Marta Soto keeps her most valuable memories in her throat. Some are glacial and tear their strings, others are warm and comfort their memory. There, in that recondite place, pain and energy coexist in equal parts. The force with which they come to tear it apart inside, annihilate it on the outside. There is Andalusian flavor and folk essence. She is one of those singer-songwriters that is told through her music. And, even more, they last with good songs. Its trajectory is of strong anchorage and trite route. It reverberates like the most visceral scream every time you intone a letter and a feeling is out of tune. Last night, while pointing strongly to the heads of his followers, it was clear that his word crosses without additives and hurts with boldness. Almost naked, she managed to get the Barceló Theater to hold its breath while opening its chest in the channel and a torrent of intimacy arose. His 'Míranos' (Warner Music, 2018) drinks precisely from this premise: the best way to always say things is mouth to mouth, face to face. Without parapets. Bareback.
His only refuge is the piano. It shows when it is placed in front of him and picks up his sounds on the palate. In fact, if this young Huelva girl is characterized by something, it is because she has learned to encapsulate that complex synergy in her melodies. This was witnessed in his appointment in Madrid on several occasions: while immersed in the paradox 'What curiosity', justified his first steps in the industry; while the statement 'So many dances' taken pulse, showed that this album is the best way to not lose consciousness about love; and while winding the hurricane 'You already know' between his teeth, he showed that his evolution has been as natural as progressive. His jump from social networks to the record market has been sensible, reasonable and logical. It is true that his repertoire is still not too broad and that his songs have been taking place for a long time, but the reality is that they stand out with the same melancholy and passion of those who have lived on stage all their lives.
As expected, Marta's story began in her room, recording 'covers' and hanging them on YouTube. In those first performances, his flamenco voice already colored the songs of Manuel Carrasgo, Rozalén, India Martínez, Antonio Orozco, Vanesa Martín or Alejandro Sanz. It was precisely this last one, when listening to his version of "A que no dejajas", who gave him the first accolade to his career. She told Pablo Motos, presenter of 'El Hormiguero', who ended up inviting her to sing on television. This happened from versioning artists to accompanying them in the tables. Since then, she has performed with Pablo Alborán or Pablo López, but the surprising thing about her concert, organized within the Inverfest cycle, was that it was not necessary to remember anyone to enjoy an artist with their own packaging. It sounds like a powerful mix of all of them, as well as generates their same addiction. And, although it still has a long way to go, it is as natural and close as it could be. In body and in humming.