La Macanita has been one of the steadiest promises of the current Jerez cante for several years (perhaps too many) for the prodigy of her deep, complete voice, full of clearly Jerez-style harmonic colors. However, Tomasa Guerrero hasn't taken the definitive step into the front line of today's cante, perhaps because of some technical difficulties the Jerez-born singer must polish as far as rhythm and intonation. On his part, Isidro Muñoz is one of the most interesting composers of contemporary flamenco, a job he makes compatible with his work as a guitarist, as is displayed in the interesting offers ‘Omega’ by Morente and ‘Aire’ by José Mercé. His facet as a lyricist is especially remarkable given the crisis suffered by today's flamenco, adapting to the new times styles that seemed closed to evolution such as seguiriyas and tonás with coolness and a good mood.

Guerrero and Muñoz sign a very polished album, perhaps the most complete one by the singer from Jerez, since with that abysmal voice full of harmonics, the most outstanding thing about her records, the cantaora had never been heard so willing to fight against her own limitations. And she more than manages to do so, precisely in the styles most distant from her musical universe, as they are tones and melodies strange to traditional jondo art. This can be confirmed in the song por bulerías ‘Como comer solo’, where the cantaora's effort finds its reward in an exciting melody with certain risky jumps. And in the catchy two-voice chorus of the rumba ‘Ahora no’. That doesn't mean that we find ourselves before an album of "in" pop flamenco; not at all. The arrangements and instrumentation wind along strictly flamenco paths and the choruses are never repetitious, so that both aspects have the restraint and good taste that Muñoz has us accustomed to. This line of apparently lighter tracks, to put it that way, is sustained by a smooth lyricism that is optimistic and vital, and somewhat skeptical too, which deals with themes of contemporary lyrics such as loneliness in the big city or in the heart of a relationship. Another thing would be if Loco Mateo were a maestro of soledades... This part also has less successful areas and some easygoing stylization of popular elements, such as the bulerías by La Plazuela in ‘Mi mare Manuela’.

More traditional in their melodic treatment are the seguiriyas, short and slurred, very Jerez-style and full of rhythm; the soleares by La Fernanda, where the novelty lies in the lyrics; and the dry bulerías, one of the styles characteristic of La Macanita, in which she has a brief duel with the complete, surprising voice of Moraíto, doing without his guitar here. Standing out is the elegance and restraint of the excellent group of musicians that La Macanita has surrounded herself with. We're talking about the representatives of the most precise, brilliant Jerez beat - Bo, Chicharito and Gregorio - joined by the smooth percussion of Tino Di Giraldo. As far as the guitarists, special mention goes to the role of Moraíto, who has shared so many hours and stages with the cantaora. And to the surprising maturity of Diego del Morao, responsible for the accompaniment on most of the album: a strict beat, restraint and a liking for low notes - somewhat forgotten nowadays - in the flourishes, which blend in so well with the voice of the cantaora.