From the time Zenet first stepped onto the stage until today, enough time has elapsed for us to know that we are not facing a phenomenon produced by a passing trend. Zenet has been able to search for his audience – and find it – to offer them an authentic, personal, solid and coherent artistic project, not a comparative firework display of a project that disappears as quickly as the first flare passes.


Eight years have passed since the release of Zenet’s first album “Los Mares de China”. It sounded different and sounded good, some might even say he created something on brand new ground. At a time when the music industry was – and is – going through a tremendously delicate moment,  Zenet found his audience and they are still happily together. Despite the difficulties that exist today for musical promotion, the Zenet fanatics know how to wait for him and find him again in every new record and on every new tour, with a loyalty that is only possible when you genuinely work hard, doing everything with authenticity and talent. A special link between the performer and his fans is forged when the artist knows how to respect his audience as much as he respects himself.


Zeniths first album draws together many elements: namely, the language of jazz, the sonorous Latin universe, the lyrics of Javier Laguna being inseparable from the personal depth of expression in Zenet’s music, all in collaboration with the essential José Taboada, guitarist and authentic musical “alter ego” of the singer. All harnessed by a DIY recording that – in my opinion, far from harming the job – permeates the album with a spontaneous and natural atmosphere that is synonymous with Zenet’s appeal and charm. “Los Mares de China” won the Music Award for Best New Artist. This was followed two years later, in 2010, by the award for Best Merger Record for “Todas las Calles”. The trilogy closes in 2012 with “La Menor Explicación” in which Zenet returns to the path embarked on in his first two albums, widening his musical range from copla to jazz; from the soft echoes of bossa to the brilliant beats of a Big Band.

It took four years for Zenet to finetune his new album project: “Si pasa, conviene”, a work in which he wanted to leave the “comfort zone” he diligently achieved in his initial trilogy, to embark on new paths accompanied by new rhythms, new genres, new experiences. This the work of an artist who has managed to mature, but refuses to stagnate as much as to stop learning and evolve. Undoubtedly, good news. A new stage, first of many others, in an artistic journey that happily still has a long way to go.


– Juanjo de la Iglesia