On the cover of the manual de romería, Rodrigo Cuevas appears in a nude, strikingly painted image inspired by classical works, centered on an oil painting by Javier Ruiz Pérez. The piece is described as an erotic-festive composition, provoking smiles and a touch of audacious humor. The Asturian singer, composer, and showman is asked about the intent behind the image, and he replies with a wry grin that it is a playful provocation rather than a scandal, a nod to traditional painting with a contemporary twist.
Conversations with Cuevas often drift into lighthearted digressions that lighten heavier topics, and this mood carries into the new album, Manual de romería. The artist has a catalog of idiosyncratic and traditional tunes, but this collection leans more intimate and introspective than the earlier Manual de cortejo (2019). The mood shifts toward brightness and daylight, while still carrying a sense of depth. Production responsibilities share the stage again with Raül Refree, who also collaborated on the prior release. Eduardo Cabra, known for his work with Visitante and Calle 13, joins the project as a contributor. The aim is clear: to elevate traditional Asturian music with electronic textures and danceable rhythms.
A village with 15 inhabitants
In the song Allá arribita, Cuevas sings with graceful simplicity about love and freedom, supported by delicate guitar arpeggios and subtle electronic elements. Born in Oviedo, he finds in the mountains and clean air a powerful symbol of liberty, and he has chosen to live in rural Conceyu de Piloña, a small village with around fifteen residents. The setting informs the music, grounding it in landscape and community rather than urban haste.
Manual de romería presents a transparent soundscape that celebrates nature and friendship while addressing painful realities. Tracks like Tell me, green bouquet speak to the harassment faced by people who differ by race, gender, or religion, and Valse comments on the destruction of the environment. Cuevas observes that there are now many eucalyptus plantations in Asturias used for cellulose pulp, noting that such farming practices degrade soil and erode ecosystems. He argues that traditional song should not be flat; it must carry punctuation, emotion, and a touch of critique.
A Caribbean in Sanabria
The album features venerable voices from the valleys alongside Cuevas, creating a sense of a collaborative communal sound. Contributors include Rodríguez Cañón and Nieves, whose playful lines invite listeners to reflect on voice and quality of performance. The performers acknowledge that many artists, especially women, have been overlooked in the past, and the album notes emphasize a welcoming, inclusive attitude toward singing and instrument work.
The recording journey took the ensemble to Sanabria, Zamora, during a cold December session. The experience is described as a striking contrast between climate and creativity, a moment that reinforced the resilience and adaptability of the musicians. Cuevas, among the signatories of a public manifesto supporting Asturian authorities and cultural voices, notes that the drive for rights and recognition comes from longstanding community efforts, not mere demands.
Rodrigo Cuevas has grown into a dynamic public figure, capable of stirring strong passions while feeling deeply understood by many. He recognizes the challenge of hostile commentary but remains committed to his art and his audience. In Catalonia, he jokes about the warmth of reception and the way language can resonate with audiences. He continues to perform with a cabaret sensibility, embracing stage presence and audience connection as core to his craft.