Rosalía, much more than a musical show

An omnipresent element in Rosalía's concert is a large white canvas that serves as the backdrop for the stage, as if it were stretched over a wooden frame. It is the reverse of an immense cloth, as if you were seeing the back of an imposing painting. With a Palau Sant Jordi still with its lights on and the audience filling the stands in a hurry, the back of this canvas patiently awaits the start of the show until, when everything goes dark, it opens in half, as if we were entering the interior of the work of art. It is a way of telling us that what we are seeing is not just a musical performance, but also an artistic process that will unfold before us. It is much more than a concert, it is a total work of art, in motion, full of life, of references, and in constant evolution and transformation. Rosalía is the artist who completes her work during the two hours of the show.

a Palau Sant Jordi still with the lights onWhen Rosalía sings a version of Can’t take my eyes off you she adopts the sensuality of Rita Hayworth in

Gilda,

who in turn emulates the Mona Lisa within the frame of a painting. The background landscape painted behind her, however, is the mountain of Montserrat. Soon, a small group of spectators have the chance to go up on stage and act as fascinated tourists who, like at the Louvre, photograph the work of art with their mobile phones.

Codes and references

Rosalía mixes codes and references, but instead of seeking friction, she provokes sublime beauty and harmony thanks to a very solid artistic criterion, playful daring, and a very fine sense of humor. In a brief interlude, the show proposes a similar exercise to the audience to distract them from the wait. It's time for Art Cam, an experiment much more fun than the famous and typical Kiss Cam at concerts that has led to great viral embarrassments. One of the large screens projects very popular works of art and the other shows some members of the audience and invites them to imitate the expression of the figures represented: from Munch's "The Scream" to the "Ecce Homo" of Borja. The people focused by the camera make faces to resemble them, between the shame of being watched by the crowd and the desire to play. In the show, there is always the right balance between transcendence and proximity, between a goddess and the girl from BaixLlo.Lux consolidates Rosalía as a cultured professional, stimulated by criteria that go beyond commercial ideas and inertia, who trusts an audience that feels the same curiosity as her to evolve, experiment, discover, and learn.