On the cover of Manual de romería, Rodrigo Cuevas appears in a striking, nude, oil-painted scene created by Javier Ruiz Pérez, evoking Goyaesque memories. The work aims for a pure, erotic-festive tension, a playful provocation that Cuevas describes with a wry smile as a classical nude reimagined through modern vision. Conversations with Cuevas often drift into lighthearted digressions, yet the new album maintains that same spirit, shifting from the more introverted and darker Manual de Cortejo (2019) to an album filled with original material and traditional tunes that feel brighter, livelier, more celebratory.
During the production of this project, Cuevas collaborates with Raül Refree while sharing production duties with Eduardo Cabra Visitante, a member of Calle 13 from Puerto Rico. The aim is clear: push traditional Asturian music toward a more electronic, danceable horizon. The lyrics reflect a world where love and freedom vie for attention, with lines that celebrate love while acknowledging broader freedoms. The songs are framed by guitar arpeggios and a digitally charged rhythm, notably in the track Allá arribita. Born in Oviedo and having lived in small towns with pristine air, Cuevas often describes mountains and forests as symbols of liberty, a sentiment deeply tied to his current home in Conceyu de Piloña.
The Manual de romería offers a transparent homage to nature and friendship, yet it also carries pointed reflections. Tracks like Dime address harassment tied to race, gender, or religion, while Valse critiques environmental destruction. Cuevas notes that eucalyptus plantations in Asturias, used for cellulose pulp, degrade the soil and contribute to desertification. He believes popular song should not be flat and insists on inserting acidity and critique into musical storytelling, a stance that mirrors his broader artistic voice.
Vocal support in the album comes from venerable voices across the valleys. Nieves Rodríguez Cañón, for example, delivers a line that invites contemplation about singing and recognition. Her remark about women and tambourines touches on historic biases in traditional music and the impact of cultural shifts. The recording journey included locations as diverse as Zamora and Sanabria, undertaken during a colder December, underscoring the parallels between landscape and sound. Cuevas stands as a signatory to a manifesto addressed to Asturian authorities, aligning with a broad coalition of artists advocating for democratic rights and cultural recognition. The roster includes figures from various backgrounds, reflecting a national conversation about rights and representation. As with many public figures in the arts, Cuevas has publicly reflected on how political discourse intersects with culture, noting that the pursuit of rights remains central to social progress.
Rodrigo Cuevas has grown into a figure of strong public presence and cultivated passion. He speaks of feeling misunderstood at times, even as he senses considerable warmth from audiences. He acknowledges the media’s tendency to react strongly to headlines while emphasizing a personal commitment to performance and connection with the crowd. The performer remains outspoken about stagecraft, describing himself as a cabaret artist who thrives on engaging with the audience through bold, onstage energy. The coming year promises more live performances and new creative directions, reinforcing his dedication to music that entertains while inviting reflection.