Fans were already warming up at the Almería Fairgrounds more than sixty hours before Rosalía's concert. It was worth it despite the heat and the haze, not only because of the entity of the protagonist – for one of the early-rising fans “I don't believe that the goddess is in Almería” – but because yesterday one of the most remarkable tours to planetary scale. And if the expectation aroused is added to the fact that Almería is the chosen location to start it –something shocking to say the least–, imagine the movement at all levels in the city. Curiously, before the concert there were still tickets on sale, with a capacity of 8,000 seats.
It appeared on the voluminous metal stage erected at the fairgrounds with a double challenge: the premiere of a new tour in terms of musical and scenographic concept and content –four screens, splendid lighting architecture, dense sound–, and once again to savor in I live contact with the public, something fundamental for her, an artist from head to toe above all else. And she satisfied those longings in a superlative way from ten at night and for an hour and a half. For this, she had a new dance team, made up of eight dancers, without a female presence, and all the music recorded in a perfect and spectacular setting with smoke, light and dance. And when it was necessary, she accompanied herself on the guitar and some keyboard (the piano in Hentai, for example). oh! And with a camera recording her and the dancers, whose images could be seen in real time on the screens. A scenic custom that is very much in vogue, as could be seen in the memorable C Tangana tour, for example.
On June 1, 2019, it was possible to attend the European premiere of the tour of his previous album El mal Querer at the Primavera Sound Festival. That night / early morning, the Catalan artist and singer condensed all her art in no more than an hour in a memorable and intelligent way. Three years later, yesterday, the situation was very different, above all due to a question of the breadth of the repertoire and also because now Rosalía is something almost unfathomable. Because between the two albums, the aforementioned El mal Querer and this Motomami, the one by Sant Esteve Sesrovires has exploded stylistically and at 28 years of age has become, in the good sense of the term, a media, fashion, musical and almost social product.
In this way, for the start of her "most handsome tour", as she wrote on networks a few days ago, Rosalía opted for an Amazonian repertoire of thirty cuts that, as she had previously announced on networks, began with Saoko and closed with CUUUuuuuute, meaning two bombs from the Motomami album. In between, a panoramic view of her songs and her preferences: Saoko was followed by Candy, Bizcochito and La Fame, the song that she recorded with The Weeknd and that became a global hit.
It was then that Rosalía – dressed in long blue boots, a sweater and a double belt that were the same color – greeted the city, remembering that the first time she went she was eight years old, and that it is an artistic city that has given musical names such as David Bisbal or Tomato. And she then sang the intense Dolerme guitar at the ready.
Then he extensively reviewed his poetic-sound trunk, mixing current songs, his beginnings or his various collaborations. He sang G3 N15 but without the recorded words of his grandmother, Motomami, the acclaimed La combi Versace, De plata (of sanguine dedication and included in Los Angeles), the cocktail in a reggaeton key Gasolina / TKN / Papi chulo / Yo, Yo x tí tú x mí o Pienso en tu mirá (from El mal querer, with enormous groove).
It also offered an unreleased theme in a mambo key and two cuts such as Isolation and Chiri, previous discards never heard live. And along with all this, there was also a version like Perdóname, by the Panamanian group La Factoría.
In short, last night a Rosalía returned to the stage in all her splendor, that is, the one that combines maturity, control of the work and audacity, as well as addictive melodies, lyrics with substance and a privileged voice. The one that put the public back in the pocket with her believable and epidermal closeness.
The one that he enjoyed both with the perreo that he included in his initial Saoko and with the already iconic With height or with Last night, yes, without his accomplices J Balvin and Bad Bunny present. The one that reached the soul singing, wrapped by piano and dancers, Sakura. Or the one that, closing the night, performed the multi-chore Chicken teriyaki, she and her dancers on scooters.
As was said at the beginning, the expectation aroused by the Motomami World Tour exceeds simple musical limits, since it means the return to the stage of an icon for the Spanish Generation Z and a trendsetter on a global scale. After last night's concert, the tour will take her to 15 countries around the world in the form of 45 concerts. Thus, the tour will continue through Barcelona (with two highly recommended stops at the Palau Sant Jordi on July 23 and 24), Madrid and seven other Spanish cities as well as Mexico City -with all the paper sold out-, São Paulo, Santiago Chile, New York (at Radio City Music Hall), Toronto, Chicago, Los Angeles, Miami and, again in Europe, in Milan, Amsterdam, London, among others, ending in Paris on December 18.
