Brilliant, of course. Although the term is frequently and gratuitously used, Yerai Cortes Yes, he is one of the lucky ones because Undibé has showered him with talent and attributes. He took to the stage at the Atalaya Museums From Jerez, he stole the show, captivating the audience with an extraordinarily unusual, astonishing, and brilliant recital. Some may find fault with it, but he was fresh, original, and charming, portraying himself as... a magician of rhythm, a great enthusiast, a connoisseur and virtuoso of the guitar.
He challenged the silence with his serene gaze, captivating the audience with anticipation during the brief pause before the performance began. He exquisitely broke the silence, tuning his unique guitar and taking the stage. His captivating personality and chic, bohemian presence created a sense of connection. He placed his fingers on the guitar, playing it close to his mouth, near the highest fret, kneading falsettos between his fingertips, distilling from his left hand a wealth of sensitivity that resonated through the wooden floorboards of La Atalaya, propelled by the raw energy Yerai brought to this stripped-down concert.
From the beginning, he shunned harmony to become a master of tremolos, arpeggios, and drones, clinging to the apparent melodic and conceptual simplicity of "less is more" on the guitar, which is nothing more than a faithful reflection of a return to the masters with a somewhat roguish and very contemporary perspective that reinvents the ways in which he first opened himself up to the public, enveloped by the soundscape in off and some effects that complemented the distinction.
"Seven killer tracks landed with aplomb on stage in just over an hour of sentimental idyll, because Yerai captivated the audience. He played with the timing and the interplay between different styles." palos, addressing each passage with profusion and detail, full of resources, brimming with colorful filigree in each of its touches»
Even the strumming sounds were perfect. He sang, danced, and wept with his playing. He arrived smiling and clearly enjoying himself. He won over the audience completely. He trilled on the six robust strings and shone in the tiraíllos, the tapas notes, the alzapúa, and a drone that evoked the bare-string guitars of Morón. His playing was powerful and enviable. The resounding bursts of the three brass strings firmly marked the rhythm. And some unusual strumming, sometimes offbeat, demonstrated his absolute mastery of technique and composition, rounding out his unique performance.
Seven killer tracks landed with aplomb on stage in just over an hour of romantic idyll, because Yerai captivated the audience. He played with tempos and the interplay between different styles. palosApproaching each passage with profusion and detail, brimming with resources, each touch adorned with colorful filigree. He tuned to the beat and excelled in romances, soleá, a powerful farruca, tientos tangos, his own seguiriya—bold and distinct—with tremendous alegrías, and his bulerías without superfluous embellishments… With gentle taps on the lid, snoring with a rhythmic melody, these were sufficient justifications for him to enter and exit rhythm and time at will. flamencos, permeated by influences from other eclectic and more modern sounds. In addition to the nods to Cepero, Lorca -Come on, let's have some fun, let's have some fun-, a Manuel Molina in the way he held the guitar… I even thought I sensed a tribute to the zambra of arabesques of Nino Ricardoamong other deferences.
Yerai Cortés once again demonstrated, unintentionally, his unique and personal aesthetic discourse. He joyfully received a barrage of applause scattered throughout the repertoire and A huge ovation forced him to come out again at the end, this time without his instrument, to thank everyone, visibly moved, for the triumph of his playful style..
Credits
Guitar recital, by Yerai Cortés
XXX Jerez Festival
Museums of La Atalaya, Jerez de la Frontera (Cádiz)
March 2th 2026
Guitar: Yerai Cortés
