Naike Ponce: “The tribute to Paco de Lucía is the hardest thing I’ve ever done in my life”
Published on EXPOFLAMENCO (02/07/2024)

  • Naike Ponce, flamenco singer and dancer from Sanlúcar de Barrameda, embarks on a new project that represents a significant responsibility but will help her grow both artistically and personally. She presents “Women Celebrate Paco de Lucía”, a tribute to the guitarist’s legacy, but from a fresh and unique perspective.



    Speaking with Naike Ponce (Sanlúcar de Barrameda, Cádiz, 1984) is like peering through a window into an Andalusian courtyard. A courtyard bathed in light, with symmetrical architecture and immaculate blues and whites reminiscent of the sea—especially that of Sanlúcar. It is adorned with simple-looking chairs that conceal the meticulous work behind them, surrounded by countless pots blooming with diverse flowers. Some appear sweet, others evoke nostalgia, and a few disrupt the harmony of the design with their boldness. This is Naike Ponce: a flamenco singer and dancer from Sanlúcar de Barrameda who was nominated for Best Flamenco Album at the 2020 Grammys with her album Vivir. After years of immersing herself in both the broader musical world and the flamenco tradition, she takes on a new project that is both a significant responsibility and an opportunity for personal and artistic growth. She presents Mujeres celebran a Paco de Lucía, a tribute to the legendary guitarist’s legacy from a fresh perspective, set to take the stage on February 25 at Sala Villanos in Madrid.


    Naike, tell us a bit about the project Women Celebrate Paco de Lucía.

    It’s a project that has never been done before. It’s something new. I thought it would be beautiful to see it from my perspective. Everyone focuses on Paco’s disciplined and stern side, the one instilled by his father. That’s what is most talked about because it’s what shaped him and made him Paco de Lucía. But we forget about his playful, humorous, sensitive, and tender side. And who better than women to highlight that? This isn’t a women-only performance to turn it into a feminist manifesto; it’s about presenting the same artistry that has always been celebrated, but from a different perspective. I find that both beautiful and original.

    How did the idea come about?

    One day, I saw that a tribute was being organized for Paco in New York for his tenth anniversary, and I thought, “Wow, we need to do something for Paco.” In any case, a tribute to Paco de Lucía is always justified. He is truly the one who opened the doors for flamenco and elevated it. He is the person who has contributed the most to flamenco and gave it the recognition it deserves as a form of music. He proved beyond a doubt that flamenco is such a profound art form that it can captivate any musician. Flamenco is fusion. Harmonically, it was very limited, and he opened the windows and doors to the entire world. Paco is the one who sets the path and direction, and he continues to do so even after his passing. He gave musicians the freedom to express themselves and draw inspiration from other styles. He himself said: “I am the bridge.” I would say that he is the bridge and the eternal future.

    What role does the Paco de Lucía Foundation play?

    If I didn’t have the family’s support, I wouldn’t be able to use Paco’s name. The Foundation simply delegates to me and places their trust in me, which is incredibly valuable. It gives me more confidence, but it also brings even greater responsibility. The person I have the most contact with is his niece, Lucía Sánchez. Before reaching out to anyone else, I call her. I explain my idea, acknowledge that I need permission, and ask what steps to take and how to proceed. I know that Paco, apart from being the greatest of all time and the best representative of flamenco, is also a brand, and the family takes care of it as such. I think that’s entirely appropriate. I’m fortunate that they’ve trusted me. I believe this is due to my awareness and my career path. I’m neither better nor worse than anyone else, but I approach this with humility and love, which I think is the most important thing. Now that the date is approaching, we’ve been able to talk more… and we still have more to discuss! The fact that they genuinely like the project means so much. If they didn’t, they wouldn’t have given me their approval.


    «Flamenco artists are from another planet. We are wounded human beings, deeply affected by our sensitivity and awareness of life. Someone who is born an artist is a conscious and hurt individual who needs to express that pain. Music and art are born from the necessity to convey emotions that cannot be expressed with words. That’s how I see art.»




    Who is accompanying you in the show?

    I’m accompanied by three wonderful guitarists. Antonia Jiménez, a guitarist from El Puerto de Santa María, with whom I’ve always had a close relationship. Beyond her musical and personal talent, she’s someone I feel comfortable with and deeply understand. Then, there are two new discoveries for me: Mercedes Luján, who has a bold character and great awareness, and the very young but admirable Alba Espert from Jerez de la Frontera. Lara Wong joins us on the flute, bringing impeccable sound and sensitivity. On percussion, we have Nasrine Rahmani, who sets the tempo and heartbeat for all of us. Belén López is our guest artist. For me, she is one of the best dancers of the moment because she embodies all aspects of flamenco dance—a parallel to Paco in that she masters every style. The sweetness and elegance of Montse Cortés is also with us as a guest singer. She was one of Paco’s chosen vocalists, so she absolutely had to be here. Then there’s Gal Maestro, an incredible discovery—a super-flamenco double bassist who adds tremendous depth to Paco’s music, which we’re bringing together. I also wanted to pay tribute to Paco’s Andalusian roots, which I believe he inherited greatly from his mother, with the album Canción Andaluza that focused on copla. Copla is so rich in harmony, lyrics, and storytelling, yet it’s often undervalued. Paco elevated it to a place of honor. For this segment, I thought of my friend Mélodie Gimard, an incredible and virtuosic pianist. She has a unique sensitivity and that special visceral quality we women bring. And yes, there’s a surprise I can’t reveal just yet!

    Why them?

    Because of their connection to this era. With them, I share ideas and a lot of music. Also, because Paco’s legacy needs to be upheld, and I’m convinced they will do so with the level of excellence that the occasion deserves. All of them are deeply aware of the importance of what we are doing.

    What do you think sets this tribute apart from others that have been done or will be done?

    We’ve flipped the perspective. Instead of Paco de Lucía, it’s Lucía de Paco. Very little has been said about his mother until now. For the past two and a half months, I’ve been waking up with Paco and going to bed with Paco. In some interviews, he talks about how his mother would take him to the sea, where he learned to swim, disconnected from everything, and found happiness. I also believe that Paco knew how to love women. The guitar itself is a woman… and look at the respect and dedication he gave it! This isn’t about opposing men; it’s about highlighting the sensitive side of Paco that made him who he was. We are paying tribute to his mother and all the women in his family. They also shaped key aspects of his character, instilling in him qualities like freedom and openness, which I wanted to celebrate.

    Do you think people are aware of that side of Paco?

    I’d like to think so, but it’s usually the last thing people mention. His technique and skill are more representative of him. That’s why we’re here—to highlight and reclaim that side of him. This isn’t an idea I suddenly came up with; it has always been there. That side of Paco is also part of who he was. I just want to give it the recognition and value it deserves.

    To be a flamenco artist, you need a different kind of sensitivity, right?

    Yes. We’re from another planet. We are wounded human beings, deeply affected by our sensitivity and awareness of life. Someone who is born an artist is a conscious and hurt individual who needs to express that pain. Music and art are born from the necessity to convey emotions that cannot be expressed with words. That’s how I see art. Although, I must say, it also takes a lot of art to make a bed.


    «I believe Paco knew how to love women. The guitar is a woman… and just look at the respect and dedication he gave to it! I’m not trying to position this in opposition to men; instead, I want to highlight that sensitive side of him that made him who he was. We are honoring his mother and all the women in his family. They, too, shaped aspects of his character, instilling in him qualities like freedom and openness. That’s what we are celebrating.»


    Naike Ponce – To Live. Photo: web Naike

    Are you more inspired when you’re hurting?

    Also when I’m very happy. In the end, emotions transform into art, music, and lyrics. It’s about letting them out. I found a way to do that through my singing and dancing.

    Do you prefer singing or dancing??

    I couldn’t choose. I couldn’t sing without dancing.

    And dancing without singing?

    That, I could do.

    What challenges have you faced while creating this project?

    Paying tribute to Paco and speaking about him is the hardest thing I’ve ever done in my life—deciding to do it and bringing it to life. The musical aspect has been challenging too: deciding which of his pieces to include. Most importantly, I want the women involved to feel comfortable and for all of us to enjoy it.

    What guided your choice of music?

    I wanted the selection to be broad. In one hour, I can’t cover an entire life. But given the talent of the artists involved, we can touch on various aspects of his work. We’re focusing heavily on cante because it’s something he also loved. We’re not only highlighting the traditional elements but also his evolution and his fusion with jazz. Each artist brings their personal touch. We will never play like him or think like he did. We can’t reach his level. Instead, we approach his music through our own personalities. His music is incredibly challenging. I believe there’s great value in bringing it to life.


    «A tribute to Paco de Lucía is always justified. He is truly the one who opened the doors of flamenco and elevated it. Flamenco is fusion. Harmonically, it was very limited, and he opened the windows and doors to the entire world. Paco is the one who sets the path and direction, and he continues to do so even after his death. He himself said: ‘I am the bridge.’ I would say that he is the bridge and the eternal future.»


    What would you say to readers to convince them not to miss your tribute?

    I think it’s a unique event. Women have never come together to play Paco’s music before. That’s what makes it different. We’re women performing Paco’s work, highlighting his sensitivity and love for cante. It’s already been special during rehearsals. It’s being well-received, and it hasn’t even debuted yet. The excitement it’s generating is a testament to its value. This has never been done before. It’s a project that satisfies me and fills me with as much joy as fear. Fear, in the sense of responsibility. But I was more afraid when I was twenty. Now, I’ve gained experience, and that’s why this moment has come. Now I have the courage to present it. Even with the courage we all have, there’s a great sense of responsibility. We approach it with humility and love. Of course, we fear the precipice, but it’s the kind of fear that emboldens you.

    Are you afraid of criticism?

    Everyone is entitled to their opinion, and I respect that. Criticism has always given me the strength to improve. At times, it has brought me down, but you have to hit the ground to rise again. It’s true that we depend on the audience. But in the end, the need to continue and express yourself prevails. The obstacles you face only make you jump higher and improve.

    Anything you’d like to add?

    I want to thank the UNED and the AIE for helping make this tribute possible. Also, to Sala Temple and Bandolero for providing rehearsal spaces. And, of course, to everyone.

    The flamenco singer and dancer Naike Ponce. Photo: Vicente Pachón



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