It is the name of everyone in the world of flamenco. The Cordoba singer María José Llergo it has become since it emerged on the public scene in 2017 when its song was uploaded on YouTube Dunes Girl in a small landmark of the national flamenco scene. E-shapedl Esmuc Barcelona, although now residing in Madrid to be closer to his native Pozoblanco, Llergo has just given birth to an epic of seven themes baptized
(Sony), in which it makes formidable and contemporary tradition claim. the musical dress with which she dresses the different compositions vary from steel pedal, to the string arrangements, through the Spanish guitar, electronics and a wide range of effects.
Tonight the amateur or just the curious in search of artistic surprises can approach the Auditori (9pm), within the Sit back cycle, to listen to it in unbeatable conditions and covered by the electronics of the Seville Lost Twin (“her work is masterful” she says), the guitars of Marc López and David Soler and in the last songs the heterodox Big Electric will appear Orchestra, directed by saxophonist Claudio Marrero.
The figure of his grandfather has always said that he has been and is fundamental in his life. He even dedicates the song that opens the disc.
Yes, What is the use of crying? It is true; My grandfather Pepe has taught me to love the earth, the fruits it gives, and as I usually say while working the land sowed the seeds of his voice. With him and with his attitude I have learned not only to love the earth, to mine, to tradition, even to the ancestral, but also to be a person, I think I am quite realistic. Come on, have your feet stuck to the ground.
Do you still see it?
Yes, he is older, but a few weeks ago I went home and accompanied him to the garden, which is at the exit of the town. I still feel the same emotion and love for him and everything he represents. And it seems to me that mine is the most normal thing in the world, not that of a person grateful to those who love and teach you but to what serves as a reference.
Why did he start singing with him?
Yeah right. As I watered, he plowed the field, I was under the shade that olive trees gave me, and I learned to sing, but as a vehicle to express the feelings and sensations I wanted to express. I suppose that this way of giving out those feelings by singing gives you absolute freedom.
The elaboration of this album that has been reported, apart from effort?
What I was telling you before, especially an absolute liberation and a very comforting sense of freedom. And that has meant in practice that it has also become a therapeutic process, because I have been able to aerate, take out and detach myself from a series of fears that were very caught there and that could make me a worse person, as who says. In case of Dunes Girl It is perhaps the best known, where there is talk of a lack of self-esteem that can become very negative, but in The man with a thousand moons I also touch the issue of pure heartbreak, for example.
Have you got rid of that fear?
In part, but one will always be afraid of fear. What I have done doing this album is like a kind of cleaning of the same inside, I mean, a cleaning of your self, I needed to heal myself and that’s why I made these songs and consequently this album
You have gone from being a stranger to being popular in your music scene and having your first album published by a multinational. Surprise? Does it gratify?
I had to change, I confess, my prejudices I had about the operation of the industry. Before I had always thought that a record company was something negative, like something alien to me and my way of understanding and living what I do. I believed that there was a radical incompatibility between the essence of what I do, which are things that come from deep within me, of what is the behavior of the market.
Of the market of the supply and the demand, no?
Yes, of course, of the capitalist market, which is where we move. And over time I have found my way to adapt to it, as I usually say, to find a hole where what I do fits. And in that I am, it is a struggle in which the important thing is to find that middle ground.
That look and respect for the past and tradition, to the figure of the grandfather … clashes a little with the current life, in the big cities.
Yes, but you have to do it. I arrived in Barcelona at age 19, I started studying at the Conservatori del Liceu, and then I was lucky to be able to enter the Esmuc, because it is the only center of higher degree of public ownership. I learned a lot, great teachers, like Chiqui de la Línea.
Do you need a lot to get where you want?
Oh my God! Now I am 26 years old and I have released my first album, and it is like a dream come true, because it is a work in which I recognize myself and in which people recognize me. Now I will have to start assimilating it. It is a long journey and I hope that I will not stop learning.