This past Tuesday, the Rosalía Fan Club in Spain posted some videos of the rehearsals to which they had been invited by the artist herself with the forceful label "You are not prepared for what is coming from tomorrow!"
And so much so that we were not prepared!
Because this Wednesday, July 6 in Almería was absolutely overwhelming.
A full-fledged trip to the future.
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At ten o'clock, after a long wait (at eight o'clock the doors opened for the biggest fans, some of whom had been standing guard since Monday) enlivened by piped music that gave clues about the unprejudiced nature of what we were going to see: from Camarón to Madonna, passing through El General, Pink Floyd or Snoop Dogg, the
Motomami World Tour
was officially launched, about
which little or nothing was known.
A fiercely guarded secret that only in recent days and with dropper had been given some clues, always insufficient for his voracious followers.
Tonight the mystery was finally revealed, proving that sometimes waiting and silence are as inevitable as they are necessary.
02:18
Rosalía's dictionary, explained by the artist
Rosalía during an interview for EL PAÍSPhoto: EL PAÍS |
Video: EPV
Before an enthusiastic audience, very young and mostly female, the concert began with a set of blinding white lights that gave way to the only ones who inhabited the stage for the next hour and a half: Rosalía and her eight dancers (los
motopapis).
Sheathed in phosphorescent helmets and with a thunderous noise of engines as an incontestable introduction, the sensation was that of having entered the time tunnel and having jumped to some subsequent decade.
Such a demonstration of power could only be done with
Saoko,
probably
Motomami
's best song and the one that perfectly explains what the Rosalía sound consists of right now.
Or better, the Rosalía concept.
In Almería Rosalía starts the world tour 'Motomami Tour', with which Rosalía will tour 16 countries.Juan Benítez (Europa Press)
From then on, the concert proceeded with a fantastic chronography and smooth narration despite handling such diverse genres, languages, codes and technologies.
Because Rosalía, by the way in blue and black dressed as Dion Lee and not as Pepa Salazar as was initially rumored, she knows no prejudice.
And the same motorizes the
From here you don't go out,
turning it into a dystopian fable that puts on the biggest bata de cola ever imagined to sing a
De plata
passed through the almost metal filter of some Acid Nick Lizard or interprets live the human motorcycle of the
Motomami
's video clip transforming it
into a hymn as aggressive as it is hypnotic.
Why look back, not even to gain momentum.
Rosalía, at the start of her tour in Almería.Juan Benítez (Europa Press)
In between, there was space to chatter with the public, remember Bisbal and Tomatito (we are in Almería, listen), read the banners that have been written for you, get down to sing with the attendees
Last night, perform
from a barber's chair and while an ironic
Devil takes off his make-up,
plays a sense of
Hentai
on the piano, straps on an electric guitar to perform the disheartening
Dolerme, performs
a version of
Forgive Me
by La Factoría —one of the highlights of the night— or premieres some unreleased song (by the way, those who were angry for not understanding some of
Motomami
's lyrics , pay attention to the invented language in
Isolation,
one of those novelties).
Because there are as many Rosalías as there are songs on this tour (and there are almost thirty of them going through a fun reggaeton
medley
in which
Papi Chulo
or
Gasolina
plays between
TKN
or
La combi Versace
).
There is the Rosalía who taps her feet for immediately afterwards and without any solution of continuity to start
twerking
, the cinematographic Rosalía (the interpretation of
Como un G
with her face occupying the entire screen, it would not have been out of tune projected in a movie theater), the cool, empowered and immense Rosalía strolling around the stage as if it were the patio of her house.
That she probably is, that she's been rehearsing long enough for this to run like clockwork.
And boy does she do it.
The singer, during the concert in Almería. Carlos Barba (EFE)
The
Motomami World Tour
is a true reflection of a time when musicians (except for a fleeting appearance of a keyboard player) are replaced by powerful and forceful recorded bases and nothing happens and of those disruptive and strangely beautiful TikTok videos that served as his letter of introduction to the artist to announce the, already for many, best album of the year.
Like those videos, the scenery of the
Motomami World Tour
is minimal (four screens) and the sound is very crude.
Everything is of an exact minimalism.
And with so little it is not that it breaks the fourth wall, it is that it shatters it.
How?
With a lavish realization in which not only the
steadycam operator
he is puncturing the dancers —splendid, by the way— and Rosalía herself —by a foot, to see who is the pretty one who puts up with that—, rather, it is the dancers themselves who, from their mobile phones, offer subjective points of view of what is happening. going up there.
Because this is the future.
And it is a future in which at times it seems that you are watching a deconstructed contemporary dance show, at others a
performance
and even, at times, a parade of something darkly beautiful.
But there is one thing that remains unchanged in this sensory feast and that is Rosalía's voice.
She is millimetrically filtered, she is precise, exciting and in tune, taking some songs to another dimension and showing that she, if she wants to, sings deeper than anyone else, even if she is not, this time, dressed in a Versace tracksuit.
Rosalía, in her performance in Almería.Juan Benítez (Europa Press)
After more than an hour and a quarter of concert, the artist went out again with the
Chicken Teriyaki
steamroller before the general madness to chain with the moving
Sakura
and when it seemed that everything had been said, sung, danced and squeezed, Rosalía released the butterflies of
CUUUUUuuuuute
and left it in style.
Last night Rosalía made it clear again that she has the best legion of followers (they have sung absolutely everything and in what way), that she does what she wants, that she does not need to fill the stage with anything or anyone for her and her songs to shine. , which is not going to take a single step back on this fascinating path it has embarked on and which is called the future.
Blessed and bright future!