"If I have the chance and have the right connections, I’d like to be a bridge between Spain and Japan. For example, I’d like to bring people from Spain that I work with as a singer and bring groups to Japan. I want to help Japanese people learn more about flamenco."
"The status of the artist has risen a lot, but the salaries are the same. Therefore, I think there’s a problem. It’s the worst time period ever to be an artist. The worst time! It’s the worst because whenever there are economic problems, they always pull resources from culture. "
"This is an intellectual music. We’re talking about something that people spend years and years studying. There’s nothing natural about this."
“It’s fundamental that flamenco stays true to its roots. The moment that’s lost, it becomes a vulgar music.”
"If you have to cry, you cry; if you have to laugh, you laugh; if you have to throw yourself on the floor, you throw yourself on the floor. It’s like a movie."
"If you want to learn fast, it’s impossible. Playing flamenco and all that that implies is quite complicated. This can’t be learned in one month nor in two"
"One can harm themselves by having a Peter Pan complex, by wanting to be a guitar student forever and by dedicating themselves to that exclusively. Life takes you other places."
"He who sings for the public is lost, because his head is not where it should be. I always try to revive my ancestors in my cante. I search for them. I remember them. I see their faces. "
"Talent, luck, and the support of your teachers and family, you need to know how to use that, how to take advantage of it, and how to be grateful for it."
"I can’t live without the stage. If I go fifteen days, or a month, without stepping on stage… No, I can’t."
"I just feel the most comfortable when I have a guitar in my hands. The hours fly by and I couldn’t care less."
"When people came to my shows they didn’t really know what was going on. The ones who did know flamenco were surprised and thought it was beautiful."