Rosalia

Guajira, colombiana, milonga, rumba - all these styles are flamenco. They're part of the musical tradition in my country, and they are in Latin America too.

I'm always loyal to how I understand music, how I want to present myself, how I understand my job.

My favorite flamenco singers, they're not trying to look pretty. They're trying to put truth in what they do, in the way they express themselves. Sometimes that's not beauty, but it's beautiful.

I know that I will age making music, and I want to see how my music changes with the years.

I started from zero. Nobody in my family is connected to the industry. Not a single contact in the music industry or in the entertainment industry.

I have no prejudice about which music is better. I listen to Vivaldi. I like Nick Cave. I love Travis Scott, James Blake, Lola Flores. Music can serve many functions. And so I listen to everything!

I'm going to have to keep fighting until I find the same number of women in the studio as there are men.

I respect the flamenco tradition.

During isolation, one can bring a different approach to the creative process.

I see really long nails as a form of extreme, radical femininity. They make me feel strong.

There's this kind of pressure to be creative or busy most of the time, with lots of activities and progress, and I'm trying to run from that.

As a teenager, I remember Missy Elliot: seeing how she carried herself, made her music, and presented herself as an artist. That strength inspired me. If my work can do the same for others, I feel very grateful and proud of that.

In the end I always think that making music is about sharing. That is the main goal.

I have so many references in my head - flamenco, classical, Latin, too many. I come in and put it all on the table, with no prejudice, and just start working, working, working.

When an artist becomes pop, it's because the people choose it. Yes, you can have that dream to be a big pop star, but it's the audience that puts you in that position. I never had a paid marketing campaign, it was never like that.

I wanted to have absolute control over my music - from the chords and the voicings of the songs to the arrangements and the production.

The more people I can reach with my work, the happier I am, but I'm not going to stop making the music I want to, just because I'm looking for a specific response.

I can't control anything that happens after the creative process because after that it's not yours anymore, it's everyone else's.

There's never a sound that I think I can't use in my music.

I was never in a hurry to make my first album. I knew I wouldn't do it until I knew exactly what I wanted it to be.