tó. @to__silva - Twitter Profile

tó. @to__silva

10 days ago

@DanielaFRusso JURO!!!

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AI, QUE PARVO! @aiqueparvo

15 days ago

paguei a renda.

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tó. @to__silva

28 days ago

Acabei de ficar sem psicóloga :(

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tó. @to__silva

28 days ago

Ando louco atrás disto! É do IKEA mas foi uma coleção cápsula, já não há. Se alguém tiver e quiser vender estou aberto a negociações!

to__silva's tweet photo. Ando louco atrás disto! É do IKEA mas foi uma coleção cápsula, já não há. Se alguém tiver e quiser vender estou aberto a negociações! https://t.co/kQC5lFfoi0

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Who to follow

serradas

@leonardoserrada

o rapaz do elétrico 28 (não sou carteirista, pickpocket ou pica)

𓆙

@j0r0cha

i'm jack, if u please - aspiring trophy husband - senior political analyst - i make my own cheese, sometimes on purpose

oʇıᴎǝq∩ᴚ 🦋

@bflyruben

Mariah, Wanda and Darcy stan account | bflyr.uben on ig

to__silva retweeted

Ainhoa Ibáñez 🇪🇺 @ainhoaibanez_

2 months ago

Hasta hace apenas dos años, esta era la mejor semana del año. Era la semana de #Eurovision. Pasábamos muchísimas horas viendo la alfombra roja, los ensayos, las galas, etc… Todo eso nos lo han quitado, y, sinceramente, tengo miedo de que ya no vuelva a ser lo mismo nunca más.

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Cláudio 🧸

@woof_ah

2 months ago

Electra Heart is still relevant to me in 2026 btw

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tó. @to__silva

2 months ago

@woof_ah Same!

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sam 🌊

@tkowdeluxe

3 months ago

dua and tame impala are such an iconic duo

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ROSALÍA UPDATE

@updaterosalia

3 months ago

The renowned British newspaper The Guardian gave five stars to the LUX TOUR: “Wrapped in a vast white sheet, Rosalía is telling the audience a story about her youthful dreams of performing in London, undaunted by the fact that her English is, as she puts it “a little bit rat-a-tah”. It turns out her real ambition was to sing at the Royal Albert Hall – “which I’ve never done” – but no matter: “I have sold out two nights at the O2!” she cries triumphantly. “Crazy, crazy,” she adds, shaking her head. You can understand the Catalan singer’s surprise. We are supposed to live in a hopelessly risk-averse era for pop, where what audiences are deemed to want is more of the same. While you might have expected her fourth album, Lux, to be greeted with critical hosannahs, the fact that she’s managed to fill one of the UK’s biggest venues twice off the back of a song cycle based on the lives of various female saints, sung in 13 different languages, and set to music that conjoined lavish orchestration with leftfield electronica – and provoked a debate about whether the results should be filed under classical rather than pop – seems pretty improbable. And yet the place is packed, with an audience noticeably older – and, it has to be said, more audibly Spanish – than you’d get at your average arena-sized pop extravaganza, although just as prone to pop fan behaviour: there are a lot of people who’ve referenced both Rosalía’s nationality and Lux’s religious theme by accessorising their outfits with mantillas, just as Gracie Abrams stans show their devotion by arriving at her gigs wearing the singer’s trademark bow in their hair. If it all feels a little unexpected given Lux’s challenging contents, their devotion starts making sense the minute Rosalía appears, from within a giant wooden box, dressed as a ballerina, with the lyrics to her songs surtitled in English above the stage. It turns out she can sing while en pointe, which is no mean feat, but more striking still is how extraordinary she sounds. What’s happening is beautifully staged and frequently seems to have been choreographed down to the last muscle twitch: her performance of La Perla, on a blacked-out stage, with her dancers’ white-gloved hands alternately covering her bottom half like a dress or forming a frame around her, is both visually stunning, and weirdly simple, devoid of the kind of hi-tech effects on which pop shows rely. It’s remarkably visceral experience, partly down to the fact that the disruptive electronic elements of the songs’ arrangements bombard the audience at astonishing volume – you can literally feel them in your ribcage – but mostly down to Rosalía’s voice. It’s not so much her way with an operatic flourish or ability to hit a high B flat, impressive though that is, but how emotionally powerful her vocals are: all the virtuosity in the world can’t account for her ability to break your heart with the fragility of Divinize or to send it soaring with the climax of Mio Cristo Piange Diamanti. With its references to 10th-century saints and 20th century philosopher Simone Weil, Lux was an album that invited people to take it very seriously indeed – critics were only too happy to oblige – but the show itself is far wittier and more entertaining than you might expect, given the furrowed-brow reception it provoked. Between songs, Rosalía cuts a noticeably funnier and more raucous figure than the woman earnestly quoting Roland Barthes to interviewers: she demands the crowd stop being so reverential, guzzles a glass of wine before Sauvignon Blanc, attempts a British accent, and dances when she shifts into songs from 2022’s reggaeton-fuelled Motomami.. Lola Young makes a guest appearance, not to sing, but to appear in a mock-confessional, telling Rosalía an extended story about sleeping with a man she subsequently discovered was married with a child (“what a piece of shit,” nods Rosalía sympathetically) +

updaterosalia's tweet photo. The renowned British newspaper The Guardian gave five stars to the LUX TOUR:

“Wrapped in a vast white sheet, Rosalía is telling the audience a story about her youthful dreams of performing in London, undaunted by the fact that her English is, as she puts it “a little bit rat-a-tah”. It turns out her real ambition was to sing at the Royal Albert Hall – “which I’ve never done” – but no matter: “I have sold out two nights at the O2!” she cries triumphantly. “Crazy, crazy,” she adds, shaking her head.

You can understand the Catalan singer’s surprise. We are supposed to live in a hopelessly risk-averse era for pop, where what audiences are deemed to want is more of the same. While you might have expected her fourth album, Lux, to be greeted with critical hosannahs, the fact that she’s managed to fill one of the UK’s biggest venues twice off the back of a song cycle based on the lives of various female saints, sung in 13 different languages, and set to music that conjoined lavish orchestration with leftfield electronica – and provoked a debate about whether the results should be filed under classical rather than pop – seems pretty improbable.

And yet the place is packed, with an audience noticeably older – and, it has to be said, more audibly Spanish – than you’d get at your average arena-sized pop extravaganza, although just as prone to pop fan behaviour: there are a lot of people who’ve referenced both Rosalía’s nationality and Lux’s religious theme by accessorising their outfits with mantillas, just as Gracie Abrams stans show their devotion by arriving at her gigs wearing the singer’s trademark bow in their hair.

If it all feels a little unexpected given Lux’s challenging contents, their devotion starts making sense the minute Rosalía appears, from within a giant wooden box, dressed as a ballerina, with the lyrics to her songs surtitled in English above the stage. It turns out she can sing while en pointe, which is no mean feat, but more striking still is how extraordinary she sounds. What’s happening is beautifully staged and frequently seems to have been choreographed down to the last muscle twitch: her performance of La Perla, on a blacked-out stage, with her dancers’ white-gloved hands alternately covering her bottom half like a dress or forming a frame around her, is both visually stunning, and weirdly simple, devoid of the kind of hi-tech effects on which pop shows rely.
It’s remarkably visceral experience, partly down to the fact that the disruptive electronic elements of the songs’ arrangements bombard the audience at astonishing volume – you can literally feel them in your ribcage – but mostly down to Rosalía’s voice. It’s not so much her way with an operatic flourish or ability to hit a high B flat, impressive though that is, but how emotionally powerful her vocals are: all the virtuosity in the world can’t account for her ability to break your heart with the fragility of Divinize or to send it soaring with the climax of Mio Cristo Piange Diamanti.

With its references to 10th-century saints and 20th century philosopher Simone Weil, Lux was an album that invited people to take it very seriously indeed – critics were only too happy to oblige – but the show itself is far wittier and more entertaining than you might expect, given the furrowed-brow reception it provoked. Between songs, Rosalía cuts a noticeably funnier and more raucous figure than the woman earnestly quoting Roland Barthes to interviewers: she demands the crowd stop being so reverential, guzzles a glass of wine before Sauvignon Blanc, attempts a British accent, and dances when she shifts into songs from 2022’s reggaeton-fuelled Motomami.. Lola Young makes a guest appearance, not to sing, but to appear in a mock-confessional, telling Rosalía an extended story about sleeping with a man she subsequently discovered was married with a child (“what a piece of shit,” nods Rosalía sympathetically) +

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Wandson Lisboa @wandson

3 months ago

nossa tânia já chegou ao #metgala

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tó. @to__silva

3 months ago

@badgalxrosi @showando Lugar em pé é lugar em pé, ninguém é obrigado a sentar-se, e é mentira que este concerto é só bom para ver sentado, vi em Lisboa e há partes em que dá para dançar muito!

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