What he can't achieve Flamenco On FireNever before, in this new phase of the artists' lives, had they come together on the same stage, sharing the show, but each with a set twenty-five minutes to present, or at least showcase, their respective albums. A technical failure forced a delay in the start of the performance, but the audience was there, patient and polite, waiting for the curtain to rise. In the dressing rooms, Lela Soto, Ángeles Toledano, and María Terremoto were already ready for action.
The first to leave was Angels, with a review of Dirty blood, an album released in October 2024 with which the Jaén native has surpassed a vital stage. Full of vindictive, poetic verses committed to current events, she celebrates, alongside "my girls," a state of impressive musical breadth. The same as Lela Soto, who grew up listening to the bulería por soleá from his home, Sordera, but who has not abandoned the creativity that Ray Heredia, his maternal uncle, and Sorderita once displayed. This is how he presents himself in The Fire I Carry Within, her solo debut released in March 2025. The latest to come out, Maria Terremoto, which was released earlier this year Manifesto, another ode to freedom and to their own history, which was never easy. All three are voices that reign at festivals, appear in less conservative media, operate on social media, and bring a young audience closer to flamenco, break with the scenic aesthetics that until now were common in the canteThey are children of their time… They are not afraid to move forward according to their vision because they have the best foundation, the knowledge acquired thus far. Women and young people, in power.
«María, Lela and Ángeles are voices that reign in festivals, work on social networks, bring a young audience closer to flamenco, break with the scenic aesthetics that until now were common in the canteThey are children of their time… They are not afraid to move forward according to their vision because they have the best foundation, the knowledge acquired thus far. Women and young people, to power.
Saturday in Pamplona was intense, I don't know how we endured. In the morning, there were up to four events, from the half-hour recital (as stipulated for all artists) of Tomatito from the balcony of the City Council of Pamplona evoking his best shrimp melodies, until the successful presence of the turry from the balcony of the The Pearl Hotel with the fruitful Jerez guitar of Silvia's Frames. The two accompanied, along with Juan Ángel Tirado (to the cante) and the percussion of Cheyenne, to the Granada dancer Vero India, which stood out for its passionate message in the tangos, the bulería por soleá and the initial seguiriya. Fragrance of Sacromonte to close the day in the Three Kings Hotel which is usually the site of daily farewells.
In the morning, also noteworthy is the musical meeting of Fernando Vacas, which closed the sound chapter begun the day before by Carlos Martín Ballester. Based on historic slate recordings, such as those of Niña de los Peines, Chacón, and Manuel Torres, it provoked a sea of sensations from studio effects, new frequencies, rhythms, melodies, and harmonies. The Plaza del Castillo hosted a flashmob of the Sandra Gallardo Dance School and the Art Gallery Flamenco The Juncal.
The afternoon gave way to the recital of the Madrid native David Cerreduela, versatile and wide-ranging, with a sound of his own that he will include in his next album, which, as he said, is on the way. He was happy to see the Sabicas Space to the brim and gave everything his guitar contains. Also full in Pansequito Space to listen to Esmeralda Rancapino and Nono Reyes, who arrived in Pamplona flying the flag of Cádiz and Los Puertos. They're no longer just kids; they're real artists, starting to dominate the scene. This isn't new. Especially in the south, we've seen Esmeralda grow with an unparalleled metal that resonates in every corner. Nono is now a regular, accompanying top artists at festivals and peñas, always effective and gypsy. Alegrías, tangos, bulerías… for ccelebrate that the flamenco, as Enrique Soto Sordera once told me in an interview, “it is life, never death.” ♦
