I've been arguing for some time now that there are too many peñaFlamenco venues in Andalusia. I justify this statement by pointing out that almost every town and/or locality tries to have its own venue where it can program quality concert series for its fans. It's not for lack of fans, or perhaps it is, but I have no doubt that maintaining a weekly or bi-weekly program while also covering expenses and maintaining a venue or headquarters is no small feat in economic terms, which makes it, in many cases, impossible to allocate funds to maintain the entire structure involved in opening a peña flamencaHowever, conversely, there is also a need to provoke, literally, those who enjoy the cantetouch and dance. A need to offer in a conducive environment that ignites the flame of flamenco May it remain lit, even if it goes out sometimes, may it become hot embers and may that flame of the jondo.
Something like that happens to le Peña Flamenca The layer, It arose from the concerns of a flamenco-loving community eager to have a dedicated space in their town, Beas de Granada, for all of the above. While not currently at its peak in terms of membership, they are able to draw crowds from across the province whenever they organize an event, and that, in terms of peñaYes, that's already a lot.
They take care of the quality of the artists they hire, knowing that they cater to general tastes, which leads them to fill a space for more than 150 people without hesitation, after paying an entrance fee to cover fees and production costs and achieve magnificent meetings.
This is how they spent this freezing Saturday at their headquarters. Playing it safe, Pedro the Granaíno y Child sponsorship They were a sure bet on what seemed at first glance to be an intimate recital. The performance might have gone better or worse on stage, but even beforehand, everything pointed to success. Moreover, it was scheduled for an unusual time for flamenco, six in the afternoon. Nevertheless, a full house and enthusiastic flamenco fans were in attendance. cante of a classic style. With Pedro, you always come out ahead, because he's always excellent or better, and both the president of the peña, Chus Fernández, as his management knew. Although Pedro stood his ground on Saturday and there were no cracks in anything.
"He finished the job around seven in the evening, like a true bullfighter, with bulerías and a return to the memory of his teachers and role models." cante, with a nod to Paquiro and some of his lyrics that reveal to us that to sing you need pitch, good abilities and vocal range»
From the outset, the rapport between singer and guitarist on stage is so strong that a mutual admiration is evident, making the deep, soulful connection between them unwavering. They look at each other and understand each other; they know one another. One sings with the guitar while the other provides the music with his voice.
That's how it's all about winning. Ever since the woman from Malaga used to do it. Aurelio of Cadiz as a prelude to the granaína at the beginning, up to the fandangos of the final encore.
He incorporated the cantechanging styles in a well-studied rhythmic amalgam. It was given to the twelve beats in soleá time, with classical lyrics, in even more classical styles (Joaquín de la Paula, Mellizo, Andonda…) tight, well-breathed, and correct. I missed new verses for this canteSomething Pedro does from time to time, especially in bulerías and vidalita. Therefore, the performances inevitably brought back memories of Thomas Pavon o Fernanda from Utrera.
In contrast, and surprisingly, he presented as a novelty—at least I've never heard it from any other artist—a very personal vidalita, certainly far removed from the traditional version and beautifully set to music by Patrocinio. Pedro has a natural talent for it. canteAnd I maintain that if he adds new lyrics to his repertoire, he will reach even greater heights of success. He has all the necessary qualities to achieve this. In fact, he has demonstrated his ability to play with the lower and middle registers of his voice to simultaneously sweeten a vidalita or a seguiriya, and to ensure that each one embodies the tragedy and distinctive character of his music.
In the seguiriya, he revived popular lyrics and timeless styles, the most listened to, Manuel Torres, and Curro Durse. Here he threw the assauras, as my colleague often says Kiko Valle.
More rescues of tradition came through tangos, remembering Remedios Amaya, Camarón o Morente. He finished the performance around seven in the evening, like a true bullfighter, with bulerías and a return to the memory of his teachers and role models. cante, with a nod to Paquiro and some of his lyrics that reveal to us that to sing you need tuning, good abilities and vocal range.
He finished the set with fandangos, natural ones, from the Gloria and chocolate, At the foot of the stage without additives or microphone, swaying the thirds and crying the cante As it should be. We're eagerly awaiting his first album, which we know is in the works and which we predict will be an encyclopedia of skill and knowledge. We'll have to savor it slowly.
Credits
recital of cante by Pedro El Granaíno
Peña Flamenca La Capa, Beas de Granada (Granada)
February 14 2026.
Cante: Peter the Granain
Guitar: Sponsorship son
