The multi Grammy-winning songstress Rosalía leaves no stone unturned as she brings her artistic visions to life. From the release of her latest album MOTOMAMI earlier this year to the first live performances of its singles, clear visual and thematic motifs were embedded in the work from the outset. Biker clothing mixed with butterfly symbols, the dichotomy between femininity and masculinity, lulling pianos and explosive drum beats, and the acceptance of constant transformation, all communicated with minimal components. In tonight’s London show, the penultimate performance of the MOTOMAMI world tour, these ideas were further elevated.

Set in front of a blank canvas that stretched from upstage to the top of the back wall, a group of dancers stepped out slowly in a ‘v’ formation, wearing luminous motorcycle helmets (the same ones seen on the MOTOMAMI album cover). After unmasking herself to raucous applause, Rosalía hit the audience with ‘Saoko’, ‘Candy’ and ‘Bizcochito’ straight out the gate. Immediately showcasing her ability to delicately build and diffuse tension in the room, the booming bass paused while she removed her sunglasses and leather gloves to play guitar in a stripped back rendition of ‘Dolerme’.

Two rectangular screens either side become gateways into the cinematic universe, as a mixture of handheld and static cameras capture the entire performance as if it were a one-shot film. Jumping from professional rig operators circling the action like vultures, to iPhones carried by Rosalía and her dancers, this was an innovative and inspired choice for a stadium show of this scale. 

Aside from the intricate camera work, choreography played a major role in the otherwise minimal production. Her group of eight dancers, so in sync they were able to effortlessly build a motorcycle with their interlocking bodies (which Rosalía mounts in the album’s title track), movingly perform choreography that fuses hip hop, contemporary and flamenco styles. In places this felt like an artistic masterpiece on its own, but that would be overlooking the third, and perhaps most impressive, element of tonight’s performance: Rosalía’s voice.

Without underestimating the vocal complexity of her up-tempo numbers, songs like ‘Bulerías’ and the welcome addition of ‘De Plata’ from her debut album Los Ángeles allow Rosalía to transform once more into the flamenco singer she started off as. Wrapping herself in a 20 metre black skirt, she embodied the songs, filling the arena with her powerful vibrato, meandering runs and occasional growls. Sprinkling in elements of theatre (also seen in ‘Diablo’, where she sat in a barber chair, removed her make-up and chopped off her own hair) added another dimension to the evening and nicely punctuated the party atmosphere conjured up by ‘Despecha’ and other big hitters from her 2018 album El Mal Querer. 

A performance as polished and seamless as this may lose moments of organic connection, but Rosalía humanised herself through a handful of hilarious crowd interactions, once running off stage to ensure a fan gift was stowed safely and later making time to sign someone’s record when parading around the barrier.

Her natural instincts and ability to control a crowd of over 20,000, combined with the artistry and crystal clear intention of Rosalía’s recorded discography, make this tour the undeniable work of a contemporary superstar. 

Reviewed at London O2 on Thursday 15 December 2022.