To say that Rosalía has had a good year would be a gross understatement. Since the release of 2018's El Mal Querer, which melded flamenco with modern pop, the Barcelona-based singer has been viewed by critics and fans alike as a kind of Rosetta Stone; each song, each music video, each meticulously curated outfit unlocking a deeper truth about how history can transform the present, and how cultural boundaries can be crossed to a form a new musical language.
It was only fitting, then, when she took to the stage in an orange top with matching, fluorescent orange nails and denim shorts turning inside out with the pockets reading "to create something new, you must first destroy." Opening with a tight dance sequence accompanied by a squad of fierce dancers wearing black bike shorts and tank tops, Rosalia moved into "Pienso En Tu Mirá," her voice soothing the high expectations of the anxious, expectant crowd.
She then made her way to the edge of the stage and moved into the James Blake track "Barefoot in the Park," followed shortly by an astounding a cappella flamenco number, as well as an explanation of why the genre carried so much importance for her and her music in endearing Spanglish.
Moving across the stage with the confidence of someone who has been doing this for decades, rather than a couple of years, Rosalía, producer El Guincho, an her talented backup singers continued with "Di Mi Nombre," "Bagdad" and "A Nungún Hombre" before she stepped down into the crowd to greet some excited fans carrying flags from Mexico, Chile and Colombia.
Ending strong with "Con Altura," "Aute Cuture" and "Malamente" — dancing through each track along with some expert hairography — it was clear that Rosalía was only just beginning her ascent to true, worldwide pop stardom.
It was only fitting, then, when she took to the stage in an orange top with matching, fluorescent orange nails and denim shorts turning inside out with the pockets reading "to create something new, you must first destroy." Opening with a tight dance sequence accompanied by a squad of fierce dancers wearing black bike shorts and tank tops, Rosalia moved into "Pienso En Tu Mirá," her voice soothing the high expectations of the anxious, expectant crowd.
She then made her way to the edge of the stage and moved into the James Blake track "Barefoot in the Park," followed shortly by an astounding a cappella flamenco number, as well as an explanation of why the genre carried so much importance for her and her music in endearing Spanglish.
Moving across the stage with the confidence of someone who has been doing this for decades, rather than a couple of years, Rosalía, producer El Guincho, an her talented backup singers continued with "Di Mi Nombre," "Bagdad" and "A Nungún Hombre" before she stepped down into the crowd to greet some excited fans carrying flags from Mexico, Chile and Colombia.
Ending strong with "Con Altura," "Aute Cuture" and "Malamente" — dancing through each track along with some expert hairography — it was clear that Rosalía was only just beginning her ascent to true, worldwide pop stardom.