A foreign-language release steeped in Catholicism isn’t exactly what you’d expect to top virtually every end-of-year album list. But Rosalía is famed for her uncompromising attitude to both genre and delivery. There’s the smallest soupçon of flamenco in here (see "La Rumba Del Perdón") but, largely, this is pop gone to the opera.
If that sounds like hard work, fear not. For many artists, stating that the new album is an “emotional arc of feminine mystique, transformation and transcendence”, might be the kiss of pretentious death. But she strikes the right balance – she trusts in her listeners’ ability to listen without prejudice while bringing melody, rhythm and relatable motifs to the inherent drama.
It’s a global affair featuring input from Charlotte Gainsbourg to Pharrell, Patti Smith to Björk and the best of the best behind the scenes, and it has gone down well to say the least. “Ambitious”, “compelling”, “avant-garde”, “extraordinary”, “transcendent’, “timeless” and “prismatic”, “monumental” said the critics. In lesser hands, it almost definitely wouldn’t have worked. But Rosalía’s classical training triumphs throughout, whether backed by the London Symphony Orchestra or simple palmas.
Presented in four movements and umpteen languages, these 15 songs are often orchestrated and always mesmerising. "Mio Cristo Piange Diamanti" (My Christ Cries Diamonds) is a modern-day aria with serious heft. Somewhat more subtle than Lily Allen’s recent laudable outpourings, "La Perla" is no less vicious in its take down of an ex lover (“an emotional terrorist… world-class fuck-up”). "Porcelana" is deeply sensuous. Fierce fragility elevates each track – in itself its own little world, emotionally complex and experimental. Taylor Swift this is not.
Rosalia has been quoted as wanting to create an anti-dopamine work of art, in which she has failed spectacularly. What she has managed, though, is to magic up a work of such intensity and scope that it really is that most over-promised of things – an instant classic. Listen in a darkened room if possible.
Musical Experience of the Year
Every day is a music day for me but, sadly, this year has been a gig-less one (I blame Battersea Dogs Home for foisting an adorable but extremely restricting hound). Thankfully, the information superhighway has provided. Allbarone hoisted Baxter Dury a little further into the public consciousness. Eurocountry provided something we never knew we needed (Irish country music). And those are just the ones I was lucky enough to review. I also lapped up the work of Kneecap, Little Simz, Antony Szmierek, The Last Dinner Party and many others. 2026 resolution – get out of the house.
Three more essential albums from 2025
Self Esteem – A Complicated Woman
Wet Leg – Moisturizer
Pulp – More
Track of the Year
“Berghain” Rosalia. Described as “bat shit” by the Guardian, this jaw-dropping slice of excellence has pomp without pomposity and features the official choir of the Monastery of Montserrat as well as the LSO. Uniquely uplifting. Watch Berghain here.
