Rosalía leaves – At United Center on Saturday night, Rosalía turned her “Lux” tour into a four-act, Catholic-steeped spectacle—ending with angel wings, a backward leap into darkness, and an encore that left many fans crying as they filed out.
When the lights dimmed at United Center on Saturday night, it didn’t feel like the start of a typical pop show. It felt closer to the opening of a chapel—complete with symbolism, choreography, and a stage dressed like something half unveiled, half ordained.
The “Lux” tour has carried Rosalía through more than a year of performances since the album’s release last November. but at United Center the momentum turned into something sturdier: a two-hour spectacle that moved in four acts and leaned hard into faith. spirituality. and the boundary between what’s human and what’s divine.
The production arrived with extra pomp—U.K.-based Heritage Orchestra and complex choreography—and promised a pious journey from birth to death. It played out with mortal temptations, public confessions, and a careful dissection of religion as art. Rosalía treated Catholicism with reverence rather than a prop. staging God as the utmost deity while also leaning into an omnipresence that felt almost intrusive. In “Mio Cristo Piange Diamanti. ” an Italian opera piece. and later in “Dios Es un Stalker” (aka “God is a stalker”). the show made its devotion and discomfort part of the same altar.
Even before Rosalía appeared, the atmosphere told attendees to watch closely. As people trickled into the arena. the stage was consumed by the backside of a large painter’s canvas. leaving only the hint of what might be revealed. When the show opened with the dramatic “Sexo. Violencia Y Llantas. ” the two sides of the canvas separated. exposing the full stage. A large shipping box sat at the center of the moment before opening to reveal Rosalía inside.
From there, the show kept insisting on detail. Dancers wore black-out garb that created optical illusions as they moved around the singer. while the orchestra seating was arranged like a cross for added effect. At one point during a cover of Frankie Valli’s “Can’t Take My Eyes Off You. ” Rosalía stood inside a gold frame while fans pulled from the crowd stood behind gallery ropes—an image that made her the art rather than the performer.
The first act leaned brightest. with Rosalía dressed in ballerina garb and evoking a twirling dancer hiding inside one of those jewelry boxes. Act One moved through “Reliquia. ” then “Divinize. ” which ended with a snippet of Dido’s “Thank You.” She also delivered an Italian aria that exceeded expectations for her vocal range. Throughout the night. lyrics were written in Spanish and also in a range of languages. including Arabic. Japanese. Italian. Catalan. French. and Hebrew. among others—and were translated to English and scrolled on an above-head screen to give the audience context.
Rosalía also spoke directly to the room in a bilingual Spanish-English mashup. honoring the diverse fanbase that sold out the arena. “I’m so f—— grateful to be here. ” she said. adding a memory of first performing in the city in 2019. when it was a different kind of environment. “Life can be so crazy, you know?”.
Acts Two and Three pulled the atmosphere darker. The innocent ballerina became something closer to a black swan. and the set dug into material with a heavier charge—“Berghain. ” described as her recorded collaboration with Bjork and Yves Tumor. and tracks drawn from her 2022 album “Motomami. ” including “Saoko” and “La Fama.” Later. “Cuuuuuuuuuute” stood out as Rosalía moved into the orchestra pit and led what felt like a nightmarish rave. The orchestra conductor, Yudania Gómez Heredia, pulled double duty with a dance breakdown that stole the moment.
The most talkable piece. though. may have been the public confessional that led into “La Perla.” On other dates. celebrity guests like Lola Young and Maggie Rogers had been seated in the box with Rosalía. but in Chicago the storyteller was an audience member. She shared a personal warning about dating a “La Perla” womanizer who later wound up in an Illinois Department of Corrections facility. “The moral of the story is don’t text him back,” the fan said.
But the show’s levity didn’t last. As it moved toward its end, Rosalía shifted again—from the stage’s theatrical gravity into something more final. Her final act was framed as leaving “this plane” in search of eternity. With the final notes of “Focu ‘ranni. ” she wore angel wings and took a leap of faith. falling backward into a hidden abyss. When she returned for an encore—“Magnolias”—it arrived as a eulogy. The lyrics hailed, “Today I turn into dust, to return with them.”.
When fans finally left United Center, there was a palpable silence. Many were seen crying or linking arms to exit. as if the show had pulled something loose and then refused to rush it back into place. For all the spectacle—cross-shaped orchestration. canvas reveals. gold frames. and a staged confessional—Saturday night landed hardest in the quiet after the last note.
Rosalía set list for June 20. 2026. show at United Center:
Act I: Sexo. Violencia Y Llantas; Reliquia; Porcelana; Divinize; Mio Cristo Piange Diamanti
Act II: Berghain; Saoko; La Fama; La Combi Versace; De Madrugá
Act III: El Redentor; Can’t Take My Eyes Off You (Frankie Valli cover); La Perla; Sauvignon Blanc; La Yugular; Intermedio; Dios Es Un Stalker; La Rumba Del Perdón; Cuuuuuuuuuute
Act IV: Bizcochito; Despechá; Focu ‘Ranni
Encore: Magnolias.
Rosalía Lux tour United Center pop music Catholicism in pop La Perla Magnolias Berghain Motomami Chicago