For many years, Spanish music has enjoyed great artistic health due to the diversity of proposals, but this year should be remembered because Rosalía and C. Tangana, its last two great stars, have broadened the horizon of our music in an extraordinary way. music. Recordings and concerts that, as a whole as proper names of Spain with an enormous projection abroad, have elevated Spanish music to a new dimension.
The emergence of both has turned the Spanish scene upside down. It is something that could already be said with her previous works: Ídolo (2017), in the case of C. Tangana, and, even more, El mal querer (2019), in the case of Rosalía. And now, in 2022, it must be firmly affirmed after El Madrileño (2021) by C. Tangana and Motomami (2022) by Rosalía. They are albums that, beyond their great commercial success, have redefined the cardinal points of the Spanish sound map. They have renewed, expanded and diversified it to the point that to reach the top of the Spanish musical world it is not necessary to abide by the rigid precepts of before. It’s not that it’s something new, but never before has being mainstream been so cool, that is, it had meant something so independent and different.
The singer Rosalia during the concert at the Almería fairgrounds, where she began her world tour “Motomami World Tour”. Carlos Beard (EFE)
The pinnacle of pop in Spain, traditionally seen almost as an extended arm of a Spanish music industry associated with the reductionist operation of the radio formula, now passes through these musical icons who are governed by their own freedom and their approaches outside the old orbits. It is an important achievement, but it is also a pleasure to see how what makes the most impact, like them, reflects a creative process that inspires artists from the margins so much. Beyond those who have generational problems that they may never be able to resolve, it is very difficult to find young artists -and not so young- who do not recognize valuable learning from what Rosalía and C. Tangana are doing. It is not about whether you like them or not, whether you like them a lot or not so much, it is that their triumph is to value two great creative heads, who do not attend offices or are remote-controlled as in the past.
Rosalía plays in the league of the great world stars and has achieved it for herself. Motomami will be one of the albums of the year for Spain, but also for Latin America and the US Her rise has been so stratospheric that it is already worthy of study. And all this fast process has always been trying to differentiate herself from the rest of the stars from her own artistic personality. If Rosalía transforms, she is impressed to see how that transformation reaches so far and to so many levels throughout the planet. Her tour has been a demonstration of vindicating her figure, alone, with studied sobriety and focused on choreographies that, with hints of flamenco airs, seek to elevate her visual appearance. Her charisma is unquestionable. The controversy that was generated on this tour is another example of the sad polarization that the figure of Rosalía drags since she triumphed.
On stage, C. Tangana has done just the opposite: surrounded himself with a huge and impressive orchestra to give old-school muscle to today’s electronic varnish music. Personally, I connected more with this show than with Rosalía’s, but perhaps because I empathized more with the verbena vibe than with the power of choreography and pre-recorded bases. It is not something exclusive: both tours are two tours that push new places for Spanish music, which demonstrate an impressive knowledge of current times and the possibilities of shows.
Concert by C. Tangana at the Palacio de los Deportes “Jose Maria Martin Carpena”, with ‘Sin Cantar ni Afinar Tour’ Tour’ to present live the album ‘El Madrileño’. Garcia-Santos (El Pais)
C. Tangana is also very valuable, largely because of everything he has achieved from where he came from. Three years ago, he was in the eye of the hurricane because some groups sought to cancel him for some macho lyrics in his songs. He was seen as the cool ragman to stop. With El Madrileño, he invented a character and the concept of the new Spanish pop. He could have turned out bad or regular, but he turned out round. His associations with Spanish and foreign artists such as El Niño de Elche, La Húngara, Ketama, Omar Apollo, Jorge Drexler, Kiko Veneno or Andrés Calamaro validated his ambitious proposal. His tour this year has gone further: he has made even those who wanted to cancel him dance. His show is the show of the year, understood as something more than a concert. Tangana has known how to recover the heart of the Spanish verbenero from a star position and knows how to link it with that same heartbeat in Latin America in its part of ranchera, salsa, cumbia… Anyone who has gone to a C. Tangana concert this year knows that has changed the paradigm of concerts in Spain from its visual and narrative spectacle through music.
Conclusion: Spanish music, as a scene and industry, should celebrate Rosalía and C. Tangana. Even more to celebrate that both coincide and in such a short time have known how to project themselves so high and so firm. Like every star, even like every creator, there are always possible nuances that can make us reflect or make us doubt the true value of their art. Okay, but Spanish pop is at a new historical moment because of Rosalía and C. Tangana.
All the culture that goes with you awaits you here.
The literary news analyzed by our best critics in our weekly newsletter
Subscribe to continue reading
read without limits