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The Italian indie-pop singer-songwriter Max Gazzè has been touring Italy and Europe in promotion of his latest album ‘Sotto Casa,’ which takes the name after its lead single, the song presented at the Sanremo Festival (the most known Italian pop music competition), which scored Gazzè relevant success.
Gazzè’s music plays with catchy melodies, often enriched by the use of a synthesizer, and refined lyrics. The latter address, express and analyze different human feelings and situations, usually using as a tool of expression ordinary stories of people’s lives. With this approach Gazzè travels through love, self-discovery, frustration and many other states of soul and mind.
In a global music scene which is too often charmed by superficiality, as long as it is presented in a provocative form, Gazzè stands out for the intensity of his work. His lyrics are never banal; not only explore they a variety of emotional shades of people’s lives, they also do so in a form which is extremely close to poetry, from which Max Gazzè has taken profound inspiration. The construction and execution of his songs always surprise the untrained listener, for their originality and pertinence with the feelings presented.
The Toonari Post had the chance to attend one of his concerts, held at the venue Mamamia in Senigallia (AN), Italy. The venue is pretty small, creating that cozy atmosphere which is appropriate for such a concert. A special mention surely needs to go to the sound-system of the venue, it being very good and adequate.
The stage, which is not extremely big, was not enriched by any choreography, leaving the center of the attention to the musician and his touring band. Gazzè, who plays the bass, was indeed supported by drums, a guitar and a synthesizer.
During the concert he performed many of his most famous hits, such as “La Favola di Adamo ed Eva,” “Vento d’Estate,” “Una Musica Può Fare,” “Il Timido Ubriaco” and so on. Nevertheless he also focused on new songs from his latest album. The concert started with a one hour delay, obviously creating a little disappointment in the audience. Gazzè then performed for about two hours; the choice of the set-list was arguable, not concerning the songs chosen but rather their order. Although all songs were very appreciable, the concert did not seem to take off for its first half.
The songs with which the musician decided to open the concert created a rather calm mood, which was probably not appropriate for an audience who had already lost some of the excitement due to the long delay. Furthermore, the use of lights on stage was annoyingly inadequately attended to: the lights were too strong for such a small venue, and did nothing to emphasize the music. During the concert Gazzè had a good interaction with the audience, as well as with his band mates. All of the members showed good harmony creating a smooth and interesting performance, and Gazzè also let the audience enjoy a couple of good solos.
Max Gazzè is a great musician and composer, who truly deserves to be known and followed. His talent and peculiar approach to music is worth a lot, and even more if considering the state of some corners of the current music scene.
Image: Maxgazze.it/by Barbara Oizmud