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Rating: The live performances of the Truceboys are rare occasions. The grim guys in question, in fact, don’t have a contract with a major label. Their music is, among other things, unattainable by any producer who takes into account the mild moral dictates that the sloppiness of Italian TV and radio wants to impose on us. The Truceboys don’t have a major contract and if, in some ways (their total freedom of expression), it is a blessing, in others it's a curse, given how little they are seen around.
I don’t quite know how to define their concert. Explosive. Dynamite. Nihilistic. Simply, coarsely, beautiful. Just like their music.
I, a 19-year-old guy from Rome: my first time at the Piper for the concert of one of the most controversial rap collectives of recent years. Who knows if the grim gentlemen have thought, as I did, of the importance of that historical disco where, among others, Pink Floyd played (and to stay on the theme of British groups, even Babyshambles). I don’t know, but the fact is that, to be honest, the dear grim ones are only grim when they sing: the only reason I’m not surprised by the general ‘truzzaggine’ of the audience.
But I care little about the audience, as I watched the concert from the front row (or rather, line) and went home with the ticket signed by Noyz Narcos.
"Ok, but the actual concert?"
After half an hour of US rap mixed by an anonymous DJ, at 10:30 PM it starts with Metal Carter (with his long hair that he regularly let fall on his face). The subtle absurdity of his lyrics doesn’t go unnoticed even on this occasion, even if the kids around me don’t seem to care and shout at the top of their lungs. The tracks are mainly from his solo albums: "Esca," "Hardcore pt.1," "Boyband" but also a great track from "Ministero dell'Inferno," "Nato cattivo." Finally comes the song we were all waiting for, and I start singing frantically, my concert can begin. Precisely with the famous "Pagliaccio di ghiaccio." Who cares if it's the peak of absurdity. It was a blast.
Then it’s Cole’s turn who mostly offers his verses from some songs of "Ministero dell'Inferno" (Regresso tumorale; Deadicated), but mostly, he delivers his fantastic verse of "Deadly Combination" by In The Panchine and the beat is done by a guy who performs a terrifying beatmachine (I swear, a disco in the mouth).
Finally comes, at long last (it’s appropriate to say), the great Noyz and there is pandemonium. His lyrical violence live is even more genuine. His invasive rhymes even more brutal. I completely lose my voice on the most adrenaline-pumping track of "Non dormire," the anthropophagous "Shabboo." But when it’s time for "Verano Zombie pt.2," there’s a fantastic unscheduled event. Noyz shouts: "Daje call Metal Carter!!!" So with little conviction we call him, but after a few seconds the chant "metal carter, metal carter, metal carter..." transforms into "gemello, gemello, gemello." For those who don’t know, Gemello (or Gmellow) is the rapper of the group In The Panchine who collaborated with Noyz in "Verano Zombie pt1" (to be honest, by far the better version). Gemello was present but was just fooling around on stage taking pictures. So, first comes the second part, then a microphone is handed to the ITP rapper. Noyz delivers his verse to perfection. The dear Twin couldn’t recall many parts of his. A shame, but a nice impromptu moment.
Finally comes the slender Gel and, strangely, the front row becomes crowded with a female audience. I’m not familiar with Gel’s songs and, although I consider him more than a decent rapper, in my opinion, he doesn’t have the charisma of the other group members. But anyway, his performance was impeccable.
The concert ends around 1:20 AM; from that moment on (when they start selling their records), it moves to a more confidential level and everyone starts calling the rappers by their real names.
I leave with an autograph, a sweatshirt soaked in smoke, and a firm conviction about the great quality of the music expressed by these guys who, despite their harmless appearance (I would even dare say "banal," far from the usual rap-hip hop clichés), in their rhymes they can be really mean, violent, merciless... simply and obstinately grim. And we ask for nothing more.
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