When Rosalía burst onto the scene this Monday with “Berghain”, the first preview of her upcoming album Lux (November 7, 2025), she did so loaded with ambition, contradiction and mystery. The first impressions of the press and critics oscillate between enthusiasm for her boldness and caution before a creative leap that may not connect with all audiences. Here is a summary of what is being said – and what is being sensed – behind this new era.
✅ What they applaud
Sonorous ingenuity and rupture of expectations
One of the most repeated notes is that Rosalía has decided to leave the “pop-urban” script to enter more experimental territories. As
Collaborations that elevate the project
The participation of Björk and Yves Tumor (along with orchestral arrangements, strings, vocals in German, English and Spanish) is highlighted as a sign of Rosalía’s ambition. Los40 calls it “a before and after in her career” when presenting this tripartite piece.
A powerful audiovisual narrative
The video clip -directed by Nicolás Méndez for the production company CANADA- is described as “a visual liturgy” that mixes the domestic (ironing, making the bed), the symbolic (animals, orchestra, religious iconography) and the surreal. El País notes that “Rosalía then starts ironing while she sings in the midst of the maelstrom” of an orchestra that follows her through her day-to-day life.
Authenticity and creative risk: Many critics appreciate the fact that Rosalía leaves her safe zone and experiments with unconventional registers for commercial pop. For example, Pitchfork notes that “Berghain” is “all show” and that she has never before deployed her classic line-up to such an extent.
Sound and conceptual ambition: The union of symphonic orchestra, multilingualism and collision of styles is seen as a qualitative leap. Rolling Stone Philippines notes that the track “marks a new peak” in its sonic vision, blending orchestral drama and avant-garde pop.
❌ Reservations and criticisms
It is not an instant hit for all ears
One of the most shared nuances is that of accessibility. Diario Crítico summarizes: “The song is of a high level, overloaded and baroque in a good way, but it is hard to believe that it is going to be a hit… whoever was looking for a ‘Motomami 2’ will be disappointed”. And Jenesaispop goes to the point: “The song has no head or tail, what a mess of arrangements”.
The title generates expectations that are not entirely fulfilled
The use of the name “Berghain” – Berlin’s iconic techno club – suggests a universe of club music or pure techno. However, several media underline that the track has hardly any “traces of techno” and is more oriented towards the orchestral and experimental. El País comments: “However, at least this opening track, it does not have as many traces of techno as one might expect”.
The risk of ambition: too dense for the general public?
When an artist makes such a stylistic leap, there is always the danger that part of his audience will be left out. Huffington Post gathers a very clear reaction: the reactions in networks were “mixed”. In other words: admirable for those who love layering, less comfortable for those looking for a straightforward, catchy chorus.
Away from the “easy”: Some commentators warn that the song may be difficult to assimilate for the general public or for listeners who were expecting something more direct. The turn towards the baroque, the orchestral, the symbolic, could alienate fans more accustomed to the Rosalía of urban hits.
Disconcert and polarization: Right from the start, the reaction in networks is varied, with surprise and even bewilderment, which implies that the topic is not only designed for immediate consumption, but also to generate reflection or divisions, which may work against it in terms of mass dissemination.
Risk of over-performance or gimmickry: When the staging is so elaborate, there is a risk that the staging will be valued more than the song itself, or that it will be perceived as too “elevated” for what is expected of contemporary pop.
🎯 Why does this release matter?
“Berghain” marks (or at least announces) a new chapter for Rosalía. Not so much a simple single for the charts, but an act of presentation of an album that is intuited as a major artistic project. That’s why critics not only value the song itself, but what she represents: an artist who reinvents herself, who puts her legacy and identity on the line, and who is not afraid to divide.
For LoffMusic readers, this moment is not just about a song but about a gesture: do you accept the challenge of accompanying Rosalía on this new odyssey or do you prefer the Rosalía you already knew? What is clear is that “Berghain” is not comfortable, and perhaps that is its greatest virtue.
Keys to listen to “Berghain” as a critic
1. Language as a symbol
Listen to how German, Spanish and English intersect… as if Rosalía were setting up a cultural border in the middle of the dance floor.
2. The orchestra as protagonist
Violins and choral voices take the place that in other singles would occupy urban beats. Notice how they mark the emotional rhythm of the song.
3. The bedroom as a scene of chaos
In the video clip: ironing, making the bed, a cow inside the house… the sacred and the everyday fighting for the scene. Domestic gothic costumbrism? Possibly yes.
4. Rosalía doesn’t sing for the radio
Don’t look for an immediate hit, look for the manifesto. This piece seems to be made for the whole album, not for gym playlists.
5. The title as a provocation
“Berghain” evokes Berlin techno, but techno here is more ghost than party. Perhaps the provocation is part of its message: it unsettles, yes, but it makes you think.
https://open.spotify.com/intl-es/album/0avVU24xBfXW7ItE0xtzN2?si=j3Ea5kZmRUSu4x323bpnYA
