Miguel Poveda, born in Barcelona on February 13, 1973, has been singing for listeners who want to hear for 35 years. He began professionally in 1989, entertaining tourists at Catalan tables and building a reputation that would someday ripple across the globe. He remembers the tablao as a strong learning ground, where he performed multiple sets daily. He didn’t need to differentiate between tourists and locals; he sang for the spirits who gathered in the room and let the music find them. This summer brings two notable performances between him and his audience: one at the arena on June 17 during La Malagueta’s 101 MusicFest, and another on August 5 in the Nerja Cave gardens. But the venue never defined his voice—people did. His art breathes through those who choose to listen and to breathe with the music, and Poveda cherishes that more than anything else.
Miguel Poveda enters a decade-long phase of artistic quietude paired with vibrant maturity. The Costa del Sol has also played a meaningful role in this period. He has long loved Malaga, forged strong friendships there, and now considers the province his home. He speaks of happiness and peace found in that setting. His latest album Diverso is a gift to his listeners, a project designed to build bridges across musical worlds. He seeks complete freedom in his choices, embracing the diversity he has absorbed over the years and working with different musical idioms that span Badalona, Barcelona, and beyond. Willie Colón’s influences mingle with his flamenco, weaving funk and orthodox cante into a dialogue that proves music knows no borders. The repertoire is born from travel, one of the cantaor’s favorite activities. Travel broadens the soul, informs personal growth, and feeds the music with experiences he integrates into every performance. He believes in the privilege of existing on this planet and in empathizing with those in need, often turning his concerts into moments of shared humanity.
Disinhibition
When reflecting on his career, Poveda is blunt: he has always pursued his own impulses, not allowing others to dictate his creative path. In the past, he felt more pressure, but now he pursues what he believes in without expecting guarantees. He measures success by the satisfaction of a job well done, even if that standard remains hard to reach. There is always room for improvement, a sense that something could have been refined despite deep personal fulfillment.
From early recordings with Nuevos Medios to collaborations with major labels, Poveda’s openness and willingness to experiment have been recognized by critics and fans alike. He does not chase a fixed plan; he evolves with every project, letting his body and soul guide him. He avoids rigid self-analysis and simply keeps moving forward, letting his voice morph as needed by the music and the moment.
Today, his music invites listeners into a journey that spans traditional flamenco and more poetic lines drawn from the verses of Federico García Lorca and the lyrics of Rafael de León and Antonio Gallardo. He believes that the heart is the instrument of feeling, and the essence of his art lies in that emotion shared with the audience. In the end, the goal is simple: to resonate with listeners who allow themselves to be carried by the rhythm and story of the songs.
Flemish
Flamenco artists often talk about preserving the art, but there is also a need to broaden its reach. Poveda argues for greater recognition of historians and scholars who can document and contextualize flamenco’s evolution. He supports initiatives that promote speeches and published works that deepen the art’s historical record, reinforcing the singer’s belief in education as a core value of cultural preservation.
The field of flamenco history sometimes touches controversial ground, especially discussions about the influence of Black culture and the diverse roots of the music. Poveda acknowledges the gypsy community as a key contributor to jondo, yet he notes that historical narratives are richer when multiple voices participate. He prefers dialogue over confrontation, emphasizing that his own family background is not Andalusian, but his upbringing amid diversity shaped his artistic sensibilities. He grew up in a neighborhood where many cultures intersected and learned to listen deeply before speaking.
As a father to eight-year-old Ángel, Poveda speaks with warmth about his role as a parent. He does not assume his son will mirror his artistic path; the boy is in his own world, exploring his own interests. The singer remains focused on his own craft, without rushing to claim legacy or ranking. The landscape of recognition shifts, and while names like Rosalía appear in discussions of modern canon, Poveda stays grounded, content to let time and peers decide where he belongs. In his view, meaningful artistry will always outlast lists and labels, and his work speaks for itself in the lives of those who listen.