No Vayas a Atender Cuando el Demonio Llama () 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. It went on to spend a record-breaking ten weeks at number one on the chart and become the best-selling Argentine album of 2025. Upon release, six tracks from the album entered the Billboard Argentina Hot 100 simultaneously, along with an additional collaboration.
To support the release, Lali embarked on the Lali Tour 2025, with initial shows in Argentina and subsequent performances scheduled across Latin America and Europe.
Background In 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. That same year, she embarked on the Lali Tour, performing across multiple countries with a particular focus on European festivals.
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. 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.
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."
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".
Prior to its release, the album was featured on Rolling Stones '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".
Artistic direction Title and concept In an interview with Vogue, the album's creative director, Pablo Cerezo, explained that the concept revolved around defying expectations and embracing a rebellious attitude. 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.
Artwork The 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. 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". 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.
This is Lali's first studio album not to feature her face on the cover. 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".
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. 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".
Music and lyrics No Vayas a Atender Cuando el Demonio Llama is a bold, conceptual work that dismantles media narratives, reclaims public identity, and confronts desire, shame, politics, and pop culture with irony and self-awareness. Through its fifteen tracks, Lali navigates personal history and public scrutiny while affirming her own artistic autonomy.
Songs The album opens with "Popstar", a biting satire where Lali adopts a children's TV show tone to mock the exaggerated media image built around her. With sarcastic lines and cartoonish sound effects, she introduces herself as a "pop villain" who amuses fans, irritates haters, and thrives on public contradiction. This playful mood quickly gives way to nostalgia in "Lokura" (), a vivid tribute to Pablo "Locura" Villanueva, her first childhood crush who was a wheelchair-using local legend from her neighborhood. The track blends erotic fascination and innocence, drawing from real memories of growing up in Parque Patricios and anchoring the album in deeply personal territory.
That sense of identity carries into "No Me Importa" (), an empowering anthem in which Lali refuses to bend under public pressure. The song acts as a direct response to political attacks she faced, notably from Argentine president Javier Milei, affirming her right to speak out, evolve, and be unapologetically herself. The next track, "Plástico" (), featuring rapper Duki, expands on this defiance. Here, Lali critiques superficial fame and industry hypocrisy with retro-futurist beats and the key line that gives the album its title: "No vayas a atender cuando el demonio llama". It's a reference to the way society fabricates enemies, turning artists like her into lightning rods for controversy. Both tracks assert that authenticity is more threatening, and more powerful, than any carefully packaged version of celebrity.
"Tu Novia II" () brings back the queer seduction narrative from her 2018 song "Tu Novia", but this time, with more confidence and directness. Lali now addresses a woman directly, declaring her desire without apology, while cleverly nodding to the 2003 song "Y Qué" by Babasónicos and her own past track "2 Son 3". Then comes "Morir de Amor" (), a sweeping, bittersweet ballad featuring vocals by legendary Argentine band Bersuit Vergarabat. The track explores the hesitation of falling in love again after heartbreak, a rare moment of romantic vulnerability that slows down the album's tempo and injects emotional depth.
The energy surges again in "Mejor Que Vos" (), a euphoric collaboration with electropop duo Miranda! that celebrates moving on from a toxic relationship. Framed with playful synths and dramatic flair, the song reframes heartbreak as a moment of triumph. From there, "No Hay Héroes" (), which Lali co-wrote with Julieta Venegas, turns contemplative. It strips away the pop armor to reflect on the ambiguity of life's moral categories, declaring there are no heroes or villains—only people navigating chaos and uncertainty. Its spiritual message ("God is our siblings") resonates as a subtle, secular call for solidarity.
At the album's midpoint, "Sensacional Éxito" () marks a turning point. In this spoken interlude voiced by actor Eduardo Colombo, media clichés about Lali, such as "the ultimate heroine" or "the biggest delinquent ever remembered", are laid bare in absurd hyperbole. It's a parody of how fame distorts, exaggerates, and commodifies, and it cleverly bookends the satirical tone set in the opening track.
From here, the album plunges into themes of eroticism, obsession, and power. "Sexy" is a sultry club track about raw, immediate desire: bodies moving before making it to the bed, heat rising in public, a world where even sex becomes performance. "Fanático" () flips the lens toward the obsessive critic: Lali sings about a man who pretends to dislike her but secretly consumes everything she does. The message is sharp: her enemies are often her biggest fans—and it responds directly to real-life political backlash by turning ridicule into pop currency. The song stood up for directly addressing the dismissive remarks and political persecution led and encouraged by President Milei, framing him as a fan obsessed with her. It was conceived after Fito Páez advised Lali that her battlefield should be her art.
The mood shifts again in "Perdedor" (), a stripped-down breakup song about always betting on the wrong person. Lali's voice takes center stage in this melancholic ballad, reflecting on regret and emotional wear. Then, in "33", she embraces maturity. Collaborating with alt-pop artist Dillom, she contemplates aging, purpose, and loss, rejecting the fear of growing older in favor of clarity and agency. "I used to chase hits", she sings, "now I make classics".