We’re in a new era of pop — Ariana Grande and Rosalía prove they’re owning it. Our review of their Lollapalooza sets
On a vodka company-backed stage too small to contain Rosalía Vila Tobella, the singer faced an uphill battle. She was performing for a passionate contingent of fans swarming the front gate and a foreign, pale, English-speaking back half that knew of her, but clearly little else.
But the true distinction between Rosalía and Grande was a new artist using spontaneity to demonstrate her extreme skill, while the latter stuck to precision — it was perfection, but nothing you wouldn’t see at any of her stadium or festival shows. Even for the crowd largely unaware of her music , Rosalía’s set was a winning one. Decked in a mint green outfit, Rosalía seemed hellbent on working the crowd. She went acapella for stretches, doused herself with a water bottle while whipping her hair back and forth, and hit every mark with her dance team. By the time she got to songs like the Justin Timberlake-interpolating “BAGDAD – Cap.7: Liturgia” or “” people merely passing by the stage would stop to take it all in.
Only a couple hours later, Ariana arrived, set to look out over her domain. In a field of trampled, browned grass, women and men impersonated their idol’s various eras, from hairstyles to aesthetic wardrobes. They yelled for Grande as she arrived on the platform looking like a gothic fairy godmother set against a fiery, crimson moon. The screams and nostalgic ecstasy for EDM-tinged songs from Grande’s early career were so loud and intense it was genuinely frightening.
But then again, Grande spent an entire year facing her heartbreak and trauma. On Lollapalooza’s closing night, her flock was merely happy to be in her presence. They were enjoying the current queen of pop’s reign, as a promising successor performed in the wings.
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