“It will be about three years old that I came here for the first time, it was the first performance of the previous tour, The Bad Wantwe open it here. And I remember having the feeling that, suddenly, for the first time in my life, outside the place where I am, they welcomed me like this. I remember a lot, a lot of the love you gave me, that you were singing: ‘It scares me when you saaaleees’…” he began to sing. rosalia and he broke down on the stage of the Movistar Arena in his first show in Buenos Aires when his audience followed him acapella the verse of “I think about your look”, inserting in the memory of this spring night that initial visit of 2019.
It was after an overwhelming start, 100% mommywith the exhaust pipes and an irruption with led helmets in the prelude to “Saoko”, the first through with “Candy”, the chewy meme of “Bizcochito” and the hip-breaking bachata that is “La Fame”. Even with tears in her eyes, while the public covered her with a warm & characteristic “Olé, olé, olé, olééé, Rosi, Rosiii”, she hung up an electric guitar to accompany herself in the pandemic anthem “Dolerme”.
Later, and after interacting for the umpteenth time with his people with the particular dictionary “Abcdefg”, he winked at the Argentine public, especially and essentially at women, when tying a green scarf around his neck in favor of legal, safe and free abortion, which he celebrated with “La Combi Versace” and with which he crowned his outfit bluish of probable stewardess Street Fighter in stripped buccaneers.
The growing hysteria that Rosalía has been generating since she burst onto the scene, crystallized again in the porteña stop of the motomami world tour with the intense attitude of the most fanatical public of the Catalan. So much so that at times the music and the voice of the great pop beast current something was left blurred and below the shouting and the choirs.
But that didn’t matter to the star; on the contrary, he harangued him. When it occurred to some to ask for silence in the first verses of the porn ballad “Hentai” (the other of the only two moments in which Rosalía manipulates instruments), she discarded the solemnity from the piano and broke the script to enable popular singing.
At all times, Rosalía leaned on her body of eight dancers in a mood contemporary -to whom she gave prominence from time to time so that the boys would throw kisses at the camera and take charge, for example, of the verses of “Linda”- and a maximalist setting around her figure. In the absence of analog weaponry, reinforced concept and performance with pictures between dance theater and Brute force that served as ideal support in still unreleased songs like the suffocating “Isolation” and the strident “Dinero y libertad”.
A long-haired boy with a camera chased her at almost every moment, coming to stand between her and the public in favor of a pan that serves so that the almighty image of the singer is printed as a virtual stamp on the screens of the stadium. “The camera and she fuck”, a girl in the front field audience thought aloud at the suggestive gestures in the performance of “Delirium of Grandeur”. The motomami He knows that everyone here is dying to capture the best possible moment with his mobile and plays with it, giving souvenir kisses and mischievous looks.
News in development…