In full artistic maturity, Peter the Granain still has a lot to say in the canteHe has a long career as a singer since he made the leap onto the scene in the company of Farruquito, where he took off on a path of roses that he continues to reap with each concert. Curiously, he still doesn't have an album on the market that would leave him a legacy for posterity, even though he knows that with new technologies, social media, and mobile phones, his message easily reaches anyone who wants to experience it without a live performance.
For those who don't know him, his voice is both velvety and mellow, with that shrimpy tone that is so popular, without seeming copycat. In this respect, he is evolving greatly, because the need to have a special seal is the most difficult thing in today's world. cante without being subject to genetics and the voice tone with which one is born.
So much so that the best thing about Pedro is that he is increasingly moving away from aesthetics and copycatism to, at least, give a special air to what he does. Added to this is the connection he has on stage with Child sponsorship, which raises the category of his recitals.
In Peña The Silversmith He sang on Saturday, although the audience was almost at capacity. He gave a successful recital, comfortable in his musical selection, personal in his lyrics, and straightforward in his choice of styles.
From minute one, guitar and cante They understood each other perfectly. Patrocinio seemed more than happy, smiling non-stop and enjoying the cante, to cheer each third, singing with his face and with his expressions.
Something similar happened to Pedro. He was delighted to sing and sing himself, he enjoyed it. He began with soleares, classic reference styles from Alcalá and Cádiz, and a lyric about Triana, recalling the Andonda in a particular version.
«From minute one, guitar and cante They understood each other perfectly. Patrocinio seemed more than happy, smiling non-stop and enjoying the cante, cheering at each part, singing with his face and expressions. Something similar happened to Pedro.
He later faced a vidalita, the classic, in the version of Pepe Marchena with Morentian twists. He knows it and masters it with the crack of his characteristic voice that, without being the predominant one for this cante, he embroiders it and finishes it off with a slowed-down romance with lyrics of Pedro Peña.
The recital was continuous, without a break, and in the first canteIt was in those who decided that it was necessary to expose, because the seguiriya came next, no saving it for the end. There was no trickery here, there can't be any in this canteHe remembered Jerez and Manuel Torre in the first lyrics and music, as well as in the second with nods to Paco la Luz, but very calm, faint, pulling the cante backwards, swallowing the cante. He almost went to Cadiz but ended up in the Ports with Curro Durse on the special days of Santiago and Santa Ana, where he failed to throw the thirds, throw them up and leave the male where it should be left.
His repertoire, although it has not changed significantly over time, is gradually updated, especially with new lyrics, some of them his own. He sang in the east facing two well-known tarantos, the first of them camaronero and the second, by Manuel Torre. As a good vindicator of the cantes of his land, faced granaínas that he dedicated to some friends of the peña and to the teacher Curro Albaicin, who was attentive, listening to the remarkable recital given by both. Pedro wanted to remember his mother with two of his own lyrics, very heartfelt and of great depth. Patrocinio's accompaniment was superb, perfectly suited to the cante, with a precise and careful measure of silences. The enormous complicity between the two is evident, how they get along, how they know and understand each other on stage, but the most important thing is how they showed mutual admiration for each other with numerous winks and cheers between them. El Granaíno finished with fandangos of The Parral which brought another great ovation, because the audience was completely devoted.
He would still have the strength to create tientos in the style of Morentino, with Lorca-esque lyrics in La legend of time who set the Ronco del Albaicín to music. Pedro is one of the singers who has best known how to assume and varnish under his sieve the filter of the cantes of Enrique Morente and adapt them to their singing forms without seeming like a mere copy. Finally, there would be a round of fandangos on stage, without microphones, of the Gloria and Chocolate to finish with bulerías, the classic ones, the ones he has accustomed us to and which he excels at: a long set of camaroneras, of the one adapted from a rumba of Paco Reyes Paquiro, his own and a finish from Reniego de Thomas Pavon which creates a sort of finale that hooks the audience. In short, a great night with two great artists.
Credits
Recital by Pedro El Granaíno
Peña The Silversmith, Granada
May 10th 2025
Cante: Pedro the Granain
Guitar: Sponsorship son
