Papazó belongs to that rare category of artists who move effortlessly between different worlds, without feeling the need to choose just one. A songwriter, music producer and at the same time a medical doctor, he combines creation with science, sensitivity with discipline, shaping a path that evolves organically and without haste.
With live performances that stand out for their diversity, songs that carry personal stories, and covers that “re-read” the past through a contemporary lens, Papazó has managed to build a distinct musical identity. From Atelier to his weekly live shows at Green Park Athens, his music functions as a space for expression, experimentation and emotional release.
At the same time, he continues his studies in ophthalmology, carrying with him experiences from military service, rural medical practice and hospital on-call shifts—experiences that often transform into lyrics, images and melodies. His daily contact with human vulnerability, fragility and dignity deeply shapes the way he approaches both creation and life.
In the interview that follows, Papazó talks about his musical journey, his influences and contradictions, his involvement in theater, the overthinking of modern life, and his upcoming project Imbalance. An honest and deeply human conversation that sheds light on the balances—and imbalances—behind his music.
On December 3rd you started performing at Green Park Athens. How do you feel about this new weekly live experience and what can people expect when they come?
I feel very happy. During the summer we were playing there, outside in the courtyard, and judging by the response, people really liked what we were doing, so they trusted us again. Now we’re there once a week to present our show in the indoor space as well. The program literally includes everything: pop, art pop, folk, rock, plus new, unreleased songs of mine, which make me especially happy. We also have a guest each time -different every week- so I’d say that every Wednesday is unique.
Alongside music, you’re continuing your postgraduate studies in ophthalmology. How do you balance these two demanding worlds in your daily life?
What I’m about to say might sound strange, but the postgraduate program itself isn’t the hardest part, because it takes place every weekend, so I can somehow manage my mornings. Right now I’m awaiting placement for my residency, which means I’ll soon start my ophthalmology residency at G. Gennimatas General Hospital. As a result, I don’t really know how much time I’ll be able to dedicate to music. I do want to continue, though—perhaps my online presence will decrease a bit.
You’ve studied medicine and completed your rural service. Is there any experience from that part of your life that has influenced you creatively or musically?
The songs I write are essentially mosaics made up of many different life experiences. For example, “Atelier” contains many images that I experienced at different moments in my life, which I then turned into one story. I’ve written songs while serving in the army on the islet of Kalolimnos, guarding the Imia area. Many things have influenced me.
Especially during my rural service, you see everything: elderly people, people who are helpless, people who are extremely kind, people who teach you things about life simply through their attitude, without even speaking. The way each person faces life and mortality is a huge source of inspiration for me.
There were times when I had two or three on-call shifts in a row and I was exhausted, emotionally drained—especially in emergency rooms, with traffic accidents, overdoses, cases from Domokos prison near Lamia where I did my rural service. All of that has to be released somehow. A doctor constantly absorbs other people’s problems; that emotion needs an outlet. For me, that outlet is art.
You’ve created many covers of timeless songs. What draws you to “re-reading” a song, and how do you decide which one comes next?
Before this project, I had never really done covers. I started studying classical guitar at the age of 12, and when I got home, I’d try to write my own songs. I never liked singing other people’s songs or covering them.
This all happened kind of by chance. I discovered the magic of taking something existing, changing it slightly, but keeping the original emotion and meaning intact. It’s a special form of art that I didn’t appreciate at first. It’s also a form of training for a music producer—you have to create something new every week, and that’s helped me improve the way I make music.
As for choosing songs, I usually ask the guest artist to pick two or three songs they like, because I want them to enjoy what they’re singing. Then we decide together. I don’t set limits—it can be something obscure or something very old.
Beyond covers, your original songs have been especially well received. How was Atelier born and what did you take away from your collaboration with Akylas?
I don’t really remember exactly how the song was “born.” I remember that it was released in December 2023 and became known about a year later. I had written it quite a while before that. I used to play it for my girlfriend, and she told me she liked it. I had finished both the song and the production, and then I thought, “What if we add someone else to it?”
That was around the time I started working with Akylas. I asked him to try singing it, and it turned out beautifully. That’s how his participation came about.
Right now I’m in a phase where something significant has happened, and that makes you feel like you have to think more carefully about your next steps. Honestly, I’d like to step away from that a bit and return to my initial mindset—when I just did what I liked and released it without worrying about criticism or whether people would like it.
What initially drew you to the theatrical play “Gemisto Tsigaro” (“Stuffed Cigarette”), and how did you decide to take part?
When I got into medical school in Patras, I bought a keyboard that included music production software. That’s where I started learning how music is made. I created countless productions before releasing my first songs. From the very beginning, my idea was to write music for film or theater—that’s where my passion for music really started.
Giannis (Koulper) and Vivianna (Giannoutsou) gave me the script, and I really liked it because it revolves around five medical students, so I easily related to the stories. Even though I had received other offers for theater work, this one really “clicked” with me. I also wrote the song for the play, which wouldn’t have existed if I hadn’t read this script.
You’re referring to “An” (“If”), a deeply emotional song that accompanies the play. What did you want to express through it, and how do you perceive modern social stereotypes around emotions?
The song was written based on the play. The story is about a group of five people who eventually drift apart. There’s a narrator character who constantly wonders what would have happened if things had gone differently. That really inspired me.
In modern life, we all say we’re moving fast, but I believe that when we get home, we all engage in overthinking: “What if I hadn’t said that at work?” “What if I had spoken differently to my partner?” That’s what I wanted to express. Overthinking is something I try to avoid, but lately it has entered my life as well. I believe it can be a hindrance—not only for an artist, but for anyone.
How did you experience MadWalk 2025, and what excited you most about participating?
I was never someone who dreamed of attending MadWalk or winning a Mad VMA from a young age, but it turned out to be a wonderful experience. It helped me rework Atelier and create something different. The people from the Orsalia Parthenis fashion house were incredible—they listened to what we wanted to express stylistically and created an amazing setting for our performance. In the end, it was a beautiful and emotional night. Sometimes you enter something with low expectations and leave with much more than you imagined.
What are your main musical influences?
Songwriters from older generations: Savvopoulos, Aggelakas, Pavlidis, Delivorias, Famellos. Pavlidis and Aggelakas were among the first artists who inspired me to make music, which is why I play their songs at every live show as a way of honoring them.
Is there an artist or genre that has influenced you, but that people might not expect?
From everything I’ve done so far, it’s clear that I try to incorporate many genres into my music. In a live show, I’d include everything. For example, in my current performances I rap freely. The first 500 tracks I made were house and techno, until I eventually got bored of them. Even Atelier has elements of electronic house music in it.
You’ve released several singles that have been well loved. Are you considering an album or a larger project?
Yes. There are songs I’ve been performing live for about a year, and I want to release them at the beginning of the new year or within the first months of 2026, in an EP that I’m thinking of calling “An-isorropia” (“Imbalance”). There will also be two major concerts: on March 21 at Gagarin in Athens and on March 15 at WE in Thessaloniki, where I’ll present this new version of myself.
What does the term Imbalance mean to you?
It reflects both the fact that my mind doesn’t settle into a single musical genre and the imbalance in my life right now. On one hand, I’m experiencing a hype as a breakthrough artist, and on the other, I have to start from zero as an ophthalmology resident.
What else can we expect from Papazó in the near future?
A conceptual change in the way Balcony is presented. It has reached 67 episodes, and I feel it needs some kind of renewal, even a small one. Some changes have already been made—like the location—but I’m also considering adjusting other elements.
Finally, what is your life motto?
Interview: Theodore Kolliopoulos
