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Rating: More than twenty years have passed since the last time I had the opportunity to appreciate Giovanni Lindo live: back then he sat motionless on the stage, almost hunched over himself. Since then I can't say I've followed with meticulous attention the artistic endeavors that followed the end of the Consorzio Suonatori Indipendenti. What I have superficially listened to from PGR has left me essentially indifferent; I vaguely remember (very vaguely) something from the "electronic" project Co.Dex: but centuries have passed since then. I know practically nothing about the more recent literary-equestrian phase.
Yet when I heard about his solo presence at the Du Fest in Bauladu, I felt the urge to be there.
I expected, as sometimes happens on these occasions, a sparse turnout of humanoids: the usual nostalgic aficionados and the old relics, shriveled like myself, drawn more by the unforgettable memory of what once was.
I was wrong. As always.
The open-air amphitheater is instead filled to the brim: an impressive crowd on the basalt stands of the semicircle, clinging to the paninis with sartizzu generously distributed (for a price) in the side streets, lots of people standing both under the stage and everywhere else. Maybe they are all(*) here for the "vegan" sandwiches.
But there's really too many people!
A terrible doubt begins to assault me; but isn't it possible that in my confused wandering among the villages in central Sardinia I've come to the wrong place?
Maybe the great Artist Gabbani is singing here; in the previous days, I had seen his posters while traveling the battered insular roads.
Or maybe the big ape is performing: which would already be a big step forward.
I check the ticket.
No.
It clearly says Du fest: Giovanni Lindo Ferretti, Bauladu, Anfiteatro Comunale 07-08-2017. 9:30 PM.
It really seems like they are all here for Him: and not all of them are relics from the Quaternary era like myself.
The concert begins quietly with the gentle "Brace" (CSI) followed by "Inch'Allah, ça va" (CCCP) and the more recent "Pons Tremolans", outlining what will be the thread of the entire evening: a jagged and wavering reinterpretation of the different phases of the Ferrettian artistic universe.
The first aspect that catches the eye, and especially the ear, is that Ferretti is incredibly lively: at least compared to my bleak memories; between one piece and another (but also between one verse and another) he smokes like a (smoker) Turk, singing standing up, I dare say excellently, for almost two hours of concert.
Instrumentally he is accompanied by two longtime friends, Ezio Bonicelli and Luca Rossi, already known for having served in Ustmamò, who perfectly support him at a instrumental level in retracing quite diversified excerpts of his wide musical background: violin, electric bass, guitar more or less grated with added pre-recorded percussive tracks are the arsenal that serves as the sound material for the extensive reinterpretations set up by our maestro.
Many pieces of authentic history of our artist are brought back to life, under a new light and different angles (Deo Gratias); the oldest extracts branded CCCP turn out to be decidedly the most appreciated by the audience: the revisitation of "Curami", "Annarella", and the elusive "Tomorrow" by/with Amanda Lear above all.
There are also many excursions into the less mainstream CSI period (a particularly intimate version of "Cupe Vampe") which are received with great satisfaction by the onlookers.
The few tracks extracted from our artist's latest productions are perhaps the ones that receive less favor from the public: not so much for the lack of intrinsic quality (excellent "Ombra Brada") but for the very nature of the tracks, not too inclined to mere epidermal and visceral involvement.
At the end of the concert, after a short monologue about the current miserable condition of all humanity that I didn't quite decipher, Giovanni kindly complimented the front rows of the audience for being so "in tune" and synchronized in following the concert in karaoke mode.
Many applauded happily. Personally, I had the feeling that he was openly making fun of them.
Great Giovanni Lindo.
(*)
The only ones present who did not attend the concert were two Carabinieri who continuously went up and down from the powerful vehicle provided by the
Ministry of Defense: parked on the side of the stage, they activated and deactivated the respective alarm remote control with an attached admirable bright flickering.
At one point I thought they were part of the visual part of the concert: then they shouldn't complain if people take them for a ride.
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