Wrapped in an expansive white fabric, Rosalía shares her childhood aspirations of performing in London with the audience, undeterred by her self-described “a little bit rat-a-tah” English. While her ultimate goal was to sing at the prestigious Royal Albert Hall, she joyfully exclaims, “I have sold out two nights at the O2!” which evokes a sense of disbelief and excitement in her voice.
The surprise emanating from the Catalan artist is understandable, especially in a time when the pop music scene is often seen as overly cautious, favoring familiarity over innovation. Despite expectations that her fourth album, Lux, would receive mixed reviews, the fact that she has managed to fill one of the UK’s largest venues for two consecutive nights with a project centered on the lives of various female saints—delivered in 13 languages and blending grand orchestration with avant-garde electronic music—challenges conventional wisdom about audience preferences.
The venue is brimming with attendees who, notably, appear older and more distinctly Spanish than the typical crowd at a pop concert. Yet, they exhibit the same enthusiastic behavior as fans elsewhere, with many incorporating mantillas into their outfits to honor both Rosalía’s heritage and the religious themes present in Lux, similar to how fans of other artists showcase their devotion through distinctive fashion choices.
As Rosalía makes her entrance from a large wooden box, dressed in a ballerina costume and with the lyrics to her songs projected in English above the stage, it becomes clear that her ability to perform en pointe while singing is an impressive feat. However, it is her extraordinary vocal talent that captivates the audience. The performance is meticulously choreographed, with elements such as her rendition of “La Perla”—set against a darkened stage and accompanied by her dancers’ graceful movements—creating a visually breathtaking yet elegantly simple atmosphere, devoid of the extensive technological effects typical of pop concerts.
The experience is intensely visceral, largely due to the disruptive electronic components of the songs that resonate powerfully, while Rosalía’s voice stands out for its emotional depth. Her ability to convey vulnerability in tracks like “Divinize” or evoke joy in the climactic moments of “Mio Cristo Piange Diamanti” far surpasses mere technical skill.
Lux, with its references to 10th-century saints and 20th-century philosopher Simone Weil, was an album that critics took quite seriously, but the live show transcends this earnestness with a more humorous and engaging atmosphere. Between songs, Rosalía exhibits a lively and comedic demeanor, encouraging the audience to loosen up, happily sipping wine, attempting a British accent, and dancing as she transitions to tracks from her earlier reggaeton album, Motomami. Guest artist Lola Young joins her not to perform but to recount a humorous anecdote about dating a married man, eliciting a sympathetic reaction from Rosalía. There’s even a segment where audience members are invited to pose like famous works of art, resulting in amusing moments that are even more entertaining in person.
Rosalía’s live performance is a remarkable blend of humor, intelligence, musical exploration, and emotional resonance, showcasing her unique artistry. It is invigorating to witness this kind of show resonating in major arenas around the world, underscoring that pop fans are far more discerning than commonly perceived and highlighting Rosalía’s distinct presence in the music industry.
Rosalía will perform at the O2 Arena in London on May 6 and will kick off her North and South American tour at Kaseya Center in Miami on June 4.
