Sometimes we refer to the courage of certain artists when presenting shows or proposals, whether in their singing, stage, or musical forms. But what happens when these proposals come directly from flamenco organizations, whether they are disseminators, promoters, or simply serve as a vehicle for connecting with the fans? Do we value that courage in the same way? Always, of course, provided that the proposal falls within the established norms that, as flamencoWe have set our sights on this. It is not enough to proclaim oneself, on one side or the other, avant-garde, innovative, heterodox, or any other of the well-known labels that the individual or collective subject in question might wish to adopt.
Following on from what has been said, I would like to highlight this dual perspective. On the one hand, a flamenco From head to toe, with a brilliant mind and vision of this art that goes beyond our comfort zone. You will know him because he is no longer a novice, and his artistic abilities go far beyond those of a simple guitar player. His name is Francisco Gomez Cruzado, from Moguer (Huelva), and is known to everyone as Francis GomezIf anyone is expecting a conventional artist, they're mistaken. Francis is able to take you by the hand and lead you from the most orthodox to the most ecumenical style of soleá, or vice versa, opening your mind not only to the rituals and geographies of cantebut rather to universal rites and geographies. It has moved from proposals such as those of the groups flamencos Planet Jondo o Flazz Trio to play at the dance and at cante of leading figures flamencoThat, done in a discreet and serious manner—given the high regard in which the guitarist from Huelva is held—is something few can achieve. I don't think I'm wrong in saying that or putting it in writing. On the other hand, an entity like the Peña Female Flamenco Culture of Huelvawhich opened its doors because it dreamed of art a little over forty years ago with all the weight of meaning feminine at that time. That's right, we combined synergies and I consider it outstanding to say that a peña be able to offer its members, guests and fans a season closing with the good work –in this case playing– of Francis Gómez.
Francis goes up on stage with the percussionist Lito Manez to deliver the first bars of their artistic proposal. Their first performance weaves together a sea of touches flamencoIt is where the Levante, Rondeñas, Peteneras, and Tangos are hinted at. The duo of Francis and Lito is joined by the symphony orchestra of The Twins —Antonio and Manuel Montes Saavedra—, a true current reference point for flamenco rhythm. There isn't a note that doesn't sound flamenco or that falls outside the rhythmic structure. The only silence on the staff is the respect of an audience eager to immerse themselves in the flamenco music of Francis, or of his flamenco made music.
Next, the musician from Moguer introduces us to a dance piece of his own composition, before leading us into the farruca, another personal work, with its own unique tuning that lends the playing a different, nuanced smoothness, adding even greater grandeur. While Francis's strings transport me to the imagined beauty of the dance, it is Lito who marks the flourish and, also, the imagined footwork with his elegant percussion, adding no more embellishment than is necessary to enhance the beauty of the playing.
The piece Atlantic Breezes It's an original zapateado. Music, time signature, rhythm, percussion, the voices of Los Mellis—it's all part of a whole: the composition itself. I couldn't understand it any better without the contributions of the four artists, without the unique color each one brings to it. Counterpoints and voices without the slightest hint of dissonance or nonsense.
"Francis Gómez is a guitarist who searches in the flamenco His highest expression. He searches outside himself and within himself for sounds that enhance him. That takes courage, nonconformity, and personality. The recurring results of his work fill our souls. We are not the same when we enter a Francis concert as when we leave it.
Get on stage Israel Moro, the flamenco singer from San Juan del Puerto, who is also a member of Planeta JondoIsrael interprets it by bringing it to its own terms. Milonga of the lonely, work by the Argentine artist Atahualpa Yupanqui: I like to lose myself in a drone from time to time. Because when I drone I see that I don't even control myself.It was undoubtedly one of the highlights of the night. The guitar played with the delicate touch expected of a milonga, the voice perfectly pitched and yet with the flourishes (almost like a painting) characteristic of a flamenco singer who imbues each note with the essence of someone born to be flamenco. flamenco And he has interpretive skills in other musical styles, without losing the slightest trace of his own. On the contrary, he enhances its value. Israel continued with the cante by soleá. Now it is Francis who implements the value of the interpretation of the sanjuanero. Israel gifts us a bouquet of soleares and Francis Gómez's guitar runs through our skin until we're all shouting "olé!"Can guitar strings sing? Veteran masters have already made them sing. Francis continues to do so because he possesses the knowledge and aptitude necessary to make it happen.
The moment for the guajira had arrived. And there it was. Carmen MolinaThe singer from Huelva brought that very personal vocal nuance that characterizes her. Her voice is flamenco One hundred percent, and their knowledge increases its value. Their mastery of canteThe rhythm and technique enhance Francis's back-and-forth playing at every moment. The guajira shifts from the sweetness and honey we've come to expect to rhythmic moments where it never loses its essence. It's not the first time I've enjoyed Carmen and Francis on stage. It's not the first time the music born from this symbiosis has left me speechless and captivated, eager not to miss a single second of the experience.
And to round off the night, JJuan José Navarro, Juan de MairenaFrancis wanted the only artist not born in the area to lend his voice to the fandango. A composition that the guitarist from Huelva made available to the man from Mairena, who performed it remarkably well.
I don't want to end this chronicle without mentioning Lito Mánez. The master used to say Enrique Orozco That "a good guitar is one that doesn't get in the way when you sing." Well, I'll take him at his word and apply it to Lito Mánez's percussion, which is of the highest quality. Not only does it not get in the way, it contributes without being obvious, yet its absence would be felt. Remember that saying about the cante Isn't it for the deaf? Well, neither is percussion. Lito knows how to give it that perfect touch, that of being and being present as an added value.
As I described at the beginning, Francis Gómez is a guitarist who looks in the flamenco His music is his highest expression, but he also searches both within and outside himself for sounds that enhance it. That takes courage, nonconformity, and personality. No one can deny it, especially when the recurring results of his work fill our souls. We are not the same when we enter a Francis concert as when we leave. Because, among other things, we observe that the world and its forms are different yet complementary. If an artist makes you reconsider this, it means something is emerging, and something more, or much more, has to tell you.
Artistic sheet
Guitar recital by Francis Gómez
Peña Flamenca Huelva Women's
Closing of the 2025/2026 season
18 June, 2026
Guitar: Francis Gomez
Percussion: Lito Manez
Rhythm and chorus: Los Mellis
Voice: Israel Moro, Carmen Molina and Juan de Mairena
