Rosalía confirmed in Buenos Aires that she is the new great pop beast | The Spanish singer presented “Motomami” at the Movistar Arena

Of infinity and more already. This was the show that she presented rosalia on his return to Buenos Aires. While urban music artists strive to convert the sound experience into a more analog and ornate situation, by not only adding dancers on stage but also adapting the beats created in the studio or the computer to a group format, the Spanish singer opts for minimalism. But she is not reggaetonera nor does she do trap: she is the new big pop beastno matter how much the album he came to present, mommyborrow everything that musical cosmogony can offer. If Madonna got tired of looking for her heiress, surely these 100 minutes of entertainment can restore her faith. And it is that the proposal seen by the 15,000 people who packed the Movistar Arena on Thursday night (repeated on Friday) is closer to the performative than to the strictly musical.

The last time something similar was seen in the Argentine capital was when David Byrne presented his show at the Gran Rex in 2018. American utopia. On that occasion, the Scottish frontman gave a twist to the typical live show, although his great ability to reinvent himself and disconcert was no surprise. However, on that occasion the musicians on stage acted as instrumentalists and also as actors. In Rosalía’s show, on the other hand, there was neither one thing nor the other. To such an extent that the only musician who appeared did so almost towards the end, despite the fact that he was in the shadows throughout the event. It is about the Spanish keyboardist Lorenç Barceló, who sat at the piano in the song “Sakura”which also served to present it to the public. But there were other instruments. Rosalía herself was in charge of playing the piano in “hentai” and the electric guitar “hurt me”.

If the approach of the former Talking Heads was based on the narrative construction, the Catalan flowed with the story. One also very contemporary, where the physical dialogued with the visual. Something similar to what his colleague and former partner C. Tangana proposes (he will perform in the same room in November), who postulated for his current tour that the most important thing does not happen on stage but on the screens. Apart from her and her eight dancersthe other protagonist of the performance was a steadycam that moved naturally following what was happening. And when he was not there, Rosalía He carried a camera and his dance team with anotherwhich generated a feeling of road movie. The film started at 9:30 p.m., after her dance team and the singer, to the rumble of the engines, came out on stage, out of the gloom, with light helmets to recreate the typography of their latest album.

If upon entering the scene they leaned on “Matsuri Smoothie” (Japanese punk from the group Ni Hao!) as a soundtrack, once they started they did it with a song from Rosalía’s third album whose title seems Japanese. But “just in case” there’s nothing Asian about it, just that adapted “k”. It is actually a tribute to classic reggaeton, inspired by “Saoco” (a theme of Wisin, from 2006). And that word (of African origin, which means “flavor”) was used by the artist as a war cry or rather a party cry: “Saoco, papi, saoco!”. As soon as the first of many “jangueos” ended, the singer greeted her: “Buenos Aires”, and, respecting the order of the start of the album mommyadvanced with that Latin trap with a hint of flamenco titled “Sweet”. Even live she held the silent spaces. Not so his fans, who, after the question of “How are we?”, roared deafeningly.

if the album The bad want revitalized flamenco and brought it closer to younger audiences, mommy takes a genre born in the slums of the Puerto Rican capital to make it part of the avant-garde and inject it into the DNA of pop culture. And with the go-ahead from makers and legitimizers the size of Pharrell Williams and The Weeknd, thus initiating an alienation from which there is no turning back. But Rosalía does not sell smoke with this but she demonstrates all the possibilities of reggaeton. Both those that she achieved and the other styles that she gave life to in the Caribbean, among which the Dominican dembow stands out, patented in “Biscuit” (he included in the show another one in the same tune, “Pretty”). His genius and precision is such that, while he was delving into the legacy of The Noise collective, he came across neo bachata (that of the group Aventura) and uses it in “Fame”. And the Argentine public celebrated it with an “Olé, olé”.

Although she has three albums, Rosalía oscillated between the last two. From the second she invoked “You don’t get out of here” and that futuristic flamenco highlights it with something from its most recent harvest: “Buleria”. Beyond the tablao, if something unites both themes, it is that they revolve around the inexhaustible possibilities of his voice. And she later she remembered him with a passage from “Alfonsina and the sea” (a cappella), “Devil” and even with reggaeton “Last night’s night”. Earlier, regarding Argentina, he recalled his local debut (in Lollapalooza), in 2019, where he started the tour of The bad wantand he was so moved that he ended up infecting everyone in the stadium. It wasn’t the only time she couldn’t hold back her tears. But she has the quality to recover quickly, since her performance practically falls on her. She then she invoked post dubstep “G3N15”where he showed his electronic vein (the only one in the thirty songs).

But the 29-year-old artist understand minimalism as a communication channel and not as an immovable structure. Everything he did revolved around what was fair and necessary, from talking with the public to singing with him under the stage, going through dancing “Despecha” together with fans or wearing the green scarf of the fight for legal abortion. The same thing happened with her dancers. Although they shared space, they met from time to time. as in the topic “motomi”, where they intertwined their bodies to conceive a human motorcycle, as in “paid”wild flamenco in which Rosalía was hung with an immense cape. From time to time, she appealed to the sample culture to rescue Daddy Yankee, La Factoría or the salsa singer Justo Betancourt. after doing “with height”he returned to the scene on a skateboard to sing “Teriyaki chicken”. And so he left with “Cuuuuuuuuute”, leaving behind a fabulous night full of symbolism.

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