•
Rating: Piazza del Plebiscito is not as full as expected (or feared) yet, so after a short car journey (thankfully with air conditioning!), I start looking for a spot that offers a good view and I pass the time with friends.
It's June 25th, the second stop of the "Cornetto Free Music Festival," an event sponsored by ice cream and Allmusic.
The weather is quite scorching and the Neapolitan sea air only increases the humidity, which remains at a relatively bearable level.
After a bit of waiting, it's the firstborn of Sting who leads the Fiction Plane.
The vocal and especially stage resemblance to his father is quite impressive.
"Little Sting" not only plays the bass (alternating with guitar on some tracks) but also moves his head back and forth and often pouts like a young Donald Duck, just like his father has done for years.
The band works well live and knows how to play, and the tracks don't seem too bad.
Next is one of the winners of the "auditions": the Marche native Roberta Giallo, who performs only two songs. A beautiful voice and style for a pleasant and well-played pop-soul.
Then it's time for a long break, intermittently filled with the "original" encouragements of the two hosts (Ambra Angiolini and Alvin) who, once on stage, can do nothing but shout "Napoliiiiiii!!!!", hoping to capture enthusiasm worthy of Neapolitan fame to broadcast.
It's time for Carmen Consoli who, after hinting at a Sicilian folk song performed a cappella, sings "Il sorriso di Atlantide," a track closing her intense and latest work "Tutto su Eva."
The "cantantessa's" performance is suggestive and at times very moving: the old songs are arranged in a more acoustic and refined style thanks to the addition of a violin, clarinet, mandolin, banjo, and Greek bouzouki.
Noteworthy are the revamps of "Venere" and "Sentivo l'odore," where the violin brings unexpected sweetness where Carmen's shouts once dominated.
After "Maria Catena" with its "provincial vices" in waltz time, it's time for Sting, who, after about twenty minutes, ignites the now-crowded square with the notes of the world's most famous "message in a bottle," quickly followed by the powerful "Synchronicity II."
Sting's setup is simple: bass, drums, and two guitars, for a very rock and energetic show where the breaks between songs are practically non-existent, and one gets lost in a continuous flow of music that sometimes disorients.
The setlist is truly a compendium of the Stinger's musical career, alternating famous Police tracks (the trio's songs dominate) with those from his solo repertoire (particularly successful "Englishman in New York" and "If you love somebody..."), not leaving out unexpected and delightful throwbacks like "Voices inside my head" (which then flows into "When the world is running down…"), "Driven to Tears" from "Zenyatta Mondatta," and "Next to You" from the cops' first album, which fires up the crowd after the classic "Every Breath You Take."
Excellent performances from the musicians, from the egocentric Dominic Miller (always posing like a failed rockstar, to be a bit naughty…) to the more sober Lyle Workman, who shines with a beautiful and sharp solo in the aforementioned "When the world...," to the superlative and unstoppable war machine (and rhythm, naturally) that is Abe Laboriel Jr., who previously played with Paul McCartney.
There's even room for a "A Day in the Life" of Beatles' memory, passionately sung by the ex-teacher from Newcastle, and for the recent "Desert Rose," with the vocal part of Cheb Mami masterfully performed by Sting himself.
The closing is entrusted to "Fragile," with its delicate guitar phrasing cradling the large crowd that gathered to see an artist who, although lately has dedicated himself too much to records unworthy of his name and duets more than embarrassing with MTV offspring (from Puff Daddy to T.A.T.U.), live remains a force of nature who sings and plays greatly and still manages to give emotions.
Naturally, there's hope for a more sensible discography.
Ps: The concert originally included Skin, who did not appear on stage, apparently due to organizational issues asking her to cut her set.
Rumors I wouldn't confirm necessarily but mention for the sake of reporting.
Ps2: naturally, the definition of folk-metal is written somewhat in jest... :)
Loading comments slowly
