Listening to flamenco can be like watching a sport where you don't know the rules: the crowd soon lets you know what's happening. And although this is Estrella Morente's first concert outside Spain, it feels more like a home game, with her supporters declaring their love throughout the set.

The show begins with her five seated musicians - guitar, percussion and three "palmas" (clapping hands) - before Morente appears carrying a lace mantilla and brandishing a large white fan. After a dramatic opener, she sings the next few pieces accompanied by just guitar; if anything, the intensity increases. It's thrilling, and slightly disconcerting, to hear such an authoritative "old" voice coming from a young woman.

Morente is in constant dialogue with her audience, who shout and respond in flamenco fashion, and her physical authority is at one with her amazing voice - full-throated and rich, occasionally pushing the mic to distortion. For the encore, the two women palmas step forward to dance with Morente in a decorous and triumphant fashion.

The crowd also goes wild for guitarist Tomatito, (aka Jose Fernández Torres), who like Morente comes from a Gypsy flamenco family. His band includes a dancer, a percussionist, and a second guitarist, plus violinist Bernardo Parrilla and Churri, who combines jazz-inflected "flamenco bass" with impassioned singing.

Morente is a tough act to follow, but Tomatito maintains intensity with some dazzling playing and a variety of sounds, feelings and refrains within the idiom. Flamenco seems closer to storytelling than songwriting or composition, rambling and gripping by turn, but always with a dramatic denouement that provokes wild applause.

Numbers such as Pa La Pimpi flirt with "fusion", while remaining wild and emotional. Aire de Tango makes clear flamenco's links to post-Django Gypsy jazz in France and elsewhere. The closing number features dancer Juan de Juan, whose percussive, clattering heels duet with everyone in the band, making a breathtaking climax to an amazing evening.