Canadian writer Anne Carson, whom Jules Reidy has cited as their favorite essayist, recently penned an intriguing review of a Rosalía concert. It’s a fish-out-of-water debrief from a critic skeptical of the singer’s use of spectacular “pop-song procedure” to upscale the emotions of flamenco. But her critique is not in bad faith: Carson rigorously investigates how the Catalan singer’s stage presence — as a hyper-stylized, quasi-religious vessel for ecstatic attention — commands her audience. The essay evaluates an artist’s methodology for contacting and channeling the divine, and a similar curiosity can be found in Reidy’s work. The Berlin-based guitarist seems to anatomize their own music, using complex tuning systems and a patient, cerebral…

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