Podcast Summary: Nuestro flamenco

Episode: Mercedes Luján, guitarrista – 02/12/25
Host: José María Velázquez Gaztelu
Guest: Mercedes Luján
Date: December 1, 2025

Main Theme / Overview

This episode of Nuestro flamenco centers on guitarist Mercedes Luján and her latest work, Origen y Revolución. The program examines Luján's unique journey as a female flamenco guitarist, her lineage, influences, and artistic approach. It presents her music, highlights her perspective on the challenges and evolution of women in flamenco guitar, and explores the narrative arc and musical philosophy behind her new album.

Key Discussion Points and Insights

Introduction to Mercedes Luján & Origen y Revolución

• José María Velázquez Gaztelu introduces Mercedes Luján as a rare and distinguished female flamenco guitarist. Her new album, Origen y Revolución, comprises nine pieces and is described as both a celebration and a sign of changing times.
• The program opens with “Taranta para Paco,” which the host describes as especially revealing (00:56, 08:04).

The Meaning of "Taranta para Paco" and the Album's Structure

• Mercedes Luján: Explains that “Taranta para Paco” marks a turning point in the album, symbolizing both tradition and transformation:
  • “Es un tema diferente porque marca un antes y un después en el disco, es un punto de inflexión, al igual que Paco de Lucía hizo con el flamenco. Yo he querido que esta Taranta para Paco sea, digamos, la columna vertebral del disco y lo que divide en dos mitades el origen y la revolución.” [09:07]

The Importance of Accompanying Cante and Baile

• Luján shares her agreement with Paco de Lucía:
  • “Lo primero que nace, el tesoro más grande que tenemos en nuestro flamenco es conservar el cante [...] Creo que la guitarra solista, cuando le quitas el cante, la desnaturalizas un poco.” [09:48–10:52]
• She stresses the necessity for any solo flamenco guitarist to understand accompaniment:
  • “Las dos disciplinas son muy necesarias para poder ser solista.” [10:52]

Women in Flamenco Guitar: A "Guadianic" History

• Luján reflects on the historical invisibility of women guitarists:
  • “La guitarra tiene que ser el epicentro de todo lo que haces. Es así de egoísta, no te deja compartirla con nadie más. [...] En esa época de nuestra historia creo que las mujeres no teníamos posibilidad.” [11:29–12:47]
• She traces the rise, disappearance, and recent resurgence of female guitarists, linking it to social structures and the demanding nature of the instrument.

Family Legacy and Artistic Formation

• The host outlines Mercedes’s flamenco pedigree (17:37), referencing her father (Luis Terry), mother (Rosa María Luján), and grandfather (Luis Sanguiao Palma, "Palmita").
• Mercedes Luján: Describes her education as ongoing, rooted in oral tradition and family legacy:
  • “Mi único maestro fue mi abuelo y luego lo demás lo he ido aprendiendo yo sola.” [18:42]
  • Compares her learning to having “instrumentos para medir el tiempo de hace 150 años, pero los tienes que usar hoy y tener la misma precisión que la gente que tiene un instrumento de hoy.” [18:42]
• Luján defines herself as autodidacta (autodidact) and emphasizes learning by ear, not by reading music:
  • “No sé leer música, por ejemplo. [...] Lo poquito que he aprendido me ha tocado sola, escuchando mucho.” [20:14–20:27]

Methodology and Tradition

• She affirms having developed her own learning method, based on tradition and adaptation:
  • “Se podría decir que sí. Se podría decir que sí.” [21:07]

Collaborations and Compositions

• Introduction and performance excerpts of “Malaca,” a malagueña featuring Rancapino Chico, are presented (21:29–26:52).

The Concept of Origen y Revolución

• Luján explains the cyclical structure and storytelling of the album:
  • The early tracks illustrate historical flamenco forms, often quoting historical falsetas; later pieces introduce new elements, mirroring the genre’s evolution.
  • “Si escuchas el disco en orden es como que te narra un acontecimiento cronológico. [...] Por eso es origen y revolución, te va contando desde el origen más profundo de las raíces del flamenco hasta la revolución del flamenco de nuestros días.” [27:22–29:14]
• She highlights details such as historic instrumentation and compositional references to maintain authenticity and honor tradition.

Duality: Concertista vs. Acompañante

• The host asks if Luján faces an internal debate between being a soloist and an accompanist:
  • “Lo que más me gusta a mí es acompañar el cante.” [29:36]
  • Luján discloses she became a soloist out of circumstance but maintains a passion for accompaniment. She acknowledges a duality in her career:
  • “Quizás sí haya esa dualidad como tú dices, entre lo que yo considero el oficio de guitarrista, de tocaor o de tocaora y el concertista.” [30:12–30:51]

Inspiration for Future Generations

• The host discusses Luján’s possible role as a source of inspiration for other female guitarists.
• Mercedes Luján: Expresses humility but is willing to serve as a reference:
  • “No me considero ejemplo de nada, soy una persona más y le ha tocado currarse sola a muchas cosas. [...] Si yo consigo aportarle al flamenco un granito de arena, yo ya habré cumplido mi cometido en este mundo.” [31:11–32:00]

Musical Excerpts

• The episode features several pieces from Origen y Revolución showcasing Luján’s style and collaborative spirit:
  • "Taranta para Paco" [08:04]
  • "La solea. El don de la palabra" [12:47]
  • "Malaca" (with Rancapino Chico) [21:29–26:52]
  • "Alegrías del Abanico" (with palmas and percussion) [32:00]

Notable Quotes

• Mercedes Luján:

  • “La guitarra es muy difícil, hay que echarle muchísimas horas. La guitarra tiene que ser el epicentro de todo lo que haces. Es así de egoísta, no te deja compartirla con nadie más.” [11:29]
  • “Yo aprendí en casa, aprendí de tradición oral, como toda la vida, de oído y no sé leer música, por ejemplo.” [20:14]
  • “Si yo consigo aportarle al flamenco un granito de arena, yo ya habré cumplido mi cometido en este mundo.” [31:19]

• Host (José María Velázquez Gaztelu):

  • “En estampas antiguas vemos mujeres guitarristas, aunque no dejaron documentos sonoros. Parece que ahora está volviendo con fuerza.” [10:52–11:15]

Timestamps for Important Segments

• [00:56] — Opening: Introduction of Mercedes Luján and the album Origen y Revolución
• [08:04] — “Taranta para Paco” (musical excerpt)
• [09:03] — Luján discusses the significance of “Taranta para Paco”
• [09:29] — The role of accompaniment in a guitarist’s development
• [11:15] — Women guitarists: historical cycles and challenges
• [12:47] — "La solea. El don de la palabra" (musical excerpt)
• [17:37] — Luján’s familial background and influences detailed
• [18:38] — Artistic formation and learning process
• [20:14] — On being autodidacta and tradition-based learning
• [21:29] — "Malaca" (Malagueña) with Rancapino Chico (musical excerpt)
• [27:22] — The conceptual narrative of Origen y Revolución
• [29:19] — Duality between solo performance and accompaniment
• [31:11] — View on inspiring future generations
• [32:00] — "Alegrías del Abanico" (musical excerpt)

Tone & Language

The entire discussion is deeply respectful, reflective, and marked by the intimacy and humility typical in flamenco conversations. Mercedes Luján’s language is precise, sometimes poetic, and rooted in traditional flamenco values. José María’s tone is warm, inquisitive, and reverential toward Luján and the genre.

Memorable Moments

• Luján’s candid discussion of the personal and social sacrifices entailed by a life in flamenco guitar, particularly for women [11:29–12:47].
• Her vivid evocation of learning with 19th-century tools for a 21st-century art [18:42].
• The excerpts from her album, especially “Malaca” with Rancapino Chico, highlighting a powerful collaboration between guitar and cante [21:29–26:52].
• Her humble yet moving assertion of her artistic mission: “Si yo consigo aportarle al flamenco un granito de arena, yo ya habré cumplido mi cometido en este mundo.” [31:19]

Conclusion

This episode offers a rich, multifaceted view of Mercedes Luján as a bridge between generations, a representative of women reclaiming visibility in flamenco, and a guardian-innovator of the art form. Her views, music, and context within her family and the broader history of flamenco make this a noteworthy and inspiring episode for aficionados and newcomers alike.