Blending Flamenco guitar with the music of our century, Pau Figueres is one of today’s most talented and interesting Spanish guitarists. Worthy successor of this beautiful instrument’s best tradition, he pushes its limits to new grounds with his original compositions, his unique and deep understanding of music and an overwhelming technical ability.
He has power. With the eloquence of those who know, while sensitivity flows from their fingers, Pau Figueres moved people almost without realizing it. Accompanied by three musicians as moderate as they are essential, he proposed an open and unapologetic flamenco, avoiding percussive chords and high points, in favor of expressiveness and improvisation.
As if by a miracle, life kept unfolding. One surprise after another, a complete, mature, natural sonic ecosystem, evolving layer by layer like life itself, without asking for permission, without giving explanations, in real time and space, full of creativity and beauty.
His musical approach puts the guitar in a great direction for the instrument in a changing world. Modern Flamenco tends to unite Middle-Eastern and Western cultures in a manner that is politically neutral while retaining universal appeal.
The acoustic sound of the guitar seems to filter through some conduct, as if it were an alembic.
With ‘Nada Nuevo Bajo el Sol’, Pau Figueres opens new horizons and enters through the door of the great names of the guitar.
Paco was not a gypsy. Neither is Pau. Pau has learned –and mastered– the flamenco technique, but to give it a new twist. He can play on par with anyone. But he does not stay in the tradition. He respects it, but he is also respectfully sacrilegious. Figueres embraces and breaks flamenco. He owns it. He doesn’t flaunt the technique: he doses it in short, intense bursts of brilliance. He has it all. Unusual speed, burst, tempo, precision, clarity, beauty. He does not boast of genius. He doesn’t hide either. He gives just enough. And, like great musicians, he sounds like himself.
It is an absolute pleasure to verify the supreme subtlety and elegance in the handling of the strings of this young exponent of polysemy in the Catalan guitar. Pau never ceases to bring light to any hint of shadow and shows how to make use of technology to turn it into an organic heartbeat naturally integrated to the touch of nail and flesh. As the maestro would say, both Renaud Garcia-Fons and Pau are the providential example of how to carry out the revolution of sounds in a silent way.
I had many teachers. I will have many more. He was the most recent. Seeing him play –with passion, with love, with infinite dedication, with rigor, with sweetness, with such a moving talent– teaches me to write literature.
Not enough is said about this guitar prodigy that has fascinated Alejandro Sanz, C. Tangana and Rufus Wainwright. This third solo album opens paths for the nylon strings, stealthily understanding both organic sources and synthesized textures, always at the service of the song, giving off a virtuosity with soul in moving pieces like the title track or ‘Andalucía’.
Whoever dares to say that this man does not sound flamenco has not understood anything.
Worthy successor of the best tradition of flamenco guitar.
What is Pau Figueres’ way of understanding the guitar? That of a virtuous, exquisite musician, and at the same time recursive, restless and even daring. Avant-garde, yes, and also a lot of beauty. Art, lots of art.
