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Rating: Highly sponsored free concert in Piazza Duomo, Milan, but where there's Carmen, obviously, there's me too.
I arrive with the Stereophonics, the wannabe Oasis, more washed-out than the originals, terribly boring, and with some songs like Maybe Tomorrow that try to be beautiful but quickly show evident limits.
Carmen Consoli is back from the United States, pairing a Patti Smith-like haircut with the femininity of a silk shirt that reveals a dark bra underneath.
The live set is all-male, and the string section is missing the girls, creating an effect - not just aesthetic - that is quite different. Atmosphere-wise, we're in the more aggressive part of the acoustic theater concert, with voice and guitar in the foreground: it opens with Moderato in Re Minore, then Geisha, L'Ultimo Bacio, L'Eccezione, Parole di Burro, Venere, and Contessa Miseria. The arrangements have been updated to give more space to the mandolin played by Massimo Roccaforte, but the real novelty is the expansion of some arrangements in a folk style, with echoes of the more famous De André like Il Pescatore and Bocca di Rosa, confirming the exceptional band's talents accompanying Carmen live.
As an unexpected surprise, there's Alex Britti. It reminds me of a conversation a few days ago about Lucio Fontana: one of the opinions was that, in light of his extensive work, he could be justified even for the canvas cuts. Regardless of your agreement, could there be analogies with Britti if he is appreciated for having a career as a great guitarist, forgiving him for his beach songs?
The first song begins, and seeing what comes out of that guitar makes you feel as if it's all recorded. Pause, Alex intervenes: "Maybe you think all this is a con, or as they say here, a scam". And here he explains how his live set works: at his feet, he has a pedal-operated sampler with which he records live the different tracks that make up the arrangement, simulating all the instruments with the guitar. In short, amidst virtuosity and technical wizardry, a pleasant distraction.
Finally, Alicia Keys: magnificent, this woman, besides being beautiful and having a crystal-clear voice, knows how to hold a crowd. She does so by flaunting an impressive black musical culture: from the Motown sound to the soul of Sly & The Family Stone, from Bacharach sung by Dionne Warwick and Aretha Franklin to the funk of James Brown and George Clinton.
And among her songs appear Living In The City by Stevie Wonder, Never Can Say Goodbye by Gloria Gaynor... more various citations in a driving intro in Prince style: the riff of Hella Good by No Doubt, the bridge of Jungle Boogie by KC & The Sunshine Band, and who knows how many others I can't recognize...
A band of about ten members, with three backing vocalists, gives the idea of a great show, and above all, the songs: A Woman's Worth, Falling, If I Can't Have You, You Don't Know My Name seem light-years away from chart temptations, having the style and elegance of true classics. Highly recommended for those with an idea of black music that returns to the roots and goes well beyond guns, bling, babes, and dance moves.
Final note for the non-presentation of Ambra Angiolini and Roberto Angelini, especially the latter who took home his token by basically holding the microphone. Considering how little they did beyond repeating that they are from Rome and we are in Milan, the only thing I feel like saying is despite everything... 'bring back Paola Maugeri!
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