Ten in the morning, Sant Jordi entrance. Embarrassment. Rosalía works in about 12 hours. 133 people are waiting, 30 for the concert on Sunday. Among them the first in line, Víctor, 18 years old, from Montcada i Reixach, number 1, and Candela, 18 years old, from Mataró, number 2. They met while queuing on the tour of The bad will and today they organize them mummy. You’ve been here since Thursday. Like the rest of those waiting, they know by heart what they’re about to see, largely thanks to Twitter and TikTok. What are they looking for?: the central argument of a musical show in times of the silent advance of holograms to share physical space with the star.
Something else, Víctor points out, is “watching a live show on some very strange screens”. Isn’t it better to be a bit further away and not at the foot of the stage? Jordi, 20 years old, Barcelona, does not find that “I want to be close to my Rosalía and see her with my own eyes, I don’t mind missing the whole show”. Elsa, 20, Barcelona summarizes: “The era mummywith its promotion, its images, its work on the nets and its aesthetics is fascinating, although I like it better as an album The bad will“. A general consensus among all: no one can imagine how Rosalía will sound in 10 years.
Rosalía’s concert in Barcelona is coming, seventh on the tour, first of two in Sant Jordi, and it is exactly what is expected, the translation into music and images of what populates the networks, a basic alphabet of images and incisive messages and fragile. A paradigm shift. That Youtuber Ibai Llanos greeted the box like a star and about thirty songs even sounded fragmented in a fast-paced show littered with out-of-frame images, some of which were beautiful. Costumes and choreography, music and voice for slaughter.
Those who know video games look faster, look different, and this show is for those people, granddaughters of Super Mario Bros. Also, Rosalía is on stage, real and natural — she has her makeup on stage removed — and fills in everything like Beyoncé was on tour in 2016 and just projected her image onto a giant screen that bid it a thousand planes into stadiums. The star makes herself visible, and in Rosalía’s case, she faces the camera, hence her presence on stage, a medium to look into the eyes. If you haven’t done camping days, you can get this look as personal as someone standing at the foot of the stage after days outdoors.
In the early days of stadium music, screens only reduced the vast distances of these venues, bringing the audience closer to the tiny protagonists. Today, screens show the gaze constructed by a staging that adds information to what the eye sees on a stage already set. C. Tangana hit the conceptual nail by suggesting that the best image from his current tour isn’t on stage, but in the film he’s building to be seen on screens. And when her leading role is shared on a complex stage with the plethora of musicians who command her respect, Rosalía chooses to perform alone, a powerful, iconic, determined woman sure that her charisma alone will carry the show on a minimalist stage endures. The audience, placed in a spatially and visually dominant environment, chooses where to look.
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And Rosalía performed at home. Of course she spoke Catalan, although Rosalía actually always plays at home because she is “the” Rosalía, the little girl who lights up from Sant Esteve de Sesrovires, the daughter of José Manuel and Pilar, who are from the neighborhood. This familiarity draws Rosalía from all sides, although, as her grandmother says in “G3 N15”, she has found herself in a complicated world. With capital in Miami. But she is a confidant, an object of desire, a friend, or someone recognized as an equal.
Or as an idol for their daughters, like Ana, 54, and Agustín, 58, Barcelona, parents of two girls aged 25 and 16, who were present there from five in the morning and fed at 11. Ana said: “Behavior is normal in certain age groups and I think that Rosalía is a very thorough artist mummy has chosen a joy that is not present in The bad willmore tragic. Innovate without betraying your roots,” he summarized. And Rosalía invents words, gestures, suggests memes, creates hits live without having released the song – this Saturday she presented despise Y isolation– and it does not appear as a future, but as a present that is already nested today.
You’ll like it or dislike it, its contemporary Latin and crossover sonorities will bore you or excite you, its changes will confuse you or guide you, but Rosalía is a stubbornly challenging reality. And the most important thing: it became clear that despite the technology, cameras, light, costumes, songs and choreographies, the most important thing at a concert is still evoking memories, strengthening the bond with the star, who is better all-round. That’s what the person who was there with a Rosalía who may be pregnant by her in a year did behaved in Lagos and recorded jazz standards produced by Daniel Lopatin or who knows what. And this suggests drawing conclusions not today, but in a few years, when perspective throws more interpretive keys on a trajectory that will intuitively change. Like the times. And yes, it broke. It was an illusion.