No Vayas a Atender Cuando El Demonio Llama
No Vayas a Atender Cuando El Demonio Llama (transl. You Better Not Answer When the Devil Calls) is the sixth studio album by Argentine singer Lali. It was released on 29 April 2025 by Sony Music Argentina. The album was mostly written in collaboration with Martín D'Agosto and Mauro De Tommaso—both of whom previously worked on her 2023 album Lali—and also features contributions from BB Asul, Juan Giménez Kuj, Don Barreto, and others. Production was led by De Tommaso and Barreto. Musically, the album marks a departure from Lali's earlier work, embracing a sound rooted in rock, pop-rock, and electropop, with influences from alternative rock, punk rock, pop-punk, and disco. The album was met with critical acclaim, praised for its production, introspective songwriting, and Lali's foray into rock music. It has been described as her most personal and authentic work to date. Commercially, the album debuted at number one in Argentina, becoming Lali's sixth chart-topping release in the country. Six tracks from the album entered the Billboard Argentina Hot 100, along with an additional collaboration, giving her seven simultaneous entries on the chart. To support the release, Lali is scheduled to embark on the Lali Tour 2025, with initial shows in Argentina and subsequent performances scheduled across Latin America and Europe. BackgroundIn April 2023, Lali gave an interview to El País in which she discussed the production of her self-titled fifth album. She highlighted the closing track "Sola", recorded in Uruguay, describing it as an "outro" and hinting that it offered a glimpse into the sound she would explore in the future.[1] That same year, she embarked on the Lali Tour, performing across multiple countries with a particular focus on European festivals.[2] In a July interview with Shangay, Lali revealed she was working on a new album, drawing inspiration from "timeless classics" and the sounds of the 1980s and 1990s, citing artists like Donna Summer and Cher. She sought to capture elements of disco music and a sense of grandeur.[3] For the project, she reunited with Mauro De Tommaso and Martín D'Agosto, her previous collaborators. Although the initial sessions leaned toward a more irreverent sound, the team ultimately chose to blend Argentine rock with the signature pop style that defined Lali's music, marking a shift from their original sonic direction.[4] In May 2024, Lali was invited by Cachorro López of Los Abuelos de la Nada to collaborate on a reimagined version of their 1983 song "Mil Horas". When asked by TMH about the seventies-inspired music video, Lali discussed the direction she wanted to take with the album: "[The clip] ties in with a look and a musical exploration that wasn't initially planned, but it amazingly fits with the album I'm working on. This album is deeply rooted in the essence of Argentine rock. Even though I usually make pop music with electronic and dance influences, in this sixth album, we're incorporating sounds and elements from the seventies and eighties."[5] In another interview, Lali was asked what Argentine rock meant to her as a pop artist, to which she replied: "For me, rock is the essence of being Argentine. It's more than just a musical genre; it's how we Argentines connect with each other. It's my bond with my friends, my mom, and myself. Whenever I choose what to listen to, I always go for what touches my soul the most—our national rock artists and certain songs that feel like a refuge when things get crazy or when I want to feel something deeply again," and added: "I'm working on my sixth album, which has a strong identity rooted in national rock. Although I'm a pop artist, I think the genre I work in is very generous because it allows for a lot of openness. It lets me bring in elements from other genres, whether it's electronic or rock—it gives me a lot of freedom to experiment".[6] Prior to its release, the album was featured on Rolling Stone's '15 Latin Albums We Can't Wait to Hear in 2025' list, which highlighted the year's most highly anticipated releases. The article noted that "after speaking out against President Javier Milei's rampant homophobia and class warfare, [Lali] harnessed the fiery political roots of rock nacional for the mocking, Pink-ish anthems "Fanático" and "No Me Importa"." It also mentioned that "recent guest spots on records from Dillom and Ca7riel & Paco Amoroso [had] fans salivating for Internet-breaking cameos." Additionally, it was said that among Argentina's "fleet of glitzy pop stars", Lali reigned as the "people's princess".[7] Artistic directionTitle and conceptIn an interview with Vogue, the album's creative director, Pablo Cerezo, explained that the concept revolved around defying expectations and embracing a rebellious attitude.[8] According to Cerezo, the decision to choose a long title was intentional, as it resisted easy adaptation into a hashtag. In a separate interview, Lali offered her own interpretation of the title, noting its double meaning. She explained that it can be understood either as a warning against confronting something negative or, ironically, as an invitation to face challenges. For Lali, both interpretations carry value, as confronting difficulties can contribute to personal growth.[9] ArtworkThe standard edition of the album, under the creative direction of Pablo Cerezo, features a provocative image of the singer. The cover shows a close-up of Lali's toned abdomen, wearing jeans and a leather belt with a central metal circle engraved with the album title and a star-shaped symbol.[10][11] This symbol is a reinterpretation of the Sigil of Baphomet's inverted pentagram, modified to resemble a star with one less point. When deconstructed, it forms the word "Lali".[12] The image also reveals a black fishnet bra with cutouts and rhinestones, matching the sparkling side straps of her underwear. The back cover follows the same aesthetic, showing a photo of the singer from behind, with the tracklist printed on a small patch on her jeans.[13][14] This is Lali's first studio album not to feature her face on the cover.[15] Regarding this choice, Cerezo explained in an interview that "not showing her face is a rebellious act; today the industry demands the artist's face to sell, [so that's why] we decided to show Lali's torso instead of her face".[8] The album art has been the subject of analysis in various specialized media. Both Diego Mancusi from Rolling Stone and Julieta Otero from Vogue highlighted its visual influences. Mancusi noted that the artwork subtly references the cover of Madonna's Like a Prayer (1989), while Otero pointed to similarities with Sticky Fingers (1971) by The Rolling Stones and also Like a Prayer, emphasizing the pop and sensual details that reminisce of the latter.[12][8] Joaquín Bahamonde from Infobae also observed that the star symbol evokes Madonna's aesthetic and commented that "it shows how the singer appropriates elements of pop culture to redefine and adapt them to her own vision".[16] Critical reception
The album received widespread acclaim from music critics, many of whom praised its bold artistic direction and sonic maturity. Sebastián Espósito of La Nación called it Lali's most mature and personal album to date, describing it as "her most Lali record" and portraying her as "witty, sensual, and fun".[17] He also pointed to influences from Charly García and highlighted what he termed a "saynomorean energy" throughout the tracklist. Similarly, Lucas Terrazas of Infobae described it as "an album with a powerful sonic identity and lyrics that explore the dark, the sensual, and the uncomfortable without filters", with "33" standing out as a highlight.[18] Other reviewers echoed these sentiments. Brenda Petrone Veliz of La Voz del Interior emphasized the 1980s-inspired sound and national rock influences, noting a production that is "acidic, ironic, uncomfortable, and bold".[19] Marcelo Fernández Bitar from Clarín observed a shift in sound and attitude, with pop taking on a more rock-influenced and rebellious edge,[20] while David Guillán of Tiempo Argentino praised the mix of electronic and pop elements, the "explosive collaborations", and the album's underlying message of resistance.[21] For Jota B. Ponsone of Página 12, the project reveals Lali's artistic maturity, calling it her strongest effort in terms of music, lyrics, and composition.[22] The album's ambition and cohesiveness were also widely recognized. Yanet Ingravallo of TN saw it as a "challenging" turning point in Lali's career,[23] while Lucía Riva Palacio Smith of Rolling Stone noted that the collaborations enhance its personality and praised the three interludes as key components.[24] Priscila Bertozzi from Latin Pop Brasil went as far as to call it "the masterpiece of her career".[25] Rocío Pascal of RedBoing highlighted how Lali "reveals her most human side", describing the album as "a personal diary disguised as pop music".[26] Lourdes Maidana of Indie Club praised the album's concept and the musicians' contributions, which she said bring "a fresh and experimental texture" that "breaks every structure within her musical world and reinvents itself".[27] Macarena Liguori from Vía País emphasized the fusion of genres, from pop to rock, noting that each track contributes to a cohesive, energetic identity.[28] Likewise, Samantha Plaza Monroy of Big Bang News concluded that the album affirms freedom, celebrates friendship, and reconnects with Argentine musical roots while promoting collective joy and resistance.[29] Although most of the reception was positive, a few critics offered more tempered views. Celine Albornoz from Diario Río Negro acknowledged the creative risks taken and called it Lali's best album to date, though she pointed out imperfections in tracks like "Plástico", "Tu Novia II", and "No Me Importa", which, in her view, don't seriously compromise the whole.[30] More critically, Noelia Maldonado from La Voz del Interior applauded Lali's work ethic and ambition but felt the album sometimes leans too heavily on predictable or familiar formulas, especially within a national context rich in rock heritage and innovation.[31] Commercial performanceIn Argentina, No Vayas a Atender Cuando El Demonio Llama debuted directly at number one on the Argentine Albums chart within just two days of tracking, marking the sixth time Lali had achieved this position with an album.[32] The album went on two spend three consecutive weeks at number one. It also caused a notable resurgence of her fifth studio album, Lali (2023), which re-entered the chart at number four. The album had spend six consecutive weeks at number one upon release in 2023.[33] Following its release, No Vayas a Atender Cuando El Demonio Llama had a significant impact on the singles charts, with six songs entering the Billboard Argentina Hot 100.[34] Additionally, the reimagined version of Turf's "Loco Un Poco" experienced a rise of eleven positions compared to the previous week. causing Lali to have a total of seven songs simultaneously on the chart, marking a major achievement in her career.[35] Track listingTrack listing adapted from Spotify and Tidal. All tracks were produced by Mauro De Tommaso and Don Barreto except where noted.[36][37][38]
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