Ezekiel Benitez He took refuge in his blindness to confess his deepest emotions. There, in the darkness that terrifies and soothes when one closes their eyes and journeys through the silences, groping their way through What nobody seesThe album and concert thus seem like an introspective and autobiographical work that delves into unspoken feelings, into that which is not spoken and is suffered or celebrated in silence, into the emptiness left by the dukhasIt's a stroll through the backstage of reflections, a stop behind the scenes of reality. Hence, in putting it into words, I've had to delve into its inner workings to lay bare its cause and unravel it in every third, creating a fantastic album of lyrics that are pronouncements, not only for their literary quality, which they also possess, but for the depth and weight they carry.
Accompanied by his inseparable guitar Paco LeónThe guitar, which replaced the ten guitars that usually accompany Ezequiel in this work, filled a tremendously moving recital with intimacy and sensitivity, in which the Jerez-born singer once again triumphed in Jerez. And he was overflowing with rhythm, his voice already resonating. surroundings, such that it relies on the palmas de Chicharito, Naim Real, Edu Gomez, Diego Montoya y Manuel Soler to walk the hidden paths of the rhythm that is carried within.
Superb Paco, summarizing in a few notes what others say with embellishments and excesses, trilling with bass strings that are poems, surrendering to silky melodies and tightening the tempos if Ezequiel's laments demanded the rhythm.
"Without fanfare or fuss, the final flourishes were almost entirely subdued, because shouting doesn't suit the spirituality of the mysteries that wound with covered eyes. It swayed with gusto through tientos and shone in the fandangos por bulería, always winking a little at the Sevillian airs of El Pinto."
Ezequiel opened with bamberas, reinventing the forms he played with on the staff, bringing them to a close. Without fanfare or ostentation, he subdued himself in almost all the endings, because shouting doesn't suit the spirituality of the mysteries that wound with covered eyes. He swayed with gusto through tientos and shone in the fandangos por bulería, always winking slightly at the Sevillian airs of The PintoIt crackled fresh with soleá, from Alcalá to Cádiz, also remembering The Huts, passing through Triana Pineapple or paying tribute to Jerez with the ways of Uncle BorricoThere he launched into another fandango, before caressing us with the Levantine echoes or drawing us the foam of the sea waves and splashing our snouts with salt. cante For joys. The air warmed for seasonal workers, excelling in the threshing. She curled her melismas, searching from the beginning. And she delivered the pinch point-blank, aching in the seguiriya, weeping for the one of Uncle Jose de Paula And closing the lament with the macho of Los Puertos. He locked the door with bulerías and, although it might seem more tacky than a sheet of paper to get the audience singing, coming from Ezequiel it feels like a luxury. Everyone on their feet chanting the "Cuckoo," say the ducks. which will surely be the revolution of Age of Empires because peñaAnd summer festivals. And for dessert, the anthem of Andalusia. Bravo!
The applause rained down on the solemn shoulders of the artists who stood bowed, awaiting the respect and admiration of the audience. It was a magnificent recital. Ezequiel triumphed in Jerez with What nobody seesAnd yet, we all felt it and heard it.
Credits
What nobody sees, by Ezequiel Benítez
XXX Jerez Festival
Museums of La Atalaya, Jerez de la Frontera (Cádiz)
February 28th 2026
CanteEzequiel Benítez
Guitar: Paco Leon
PalmasChicharito, Naim Real, Edu Gómez, Diego Montoya and Manuel Soler
