Given flamenco’s rigid structures, breaking
from tradition isn’t always encouraged.
Yes, but I come from a generation that was
born into globalization and the internet. That
has changed everything. I never think of music
as, “Is this correct or incorrect?” I always
think, “Is this exciting or not?”
You have received criticism for being “not
flamenco enough” or “not Latina enough”
for Latin music. Does it bother you?
First of all, I was born speaking Spanish. My
father is from Asturias [in northwestern Spain].
My great-grandfather is Cuban. My mother
is Catalana [from Catalonia, an autonomous
region in northeast Spain]. I grew up speaking
Catalan and Spanish at home, and I have always
listened to music in English. So it’s natural for
me to sing in these languages. I make music in
Spanish because flamenco is my great inspira-
tion. But a few months ago, I recorded a rumba
in Catalan [“Milionária”]. I sang in English
with James Blake because he had a beautiful
song, “Barefoot in the Park.” Languages are like
musical colors, like instruments you can choose.
Today, musical barriers, like genres, are so dilut-
ed that they don’t really exist.
That shows on your first album, Los
Ángeles, which includes a cover of Bonnie
“Prince” Billy’s “I See a Darkness” that you
sing in English.
Because I love it. That entire album is an hom-
age to flamenco tradition seen from my personal
vantage point. But this song made so much
sense [with the lyrical themes of the album], so
why not have a version? In the end, I think no
one is going to accuse Picasso of cultural appro-
priation because he painted African masks.
It’s a delicate topic. I always try to talk
about all the cultural references that have
inspired me. Artists always have been influ-
enced by many cultures. Today, all cultures are
connected, and it’s something beautiful and
worthy of celebration. Flamenco and my coun-
try always have been connected with Latin
America. The flamenco cantes de ida y vuelta
[“round-trip songs” that developed as musical
exchanges between Spain and Latin America]
are a reflection of that: milongas, la guajira, la
colombiana. They are considered to be of the
flamenco tradition, but you can clearly feel
Latin America’s presence.
You graduated from the Catalonia College
of Music the same year you released Los
Ángeles. Why was it important for you to
have a formal education in music?
I never felt comfortable with the notion of
depending on someone to make my music. I
wanted absolute control to develop whatever
was in my head. For some, music is sacred:
They care so much about their work, the
consequences don’t matter. For others, music
is a vehicle — perhaps they’re looking for a
lifestyle or money. I don’t judge. But I was
never in a rush. I studied for 10 years because I
wanted to be an artist.
And you consider yourself a producer and
an arranger as well, yes?
Without a doubt, and I get credited as such.
I was very involved in Los Ángeles, and on
El Mal Querer, Pablo Díaz-Reixa [Rosalía’s
frequent collaborator who records under the
name El Guincho] and I are credited as pro-
ducers. I’m always on top of my productions
because sound design is everything to me.
Your recent singles have been very collab-
orative: You worked with J Balvin on “Con
Altura,” and you sing with Ozuna on “Yo x
Ti, Tu x Mi.” What’s that process like?
In both instances, I headed the creative process.
Pablo and I began working together on the beat
and developing toplines, and then Frank Dukes
[known for his work with Camila Cabello and
The Weeknd] came on as a producer for both.
After that, J Balvin and Ozuna came on to their
respective songs. We did everything with Balvin
remotely, but Ozuna spent a couple of hours
with me in the studio in Miami. I had met Ozu
in Las Vegas [during the 2018 Latin Grammys]
and was a longtime fan. Pablo and I wanted to
come up with a song that worked for Ozu, so I
listened to the beats [he likes] and the key he
like^ ins
truments^ y
ou can^ cho
ose.^Today,^ m
usical^ ba
rriers,^ like^
genres,^ are
sodiluted^
that^ they^ d
on’t^ reall
y exist.”Palomo Spain jacket and pants, Aida
Bergsen ring, Natia x Lako earring
from TATA-L A, Hanut Singh necklace
from Roseark Los Angeles.
“Lang
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are^ likemusica
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s,52 BILLBOARD • OCTOBER 12, 2019 Rosalía shows us her favorite dance move on billboard.com/videos.