Annalisa throws a Molotov cocktail, sings De André and restarts the tour
Starting again from Genoa, for a Ligurian artist, is never just any date. It is a return to the origins, a direct comparison with one’s own history, with one’s own path. Annalisa knows this well and, in front of 4,500 people in the sold out Fiumara Stadium, she inaugurates the second chapter of her tour “But we are fire” with a show that is both celebration and new cycle. Genoa, says the Carcarese voice, is a city where she grew up as a spectator, among concerts experienced under the stage like those of Subsonic and dreams cultivated over the years. Today those dreams are transformed into a full-bodied live performance that takes up the structure already tested in the arenas, but is enriched with details, suggestions and new expressive freedoms. The opening is now emblematic: Annalisa appears on the LED wall while throws a Molotov cocktail which symbolically sets the stage on fire.
The dancers enter hooded, evoking an archaic ritual, while the scenography develops around a structure that recalls a flame-shaped door. Fiery red dominatesespecially in the most explosive moments, alternating with a more intimate and deeper blue which accompanies songs like “The World Before You”where the verse “we are mountains overlooking the sea” resonates, e “Tsunami”with other direct and marine references to his land. Annalisa is increasingly entering the role of pop star: she dances, leads the choreography, drags the audience, sings impeccably. On “Avelenata” the hall jumps together, while the show entertains and disseminates references and quotes. In “Disappointed” you can hear an echo of the Prodigy, in “Emanuela” by Moroder, and it’s not the only musical game: the singer-songwriter even manages to coexist in the same show “Sweet Dreams” by Eurythmics with “La canzone di Marinella” by Fabrizio De Andréchosen as a tribute to Genoa. It is one of the most intense moments, accompanied by the piano, delicate and emotional.
From a sound point of view, the live performance finds a balance between electronics and instruments played. She, technically, is a precise machine: she passes naturally from medleys on the piano to hits like “Mon Amour”, “Sincerably” and “Bellissima”the latter transformed by a part of the audience into a stadium choir on the Genoa side, until the new single “Summer song”, set between the sacred and the profane, with a scenography that sees her singing inside a church complete with “hallelujah”. Precisely this imagery had a curious reflection among the public: many fans show up dressed as a nun, playing with that ambiguity between devotion and provocation that the song stages. The show has various reckless moments: “Violent Indigo” explodes in an out-of-control electronic finale, in “Stars” fly, in “Friend” takes shape on a burning bed, while in “Exhibitionist” Annalisa appears on the led with a gun in his handlike a pop version of Lara Croft.
Elements that could be excessive, but which in reality remain perfectly standing thanks to an increasingly solid and aware stage presence. The only note: some choreographies are very martial, the dancers, excellent professionals, are more involved in the show when they remain more free. The closure is entrusted to “I am”seal of a concert over two hours long, which holds together entertainment and identity. A layered, ambitious show, capable of mixing different languages and suggestions that it succeeds in what should be simpler, but in reality is more difficult: to entertain. And above all he is able to confirm how Annalisa has definitively turned on, but perhaps consciously never wanted to tame, your own fire.
Ladder:
Lonely girl
Nails
Bye-bye
The world before you
Naked
Eve + eve
Slow movement
Poisoned
Disappointed
Tsunami
Euphoria
Sweet dreams – cover
Violent indigo
Medley: Ten; Alice and the blue; Bonsai; Short stories
Sincerely
Mon amour
Exhibitionist
Male
Emanuela
Marinella’s song by De André – cover
St. Mark’s Square
Summer song
Tropicana – Disco paradise
Friend
Beautiful
I am
