Lilian Baylis Studio, Sadler’s Wells, London
June 20, 2026
Esther Merino provides this year’s Festival with a real treat with En Tierra de Hombres. As Miguel Marin said in his introduction, many people associate flamenco with dance and, for the non-initiated, it is perhaps the most accessible aspect. But it is song that is truly at its heart. Merino rightly designates it as “a man’s world,” although the women have been beating at the doors for some decades now, and they can certainly hold their own!
Merino is no exception, with an unwaveringly strong tone and a command of the stage whilst always co-operating with her accompanists. The repertoire was standard but of particular notes, her spirited alegrias and bulerias towards the end of the programme were exceptional. She has a depth and sincerity that is simply riveting.
Later the same evening, Luz de Guía by Francisco Escudero (El Perrete) was a massive contrast. It is not clear where the ‘guiding light’ came from here. It is like a flamenco version of fusion cooking: an evening of clashing, and competing, cultures.
His guitarist was terrific, producing some lovely, intricate falsettas, but he was all too often drowned out by a full drum kit and an electronic keyboard, each musician playing in a different style. It really doesn’t enhance fandangos to have it fight with a thumping bass drum beat. The keyboard style ranged from hints at impressionism and jazz to downright Doctor Who synthesiser from the era of John Pertwee. It was bizarre and jarring.
El Perrete has an impressive pedigree, his lightish tenor secure in the more traditional flamenco but far less so when straying into jazz. Even his powerful voice was overwhelmed by the cacophony from the drums at times. That said, he clearly has a following, but this was not one for the purists.