Los cantes of Lole and Manuel They are the soundtrack that perfumes the streets of Seville. Better than Triana. Because I'm so much a Triana native that even when I'm on Sierpes Street I feel like a foreigner. said the bearded wizard. Juan Manuel Flores He wrote the lyrics for them as they sprang from his exquisite sensitivity, a condition shared with the throats of the daughter of La Negra and the one of the child of The Lacemakerwho worked magic with his guitar in his hands. A trio of unique artists born in Seville and raised in the El Tardón neighborhood, where inspiration arose in gatherings, conversations, and taverns from the time they were very young and went to school together. Music could be born in a rehearsal, or a handful of lyrics in the bar. And the finest poet Seville has ever produced, from that other, working-class bank of the Guadalquivir, would jot them down on paper napkins. Grandfather, why was the Torre del Oro built without bells? Child, because the Moors built it so as not to wake up Triana.
It was only right to celebrate the half-century anniversary of the legendary album New day in which, as if foretelling a certainty, appeared the subtitle The origin of a legendAnd that is precisely it Lole montoyaA living legend who still demonstrates with good faculties and overflowing hearts that they were the creators of the new flamencoIt was in the Peña Flamenca Torres MacarenaIt had to be there, because until now no recognition had been made – this anniversary passing unnoticed – if not for the relish with which these people chew the flamenco and his things and the predisposition of Jesús Molina to lend a hand and bare their chests in order to honor the memory. The temple of flamenco Sevillano and Jesús have granted each other the mutual privilege of having the timbers of this Macarena house host a historic meeting that will be perpetuated in the minds of the fans. I was there. And that's what I'm going to tell you about.
Angels Cruzado He interviewed Lole with admiration, respectfully and warmly. But the woman from Triana wanted to sing and cut short the interview due to her inability to sing. She flew like A white butterfly with the guitar of Manuel Rojas Spreading the velvet of her hypnotic voice, beginning the courtship. To the swaying of the discreet strings of Carlos León and the right box of Francisco Molina He gave us the Canastero Tangosbefore Joselito Acedo, a last to the Bajañí of Lole's silks, she would accompany it with a palate painting the caresses with Everything is coloredintoxicating dreams with scents With mint leaves along with The river of my SevilleThree short, rhythmic bulerías to melt your left hand. Diego del Morao He lent the rhythmic sound of his guitar to Olive green and then Angelita Montoya She dedicated a string of lyrics to Manuel in the style of bulerías. A flamenco artist like no other. And then came the New day next to the cypress with its aftertaste of Manuel de la Luz to end the recital with Carlos León and Molina back on stage adding to the repertoire Your presence, like a sung prayer. The final flourish at the end of the party, with Angelita's powerful bulerías, encouraged Lole to take a little dance step, with which we locked the door to the little room of precious memories.
Lole used five guitars to warmly cuddle the molasses of her canteEnchanted and sensitive, she surrendered to the memory. And to the crowd, who received with the gentleness of a tender kiss the longing for that New day who revolutionized the hearts of flamenco fans. Lole has been modern, flamenco, and new for fifty years. She's been captivating audiences for half a century. And there's more to come, my dear.
"Lole used five guitars to warmly cuddle the molasses of her canteEnchanted and sensitive, she surrendered to the memory. (...) Lole has been modern, flamenco, and new for fifty years. She has been enchanting for half a century. And what else will I tell you, my dear.
And that's how our friends from the Peña Flamenca Torres Macarena in their networks:
"The album New day It marked a turning point in the history of art jondo and inaugurated a new path that has come to be called 'new flamenco'.
It was published in 1975, when Spain was beginning its path towards democratic transition, and it represented a major revolution in several ways. In contrast to flamenco Traditional, so attached to romantic themes and the tragic sense of life, brought a message of peace, love, and freedom. At a time when singers like Shake, Dying o Gerena They recited lyrics with political and social content; Lole and Manuel introduced poetry into the flamenco And they sang to nature, to the sun, to the moon… with great naturalness.
Lole's prodigious voice, Manuel's powerful guitar, and the fresh lyrics of the poet Juan Manuel Flores were the main ingredients of a successful formula, which also featured instruments that were rarely seen at the time. flamenco such as electric guitars, basses, drums, keyboards, violins or cellos.
New day It draws on multiple musical influences. Its creators came from two Gypsy families rooted in flamenco tradition. They listened to Chocolate, but also to Beatles, Jimmy Hendrix, Ella Fitzgerald o Janis JoplinAnd Lole had grown up listening to her mother Antonia la Negra singing in Arabic. All of this left its mark on New dayBut, according to Manuel, the main revolution was in the rhythm, in that slowing down of the bulería to narrate the stories of everyday life without haste.
The album was produced by Ricardo Pachon and edited by Gonzalo Garcia Pelayo at the Gong company. And, despite being launched without any promotion, only with a few favorable reviews from the specialized press and through word of mouth, it became what we could call a viral phenomenon today.
For its authenticity and for its quality, New day It was well received by the purist sector, it opened the flamenco It has reached new audiences and united several generations. It's an album that has stood the test of time, because it remains completely relevant.
For all these reasons, it is only right to commemorate its fiftieth anniversary and to Torres Macarena It has been an honor and a privilege to host this celebration, which is the only one that has been held so far.
Last Thursday, November 6, after outlining some of the keys to success in a brief interview New dayLole Montoya gave us a splendid recital in which she was accompanied by her sister Angelita Montoya, by the guitars of Joselito Acedo, Diego del Morao, Manuel de la Luz, Carlos León and Manuel Rojas, and the percussion of Francisco Molina."
Credits
Commemoration of the fiftieth anniversary of the album New day
Peña Flamenca Torres Macarena, Seville
November 6th 2025
Cante: Lole Montoya and Angelita Montoya
Guitars: Joselito Acedo, Diego del Morao, Manuel de la Luz, Carlos León and Manuel Rojas
Percussion: Francisco Molina
Interviewer and presenter: Ángeles Cruzado
