Rosalía

Rosalía Channels Paquita with a Dash of Kenia Os at Mexico City Tour Debut

Rosalía opens her five-night Mexico City stint with a nod to Paquita la del Barrio, revealing “La Perla” is inspired by the ranchera legend’s “Rata de dos Patas.”

Thanking Mexico for the influence, Rosalía shares her admiration for the cultural ties between flamenco and Mexican music. In a memorable on-stage confessional, Kenia Os divulges her preference for singers, sparking both laughter and reflection on relationships.

Rosalía continues to captivate the audience with her performances, infusing Mexico’s spirit into her LUX tour.

Rosalía Launches 'Lux' Tour, Redefining Lyon with Musical and Visual Alchemy

Rosalía inaugurates her 'Lux' tour with an evocative blend of music and imagery, weaving a narrative tapestry that challenges the senses. She descends upon Lyon, France, for the 57-date odyssey, inviting audiences into her immersive realm of sound and sight.

The performance interlaces themes of passion and introspection, whilst presenting intricate visuals that echo the emotions channeled through her songs. With a nuanced approach, Rosalía's tour opener positions itself as an intersection of innovation and tradition.

Rosalía slips into Palestine fundraiser, exits with "La Perla" and pointed blame

Rosalía materializes unannounced at a Palestine benefit concert in Barcelona, slipping into the lineup after Morad and Bad Gyal with surgical precision. She closes the evening with “La Perla,” a meditative pull from her November release 'Lux.'

The event directs all proceeds to cultural organizations across Palestine, including the AJEE/Lajee Center. Prior tension with designer Miguel Adrover over her perceived silence resurfaces, prompting her to redirect blame toward political leadership.

Rosalía skips the Motomami sequel, returns with 18 tracks in 13 languages

Rosalía sidesteps the obvious sequel to Motomami and instead surfaces two and a half years later with Lux, a genre-twisting opus of 18 tracks performed in 13 languages. Composed with the London Symphony Orchestra, the project skirts easy labels—pop? classical?—while reshaping the notion of musical boundaries in an era of rapid consumption.

Split into four movements, Lux bypasses structural rigidity, moving from reggaetón fragments to Italian arias. Tracks like "Dios Es Un Stalker" flirt with mainstream appeal, while "Sexo, Violencia y Llantas" opens like a piano étude before erupting into orchestrated drama.

Rosalía goes full nun as Madonna declares Lux her 13-language obsession

Two days before Rosalía’s fourth album Lux hits shelves, Madonna broadcasts her endorsement on Instagram, praising the Spanish artist as “a true visionary” and confessing she “can’t stop listening.” The cover—unapologetically ecclesiastical, with Rosalía cloaked in a nun’s habit—is hard to miss.

Lux trades the reggaetón-pop palette of Motomami for orchestral gravitas, with lyrics penned across three years and sung in 13 languages. Think string quartets colliding with Björk, and a sonic ambition that nods to Patti Smith and Taoist poetry in one breath.