It could be said without a doubt that this is the chronicle of an unannounced festival. They didn't even hang the poster. Just circulated among the friends of the peña All the tickets were sold out. It was a complete sellout. And the crowd was mostly young and diverse. More than 150 people were left without tickets. The strategy works: if we want to create new audiences for the flamenco, shake your ass and move on to somewhere else with the music. If the mountain doesn't come to you jondo, we get into it jondo from the mountain. Let's leave Muhammad still. That was what the companions of the Peña Flamenca The Bambera, who took advantage of the splendid facilities of the Seville Jazz Association (Assejazz) to show off their first festival flamencoThe exquisite sound, the respectful audience, the most charming room.
Similar to the programming that they have been planning and The Fever of the Cante, organized by some of the members of La Bambera of Seville, the line-up was made up only of singers. The fresh broken moans of Aroa of Bastián, the orthodox seniority of The Polish and pellizcorancid s of Paqui Rios were to blame for the triumph. Apart from the organization and the three guitars that accompanied the guiyabaores, the trill of the young man's sonantas shone. Rubén PortilloThat of Paco Cortes -further flamenco that the staff– and that of Jose de Pura –more gypsy than a mole–.
And let me summarize without going into too much detail about the repertoires so as not to drag out the article too long. Don't let this article get boring without reading to the end, where the best stuff is. Plus, you can watch videos of almost everything. We'll be adding them here and on our social media.
He presented with naturalness and self-confidence Pedro Lopez, ideologist of these madnesses and president of the peñaHe was full of thanks and gave way to Malaga native Aroa de Bastián with Rubén Portillo, who, like the rest of the cast, are artists who have been at La Bambera during its first year of existence, reaping critical and popular acclaim, as they say. I can attest to that. David Rufo y Edurne Portilla they put the palmas tonight.
«Paqui Ríos arrived and twisted the festival with sensitivity on her lips and sorrow in her chest. (…) She sang digging into her stomach, bringing the fat ducas to her throat, in lively flocks, but without ostentatious displays. cante It really hurts. And Paqui Ríos has a PhD in this.
Aroa opened with tientos, warming his throat, throwing himself into the abyss of broken moans, full of poise and gypsy spirit, passing from rhythm and personality, with amazing turns for his insulting youth. And from the sweet mecías to the solemnity of the soleá, with his own accents that he squeezed between his Adam's apple and his fists, charging into the ferocious thirds and chewing the cante in the senses. He continued through Malaga and abandoned, paying tribute to his land. He caused trouble with tangos, La Rempompa and also of the Stir, among many others. And she finished with some trapío bulerías. Aroa smiles and brightens your life. She complains and destroys you. The microphones don't do her justice, because she's a cantaora de albero, who you have to listen to at a meter to be shaken and tear at the very fabric of your heart. She still has a lifetime to polish, but I don't know if I prefer her like this, wild. Rubén knows her perfectly, and his guitar whistled in harmony with her.
Of Paco Cortes The flamenco guitar resounded, championing the less is more that he has hidden in his bass drums, filled with very flamenco garlands, which are little pearls that he dropped in the dialogue of flirtations that he maintained with El Polaco. The singer from Granada offered a relentlessly orthodox recital, with nods to Dying and still with good abilities despite his age. He remains a pillar to lean on and does not sway with the times. He gave proof of this from the beginning with malagueñas and abandolaos, until the closing with his interpretation of the tangos of The star, warmly applauded by the audience. In Levante, the drillers in the mine were remembered and the taranto of The Fool of Linares that popularized Phosphorite. It was liked in the couplet of the Three daggers por bulerías and added another one before his farewell. It was a pleasure to taste it.
Up to this point, everything was going well, with a basketful of moments standing out without the flatness crumbling. But Paqui Ríos arrived and twisted the festival with sensitivity on her lips and sorrow in her chest. José de Pura carried her on his shoulders, better than in his arms, with a substantial guitar, full of dark colors, neat, wise, and gypsy. Paqui sang, digging into her stomach, bringing the fat ducas down her throat, in lively flocks, but without ostentatious displays. cante It really hurts. And Paqui Ríos has a PhD in this.
He looked at himself in the double of The Twin to temper himself with malagueña, ruminating with his palate. He walked wherever he wanted, marking his timing well, entering and leaving Jerez and alternating soleá with bulería por soleá, dominating with gusto especially in the one of Rosalia from Triana or of The Moreno. If the taranto spread, with the change to the Cartagena style this gypsy woman bruised my flesh, to thrash it even more in the fandangos por soleá, where she subjugated me with those of The SabineThe tientos tangos ended up irremediably honoring Pastora already the Extremaduran airs. But where it hurt softly was with seguiriya, in which, although it did not skin itself looking for the cry, it curled dark laments stealing from Cagancho and Triana, the sounds of yesteryear to dust them off and leave them new in her privileged voice. It was overwhelming to look into her eyes, to surrender to her pain, and to explore her aching inner workings. She ended up in Utrera singing bulerías, bernardeando, surrendering madly to the majesty of Las Niñas's performances, forever in the memory of true aficionados. It didn't take me by surprise. But it pushed me back to crying, to slap me with its canteAnd I let myself.
Credits
The Festivals Flamenco The Bambera
Assejazz Headquarters, Seville
27th September 2025
Cante: Aroa by Bastián, El Polaco and Paqui Ríos
Guitar: Rubén Portillo, Paco Cortés and José de Pura
Palmas: David Rufo and Edurne Portilla
Presenter: Pedro López
