At 'Morón en punto' it began in the Salesian School of the Sevillian population the 59th edition of Gazpacho AndaluzA classic and long-standing event on the calendar jondo Andalusian summer festival, which in 2026 paid tribute to a great guitarist: Francisco Gómez Amaya 'Paco del Gastor' (Morón, 1944). And it took place during a pleasant night when the heat wave that is always experienced at this time of year down here took a break.
Thus, one of the longest-running events that make up the summer soundtrack of Lower Andalusia continued its schedule, although these types of events urgently need to be reviewed. The festival product flamenco In the summer, the music, which runs until almost dawn, is no longer tolerable for any audience. And we're not saying this because of the electrical incident caused by the nearby fire, which delayed the sound check by an hour and a half and consequently the start of the event.
It doesn't matter if it's a public administration, an association, or a private promoter who manages it. Or maybe it does. But what's clear is that after 2:00 AM, a mass exodus of the audience begins, forcing the headliner, rather than closing the show with a grand finale, to simply thank the crowd for sticking around until the end and not leaving.
However, the night held enough appeal for some to stoically endure until 5:30 in the morning, even though the hypothetical closing party was seen as a mere appetizer for the evening. The official poster announced that it would be Diego Carrasco placeholder image (Jerez, 1954) the protagonist of the closing ceremony and yet, together with his family, he was in charge of welcoming the latecomers to collect the small commemorative bowl of the festival.
Drawing from the classic music archives, and after the first of many apologies for the delays in the start and development of the gala by the master of ceremonies – the colleague Manuel Martin Martin—, the compass guru clung to Maloko Soto, Joselete de Mayeta, Carmen Amaya, Samara Amaya and La Junquera to escort themselves palmas and choirs, to which his son had to be added Ane Carrasco on the percussion and guitars of Fernando de la Morena (son) and Fae Sordera.
Thus, after eleven o'clock at night, the first notes of Olive and Orange (On time, 1994), in which he collects Madariaga's elegy to Lorca; Poet of Cai (Tenant of the World, 2000), Alahea (Canteand dreams, 1984), from his first solo album and which ended up being danced to by Paco del Gastor, searching for breath while the female members of the choir brought the song to life When I dream of you through tangos, resume with Crush lighter y José Monge Cruz (I'm not picking myself up, 2017) and final party with the sound of the earth bubbling as its flag, from this artist who never leaves anyone indifferent.
"Dani de Morón clearly showed that the land leaves its mark, but the path is made by walking and walking along a trail of treble and bass strings that forge a sonic residue in which it is not necessary to show everything you know, nor to run faster than anyone else, but to move and be moved."
As happened immediately afterwards, more than a decade after his last participation in the festival flamenco from the land where he was born in 1981, Daniel López Vicente 'Dani de Morón' He went back on stage at Gazpacho Andaluz (and flamencoThis time alone, without Antonio 'The Carpenter' –present in the auditorium– nor Moi de Moron, neither El Juncobut with their inseparable Antonio y Manuel Montes Saavedra 'Los Mellis', possessors of a vital metronome in matters of rhythm and beat, both of yesterday and today.
An artist who clearly showed that the land leaves its mark, but that the path is made, precisely, by walking and walking along a path of treble and bass strings that forge a sonic residue in which it is not necessary to show everything you know, nor to run faster than anyone else, but to move and be moved.
"How lucky I am to have been born in this land," he declared between pieces that reminded us of the more dystopian side of his compositions, to the rhythm of bulería por soleá. Or playing marianas while embracing his guitar because "it's the closest thing I have to hugging my recently deceased father."
As a worthy heir to the Morón guitar tradition, with a distinctive style and abundant personality, this virtuoso from the Bajañí region hasn't forgotten his roots, even though he knows exactly where he wants to go. Proof of this was his solo performances of the seguirilla and farruca from Lorca, and the way his hands seemed to smell of the damp earth of the Morón fields as he played tangos and bulerías. These performances served as a prelude to the official ceremony honoring the evening's guest of honor, a well-deserved tribute to one of the greatest flamenco guitarists of all time.
Fortunately, we can still enjoy his presence among us, and obviously, he – Paco del Gastor – can also receive these recognitions while he is still alive, which are as necessary as they are timely, surrounded by a family that was responsible for closing the house to the rhythm of soleá and bulerías, through his grandson Paco's Spender.
After the critical hour of two in the morning, María Fernández Benítez 'María Terremoto' (Jerez, 1999) was in charge of continuing the 59th Gazpacho Andaluz de Morón on the night of July 4, 2026 in the Sevillian town, after an extensive rest –much longer than desired–, although the singer knew how to take out the magic wand that she treasures in her throat and with which she makes the fish expensive for everyone who goes up on stage with her at a festival.
And next to Nono Jero to the guitar, reincarnated once again in his uncle Periquín 'Niño Jero', and palmas de Juan Diego Valencia y Manuel CantaroteThe Jerez-born flamenco singer spread her wings in Morón, the same wings with which she climbs to the top of the podium every year. cante flamenco with a woman's name.
A signature soleá por bulería, reminiscent of her family's heritage, was evident. A malagueña from El Mellizo, interwoven with a rondeña and a verdial, brought the audience to their feet, and with seguiriyas, she explored the roots of her ancestors before showcasing her mastery of tangos and bulerías. Surrounded by a wonderful universe of sounds and tributes to the great masters who guide her path, she confidently graces the stage each day. jondomost relevant.
"Cancanilla and Chaparro put their hearts into pleasing the audience who were paying attention to them. Thankfully, as the good artists and professionals they are, instead of cutting it short and leaving early to go home, they treated those who were stoically sitting there past five in the morning with as much respect as anyone."
As the first large wave of the public left the Salesian school premises, it was the turn of the local flamenco dancer. Pepe Torres placeholder image (Morón, 1978) to give continuity to an Andalusian Gazpacho with more ingredients than diners in the auditorium.
Without abandoning his classical and orthodox dance style, the grandson of Joselero from Moron –who was neither named José, nor from Morón (Luis Torres Cádiz – La Puebla de Cazalla, 1910 – Morón, 1985)– clung to the bulería as the main language of his flamenco alphabet. David 'El Galli', Juan José Villar, José 'El Pechuguita' y Manuel Tañe al cante, plus the touch of Ramón Amador's sonHe was giving shelter, first through the festive twelve-beat rhythm par excellence and then through soleá – also finished off with bulerías – to the singular forms and ways of this dancer who clings to the classicism of what our colleague Kyoko Shikaze I would define it as "the macho, macho dance".
And finally, with more will than desire, it was time for Sebastián Heredia Santiago 'Cancanilla de Málaga' (Marbella, 1951), accompanied on guitar by José Antonio Conejo Vida 'Shorty from Malaga' and son José at palmas and the rhythm. "If you applaud me loudly, I'll get pumped up and sing better," the unique artist from Malaga blurted out to the audience, which didn't even occupy a third of the full capacity with which the night began.
On stage, Cancanilla and Chaparro poured their hearts into pleasing the audience. Thankfully, like the true artists and professionals they are, instead of cutting their set short and heading home early, they treated those who had stoically remained in their seats past five in the morning with the utmost respect.
And to them and for them they dedicated some tangos full of good rhythm, "five or six fandangos or whatever you want" and a finale of Cancanilla de Málaga singing and dancing bulerías just like in any other place that, without a doubt and in other circumstances, would have turned the audience upside down, even though At the closing of the 59th Gazpacho Andaluz festival in Morón, it would have taken less time to personally greet those who remained one by one, than to do so collectively from the stage..
Text: David Montes
