After a few days of intense dance offerings, the cante al Flamenco London festivalThis is the most challenging proposal for British audiences, as it generally lacks the visual appeal of dance and presents the language barrier to its full enjoyment. Those who, however, overcame this prejudice and came to the performance on Saturday afternoon... Lilian Bailys Studio, a welcoming setting adjacent to the Sadler's Wells TheatreThey were able to enjoy a splendid performance of cante Extremaduran, hand in hand with Esther Merino and The Dog, both from Badajoz to be precise.
As she herself confessed, it was Merino's first time performing in the United Kingdom, and she did everything to ensure it wouldn't be her last. Backed by the Lámpara Minera award from La Unión, which she won in 2022, she took a swathe of Levante, extending the verses at will and swaying to a very particular rhythm, before shining with a soleá and showing a touch of Extremaduran pride with tangos.
A more intimate moment, in which he was left alone, features the six strings of Manolin GarciaIt served to open his repertoire from the realms of milonga to those of seguiriya, and before we knew it, with the percussion escort back, we were in the Bay of Cadiz for alegrías.
At all times, Merino displayed herself as the fully mature artist she is, with a tuned and perfectly placed voice, capable of technical skill when necessary, but also of unleashing her wildest side, as in that bulerías finale where she let herself be possessed by the spirit of The PaqueraThus ended a recital by flamenco orthodox in its London premiere, without a single concession to the gallery. The applause was long and heartfelt, reflecting the light of triumph on the singer's face..
"The Extremadura flag was held high by two artists overflowing with talent and passion, so convincing that upon leaving the theater it seemed to us that Rosebery Avenue smelled of rockrose, holm oak, thyme and rosemary, and we would have even sworn that the Thames flows through Badajoz"
His fellow countryman El Perrete has drawn from similar sources, but his staging has a different approach. To begin with, he has decided to create, perfectly within his rights, a character, starting with his physical presence: a wide-brimmed hat (how much hats have played in the history of the flamenco!), sequined jacket, more or less theatrical and measured gestures. This not only doesn't detract from her music, captured on an album as interesting as Guiding Lightbut rather reinforces it. But if we look at this one, we can't help but applaud the suggestive mix of guitar, keyboards and drums, fitted like a glove to the singer's voice.
That's how we enjoyed it in the initial pile driver and that Penitentiary Milonga which refers to Valderrama y Antonio MolinaThe bulería por soleá, the street cries interwoven with the peteneras, sung with their backs to the audience, or the malagueña or some truly beautiful tangos with a Manolín García very well adapted to the double task of the afternoon, since before he had done the same with Esther Merino, each one gave it his own sound and nuance.
The recital continued with the Sevillanas of Arturo Pareja Obregón And a fine set of fandangos, concluding with the musicians being introduced by Extremaduran jaleos. The flag of this region was thus held high by two artists overflowing with talent and passion, so convincing that upon leaving the theater it seemed as if Rosebery Avenue smelled of rockrose, holm oak, thyme, and rosemary, and we would have even sworn that the Thames flowed through Badajoz.
Credits
Guide light, from El Perrete
Cante: Francisco Escudero, 'Perrete'
Guitar: Manolín García
Keyboard: Francisco José Suárez Montaño, 'El Aspirina'
Drums: Cristóbal Sánchez García
In the land of menby Esther Merino
Cante: Esther Merino
Guitar: Manolín García
Palmas and voices: Oruco and Dani Bonilla
Percussion: Dani Suárez
XXI Flamenco London festival
Lilian Bailys Studio
20 June, 2026
