In thirteen months Rosalia It has gone from being a relatively hidden promise to the most absolute omnipresence. It has happened, more or less, to be Rosalía Vila Tobella (San Esteban de Sasroviras, Barcelona, 1993) to be Rosalía of Spain. He only needs to present the public television newscast every night, although everything will go on.
Global ambassador of our country – diplomatic immunity will fall – with a presence in the most respected international publications and in the festivals more cool around the world, successful in recent Latin Grammy and aspiring Best Novel Artist in the Grammy 'for real' next January. It must be exhausting to be Rosalia in 2019.
Thirteen months after the release of his second album, 'El mal querer' (Sony Music), Rosalia has gone from being an aspiring coplera and flamenco singer to being a global pop music star of the 21st century. And as such it was presented on Wednesday night before 15,000 fans in a crowded WiZink Center, after doing double at the Palau Sant Jordi in Barcelona.
His detractors, tired of seeing her everywhere at all shoras, wondered how much was real and how much of 'hype' –artificially generated expectations around a person– in his own. And they issued the warning: Let's see how many tickets you sell when you stop festivals and act alone and people have to pay just to see her. Well, that's it.
That is no longer valid, because the tickets for his concerts in Barcelona and Madrid, with which he closes the stage of 'El mal querer', practically evaporated in a blink -to appear many times in resale pages for much more money-. It would be said that the expectation was not artificial, but rather literal. And according to the howls of his people when he appeared on the stage of the Palacio de los Deportes, this expectation is justified and falls short.
Because in the best pop tradition, the hysterical screaming seized the great Madrid pavilion during the hour and a half of acting and barely ceased to take a little air and return with more decibelic intensity. That's how it was since 'I think of you look at', heady first piece of an evening with about twenty songs, many of them among the most listened to of the year, performed on the WiZink before a mostly young audience – and that is a great asset to future-, ecstatic before a Marian apparition.
With a staging really simple, Rosalia plays everything to her own scenic charisma, conveniently multiplied by palm trees, choristers and that expressive and effective dance body that underpins each stanza and each base launched from one end by El Guincho. And the formula bursts into the machinist 'A pallet', the most recent single from Catalan in a year full of singles that have extended the life of 'El mal querer' and have been opening the proposal to urban and even more electronic rhythms.
Only two songs have passed and the ovation is of total surrender with Rosalia planted in the center of the stage, smiling and joyful: "I am so grateful to have come here for all of you. How many are you? 15,000. Let's go Madrid!" AND He then takes out his portentous voice stream so that 'De madrugá' is key even in the furthest of the seats. He then asks the crowd to raise their phones to create that beautiful environment that already has its hypnotic collaboration with James Blake: 'Barefoot in the park'.
'May the moon not rise' and 'Curse' they are worthy of a futuristic hyperspace tablao and verify, if necessary, that the Barcelona fills herself on stage with her presence alone. And that its most folkloric facet is the one that captivates the most, that too, because it allows a greater vocal show.
He then thanks El Guincho for venturing to work with her, before he is surely the best and most authentic of the evening: 'Catalina' sung in a hood while from the darkness and silence come out screams of "beautiful" and howls launched with fervor Towards the stage. With his hand on his chest and his eyes moistened Rosalia receives them, which marks here the most solemn and impressive interpretation of the recital, without paraphernalia, without dancing. Alone in front of the silence.
'Although it is night', 'I am loving you madly' by Las Grecas and 'Say my name' and the challenging 'From here you do not leave' go deeper into the Rosalia of 'El mal querer', the most here and the most effusively applauded in a generalized way, because it is of more impact and draft. Although the Catalan (and in Catalan) routing of 'Millonaria' It also causes widespread waddling. Not so 'God frees us from money', more transition than anything else to the coreadísima 'Bagdag', again from his second album.
The urban section is lighter and less emotional with themes such as 'Brillo' by J Balvin or 'Como Alí'. But the answer returns to total delivery when 'You x me me for you' -With Ozuna surprise appearance- and especially 'With height': The most watched music video of 2019 in Spain and the second in the world is materialized on the tables with the Catalan in the head of the move plan. Irrefutably victorious in his omnipresence made flesh.
The time of acting passed through the hair, time for a bis with the emotional 'No man', which recovers the folk pulse, the dancehall reggaeton dance of 'Aute Culture' and the irreproachable outcome of 'Malamente'. The song with which this stage was opened and that reverberates as a timeless classic with the cry of war of a whole generation, tonight condensed into 15,000 throats, and that is the punch on Rosalía's table: "¡Tra tra!"
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