Whether or not on a scooter, all-fours, or mounted on an interlocked human bike, Rosalía was using excessive on the first of two performances at New York Metropolis’s Radio Metropolis Music Corridor on Sunday night time (September nineteenth). It was simply the second live performance on the US leg of her ongoing “Motomami World Tour” (tickets right here), and the 29-year previous Spanish singer-songwriter was fully locked in.
The present opened with a complete sensory annihilation that appeared totally supposed to knock the viewers out their saddles in preparation for the night time’s exhilarating and unpredictable thrill experience. The tour’s strobed-out intro tune “Matsuri-Shake” by the Japanese all-girl punk band Ni Hao proceeded with such an unrelenting and destabilizing drive that the air appeared to be sucked out of the theater, solely to be instantly replenished when thunderous engine rumbles heralded Rosalía’s arrival on palms and knees, flanked by her dance squad of “motopapis” in glowing bike helmets.
Rising above the crew and dispatching her headgear, Rosalía launched into the MOTOMAMI opener “SAOKO,” whose demanding vocal swerves and sudden twists into jazz have been navigated effortlessly by the singer and achieved dancer.
Rosalía showcased that very same command by way of her fixed interaction with a roaming steadicam that gave the entire manufacturing a cinematic really feel. The vocalist sometimes stood behind a stark-white sheet with two adjoining screens projecting the 360-degree view of the stage, which typically revealed the rabid, adoring crowd whereas additionally inviting them in distressingly shut for her most emotionally wrenching moments.
This all-encompassing affair was on show early as Rosalía threw out her viral, unimpressed face, regardless of clearly having a blast throughout “BIZCOCHITO,” or whereas she actually pulled herself up from the bottom on an Abel-less rendition of the unrequited love banger, “LA FAMA.”