Max Gazzè
Concerto @ Live di Trezzo D'Adda, 2 Dicembre 2005

When the Moog of "Questo forte silenzio," the opening piece of all the concerts of the Tour Raduni 2005, comes in, you can feel the air vibrate in the venue in Brianza. The atmosphere at the Roman singer's concerts is always intimate and relaxed, partly because of the "domestic" stage set that accompanied this tour (on the stage are arranged, among the musicians, a table with a bottle of wine, a fridge, several lamps, and an old TV), and partly because he is a cordial and entertaining host, and, although he does not indulge too much in chit-chat, he makes you feel comfortable and in good hands.

The band accompanying him on this tour, featuring guitarist Massimo Roccaforte, who has already been on stage with Carmen Consoli, is in sync and follows the highs and lows of the curly-haired leader’s dynamics very well, pampering the audience with sweet ballads like "Il timido ubriaco," "L’Amore Pensato" (written in collaboration with Silvestri), and making them jump with tightly rearranged live versions of songs like "Una musica può fare," "La Favola di Adamo ed Eva." The show also includes two covers: "Next To You" by the legendary Police (to whom Max dedicated a Tribute Band years ago... The Policis), in a version identical to Sting and his band's concert in Boston, and "Get Up, Stand Up" by Marley, with an unusual but very interesting noise finale. The evening pleasantly continues, the audience is enthusiastic, and Max has to give them as many as five "unplanned" pieces from the setlist, including "Vento D’Estate," a melancholic ballad composed together with his friend Niccolò Fabi, and "Cara Valentina," the singer's first television success single, in whose video appeared, although almost unrecognizable due to heavy makeup and in 19th-century attire, Federico Zampaglione, leader of Tiromancino, Max's wife, and father. The lyrics of the songs are the work of Francesco Gazzè, Max's writer and poet brother, and are characterized by delicate metaphors and frequent references to the French poet Stephane Mallarmé ("Su un ciliegio esterno").

After the concert, Gazzè allowed himself to be approached without problems, demonstrating the genuinely authentic nature that distinguishes him and showing a sincere desire to engage and dialogue with his audience. Great Max.