyond. I excelled in school, won every contest and competition I entered, and wrote my first 20-song album in just two weeks back in 2001. In 2006, I received an honorable mention at the International Songwriting Competition.
I have a strong literary background, which greatly inspires my music. Music, for me, is a way to tell stories, and I’ve become the kind of storyteller I admired growing up. As for my musical history, I’ve never worried about “the road not taken” (quoting Robert Frost). That untraveled path eventually led me to music as a serious craft.
What’s the live music scene like in Lisbon right now? Anyone we should be looking out for (besides you, of course)?
Lisbon is a city by the sea, and it reflects that spirit. Imagine a sailor returning after months at sea, stopping at a bar, ordering a pint, and asking the local musician to play Sailing by Rod Stewart because he misses home. But the musician replies, “Sorry, we don’t play those singalongs anymore.
How about the latest Taylor Swift hit instead?” Disheartened, the sailor walks away, ending up drinking alone on the street. That sums up the live music scene in Lisbon—commercialized and leaning heavily towards pop. Even FADO, Portugal’s traditional music, has been reshaped to resemble pop. However, there are still some amazing Portuguese projects worth exploring, my favourites being Mimi Froes, Maro, Valter Lobo and Capitão Fausto.
What’s your view on the music industry?
The industry exists to make money, which I understand. What I don’t understand is why these brilliant music entrepreneurs stopped taking risks. In the 1960s, executives gambled on artists like Hendrix, Joplin, and Zappa. Today, music has to fit into predefined categories. There shouldn’t be any “safe bets” in music—executives should be chasing the unknown. Right now, they’re digging for gold in the safest places, but that gold will run out. Perhaps then, a bright new day for musicians will emerge, when industry professionals realize their role isn’t just making money—it’s shaping the future. Music is far more important than profit.
Where do you feel you currently sit within the music industry?
I don’t fit into any specific genre. I know it’s a cliché, but it’s true. This gives me freedom. I might be ignored by the mainstream, but I’m happy—confused yet constantly moving forward.
Tell us two truths and a lie about yourself.
I feel lonely.
I don’t want to feel lonely.
I always smile to make friends.
Do you ever worry about people taking things the wrong way or cancel culture?
“Love means never having to say you’re sorry”—a line from a 1970s movie. I won’t apologize for my past, my flaws, or even my virtues (if I have any). Cancel culture may have its reasons, but I believe in respecting the past—whether you love it or hate it. Can we improve? Absolutely, but only if we ground ourselves in shared values. We can’t erase the millions of years of evolution behind us. Instead, let’s work together to preserve common sense because it’s what holds us together.
Do you believe in conspiracy theories?
No, I don’t. I lack the wisdom to endorse them. Conspiracy theories often rely on what we don’t know. Wisdom requires access to information, and it’s not wise to claim knowledge about the unknown. I prefer to have faith—faith that someone will step in and rescue us. That’s what truly grounded people do—they rescue one another.
What was your best experience on stage?
Connecting my voice to my soul and body in a way that resonated with the audience. I could almost feel energy rising from the earth itself. Perhaps some Remy Martin brandy helped too—it’s my favorite. Another memorable moment was when a beautiful girl from the audience sat on my lap and sang along with me. A dangerous moment, though—I almost kissed her, forgetting her boyfriend was watching!
What was your worst experience on stage?
I almost got electrocuted after a summer storm drenched our instruments and amplifiers. My microphone started sparking blue lights and I could feel the electricity on my lips. We had to cancel the show. That day, I learned a valuable lesson: water and electricity don’t mix.
Tell us something surprising about yourself.
I haven’t given up on my inner child, even after 47 years. That kid, born in Entroncamento, Portugal, still inspires me with his gentleness and curiosity. He makes me believe in magic—whether it’s The Wizard of Oz or Walt Disney—and helps me feel at home in this often harsh world.
What are your next steps with Fritz Kahn & The Miracles?
My focus is on songwriting—making it the best it can be. I’ll hire professionals for production, recording, and promotion, financed by my day job. Who needs Caribbean holidays when you can spend time writing songs?
What can you tell us about your new EP, Attila, The Crow?
The EP uses the metaphor of a crow and Attila the Hun, a barbarian who terrorized ancient Rome. Like a crow collecting shiny things, I try to capture fleeting moments of joy. Memory is crucial—I hold onto good moments to survive tough times. Stealing those moments is my way of living fully. Wouldn’t you do the same?
What was the recording process like?
Smooth and rewarding. I worked with some of Portugal’s finest studio musicians: Ruben Alves, Miguel Amado, and sound technician Nuno Simões at Slow Studios. Sassa, the magician behind mixing and mastering, made everything come together perfectly.
What was the biggest challenge in writing the new songs?
Keeping it simple. The more you learn, the harder it becomes to embrace simplicity. When I overcomplicate things, I step back to focus on straightforward, heartfelt songs. Simplicity is my choice—for music and life.
Would you change anything now that it’s finished?
There’s always room for improvement, like a slight vocal adjustment or fixing a minor piano pedal sound. But overall, I’m thrilled with the results, and Ruben Alves (producer and pianist) is too.
Is there anything else you’d like to share with the world?
I wish to make this planet our common home. Friendship should guide governments, laws, and nations. I’d also like to thank Black Arts PR for helping me share my music in the UK. Singing in English, it’s only fair that English-speaking audiences hear what I’ve been creating for the past 25 years.
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