El LLANTO SE MUEVE, LOS JUEVES FLAMENCOS DE CAJASOL, SEVILLA

...the soleá of Jairo Barrull, where the Sevillian revealed all his natural emotions, pure impulsiveness and passion from his waist upwards, conqueror and sensitive in his positioning and transmitting the internal voice surrounding his dancing: Ramon Barrull, his father, from whom he inherited his whole vital energy that allows him not only the continuum of the concept but also the renaissance of his moral standards, a way of exploring the relationships between the emotions and the movements as a way of expression.
Manuel Martín Martin, El Mundo, 19-02-2016

The two performers were magnificent. Jairo was full of energy showing a velocity of footwork and a rhythmic sense that one often misses, with deep profoundness originating from his roots…..
David Ladrón de Guevara, masjerez, 20-02-2016

EL BAILE DE LA FRONTERA, LA BIENAL DE SEVILLA

The dance was the main course of the evening and not only because of its quality but also because Pepe Torres, Jairo Barrull and Carmen Lozano took us all the way back to the times of maestros such as Pepe Ríos or Ramón Barrull. A wonderful evening at the Hotel Triana full of flavour, past and present. A real luxury.
Marta Carrasco, ABC, 22-09-2014

Jairo Barrull's feet were wonderfully gifted and started by a cascade of alegrías. This young dancer enjoys the use of effective strikes that are a delight for the audience…
Alejandro Luque, El Correo de Andalucía 21-09-2014

Jairo Barrull showed with his alegrías a perfect piece of footwork. No unbalance, no staggering. He just put all the power on his feet and thus he got the ovation of the public by performing a real non raucous hair-raising dance.
Sara Arguijo, Cordobflamenca.com, 22-09-2014

I thought I saw him floating in the air during his final footwork such was his torso unmoved while his legs became a light and edgeless ‘ sfumato’.
José Luis Tirado Fernández,
www.miflamenco ymipoesia.blogspot.com.es , 21-9-2014

XLVII GAZPACHO ANDALUZ DE MORÓN

At the closing dance, Jairo Barrull accompanied by the singers El Galli and Moi de Morón, left an aroma of old and pure on the stage and raised the oles from the public.
ABC, Sevilla 07-08-2013

At the closing dance, Jairo Barrull accompanied by the singers El Galli and Moi de Morón, left an aroma of old and pure on the stage and raised the oles from the public. It was without a doubt a crowning jewel for a very special edition of the Gazpacho.
La Voz de Morón, 07-08-2013

Jairo was in charge of closing the evening with a bang with the help of a group that would take one’s breath away: Moi and Galli from Moron, Juan José Amador and the Iglesias brothers on the guitars. The bailaor danced for seguiriyas and cantinas, delving into a virtuosity of technical footwork.
Javier Prieto, Flamenco En Vivo, 06-08-2013

And Jairo Barrull brought the show to a close, accompanied by a luxurious cast of artists to remember his father Ramón – ole, ole and ole – demonstrating for siguiriyas and bulerias that the dance is only flamenco when it is projected into eternity, because what is new and pure about the good flamenco dancers isn’t what they say dancing, but the sensations they sow around them.
Manuel Martin Martin, El Mundo, 05-08-2013

He demonstrated his powerful dance... With fantastic footwork proving his racial style. Accompanied by flamenco singers Moi de Morón, El Galli and Juan José Amador, they established a satisfying climax completely surrounding the night of the Gazpacho bringing about a warm felt applause from the public.
Araceli Pardal, LebrijaFlamenca.com, 04-08-2013

BARRULL

'This was some of the most virtuosic dancing I’ve ever since in any genre.'
Michael Gray, Chelmsford Weekly News, 05-07-2012

'Jairo Barrull’s stage presence and interpretation kept the audience spell bound.'
Carole Edrich, DanceTog.com 30-06-2012

'The dance of this London-based flamenco dancer consists of a very physical and technical art with great tension and based on the virtuoso command of the rhythm where subtleness has no place. It is a conception of the “jondo” that dates back to the origins of this art, to those cantaores of the 19th century, who according to Fernando de Triana, were used to fancy footwork…In that sense, as sometimes it has been said we can talk of this dancer as a primitive artist who uses explosions of rhythm as he closes the compass. He is as virtuoso as sensationalist in the deepest sense of the word. Frenzy and strength have always been his dominant factors.'
Juan Vergillos, El Diario de Sevilla, 01-06-2012

'Jairo complied with the traditional norms of a male dance. He performed seguiriyas, alegrías and soleá. This way he won the audience over. He showed a precise technique in his slow moves, short tackles and a few bursts of rumbles, some acrobatic ornaments, dry and static leaps and closures; sudden contrasts between stillness and movement.'
José Luis Navarro, 01-06-2012

I FLAMENCO FESTIVAL OF MOSCOW

'Jairo is a unique temperament of his kind, son of the great Ramón Barrull. His dancing art has had a great following. He is a model for many dancers. It is not surprising that such an impressive character was given a frantic ovation by the public. Looking a calm but strong person he did something incredible on the stage. The eyes and the cameras of the journalists were hardly able to capture the movement of his feet dancing so fast. Nobody could have imagined such a skill, but this was a nice surprise.'
Алёна Bailey, www.ifamous.me, 7-11-2011

'When Jairo Barrull, the dancer, appeared on the stage, all women no matter their age, turned into little girls with big round eyes. They were captivated and stunned by his dancing skills. Jairo would fly over the stage and would fling himself to the ground with a rhythmical bombardment.'
www.twinsisters-2.livejournal.com, 4-11-2011

'The admiring eyes of the audience loved the magical art of tapping the rhythm with his feet.'
Анастасия Флаг, www.echo.msk.ru, 8-11-2011

FESTIVAL FLAMENCO GITANO

‘Jairo Barrull is the show’s take-no-prisoners young firebrand. He prowls the stage, periodically invoking the spirits with raised arms, then explodes into brief staccato outbursts, light reflecting on his shiny black shoes with every flurry of blistering triplets and high, angled kicks. He jumps and squats, his knees and ankles swiveling side to side with machine-like speed and precision, as if on ball bearings.’
Karen Campbell, The Boston Globe, 22-11-2010

‘Jairo’s dancing is all about percussion. In “Alegrías,” dressed in a wine-colored suit and black, patent leather boots, he slapped his thighs, spun, and stomped up a storm. In “Siguiriya,” Jairo punctuated song verses and subtle guitar passages with staccato pounding, until it seemed the stage had been transformed into a giant drum’.
Mona Molarsky, New York Examiner, 16-11-2010

‘He naturally phrases in terms of contrasting dynamics, and he has a keen sense of play, above all in the vivid way he crosses his feet rapidly, as if contradicting himself was the best fun in the world.’
Alastair Macaulay, The New York Times, 15-11-2010

‘DOS RAMAS’ - XXII FESTIVAL FLAMENCO MONT DE MARSAN 2010

An art rooted in tradition
‘Barrull’s dance has equally the characteristic of being graceful as the impulse he gives to his steps often makes him rise several inches from the floor…the soleá of Ramon Barrull, the purest dance of the evening in which Jairo displays great elegance’
Murielle Timsit, www.flamenco-culture.com , 07-07-2010

‘His technical virtuosity and bright talent ooze a personality out of this world. In fact his dance is water clear, beautiful as the light he sends out. Act after act, deep, tender, mischievous or fiery, he expresses his rage, his joys and sorrows all through his dance.’
Isabelle Jacq 'Gamboena', www.musiquealhambra.com, 07-07-2010