If something grand can claim Europe, it is wanting to imitate the United States of America with, unfortunately, poor results. That said, who might care about a Jovanotti CD in a historical moment squeezed between Greece and its wavering leaders and in the boot, a relentless Renzi trampling through everything like a heavy tank? Well, primarily the industry, which, as long as it holds and the web doesn't annihilate it completely, still employs secretaries, sound engineers, arrangers, artistic directors, and, of course, those who deal with words and music: the singer-songwriters. It goes without saying that, within the mentioned categories, there are also intermediate ones - now few - that focus on pure interpretation. Beyond the merely industrial aspect, in the case of Jovanotti in Italy, the fan phenomenon should be evaluated. Jovanotti, for some inexplicable and obscure reason, has, lucky him, a huge following.

Lorenzo Cherubini began to offer himself in the already distant previous millennium to the current one, thanks to the singer-launcher Claudio Cecchetto - a history that risks being found in school textbooks, let's hope not -, as a rapper(?), singer(?), dj(?), in short, there isn't a precise category; yet Lorenzo has held up well in this still-to-be-invented category.

But, to return to the opening of our discussion and quoting Ligabue, after the release of his CD Lorenzo 2015 CC if asked "How's it going out there?", the answer could only be "Well, the work is selling and is followed". Nevertheless, since record production, besides sacrosanct economic results, should - at least in the specific case of singer-songwriters - signal the vibe of a certain historical moment, an attempt will be made to portray the current situation with and through the figure of Jovanotti.

Lorenzo 2015 CC is an excellent work. Well-produced and made with valuable session players. This latter effort shows how far Lorenzo has come: from late paninaro to a singer-songwriter who admires De Gregori and manages, within certain limits, to recreate his spirit. Jovanotti, undoubtedly, has learned to write songs. Especially the textual part has undergone a commendable maturation. The melodies perhaps tend towards a certain ease, but are capable of excellently supporting the words. Singing is not a problem: now few use singing... to sing.

In the spirit of 'to certain politicians correspond certain singers (or cantors)', now some historical pairings will be cited. For example, D'Annunzio with the first Mussolini or, it couldn't be missing, Apicella with Berlusconi. But, in this attempt to interpret politics through songwriting, where could Jovanotti be situated? It is not difficult: with Renzi. On the other hand, arriving at Renzi's support represents an endpoint following the experience with Veltroni, another former brother of a culture detached from a real aim.

To put it bluntly, the titles in Lorenzo 2015 CC themselves testify to a vision of life typically Renzi-style: reassure, encourage. These are the verbs loved by those who govern in general, but especially by those who, having promised so much, find themselves with a Zanichelli to leaf through: just words. To support this thesis, which does not claim to be conclusive but only plausible, here are some titles from this Jovanotti 2015: Pieno di vita, Il mondo è tuo, Non hai visto ancora niente - the latter, forgive the jest, seems like it was phoned in directly by Matteo Renzi while Lorenzo was playing a few chords in C major on the upright piano next to the wall! -.

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