The tour stage is composed of a white cyclorama and two vertical 7,5x9 meter, 4,8mm pitch screens on both sides that accompany a 20-meter-long runway (only in shows performed in indoor arenas) that loops around an audience pit.

Nuria Net from Rolling Stone gave the first show at Madrid a positive review, stating that "On this Motomami Tour, it's all about minimalism and showcaszing her raw talent, but it's also loud and eclectic.

Writing for El País, Fernando Neira wrote a controversial paper about the same show, in which he questioned the "camera-focused" type of spectacle by calling Rosalía a "walking selfie" performing a "televised karaoke" while also talking poorly about the record.

Maura Johnston from The Boston Globe, who attended the tour's first stop in the United States, called Rosalía's set a "wildly energetic, yet utterly human" one that "proved that she's a pop force in full command of herself to be reckoned with, and that she's only beginning to write her legacy".

Calling Rosalía "a polyglot with a paralyzing voice" performing a "syncretic masterstroke" record by "positing her curiosity as tenacity, her meticulousness as virtuosity", Richards described the show as "hyperreal" stating that "this wasn't your everyday information-age maximalist popstuff.

[24] About the shows in California, Riff and USD The Guardian called it "a solid representation of the cathartic soundscape of the album, where the songs slam back and forth between chaos and calm, old and new, rigid and soft, much like the nature of her artistry".

Metro called Rosalía "music's greatest living collagists" as "a textural auteur who appears to fold in every sound and taste, culture and country she's ever experienced into her own extremely complicated and dynamic universe.

[30][31] Charles Ravens wrote for The Guardian that Rosalía is "pop's fearless queen" conjuring "a kaleidoscopic paradise" and compared her to "Frank Ocean with twice as hits", "Björk with dance routines" and "Kanye West with a personality transplant".

[32] The solo tour stops were attended by many celebrities and public personalities such as Queen Letizia, Frank Ocean, M.I.A, Drake, Dua Lipa, Pedro Pascal, Robert Pattinson, Kylie Jenner, Kendall Jenner, Bella Hadid, Shawn Mendes, Pedro Almodóvar, Rossy de Palma, Suki Waterhouse, Emily Ratajkowski, Danna Paola, Zara Larsson, Julieta Venegas, Angèle, Simon Jacquemus, Nicki Nicole, Addison Rae, Estopa, Pabllo Vittar, Ludmilla, Carlos Cuevas, Amaia, Tokischa, Carminho and Rauw Alejandro.

[33][34] As the audience enters the venue before the start of the show, a progressive Bic pen drawing inspired by the Motomami artwork is projected on the stage while a playlist of selected songs plays in the background, including "Another Brick in the Wall, Part 2" by Pink Floyd, "Obsesión" by Aventura, "Fiebre" by Bad Gyal, "Loco por Perrearte (Remix)" by De La Ghetto and Rauw Alejandro, among others.

An extended solo version of lead single "La Fama" similar to the one used in her performance on Saturday Night Live, starts playing while Rosalía puts on a pair of sunglasses.

In this is heavily choreographed performance, the lateral screens show direct images from the stage through mobile cameras handed by dancers Jaxon Willard and Stanley Glover.

Rosalía walks down to the public with yet another mobile camera during "La Noche de Anoche", encouraging her followers to sing the track on her microphone while live recording them.

Rosalía whistles and plays a black classical piano during "Hentai" while the main screen projects a green landscape similar to Charles O'Rear's Bliss, that slowly sees sunset, followed by a shortened version of "Pienso en tu Mirá".

A twenty-meter-long black skirt "wraps" the singer's waist during a revamped electric and Spanish guitar-driven performance of "De Plata", the only song of her debut album Los Ángeles to be included in the setlist.

The show smoothly transitions to a purple reggaeton party that starts the remixed version of Sech's "Relación" and is followed by the Travis Scott collaboration "TKN", incorporating elements of Lorna's "Papi Chulo".

Rosalía brings approximately twenty fans on stage to dance along to "Yo x Ti, Tu x Mi" and "Gasolina" by Daddy Yankee before singing a shortened version of "Despechá".

Rosalia sings about vulnerability and her struggles with fame and paparazzi on "Aislamiento" which eventually collapses in synthesizers and transitions to the remixed version of the Weeknd's "Blinding Lights", followed by "Chiri".

"LAX", in which Rosalía sings about her fears of stardom, serves as the show's first and only interlude, with its lyrics written by a Bic pen being projected on the central screen as they're sung.

After a few minutes, the encore begins with the dancers riding scooters as the first chords of "Chicken Teriyaki" start playing, after which pianist Llorenç Barceló comes onstage during "Sakura", which Rosalía sings in an almost theatrical way.

The song "ハピネス" by Japanese musician Sekitō Shigeo is played over the public address system as the audience leaves the venue; the recording is an instrumental version of "Happiness is Me and You" by Gilbert O'Sullivan.