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Rating: Kama. They are called Kama and are led by a short, stocky guy wielding an acoustic guitar with a picture of Bruno Lauzi (!) on the body. A lanky bassist with a thick tuft of curls on his head, punk-style grip. A trendy guitarist/keyboardist with a jacket and a slim second guitarist hidden behind the right speakers. In short, a band because they play together, otherwise they would have been said to be "the first five we randomly managed to gather at the record company". Their music seems to wink at negramarismo – mambassismo. Catchy, but they don't quite capture my attention.
About eight or nine songs have passed, with the audience diligent and applauding as expected, when it's time for the headliners and a Pipitone wrapped in a woolen headdress comes on stage (he will remove it at the beginning of the concert) and a Paolini loaded with various cymbals for the drum change. Several minutes of traffic with the tools of the trade, then the drumroll, and here we goo ladies and gentlemen. Circus Marta sui Tubi. It's the first time I'm enjoying them at length. They go through their entire mixed discography, starting with the playful "Via Dante" (of which they don't forgo performing the BobbySolesque part), then bouncing between new and old albums, with the impertinence of a group of mischievous elves. Gulino, king of effects. Or rather, a despot. When he decides some strange noise is needed, well, there it is, even if one might have preferred something else. As for me, I'm so convinced of the quality of his voice, especially live, that I would take that damned console full of knobs away from him. A song like "Sole", for example, is performed with the voice broken into a thousand reverbs, losing a bit of the simple simple structure that convinced me in "Muscoli e dei". Or again, the "advertising" phase in "L'Amaro Amore": the words are stretched and distorted and incongruously lie on the wild instrumental fabric, creating a confused effect (even too much, to be honest) and going in the opposite direction to what was seen in "C’è gente che deve dormire". Then the "cantautoriale live" trend: speeding up the vocals in the verses. It stretches a bit on all the pieces, and I'm not so convinced. In contrast to the rest, I let you imagine what could happen in the case of "Il giorno del mio compleanno" in fast forward: an absurd tongue twister, almost inhuman. Extremely fun. Always nice "Vecchi Difetti" (with the "telegraph" effect diligently reproduced), "L’equilibrista" (almost a statement of intent and poetics of the duo/trio), the Spanish-flavored "Muscoli e Dei" (no accompanying coins this time), the quirky (and legendary) "Stitichezza Cronica". For "Post", just one note: the intro, which is a "recited" piece by Gulino. Frankly quite useless, but de gustibus.
Of course, MST talk to the audience, as befits these occasions. They are funny, joke a lot with each other, and throw in a few quips that land on the laughter of those present (okay, maybe the banal "Roma alla vaccinara" could have been spared us, Mr. Gulino). What often attracts attention is Paolini. A madman: practically the union between Liam Neeson and Gollum. His disco break with a twirled stick in the middle of "Stitichezza cronica" is funny, or the mock angry and hoarsely shouted interruption for the need for alcoholic fuel.
Okay, it's time to sum up: I love MST. But perhaps precisely because of this, the concert only pleased me halfway: pieces I would have happily listened to stripped down and "pure" in a little room were enhanced and harnessed in "other sounds", without there really being a need for it. It was as if at times the tendency to overdo things took hold of them (quite like the "mischievous elves" mentioned above). Credit to the audience: many guys next to me knew the songs by heart (since it's about MST and not Afterhours, it quite surprised me), not failing to participate with enthusiasm. And surely, when everyone sings in chorus the wild (and crazy) cut-up of "Stitichezza Cronica", it's a show within a show.
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