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.

Overflying music, doors and genre labels; expanding far and wide with an intelligence and talent out of the ordinary and uncommon for his age; with the weight of those who have spent several lives living for the same thing; This is how Pau Figueres takes his place in the musical universe… and this is how I have always felt his clear and strong artistic voice. All the different musical traditions are, for him, tools with which to build his magical and singular language; and he masterfully conquers all the mysteries that each one contains.

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.

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.

Mediterranean, bright and Flamenco, his guitar moves from local towards Universal.

Pau Figueres–Metheny–de Lucía. Mindblowing eclecticism.

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.

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.

Worthy successor of the best tradition of flamenco guitar.

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.