Rosalía deifies Madrid between techno, ballet and ecstasy in her first concert in Spain

Rosalía has deified the public in the first of her concerts at the Movistar Arena in Madrid between techno, ballet and shared ecstasy.

Although for the more than 15,600 people who attended the Movistar Arena in Madrid, the Catalan show was not unprecedented – since the tour began in Lyon (France) the networks have been filled with videos previewing today’s night -, Rosalía has offered a personal experience to each of them, speaking to them and approaching the attendees on several occasions and appearing natural and close.

The space in which the artist has displayed her ballet, mysticism and even ‘rave’, has been divided in two and while the London Heritage Orchestra – made up of around twenty musicians – has been placed in a pit in the center of the venue, she has been placed above the changing stage.

The tables that have welcomed the artist during the almost two hours of the show have been transformed according to the four acts in which Rosalía has divided the night, from the initial doll box to a recreation of the Louvre Museum and the room of Da Vinci’s Mona Lisa.

In fact, until a few seconds before the concert began, the artist has completely hidden the scenery. Afterwards, some white screens, which simulated the back of a painting with the artist’s signature and the word ‘Lux’, gave way to the army of dancers who freed the artist from a box and placed her in the center like a toy ballerina.

Clad in a tutu and wearing pink pointe shoes, Rosalía began the event with ‘Sex, Violence and Tires’ and ‘Reliquia’ – exactly how her album ‘Lux’ begins – after her dancers gave her a wind-up and the venue roared.

Thus, the artist floated around the stage between pliés, relevés, ‘sauter’, ‘glisser’ and ‘tourner’ at the beginning of the concert, whose common thread has been theatricality with delicate songs like ‘Divinize’.

The audience, overwhelmed, did not speak or sing and silence settled on it for many moments in which Rosalía had to remember that they accompanied her with their voices. Then, the audience responded obediently, although with ‘The Pearl’ they did not need her to encourage them.

Among those attending was the film director Pedro Almodóvar; the director of the Reina Sofía National Art Center Museum, Manuel Segade or the actress Jedet.

A CONFESSIONAL ON STAGE

The artist has broken the distance with her audience at various times, but in none of them has she gotten as close as when she surrounded herself with her admirers – who played the role of visitors to the Louvre – to sing ‘Can’t take my eyes off you’ dressed as the Mona Lisa.

The stage has also been the place for the YouTuber Soyunapringada to go up to admit her sins in the confessional that the artist has created. So, Rosalía listened attentively as she narrated her experience with a man who, despite showing her everything, ended up telling her that he only saw her as a friend.

“And I hope you never come across a pearl again,” she responded before giving way to the song of the same name.

This religious theme has been present throughout the entire staging, from the veil of ‘Mio Cristo piange diamanti’ to the orchestra pit in the shape of a Latin cross and the botafumeiro of light and smoke that reigned over the heart of the orchestra while Rosalía sang some songs.

The artist has combined these symbols with another aesthetic line, the most sensual, present in the ‘Saoko’ dance because by the time the artist was approaching the halfway point of the night, her wardrobe had left classical ballet behind and had mutated, going from wearing a wig that imitated Marie Antoinette’s famous hairstyle while twerking with a fuchsia pink culotte.

Breaking free from ballet, the energy of the beginning has changed with the techno version of ‘Berghain’, which she has sung and danced all in black with lace-up boots and an open corset. With ‘La fame’ he has addressed “the chulapos and chulapas” and with ‘La combi Versace’ he has earned a long standing ovation, as if finishing an aria.

The singer arrived in Madrid this Monday after having to cancel the concert on March 26 in Milan due to food poisoning. After an hour of recital he confessed that he had been vomiting in the dressing room and that although he wanted to give “the best show possible”, it was impossible. Today he confessed that he felt much better while thanking those present for coming.

She has confirmed that all the discomfort in Milan was far away on the first of her dates in Spain because the energy, good humor and emotion have reigned in the concert in which the artist has shown herself to be tremendously close. In fact, before starting to sing ‘Mio Cristo Piange Diamanti’, his eyes filled with tears after remembering his love for Madrid and he had to dry himself with a handkerchief that was on stage.

After the ‘rave’ and electronica, the third act has arrived with ‘El redentor’, when she has been accompanied by the clapping and cajons of Macarines, who have been accompanying her since ‘Los Angeles’. With a semi-transparent white dress and black gloves, she presented herself as a pseudo rock star. After this little trip through time he has returned to ‘Lux’.

In ‘Sauvignon blanc’, Rosalía has taken the lyrics seriously and toasted with a glass of white wine sitting on top of a piano, acknowledging that she did not have many vices. But before starting to sing the song, she addressed a fan who yelled at her that if she didn’t have many vices it was because she is one herself.

Her followers attended the celebration dressed mostly in white, with dresses and skirts made of airy fabrics and lace. Some have opted for headscarves in a clear reference to the cover of the artist’s last and fourth album or dyed halos on the crown of their heads.

Everyone surrounded the artist, who descended from the heavens to sing ‘God is a stalker’ while walking among them wearing a petticoat and a headdress. From the heart of the orchestra and dancing fun he has made ‘La rumba del excusa. But the Movistar Arena has collapsed with the electronic madness of ‘CUUUUuuuuuute’.

The end was approaching with ‘Bizcochito’ and ‘Desphá’ while her dancers surrounded her like angels with wings. “I’m really enjoying it,” she confirmed and then moved on to ‘Robot Bride’, when the Movistar Arena chanted “I’m getting pretty for God.”

While taking off her shoes, the artist reached ecstasy on stage with ‘Focu ‘ranni’, a song with which she evaporated behind some stairs.

But the final point has come with ‘Magnolias’. While she finished asking the public to protect her name in her absence, Rosalía left the stage with the promise that, like the star she is, she will turn into dust to rise again.