On October 21, in the program Nuestro Flamenco on Radio Clásica, journalist José María Gastelum interviewed Juan Carlos Romero to talk about his latest album, The one that goes with me and I. In a conversation full of deep reflections, Romero shared not only the details of this project, but also his vision of flamenco and art as a personal expression. Below is an excerpt from this fascinating interview, where Romero invites us to understand his music as a mirror of his life and soul.

The one who goes with me and I: duality made music

The title of the album reflects that inner duality that we all carry inside, but in Romero’s case, it is also a reconciliation between two artistic facets: that of the pure flamenco guitarist and that of the musician who explores other sound territories. For years, he feared that opening up to other aspects could be seen as a betrayal of flamenco, but now he sees it from another perspective. “Why separate one Juan Carlos from the other?” he comments in the interview. This album, he says, is the result of accepting everything that is part of him as an artist.

Jung, Borges and artistic introspection

Romero shared that his album is accompanied by phrases from Carl Jung and Jorge Luis Borges, two key influences in his life. From Jung he takes the idea of looking inward as an act of awakening, while from Borges he rescues the reflection on the limits of reason in the face of art. “Art has no logical rules. It is pure feeling, intuition and mystery,” Romero explained, reinforcing the idea that music cannot be understood with the mind, but with the heart.

Innovation from tradition

In this interview, Gastelum highlighted how Romero manages to surprise with unconventional tonalities and unique harmonic twists, especially in pieces such as the soleá dedicated to Manolo Sanlúcar and the taranta Compadre Isidro. Although Romero assures that he does not seek novelty for its own sake, his way of working takes flamenco down unexplored paths. “In the search for your own language, sometimes you find new things without realizing it,” he said.

Music as therapy

For Romero, composing is a therapeutic process. Each piece he creates is connected to a personal experience. “When you compose, it’s like turning yourself inside out and contemplating yourself,” he confessed. His music not only tells stories, but also helps him process experiences he thought he had forgotten, showing that art can be an act of healing.

Collaborations and richness of sound

The album El que va conmigo y yo features the participation of great artists such as Carmen Molina, Israel Moro and the Arbós trio, who contribute their talent to create a rich and varied sound mosaic. From fandangos de Huelva to pieces close to chamber music, Romero’s work combines tradition and modernity with an astonishing naturalness.

The power of flamenco

Romero stressed that, although he explores other styles, flamenco always leaves its mark. “It is so powerful that, whatever you do, it always appears,” he said. This makes his work a bridge between worlds, where the spirit of flamenco is kept alive in every note.

Conclusion: the art of honesty

This excerpt from the interview with José María Gastelum shows that El que va conmigo y yo is not just an album, but a declaration of principles. It is the result of a journey into the deepest part of oneself, where each note reflects the authenticity of an artist who is not afraid to show himself as he is. “When you compose to understand yourself better, music becomes invaluable,” concluded Romero. And it is precisely that sincerity that makes his work a gift for those who love flamenco and art in its purest form. The program Nuestro Flamenco continues to be a reference in the diffusion of this art, and interviews like this one are a reminder that flamenco is not just music: it is a language of the soul.