Miguel Poveda, profile of a social phenomenon

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One day, you're listening to Antonio Mairena singing soleá por bulería, "Por ahí viene mi bata", and the next, "Al verte las flores lloran", Camarón's bulería. And from that point on, an astonishingly broadened following is born thanks to the influence of the young singer from La Isla. A full-blown cultural and musical revolution whose ripples remain intense to this day. Voices, verses, harmonies and techniques have all changed (thank you Mister Paco). Oriental sounds have been cultivated, often with choral voices, and nearly all flamenco singers of a certain age embraced what came to be known as camaronismo. For the new generation, everything that previously existed was simply old flamenco.

That was the 1970s, and now, fifty years later, followers of that school, such as Israel Fernández, are still emerging. But in Cataluña, Miguel Poveda's mother’s radio offered him a richly diverse menu, and the young man drew from the finest Andalusian and non-Andalusian voices. After working the circuit of flamenco cultural clubs to hone his art, young Miguel would go on to win the 33rd Lámpara Minera in La Unión, marking the start of his rise to fame as the most popular singer of the current generation, owing little to the legacy of La Isla, not being Andalusian, not even being a gypsy (hands to head those who champion gypsy flamenco), he effortlessly claimed the throne as the most celebrated flamenco singer of our time.

Miguel Poveda's voice and delivery inhabit a narrow zone between the raw essence of traditional flamenco and the sweetened allure of popular songs, carefully avoiding the excesses of either. And the man is a true connoisseur of flamenco singing. But even all that wouldn’t have been enough to reach the heights of popularity he enjoys. He also possesses powerful charisma that comes across as genuine, and connects with his large audiences on a personal level. He has good taste and an extraordinary musical instinct, qualities that enable him to craft a compelling performance, in addition to surrounding himself with a team of top-tier professionals.

Inside my head right now, I can hear the anti-Povedistas, they exist, saying that the Catalan singer is nothing more than a mimic of famous singers. Let’s be clear: all learning begins with imitation. Then, the bird of creativity soars over a fortunate soul, touching him or her with its magic wand, and an artist is born.

«He is elegant in his movements. Since Bambino, few artists have been able to move on stage with such ease. With exquisite poise and artistic sensitivity, he is capable of maintaining perspective, humility, and a sincere and honest way of being.

Thanks to his frequent journeys to Jerez, Miguel became deeply familiar with the styles of the best interpreters of that city, starting with Luis el Zambo. I recall a Bienal de Sevilla where Miguel Poveda delivered a powerful siguiriya electrifying the large audience and bringing them to their feet as if on cue.

He is elegant in his movements. Since Bambino, few artists have been able to move on stage with such ease. With exquisite poise and artistic sensitivity, he is capable of maintaining perspective, humility, and a sincere and honest way of being.

Another element of the singer's artistic personality is his genuine humanity. He manages to convey a didactic point without being overbearing, whether by protesting the historical expulsion of the gypsies from Triana or the increase in taxes on theater ticket prices.

Recently, the presentation of his show Lorca y el cante in Jerez had to be extended to three days, with tickets that were far from cheap and completely sold out. You can read the review "Miguel Poveda canta a Federico sus versos de luna y arena" – Revista ExpoFlamenco, written by our colleague José Ma. Castaño. Here, I’ve aimed to analyze the popularity of the flamenco singer Miguel Poveda, who continues to thrive after more than two decades at the top, garnering new fans with each performance.