Boosta and his total love for music

A tail piano and an electronic station. These are the instrumental references that Boosta uses to express in the new album “Soloist”, and on stage, the different shades of color and the timbre shades that characterize its new music. The project will be presented with an ad hoc tour: here all the dates. After the end of March, the Tournée of the Subsonica, the musician and composer presents himself again in front of the public in a more intimate and personal key, adding a new chapter to his artistic path and reaffirming his role as an innovator and sound narrator. To guide him, once again, a total love for music.

Back the plan by mixing tradition and avant -garde. What does this tool represent for you?
I cultivate a great love for music. Music allows us to live better. After thirty years of career, the only way to stay within this world, for me, is to have curiosity. I got back to the Conservatory because I want to study again, because you notice, the more you go ahead, that there is more and more you need to put water in the lake of creativity. In addition, I want to experiment: the “soloist” album is another stage of this path. For me it represents a calligraphy, a trait, as in hand writing.

That is to say?
We all since we are children, growing up, we constantly change the calligraphy. Music, if you experiment, is so. Today my stretch, changed over time, is “Soloist”. Represents me. For me it is a free space where each element of the piano creates a journey. When I enrolled in the conservatory’s electronic music school, even if only by studying the history of electronic music, one realizes the importance of pioneering. In the 1900s when they came out and literally discovered new sounds, there was a magical childish amazement, which is no longer there, but whose feeling it is right to chase.

Do you chase emotions?
Certain. Making music is not a matter of onanism to say “look how cool I am”. I want to embrace emotions, listening to others and listening to me.

Your return to the Conservatory is curious. What does it mean to go back to studying after a career like yours?
The most humiliating moment of my student’s life and musician was to go to the electronic music school saying “okay, but I already do electronic music”, and find that a lot of things of electricity and physics, for example, did not know them. Realizing that he did not know a cock was terrible.

I lower the ego?
He lowers him a lot. The age dilutes the ego, it is true, at twenty years I was beautiful split, but the secret to keeping it always at bay is to question everything you do, and therefore what you are. Questioning is tiring. It was for me too, when I went to study.

What prompted you to participate in the San Marino Song Contest 2025?
The desire to make my solo music feel. The opportunities must be seized. I have stopped being a Mujaheddin for many years, today I am a secular. I had fun there, I kept intact the attitude we have with the Subsonica, namely that of being an alien spacecraft that falls into situations and then flies away.

Is it the same approach you had when you participated in friends as a judge?
Yes. I did mine and I came away. In San Marino I did not go for the race, but to make those who listened to me say: “Beautiful that song, there is also a tour, I could go to a date to hear more”. I really can’t wait to return to the stage with this project.

You will not be “defended” by the band.
This is why it will be interesting. For me it will be like returning to the beginning. And then I am interested in silence, which I learned to appreciate more and more by playing around with the plan. When I played in Naples, a metal boy, who in silence paid attention to the songs, at the end of the live he embraced me and said to me: “Thanks because your music reminded me of my father”. I make music exactly for this. My concerts are the soundtracks of the silence of those who listen to them. Mine is not a concert-exhibition.

What is it?
A tool to travel. And this thing works if the silence is captured, precisely. If when the live ends, before the final applause, there are seconds of silence, it means that it has been clear.

Is this one of the most flourishing moments for Subsonica and for all of you as individual artists?
It is a moment of great well -being. Usually after a Subsonica album, and the consequent tour, we started working on our solo works. This time, however, we have worked “inside” the band and “outside” the band, at the same time. And it was nice not to have clear caesure between one world and another. It could not have been otherwise: in 2026 the Subsonica will turn thirty and it is a milestone, uncommon, which is right in some way to underline and celebrate.

Does your strength also pass through the identity of individuals?
Certainly. Each of us has well -defined features, he loves to explore. And we all put our knowledge and our sound trips also at the service of the group.

You are also constantly busy with musical workshops for the little ones, activated within several hospitals in Italy, with the aim of giving birth to an electronic music school for children. Is music therapeutic?
The workshops in hospitals are a gift that the hospitals themselves make me. The child’s electronic music school is a concrete project that I would like to start in 2026 permanently: the culture of listening is carried out through electronics. And knowing how to listen is a value, today more than ever that we speak so much, but you listen to very little. The electronics also allows children to immediately generate sounds through, trivially, buttons, without going through tools. I would like my inheritance to be this school. A school where the love for sound is made to live better.

In the past you have collaborated with Placebo, Depeche Mode, Beastie Boys and other giants. How did you get in touch?
In the 2000s I put many records, it was the period of the dance electronics. Claudio Coccoluto had a cult program, on Saturday evening on the radio, who mapped the movements of all of us DJs that we played in the premises. Through radio messages we intervened live, we told where we were and he replied. It was very funny. And always at that time many and different remixes could be done, and I happened to do them for incredible bands. Andrew Fletcher of the Depeche Mode I met him precisely because we did many evenings together as DJ. I remember that for them I made a remix of “John the Revelator”. I also received pieces, to make remixes, the Mötley Crüe, one of my favorite bands.

How far can you go?
There must be a creative vision, an idea at the base. When I hear a remixed piece of the care in a lounge-aperitif version, here, in that case, I feel bad.