2023-07-20 12:48:03
The Spanish pop star performed on Wednesday at the end of an evening at the Paléo Festival where the singers of character did not miss. At the heart of a very graphic scenography with on-board cameras, Rosalía staged on recorded tape her pop nourished by flamenco or reggaeton. An entertaining one hour clip.
Midnight, a roaring motorbike and the Asse plain roaring. It’s time for “Motomami”, the phenomenal Rosalía’s third album, hybridizing the purest flamenco with thundering beats once morest a backdrop of trap and reggaeton.
The pop star enters the back of the stage under a neon-lit mask following his dancers with luminous helmets in a choreographic ballet as minimalist as it is graphic. Two side cubes that house lights and projections cut out the plateau of the Main Stage of Paléo. No trace of musicians, but a powerful recorded tape on which Rosalía wedges her ardent or mischievous voice, sometimes pretending to sing, following a “good evening Nyon” and a “I am honored to sing here”.
The sparkling and dancing “Motomami”
This refined decor makes it possible to actually launch a dancing video clip lasting a little over an hour for rebroadcast in all digital formats on social networks, where on-board cameras will track and broadcast on the screens the slightest pout and expression of ‘a willingly theatrical Rosalía in the staging of herself. Even if the 30-year-old Catalan looks more like an Emma Peel in her black jumpsuit topped with a leather skirt over high boots than a contemporary pop star.
“Saoko” opens the ball and we hope that the spirit of the duende, a metaphorical Hispanic demon who hovers and transfigures his gleaming “Motomami” into an almost mystical experience, will still seize us. The ace. Until the final trifecta composed of “Cap.I.Augurio: Malamente”, “Chicken Teriyaki” and “CUUUUuuuuuut”, via “Hentai”, “Le combi Versace”, “Diablo” and the cover of “Blinding Lights” by The Weekend is a succession of tableaux (Rosalía at the piano, in a hairstyling chair, on a human motorbike, etc.) where a few flamenco steps, restless twerk and entertaining jerky or slowed-down gestures of contemporary dance parade.
The public was there for Rosalía’s concert on the main stage of the Paléo Festival on Wednesday evening. [Paléo Festival]
Extreme aesthetic hybridizations
A production, which required fifty people and the landing of two private jets, both pleasant and visually magnificent, but so overplayed that the show regularly becomes disembodied. After the initial enthusiasm, the public seems to react more and more limply, despite the sound syncopations. A relative indifference that perhaps also made Rosalía say: “You don’t know the lyrics, but we love you”… But it turned out in fact that she was reading the text of a sign in the crowd .
If the Spanish singer knows how to play codes and musical chapels like no other and push aesthetic hybridizations to the extreme for a pop that is both hospitable and experimental, her triumphant “Motomami World Tour”, of which it was the last date in Nyon, did not prove to be so innovative and visionary. As recently at the Montreux Jazz Festival where Lil Nas X had failed to restore on stage the non-conformism and audacity of his repertoire.
Rosalía will however have closed a beautiful evening where singers and women of character with well-established musical signatures have distinguished themselves: from the French-speaking rapper KT Gorique to the French singers Pomme and Zaho de Sagazan, passing by the French-speaking singer and dancer Baby Volcano whose universe is sometimes close to the Catalan.
Olivier Horner
>> To also consult, the file on the follow-up of the 46th edition of the Paléo: The follow-up of the 46th edition of the Paléo Festival
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