Shows at 18:00, 20:00 and 22:30 · Albaicín, 5 minutes from the Mirador de San Nicolás

Flamenco guitar show in Granada

Live flamenco guitar, every day, in a room with only two rows. Two metres away you hear things a speaker cannot carry. Flamenco in Granada in its purest form.

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It doesn't accompany: it converses

What flamenco guitar is

People assume the guitar sits in the background, providing a backdrop — and in flamenco it does not work that way.

The guitar holds up the singer, marking the compás and giving the key. And at the same time it answers the dancer: when the foot calls, the guitar picks up the call and changes with it. It is talking to both at once, live and without a script.

That is why a tablao guitarist does not play a piece: he plays what is happening that night.

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The falseta, and the moment it is left alone

A falseta is the passage the guitarist slips in between the verses of the cante. There he stops accompanying and proposes something of his own, for a few seconds, before handing the turn back.

And in our shows there is something more: there are moments when the guitar is left alone and everything else falls silent. No singing, no dancing, no palmas. Just the tocaor.

It is the moment you understand why the flamenco guitar is considered a concert instrument and not an accompaniment, and it is also the hardest thing to find in a show designed for tourists.

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What the flamenco guitar show is like

  • 60 minutes, three shows a day: 18:00, 20:00 and 22:30

  • A different programme every week

  • Live guitar, singing and dance, with palmas marking the compás

  • A wide, open U-shaped room, with only two rows

  • Inside a carmen in the Albaicín, five minutes from the Mirador de San Nicolás

Our flamenco guitarists

Our programme is different every week. It is not a fixed show that repeats itself: who performs changes, and so does what is played.

For those who come once, it means seeing a show that will never be repeated in the same way. For those who come back —and quite a few people do— it means the second visit is not the same as the first.

  • Marcos Palometas — From Granada. He started at ten with Jorge Gómez, José Jiménez «El Viejín» and Manolo Sanlúcar. He has played for Marina Heredia, Antonio Canales, Farruquito, Patricia Guerrero, Kiki Morente and Mario Maya, and has toured half the world. His playing, say those who know him, has a very Granada-style cleanness.
  • Rubén Campos — Trained with Manolo Sanlúcar, Gerardo Núñez and «El Viejín». He has played at the Seville and Málaga biennials and in Madrid’s great tablaos —Casa Patas, Cardamomo, Sala Caracol— and has toured as musical director and first guitar.
  • José Fermín Fernández — From Iznalloz, in the province of Granada. Self-taught, by ear, on the Camarón songs that played on his mother’s radio. He began playing professionally in tablaos at twenty.

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Why the guitar sounds different from two metres away

The flamenco guitar makes many sounds that are not notes, and they are half of what makes it flamenco.

The rub of the fingers sliding along the string. The tap on the soundboard, which is percussion and not a mistake. The rasgueo opening like a fan. The nail against the fret. And the silence just before coming in, which always lasts longer than you expect.

None of that survives a loudspeaker or twenty metres of distance. The small things go first, and they are exactly what tells one tocaor from another.

In our room, laid out in a U with two rows, you are a couple of metres from the instrument. You can hear the wood.

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Questions about the flamenco guitar show in Granada