As Pedro G. Romero rightly points out, in the current flamenco ecosystem, there is nothing comparable to the phenomenon of María Marín. Do not look here for inherited surnames or the stale shielding of family sagas; what this artist from Utrera offers is pure flamenco, before and after flamenco. Immersed in the architecture of the guitar since the age of seven, Marín is a performer of overwhelming technical sophistication, trained in demanding conservatories and seasoned in alliances with totems like Carles Benavent, Tomatito, or Javier Colina. Her presence in Israel Galván's company is proof of her status: an artist who understands cante through corporeality and movement. Her album Las Tres Marías is a sonic cartography that updates the gestures of tradition to place them on a unique boundary where classical playing merges with avant-garde figures, building a new canon.