Baraldi, Canali, Magnelli, Maroccolo, Zamboni
Ciò Che Non Deve Accadere Accade Tour @ Arci Bitte, Segrate (MI), 21.09.13

LA RECENSIONE

This 2013 marks the return of important years. If the reunion of the historic Litfiba in spring had already sold out virtually everywhere, another noteworthy event, though less "hyped," is the return to the stage after fifteen years of some of the protagonists of what was the Consorzio Suonatori Indipendenti, a historic group of independent rock from the nineties. A more mature and complete reincarnation of the always splendid CCCP Fedeli alla Linea, the group was the author of at least two albums, "Ko de Mondo" (1994) and "Linea Gotica" (1996), which helped write important pages of this country's music.

The rapprochement between the four had already occurred some time ago and in different contexts, first with the various dates of "30 Anni di Ortodossia," a tour in which Zamboni retraced his long career, and then with the staging of "Il Fantasma dell'Opera," a scoring of the well-known silent film that had long been left in a drawer. Less discussed than the other reunion of the year, as already mentioned, also due to the fact that, first of all, the name on the poster is not that of CSI, and on the other hand neither Ginevra Di Marco nor Giovanni Lindo Ferretti are part of the show. "It's not a band reunion; it's four friends getting together to play their repertoire." Clear and simple.

The Bitte in Milan, an Arci near Segrate, starts filling up already by late evening, and frankly, it doesn't make sense to make the concert start at midnight, with the venue already full for an hour. Kids and teenagers are not present; the audience is largely composed of forty-year-olds, people who, in the "glorious times," were twenty-five years old or so, and it's unclear whether to see it as a gathering of old friends meeting after a long time, above and below a stage, or as yet another night for nostalgic veterans past their prime. With a music industry in a deep coma for at least ten years and new generations rarely having anything significant to say, it seems that revival is the only solution, with endless "comebacks of legends," but unfortunately, often among these, there are also groups that were already considered second or third tier back in the day. A different story tonight, which at the very least, does not feature grandiose names on the poster except those of the protagonists and their artistic stories and right from the start aims to be a "soft" and relaxed event, without creating any sort of "it will be the last time" expectation. Angela Baraldi, given her artistic experience both with Zamboni and Canali, is perhaps the only one capable of being on stage without making one miss the Ferretti of better times all that much, and by now these forays into CCCP/CSI territory have become a bit hers as well. The sound, recognizable from the first note, is the same from the initial "A Tratti," and there is no need to overturn or retouch pieces already perfect from the start. "We're all here for the same reason, to be here," Zamboni wryly says from the stage, immediately making it clear that there is no more room for old grudges. Maroccolo is, as usual, smiling, Magnelli is sitting behind his magnellophons, and Canali perfectly counterbalances Zamboni's sound. The setlist, once finished on paper, will continue by acclamation, perfectly summarizing the artistic journey of the four, from the legendary "Epica Etica Etnica Pathos" to "Tabula Rasa Elettrificata," that album which unexpectedly propelled CSI to the top of the charts in the summer of '97.

"Maciste contro Tutti," "Finisterre," "Cupe Vampe," "Irata," "In Viaggio," the songs unfold seamlessly, in a crescendo that is frankly impressive, not only in observing how, unfortunately, it's been a long time since such a concert has been witnessed, but also in seeing/hearing how songs that now have more than twenty years behind them have not aged at all, in fact, they seem extremely relevant, both in terms of sound and lyrics. Several reflections could be made, for example, noting how the gentlemen in question have aged much better than their colleagues or how heavy albums like "Linea Gotica" have not lost an ounce of their charm, true pieces of musical craftsmanship which thankfully does not seem to have been completely lost. "Emilia Paranoica" wasn't even on the setlist, but in the end, it was played just the same, as was "M'importa 'na sega," loudly requested. It would be appreciated if this tour ended up on a CD; a testimony of these nights would be pleasing. And in the end, considering the depth of the various solo experiences of the people involved, one wonders if, perhaps under a new name, a return to the studio might be possible for the four, continuing a musical and human story started more than thirty years ago.

Setlist: