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LoffMusic Encounters | Jesús Sancho in conversation with Rocío Márquez: “Flamenco doesn’t belong to me; I am an instrument for conveying something much greater”

Editor Music

12 de July de 2026

After attending the breathtaking performance of Himno Vertical at the Cervantes Theater in Málaga, our contributor Jesús Sancho speaks with one of the most revolutionary artists in contemporary flamenco. A conversation about freedom, family, Enrique Morente, flamenco clubs, and the responsibility of preserving an art form that never stops evolving.

By Jesús Sancho | LoffMusic

There are concerts that are entertaining.

Others are inspiring.

And every once in a while, someone comes along who changes you from the inside out.

That is exactly what happened on June 25 at the Teatro Cervantes in Málaga, where Rocío Márquez and guitarist Pedro Rojas-Ogáyar presented *Himno Vertical*, one of the most important albums in contemporary flamenco and the recent winner of the 2026 MIN Award for Best Flamenco Album.

I was only five minutes late.

I slipped in quietly while the room remained completely dark.

From the very first moment, I realized that this wasn’t going to be a conventional concert.

A Liturgy Called “Vertical Hymn”

Himno Vertical ‘s stage production is intimate, delicate, and deeply symbolic.

He isn’t looking for immediate applause.

It doesn’t need any frills.

Everything happens in silence.

Rocío and Pedro cross the stage as if every movement were part of an invisible choreography.

There isn’t a single centimeter to spare.

Not a single note is wasted.

Rocío is singing.

Dance.

It is collected.

Explodes.

He plays with words, the body, silence, and sound experimentation.

Pedro seems almost invisible.

But it sustains the entire universe that exists around it.

His guitar isn’t in tune.

Hug.

At times, there are electric riffs reminiscent of Hendrix, but without any need for technical showmanship.

Just excitement.

Only the truth.

When the show ends, the theater breaks the silence with a very long round of applause.

We all know that we’ve just witnessed something extraordinary.

One of those experiences that stays with you for a long time.

It had been years since I’d felt anything like that.

Perhaps ever since the first time I heard *Omega*, the historic collaboration between Enrique Morente and Lagartija Nick.

The next day, the conversation takes place

When I leave the theater, I’ll be waiting by the stage door.

Rocío appears with the same composure she had shown on stage.

He kindly agreed to grant me a telephone interview the next day.

And it delivers.

At 12:45 p.m., we talked for almost three-quarters of an hour.

Listening to her is just as inspiring as watching her sing.

Speak slowly.

Think carefully about each answer.

And it conveys a sense of serenity that is rare these days.

“I’ve been very lucky with my family”

Let’s start by talking about its origins.

From the family.

His response comes completely naturally.

“I’ve been lucky to be part of the family I belong to. I’ve felt love and warmth within it. I’ve been able to blossom and grow thanks to my parents and the rest of my family. I’ve always felt their support, their encouragement, and their watchful eye.”

It’s impossible not to think that a good part of Rocío’s artistic sensibility stems precisely from that.

Morente, the great icon

Any discussion of contemporary flamenco inevitably leads to a mention of Enrique Morente.

Although they never actually met, Rocío acknowledges his enormous influence.

“I wasn’t lucky enough to meet him, but he’s one of my role models. He was an indispensable figure, both because of his knowledge of the sources and his constant search for new ways to convey flamenco.”

A definition that could also serve to explain Rocío Márquez’s own career.

Creative Freedom After Universal

For several years, he was part of the Universal Music catalog.

I ask him how he remembers that time.

“I am grateful for the way I was treated and for the opportunity they gave me at an important point in my career. Later, I was able to leave the label without any problems, and that allowed me to become an independent artist and find a space where I could explore all my creative interests without compromising my privacy.”

He doesn’t mention a breakup.

It’s about evolution.

Pedro Rojas-Ogáyar, the Perfect Partner

The chemistry between the two is evident on stage.

This is how she explains it.

“We’ve both experienced significant losses. We share a constant search for new sounds. Pedro is a wonderful person, an extraordinary guitarist, and an exceptional traveling companion.”

And that connection runs through every minute of *Himno Vertical*.

Fan clubs remain indispensable

In an era dominated by major festivals and algorithms, Rocío champions the role of flamenco clubs.

“To me, they’re essential. I’ve learned so much from them since I was a child. They do tremendous work that often doesn’t get the recognition it deserves. They’ve kept flamenco alive for decades.”

A necessary reflection.

“We all drink from the same sources”

When we talk about other artists of his generation, a certain word keeps coming up throughout the interview.

Respect.

“I have enormous respect for the work of all my colleagues. We all draw from the same sources, even though each of us ends up finding our own path.”

“Flamenco doesn’t belong to me”

The conversation ends with a response that probably sums up his entire artistic philosophy.

“I feel like a conduit for something much greater than myself. Flamenco doesn’t belong to me. Quite the opposite, actually. It uses me as a tool to communicate with others. It fills me, stirs me, and calms me all at the same time.”

There are artists who perform songs.

Rocío Márquez seems to be living them.

And maybe that’s why it’s so exciting.

A conversation that could have lasted an entire afternoon

The forty-five minutes go by way too fast.

It feels as though I’ve spoken with an artist who is profoundly free, cultured, and generous.

With someone who understands flamenco as a living organism.

As a language that must continue to grow.

I hang up the phone, certain that we’ll meet again.

And with the same feeling I had when I left the Cervantes Theater.

Some experiences don’t end when the curtain falls.

Who is Rocío Márquez?

Born in Huelva in 1985, Rocío Márquez is one of the most important flamenco artists of the 21st century. Her career combines research, vocal excellence, and a constant desire to push the boundaries of the genre without ever losing her connection to tradition.

His discography includes seminal works such as *Aquí y ahora*, *Claridad*, *El Niño*, *Firmamento*, *Visto en El Jueves*, *Omnia Vincit Amor*, *Tercer Cielo* —alongside Bronquio— *Flamencos*, and the recent *Himno Vertical*, which won the 2026 MIN Award for Best Flamenco Album.

He has collaborated with artists such as Jorge Drexler, Christina Rosenvinge, Kiko Veneno, Bronquio, Enrike Solinís, and Fahmi Alqhai, exploring genres that blend flamenco, electronic music, classical music, jazz, rock, and singer-songwriter music.

Among his numerous awards are the historic Lámpara Minera, the Petenera Gold Medal, the prestigious French award Les Victoires du Jazz, and the Ruido Award for *Tercer Cielo*, considered by most critics to be one of the seminal albums of contemporary flamenco.

In addition to her artistic career, Rocío Márquez holds a Ph.D. cum laude from the University of Seville, specializing in flamenco vocal technique, and is actively involved in teaching and outreach at universities and cultural institutions around the world.