Rosalía's is such a phenomenon that renowned musicians triumph more on Twitter praising her than with their own opinions. First he revolutionized flamenco and then he conquered reggaeton and later claimed Los Chunguitos. She is called a superstar and last night at Mad Cool she showed it with a spectacular power of call. It was the day of welcome of the festival, a kind of private party for greater and unique glory of the Catalan, which managed to attract 40,000 people. As Rosalía could not act in Madrid more than on Wednesday and the festival begins on Thursday, because there is no problem. The curtain rises before, artists are hired to act as support band, and we extend an extra day of the already huge festival machinery. For Rosalia, anything. I had to be in Mad Cool before forty thousand people who paid their entrance to see the girl of the year in the selfie paradise.
In his presentation of Madrid, the show "El mal querer" did not present the austere and corseted appearance, close to the album, which in other festivals has even been skeletal, an agile and open version to his new hits. Rosalia has a huge stage presence and a voice of indisputable qualities. She and her dancers make an impeccable show and choreography. El Guincho is a huge musician and producer and can launch the tracks live. The palmeras and choristers are from the conservatory. But his bet left questions, deficiencies that leave the music in a secondary plane, in favor of a pre-recorded version of his talent. All the chips bet on his charisma and his charm, without the quad that the prehistory of the show wore, for example His vibrant performance of just one hour in Mad Cool, full of improvisations and themes "a capella" that even gave to choose the public, was that of a stage cannibal. And, worth the paradox, the failures of its start in "Pienso en tu mirá" highlighted the virtues of the show and the reality of its art.
Having said that, there is something to add. If Rosalía has been able to lead posters of huge festivals in Bilbao, Santiago, Barcelona and Madrid, we can say that she holds the territory together. Threshold would have extolled his Iberian duende, his illustrated polygonia, the suit that backs Spain. Remember how the writer put Bustamante's scaffolding? Well then we could talk about the great outskirts that unites us, the "international" gypsy that is not really, the Catalan that jumps from a portrait of Julio Romero de Torres painted in a video clip. But this is not the threshold chronicle, and Rosalia also escapes the clichés as it jumps from "Barefoot in the park" (recorded the voices of James Blake) to "De madrugá" and receives the oles from the "millenial" audience. I thought he was looking at the US and the foreign public, he took a rumba out of his sleeve in Catalan and sang a cappella, of course, and in the language of Ramon Llull, to the audience's delight, "Fucking Money Man." Last night Rosalía He wore no tracksuit or coat of hair, but green "culotte" and shirt with ruffles, synthesis of neighborhood and tradition cañí.I started by "I'm loving you madly" and again ecstatic staff. Because, do you know how you perceive that something is happening? When communications networks are not enough to serve thousands of people by retransmitting what happens. Well, while Rosalía remained on the stage, in the paradise of the postureo (with the presence of Belén Esteban and Cristina Pedroche, among others) the phones did not even give time.
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