What Is Flamenquito?

“What is this flamenquito or chill flamenco or whatever they call it? I don’t know, and I don’t care,” said the legendary flamenco singer Fosforito in an interview with El Español. Similarly, cantaor Pedro el Granaíno told Zoco Flamenco: “Flamenquito has done a lot of damage to flamenco.” So what exactly is flamenquito? How is it different from traditional flamenco? And why does it stir up such strong opinions?

It’s not easy to find a definition of this term in flamenco books or guides. Flamenquito lies outside the boundaries of orthodox flamenco and is not a variation of any traditional palo (style). The term refers to Spanish-language music that incorporates elements of flamenco — especially palmas (hand clapping) and the cajón — to create songs that don’t follow the rhythmic or melodic structures of classical flamenco forms.

In many cases, it also mimics flamenco-style pronunciation, with an Andalusian accent — either because the artists are from Andalusia or they imitate the tone deliberately. Vocally, it leans toward cante jondo, using melismatic phrases and expressive techniques typical of flamenco singing. Flamenquito could be considered a kind of flamenco pop, distinct from other subgenres like Enrique Morente’s flamenco rock in Omega, the electronic flamenco of Fuel Fandango, or flamenco chill, a style pioneered by Chambao.

According to music journalist Luis Troquel, “It’s more pop than anything else, but with a strong flamenco component. It’s not just pop with flamenco touches like Manolo García’s music — it has true flamenco roots. There’s a lot of rumba, tangos, and bulerías, but not like Bambino’s bulerías. It’s much softer, often mixed with bossa nova and heavily influenced by Brazilian music.”

The lyrics are usually light and carefree, inviting fun and celebration. “Flamenquito is a feel-good, optimistic genre,” says Troquel. “It’s not like the bittersweet joy of tragic flamenco rumba — flamenquito is all about good vibes.”

From Ketama to Melendi: The Rise of Flamenquito

The first group considered representative of flamenquito music was Ketama. Formed in the 1980s by Sorderita, Ray Heredia, and Juan José Carmona Amaya “El Camborio” — all born into flamenco families — the group released several albums before achieving mainstream success with their 1995 record De akí a Ketama. By that time, both Sorderita and Ray Heredia (who passed away in 1991) were no longer in the band, and Antonio Carmona and José Miguel Carmona had joined. The album featured the hit No estamos lokos (Kalikeño), which, according to journalist Luis Troquel, became “the ultimate anthem of flamenquito.”

Soon after, El Barrio emerged — the artistic project of flamenco guitarist José Luis Figuereo Franco from Cádiz — releasing the album Yo sueño flamenco in 1996. In his next album Mi secreto, he introduced the track Mi forma de flamenquito, essentially coining the name of this emerging subgenre. Like Ketama, El Barrio came from a flamenco background. “They were flamenco artists creating music that wasn’t strictly flamenco, so people would say: it sounds very flamenquito,” explains Luis Troquel. “And little by little, this style took shape in the ‘90s and has continued to thrive.”

In 1997, Alejandro Sanz released Más, whose third track, Corazón partío, is described by Troquel as “the most universal flamenquito song.” Sanz, too, had roots in flamenco. Two years later, Estopa released their debut album Estopa, featuring the iconic track Tu calorro, which opens with one of the most quoted flamenquito lines:
“I went down to the riverbank / and saw you all alone / I saw that you had fallen asleep / and poppies had begun to grow.”
It’s hard to imagine a flamenquito party without this anthem or other hits like Vino Tinto or Como Camarón.

Then came Los Delinqüentes, fresh and rebellious, from Jerez de la Frontera in 2001 with El aire de la calle. In 2007, Fondo Flamenco arrived from Seville, bringing a more romantic and youthful vibe with songs like Escúchame Mujer and Ojalá, two highlights of the flamenquito movement. Around this time, Melendi — originally from Oviedo — began making waves. Though not strictly a flamenco artist, his early work clearly showed flamenco influence. Tracks like Con la luna llena, Mi rumbita pa tus pies, and Caminando por la vida helped shape the soundscape of 21st-century flamenquito.

“There are plenty of artists who mainly do pop, but have released songs that are unmistakably flamenquito,” adds Luis Troquel. “Antonio Orozco, Melendi, Pastora Soler… they’ve all done more than one track in this style. One of the most iconic cases is Niña Pastori. Is she flamenquito? Arguably, many of her hits are. But she always sings with deep flamenco soul. Even when the music shifts, her voice carries a strong flamenco essence.”

El Madrileño and the Cool Factor

In 2021, C. Tangana released El Madrileño, and the music press began to wonder: has flamenquito made a comeback? “Suddenly, C. Tangana — a trendsetter — started celebrating artists from the flamenquito world like La Húngara and Ketama,” explains Troquel. “Now, young and cool people no longer look down on flamenquito. During its boom years, flamenquito found popularity both among upper-class audiences and in the world of ‘gas station’ pop music.”

Although the cliché is fading, flamenquito has always had a bad reputation, especially among traditional flamenco singers who remain loyal to pure flamenco. “But many people discovered those traditional artists thanks to flamenquito,” says Troquel. His conclusion is clear: “There’s no need to be afraid of the word flamenquito.”