By Rebecca Ceccatelli. Cover image by Artiola Xhulaj.
Rosalía Just Dropped Lux — And It’s a Whole New Vibe
On October 20, 2025, two massive billboards appeared in Plaza de Callao, Madrid. After weeks of speculation, teasers, and whispered suspicions, it was finally official — and declared in the purest way possible: Rosalía announces Lux. Rosalía is back.
Three years after the release of MOTOMAMI, the Catalan pop star returns to center stage, reclaiming the spotlight once again from those who had crowned her queen of reggaeton after her foray into the genre through the electronic-pop notes of SAOKO, DESPECHÁ, or CHICKEN TERIYAKI.
But this time, she seems determined to do everything but reaffirm her dominance in that realm. Dressed as a contemporary saint draped in whiteness and religious symbols, Rosalía inaugurates a new era of her music with Lux — one that reveals how far her creativity can reach, exploring new and unexpected dimensions of the musical landscape.
Flamenco, electronic experimentation, and feminine spirituality form the roots from which the album seems to branch out and rise toward its own genesis.
Rosalía’s Lux Cover: a New Liturgy of Pop
On Lux’s cover, the popstar appears wrapped in a white stretch-jersey dress by Alainpaul, a tight embrace that becomes a metaphor for personal constraint — sanctified, however, by the rosary peeking out from her headpiece and the technical veil she wears. As a baroque saint, the Catholic aesthetic is unmistakable, appearing as a mystical vision.
Yet it’s not just the billboard reveal in Madrid that signals this new era’s intent — Rosalía herself fully embodies her new persona through a reimagined look: from the iconic rosary sandals by Alexander McQueen (SS/2003), to her bleached hair near the roots forming a halo-like effect. Everything points toward a new, deeply personal pop liturgy.
What Lux Reveals About Rosalía’s Artistic Evolution
With Lux, Rosalía sets a challenge for her fanbase — one that may feel tough for MOTOMAMI followers, but not for those who have been with her since her beginnings and have already witnessed her many transformations.
In fact, if you’re a fan of Rosalía from El Mal Querer, the sonic shift won’t be too drastic; but if you’re a fan from MOTOMAMI, it might be a real ask, as the artist herself puts it. This time, Rosalía sheds urban rhythms entirely to embrace contemplation — which in itself could be seen as a new form of rebellion.
Inside the physical CD appear two quotations that seem to encapsulate the spirit of this era.
The first, “No woman has ever claimed to be God,” comes from Rābiʿa al-ʿAdawiyya, a 9th-century Arab mystic known for developing a spirituality centered on divine love and total devotion — free from hierarchies and dogma.
The second, “Love is not consolation, it is light,” is by Simone Weil, the 20th-century French philosopher, writer, and mystic who reflected on the relationship between suffering, transcendence, and the transformative power of love.
These words perfectly translate into written form the sound liturgy the artist builds within her new album.
Rosalía’s Lux Unfolded: From Ballads to Baroque Experimentation
Lux presents itself as a monumental musical project — a journey toward a terrestrial paradise through the disenchanted emotions of the present, punctuated by strongly unconventional compositions that reveal the singer’s academic formation.
The album unfolds in four movements, charting an inner voyage: la pureza y su pérdida, la relación con el mundo, la gracia y la amistad con Dios, and finally despedidas y regreso.
By distancing itself entirely from the contemporary market, Lux becomes an act of redemption built on introspective ballads — songs that linger in your mind from the very first listen, pricking the far corners of your consciousness through lyrical poetry, classical sounds, and choral voices.
Inside Rosalía’s Lux: London Symphony Orchestra, Björk, and 13 Languages
At the core of the production are the musicians of the London Symphony Orchestra, conducted by Daniel Bjarnason — a precious collaboration that, as Rosalía herself admitted, “went way over budget.”
Their sound forms the foundation for melodies and collaborations with voices such as Björk, the Icelandic icon of electronic experimentation; Carminho, the contemporary torchbearer of Portuguese fado; Estrella Morente, a legend of Spanish flamenco; and Sílvia Pérez Cruz, the extraordinary voice of Catalan musical tradition.
This fertile ground sets the stage for ambitious musical experimentation — extending even to the lyrics. Rosalía devoted more than a year and a half solely to writing, driven by her desire to understand how the world’s languages work.
The result: over 13 languages appear throughout the album — including German, Ukrainian, and Sicilian dialect — developed through continuous collaboration with translators to ensure that meaning, rhythm, and rhyme were preserved.
The Story Behind Berghain: Rosalía’s Mystical Opening Track
The prelude to the album is the single Berghain, first announced only through a musical score — which many musician fans began to play on their own instruments before the full track was finally released a few days later, confirming every suspicion about the album’s tone.
Berghain features not only the London Symphony Orchestra but also the official choir of the Monastery of Montserrat, one of Catalonia’s most revered sacred sites. Interestingly, the choir sings in German, as the piece draws from the liturgical choral tradition of the Protestant Church — paying homage to Martin Luther’s choice to translate sacred hymns from Latin into German to make them accessible to believers.
Within Berghain, the structure follows a progression often used in the Baroque era, with clear nods to the classical works of Vivaldi and Puccini. Its sound becomes vivid imagery in the accompanying video: the story follows the “healing of the heart” of a protagonist suffocated by the alienated emotions of the present, represented by the orchestra itself. The narrative rises in a slow, ascending climax, culminating in the final scene where Rosalía, hearing her last heartbeat, transforms into a dove — reuniting with the divine.
That, precisely, is the meaning of Lux.
Out, since November 7th, on all music streaming platforms.
