Madrid, September 23 (EFE).- The career of Rosalía, who turns 30 this Sunday, has been a journey of transgression from her first album more attached to classical singing, passing through the rupture of the canon with “Malamente” and the deconstruction of “Motomami” to revolutionize flamenco conventions and turn them into a pop element.

Perhaps his predilection for flamenco was his most surprising characteristic when, after collaborating on songs like “Antes de muerteme” with a C. Tangana still distant from “El madrileño”, he released “Los Ángeles” , his first album, in 2017, by the hand of a Raül Refree who had just worked with Silvia Pérez Cruz or Kiko Veneno.

Many then attributed to the producer the achievements of this disc of twelve sober songs, voice and guitar, around the theme of death. “She was the one who made it clear what album she wanted to do and investigated looking for those cantes,” they corrected of her record company at the time after seeing her become the word of mouth that filled the rooms in a few moments. hours.

“You sing like an old woman”, dropped Pepe Habichuela while the album made believe that a new disciple boarded the quejío, even if in the world there was also an important segment which did not stop seeing in she an intruder who didn’t really sing like a singer

Without guessing the turn of scenario that the Catalan was preparing, two years later, a song burst into the Spanish music scene: “Malamente” blew up any hypothesis about the artist. Flamenco reminiscences, the influence of commercial pop, a foray into the nascent world of trap and a groundbreaking music video have engraved her in the history of music.

The “boom” of “Malamente” would only be the aperitif. Under the pretext of a graduation project and inspired by the 13th century Occitan novel “Flamenca”, Rosalía combined the urban aesthetic of her adolescence listening to music in parking lots with her devotion to the cante jondo of the consecrated tablaos in “El Mal Querer”. (2018), a milestone that caught the attention of audiences around the world.

Songs like “Pienso en tu mirá”, “Say my name” or “Bagdad” told the story of an abusive relationship that earned him a platinum disc, two Latin Grammys and the Grammy for “Best Latin Rock Album , urban or alternative”. after advertising on Times Square billboards.

However, other critics have accused her of “cultural appropriation” for taking on features of Andalusian culture and, in particular, Gypsy slang and symbology.

“It’s not that I’m being attacked specifically, but rather the situation of people who are lucky enough, like me, to study music, the music that I wanted,” Rosalía said in an interview in which she defended herself from criticism and in which he also referred to her desire to publish “a song in which we move, in which we dance”.

The wish will come true in 2019 with the release of “Con Altura”, which, from the hand of J Balvin, will open the doors to clubs in Spain and Latin America and embark him on a torrent of releases, among which collaborations. with The Weeknd and Tokischa or the EP “Fucking Money Man” (2019), where two songs warned against the lights and shadows of fame and wealth.

Gradually, Rosalía began to tread more and more on the terrain of urban Latin and left many hits such as “Yo x Ti, Tú x Mi” with Ozuna or “Las noche de noche” with Bad Bunny, without ceasing to flirt. with experimental music in collaborations like “Barefoot in the park” with James Blake.

The silence of the singer broken by punctual singles foreshadowed the recording of an album which was long overdue. It will be necessary to wait until the end of 2021 for the singles “Hentai” and “La Fama” to announce that their sound abandons the flamenco influence that they showed in emblematic performances like the Goya 2019, where they covered the song by Los Chunguitos ” Me quedo tu”.

Although the singles showed notable differences between them and didn’t seem to fit the album concept, the release of “Motomami” in March this year surprised by deconstructing “El mal Querer” into a terrific catchy, resounding and urban album. , raw at times, tender at others, and able to reconcile all his influences, from Camarón de la Isla to Kanye West, passing through the salsa of Héctor Lavoe and the pop of Rihanna.

The emergence of this album, whose title has become synonymous with strength and empowerment, garnered the best international reviews, earned her 9 Latin Grammy nominations and embarked her on a “tour” that travels the world with success and which will culminate in December. in Paris with all the tickets sold.

“Despechá”, created in full tour, was his last “hit” with rhythms that flirt with mambo and which resonated in the parties this summer, reaffirming it once again as the source of a vast, influential work. and avant-garde with only 30 years and a lot of life ahead of us.

Salvador Leon/Javier Herrero

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