Madrid, September 23 (EFE).- Rosalia’s career, which turns 30 this Sunday, has been a journey of transgression from her first album more connected to classical cant, breaking the canon with “Malamente” and deconstructing “Motomami”. To revolutionize flamenco conventions and turn them into a pop element
Perhaps his most surprising trait was his penchant for flamenco while, far from “El Madrileno,” C. After collaborating with Tangana on songs like “Antes de Muerteme”, he released his debut album “Los Angeles” in 2017. The hand of a Raul referee who has worked with Silvia Perez Cruz or Kiko Veneno.
Many then credited the producer for the disc’s achievement of twelve melodic songs, voice and guitar, around the theme of death. “He was the one who was clear about what album he wanted to make and who investigated in search of these cants”, corrected from his record company at the time they saw him become word of mouth.
“You sing like an old woman”, Pepe Habichuela will flourish when the album believes that a new disciple is rising in Koezio, although there was also an important part of the world that did not stop seeing an intruder in him. Didn’t really sing like a singer
Unaware of the script twist the Catalans were making, two years later a song burst onto the Spanish music scene: “Malamente” blew away any notions about the artist. Reminiscences of flamenco, influences of commercial pop, a foray into the emerging world of trap and a groundbreaking video clip burn him into music history.
The ‘boom’ of “Malamente” would be just appetizing. Under the pretext of a final year project and inspired by the 13th-century Occitan novel “Flamenca”, Rosalia combined the urban aesthetic of her youth with listening to music in the car park with devotion to the sacred tablaure cante zondo in “El Mal Querer” (2018), a Milestones that caught the attention of the public around the world.
Songs like “Pienso en tu Mira”, “Say my name” or “Baghdad” told the story of an abusive relationship that earned him a platinum record, two Latin Grammys and a Grammy for “Best Latin Rock, Urban or Alternative Album”. After advertising on billboards in Times Square.
However, there were other detractors who accused him of “cultural appropriation” for adopting characteristics of Andalusian culture, and particularly Gypsy slang and symbology.
“It’s not that I’m being attacked specifically, but the condition of people who are lucky enough, as I was, to study music, the music I wanted,” Rosalia declared in an interview in which she defended herself. criticism and in which he mentioned his desire to release “a song that one moves to, that one dances to”.
The wish will come true in 2019 with the release of “Con Altura”, which will take J Balvin’s hand and open the doors to clubs in Spain and Latin America and lead him to a stream of releases, including collaborations with The Weeknd and Tokischa or the EP “Fucking Money Man” (2019). , where two songs warned about the lights and shadows of fame and fortune
Gradually, Rosalia began to move more strongly in the Latin urban scene and without stopping flirting released several hits such as “Yo x Ti, Tú x Mi” with Ozuna or “Las noche de noche” with Bad Bunny. Including experimental music with collaborations like “Barefoot in the Park” with James Blake.
The singer’s silence broken by occasional singles foreshadowed the recording of an album that was long in coming. It wouldn’t be until the end of 2021 when the singles “Hentai” and “La Fama” announced that their sound was abandoning the flamenco influence they revealed in iconic performances like Goa 2019, where they covered the Los Chunguitos song “I”. quedo tú”.
Although the singles showed significant differences between themselves and did not seem to respond to the idea of an album, the release of “Motomami” in March of this year surprised by expanding “El Mal Querera” into an extraordinarily interesting, sounding and urban album. , raw at times, mellow at others, and capable of combining all of his influences, from Cameron de la Isla to Kanye West, along with Hector Lavoie’s salsa and Rihanna’s pop.
The rise of this album, whose title has become synonymous with power and empowerment, has garnered the best reviews internationally, earned her 9 Latin Grammy nominations and launched her on a “tour” that has successfully covered the world and will end in December in Paris with all tickets sold out.
“Despechá”, premiered on a full tour, is the latest “hit” with beats that flirt with mambo and that sounded at parties this summer, reaffirming it as a source of huge, influential and avant-garde work only 30 years and many lives ahead. .
Salvador Leon/Javier Herrero