Last Tuesday, the Rosalía Fan Club in Spain posted some videos from the rehearsals they were invited to by the artist herself, with the haunting label “You’re not prepared for what’s coming tomorrow!” So much so that we weren’t prepared! Because this Wednesday, July 6th in Almería was absolutely overwhelming. A full-fledged journey into the future.
At ten o’clock, after a long wait (at eight o’clock the doors opened for the biggest fans, some of whom had been on guard since Monday), animated by pipe music that gave clues as to how impartial we were going to see: from Camarón to Madonna , past El General, Pink Floyd or Snoop Dogg, the Motomami World Tour about which little or nothing was known. A closely guarded secret that only in the last few days and with Dropper had received some hints always insufficient for his insatiable followers. Tonight the secret was finally revealed, proving that waiting and silence are sometimes as inevitable as they are necessary.
In front of an enthusiastic audience, very young and mostly female, the concert begins with a series of dazzling white lights that clear the way for the only ones who will inhabit the stage for the next hour and a half: Rosalía and her eight dancers (the Motopapis). Clad in phosphorescent helmets and with a roar of engines as the undeniable introduction, the feeling is of stepping straight into the time tunnel and jumping into a subsequent decade. One could only cope with such a show of force Saoko, probably the best topic mummy and the one that perfectly explains what the Rosalía sound is made of right now. Or rather, the Rosalía concept.
From there the concert continues with fantastic chronographism and a narrative that flows smoothly despite dealing with such different genres, languages, codes and technologies. Because Rosalía, incidentally dressed in blue and black as Dion Lee and not as Pepa Salazar as initially rumored, knows no prejudices. And that motorizes right away You can’t get out of here turns it into a dystopian fable that spins the biggest bata de cola ever imagined Silver passed through the almost metal filter of some Acid Lizard Nick or performs live the human motorcycle from the video clip of mummy mutate it into an anthem that is as aggressive as it is hypnotic. Why look back, not even to gain momentum.
In between there is space to chat with the audience, remember Bisbal and Tomatito (we’re in Almería, listen), read the banners written for you, come down to sing with the participants the night of last night, from the hairdresser’s chair and while removing make-up ironically and very specifically Devil, Play the piano from the bottom of your heart hentai strap on an electric guitar to play the daunting hurt me mark a version of Forgive me from La Factoría – one of the highlights of the evening – or the premiere of an unreleased song (by the way, for those who were angry because they didn’t understand some of the lyrics of mummypay attention to the made-up language that’s in Isolation, one of these novelties). Because there are as many Rosalías as there are songs on this tour (and nearly thirty go through a hilarious mixture of reggaeton in which it sounds pimp dad either petrol Come in TKN either The Versace station wagon). There’s Rosalía, who immediately taps her feet and starts without a continuity solution twerkthe cinematic Rosalía (the interpretation of like a g with her face taking up the entire screen, it would not have been out of tune if it had been projected in a cinema), the cool, powerful and huge Rosalía, who saunters across the stage as if it were the courtyard of her house. Which is probably because it’s been rehearsed long enough to run like clockwork. And boy does it.
That Motomami World Tour It’s the faithful reflection of those disturbing and oddly beautiful TikTok videos that served as letters of recommendation for the artist to showcase what many already consider the best album of the year. Like these videos, the scenery of the Motomami World Tour it’s minimal (four screens) and the sound is very raw. Everything is of an overwhelmingly precise minimalism. And with so little, it’s not that it breaks the fourth wall, it’s that it shatters it. As? With a complex implementation, in which not only the operator of steadicam he stabs the dancers – great by the way – and Rosalía herself – with a foot to see who is the beauty who puts up with it – but it is the dancers themselves who offer subjective points of view from their phones what happens. Because this is the future. And it’s a future where sometimes it seems like watching a deconstructed contemporary dance show, sometimes a magnetic one perfomance and sometimes even an aggressive parade of something darkly beautiful. But one thing stays the same in this feast for the senses, and that’s Rosalía’s voice. Millimetrically filtered, precise, exciting and consistent, lifting some songs into another dimension and showing that when she wants to, she sings deeper than everyone else, even if she’s not wearing a Versace tracksuit this time.
After more than an hour and a half of concert, the artist comes out again with the steamroller Teriyaki Chicken from the general madness of chaining yourself to the move sakura and when it seemed all had been said, sung, danced and squeezed, Rosalía let go of the butterflies CUUUUUUUUUUUTE and lets it up.
Today Rosalía made it clear once again that she has the best legion of followers (they sang absolutely everything and in what way), that she does what she wants, that she doesn’t have to fill the stage with anything or anyone her and hers Songs radiate that she will not take a step back on this fascinating path she has embarked on and which is called the future. Blessed and bright future!
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very original version
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