Rosalía is redrawing pop’s map at a stunning pace. Her first two records, Los Ángeles and El Mal Querer, brought flamenco into the mainstream; the second fractured the genre from its tradition, unearthing a pop architect intent on stitching sacred text with street expression. Then came MOTOMAMI, a world born of Caribbean heat and unbridled nerve, cementing her as an experimental auteur burning through sounds like a master technician. But when the earthly map felt complete, she spoke directly from the heavens: LUX.

The Spanish superstar’s fourth album is a heartfelt offering of avant-garde classical pop that roars through genre, romance, and religion. Arranged in four movements and sung in 13 languages, its orchestral pop storms down from the skies and leaves, in its thundering aftermath, a field guide for pop’s seekers, those who believe the answers to love, desire, and creative purpose might yet be contained in three or four minutes at a time. It’s not a dopamine machine like MOTOMAMI, but it rewards listeners who ache for more from pop artists: more feeling, more risk.

For all its scholarship and borderless histories, LUX isn’t a massive homework assignment; it’s an operatic lament for a new generation, an exquisite oratorio for the messy heart. Yes, the credits read like a conservatory (the London Symphony Orchestra; Catalan choirs; MOTOMAMI collaborators Noah Goldstein and Dylan Wiggins; Pharrell; and arrangements from Caroline Shaw and Angélica Negrón, to name a few), but Rosalía’s voice remains at its center. With her as its lodestar, LUX advances like a crusade to conquer the mysteries of human existence. On opener “Sexo, Violencia, y Llantas,” she announces her plan: “How nice it’d be, to come from this Earth, go to Heaven, and come back to the Earth.” She spends the next hour detailing this process from start to finish through flamenco pop revelations (“La Rumba Del Perdon”), waltzing insults (“La Perla”), existential operatic swells (“Memoria”), and songs that feel entirely new and genreless (like “Focu’Ranni or “Novia Robot”).

LUX takes desire as a holy problem and divinity as a complex solution. Love, men, God, femininity, death, surrender—they all swirl around this idea, expressed in Japanese, Ukrainian, Chinese, Italian, and nine more languages. How did Rosalía begin to understand life’s thorniest questions? She read hagiographies of female saints and poets like Teresa de Jesus, Sun Bu’er, and Hildegard Von Bingen; she studied feminist theory while preparing lines for her acting debut in Euphoria. She looked to these devout women for inspiration and synthesized their messages into her own creed as a 33-year-old pop star trying to make sense of all this insanity.

In this way, LUX feels like a modern scripture of feminine celebrity. “My God I’ll obey… I’ll burn the Rolls‑Royce… tiraré mis Jimmy Choos,” she vows on “Sauvignon Blanc,” promising to renounce luxury in exchange for some ascetic peace. On “Reliquia,” she shrugs off fame as a form of sacrifice—“My heart’s never been my own”—and offers herself as a relic for the world to hold. On the vinyl and CD-exclusive track “Dios es un stalker,” Rosalia becomes a flawed God, her obsessions with other humans become feral–“I’m your shadow,” “I’m the labyrinth”–she delivers over clean bass and choral filigree like a fucked up prayer, proof that not even otherworldly heroes are free from mortal flaw.

It’s no secret that Rosalía’s engagement to Puerto Rican superstar Rauw Alejandro ended in 2023, right before she began work on this record. LUX also details the journey of heartbreak and recovery first through a pious lens, then blows it up tenfold. On the standout “La Perla,” she cuts men without flinching—“emotional terrorist,” “red flag andante”—a controlled evisceration that could sit next to Fiona Apple in the museum of magnificent dismissals. On the other side is “Mio Cristo,” where she deifies a lover’s pain—“My Christ cries diamonds”—only to face the hard question: “How many blows should have been hugs?” “Novia Robot” takes a broader approach with a mock infomercial for a compliant, purchasable girlfriend. It’s a satire that plays like one of the album’s clearest theses: a woman’s beauty owes no debt to male consumption.

On LUX, forgiveness is a religious doctrine, captured best by Flamenco pop highlight “La Rumba del Perdón.” Modern flamenco stars Estrella Morente and Silvia Pérez Cruz sing through family betrayals and street parables while Rosalía argues that forgiveness is an active decision that restores control to the wounded, even “when power beats out love,” or your best friend steals that “uncut kilo in the drawer.” The closing movement is smaller in frame but larger in feeling. “Memória” takes inventory of what remains, and “Magnolia” releases what will not: “life flashed me its knife, took everything I had, and I thanked her for that.” The promise from the opener holds: She returns to earth, not a saint, but simply finished, landing on that rare pop sensation of being held, seen, and leveled all at once.

Can all this easily be labeled pop music? Yes, but not the kind that chases the algorithm. LUX sits comfortably beside albums that use concert music as a conduit to turn heartbreak into archetypal feminine quests: Vulnicura, Ys, Hounds of Love, Titanic Rising, MAGDALENE. The “bangers” are there; you’re just more likely to find them in a pasture than on a billboard. “Focu’Ranni” swells over chopped voice samples in a melody that feels like the older, wiser cousin to El Mal Querer’s “Pienso en tu mirá”; “Porcelana” raps, gleams, and snarls through descriptions of a tortured diva; and “De Madrugá” speeds by like a meteor aimed at an ex-lover. LUX enlarges the capacity of Rosalía’s artistry without abandoning the direct address that made people fall for her in the first place.

Rosalía has pulled this rebellious trick before—tabula rasa, new world, start again—but LUX feels like the first time she’s built the whole stage and lets the camera linger. It becomes a place where pop and religion—each with its own set of testimonies, beliefs, and icons—can converge on the grounds of deeper understanding: “When God descends I ascend/And we’ll meet halfway,” she sings on “Magnolia.” If you come expecting “Con Altura,” you’re likely to be lost at first. Stay. Let the pieces unfurl, and enjoy what’s been revealed. You don’t need a personal investment in Rosalía to get shivers down your spine when she begs you to throw flowers over her casket.