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Rating: In the horror, splatter, and catastrophic movie experienced by Italian music over the last 20 years, there is someone who has decided, in a rather heroic manner, to make a small cameo - almost incognito - and provide a demonstration of what it means to make art, embarking on a revival tour across the boot.
Getting back together after twenty years is probably unique, an act of love for those who have lost their way and need anchors. The Quinto will be remembered by many as the group that succeeded in mocking Sanremo and the show business, both in their presentation style - let's be honest: decidedly untelevised - and in the content of their pieces. It is no coincidence that their two festival appearances coincided with the end of good mainstream content, the definitive consecration of Berlusca and reality shows, and, of course, it was just the beginning...
From the 'premiere' at Santeria in Milan, one thing immediately stood out, which is the most significant and indelible feature of the live show: the four musicians and De Leo are not impeccable; they spend the scant 80 minutes of the concert often looking at each other, smiling, indulging in delightful amnesias – particularly vocal ones – and embarking on fleeting impromptus. It doesn't matter if John misses the beat, if the phrasing between cello and violin is not solid, or if a bow hair snaps, Everything is incredibly Real.
They manage to offer us the best of Jazz, Rock, Classical, and Progressive according to their very personal interpretative key that imitates nothing and has created no epigones. Among syncopations, screamed distortions, and classy solos, we are essentially reminded of one thing: that we are witnessing excellent composers and one of the greatest singers of all time, who, incidentally, despite being self-taught, has not lost any of his sheen but has even honed over the years his already unsurpassable technical virtuosity.
The audience is mostly over 35/40 (and that's the only downside of the entire evening), and, at least as far as the setlist is concerned, they're essentially 'satisfied.' The live show is practically the best of rospo e grigio, while 'in cattività' – their most difficult and experimental album – is largely overlooked.
So, I hadn't written a review in a long time, but like the Quinto, I felt the need to return to communicating as I once did, to give voice and not let such an event go unnoticed, especially in such a difficult historical moment, where music is increasingly image, stereotype, and ephemeral fashion.
I Want to Be a Toad Again.
P.S. you have time to refresh your eyes, ears, and faith in humanity until the end of January. But hopefully much longer.
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