Sanremo 2025, the covers: the funniest evening. Report cards

In some editions, it was the funniest evening, and so it was also on this tour. Cover and Duetti raised the Festival after two evenings Mosce. A great moment of music and TV the duet between Lucio Corsi e Topo Gigio, Beautiful “crêuza de mä” by Bresh and De André (brought home and repeated between different technical difficulties), important The memory of Paolo Benvegnù by Bruori And exciting to review on the stage of Sanremo Riccardo Sinigallia. We will speak above all by Fedez who adds his “beautiful bitch” bars of (and with) Marco Masini – But maybe we will also forget those who have upset the classics. For some years at the evening of the covers it is worth everything, there is no theme: it is a shame, but at least this year we have avoided the self -cope and the trucks.

Victory of Giorgia and Annalisa with “Skyfall”. Rockol is among the accredited newspapers and voted from the press room: below our report cards.

Shablo ft. Guè, Joshua, torment with Neffa: “Amor de Mi Vida” and “Waiting for the sun”: 7

Old School consistent with the rest of the project. Neffa arrives at the end of the song, and takes what is his.

Bresh with Cristiano De André: “Crêuza de mä”: 8

A duet in the sign of the city of the lantern. Choice not obvious for a song in Genoese that the two, despite several technical impediments, interpret in a felt and profound way. A beautiful red thread between generations.

Fedez with Marco Masini: “Beautiful bitch”: 6
Fedez adds bars to Masini’s song, to which the beginning of the song is entrusted, in addition to the refrain. Obviously Fedez plays on the double-seans, it is not clear, completely, who those more words are dedicated to, feeding the gossip. Having said that, the performance works, the interaction between melody and rabbed parts is well studied and calibrated.

Brunori Sas with Riccardo Sinigallia and Dimartino: “The year that will come”: 7

How nice to review Riccardo Sinigallia on this stage, after the unfortunate 2024 edition, how nice to hear this song and good at dedicating the song to the “Dear friend” Paolo Benvegnù, who would have turned 60 on February 14.

Willie Peyote with Tiromancino, DitonellaPiaga: “A small time”: 6

Willie leaves room for colleagues: a clean version, which above all sounds Tiromancino.

Massimo Ranieri with Neri by chance: “When”: 5
Interpretation and slow version, quite boring.

Elodie and Achille Lauro: “As a hand” and “crazy city”: 7
The two souls of Lauro: the most intimate (cocciating) and then the most vamp and sexy (Bertè). Two songs, two worlds that mix and have fun the public. The pazzerello and provocateur laurel is what we prefer.

Olly with Goran Bregović and the wedding & funeral band: “The fisherman”: 6

They would like to be the Seeger Sessions Band, but the effect is to transform the Sanremo Festival into the concert of May 1: more party than precision, the performance is lost on the street and is thrown a little in the caciara.

Joan Thiele with Frah Quintale: “What is there”: 6
More than dignified interpretation with elegant thiele in everything. Quintale remains a step back.

Coma_cose with Johnson Righeira: “Summer is ending”: 7

Slow part, on the floor, with a “Sanremo is ending” and ends with the audience standing that sings the legendary catchphrase in its more rhythmic version. A very right choice with a Johnson in great sprinkle, complete with X-Men glasses.

Sarah Toscano with Ofenbach: “Overdrive”: 7
The Sarah we like: brisk, fun and amused. A pop-electronic moment that lights the evening and brings color.

Simone Cristicchi with Amara: “The cure”: 6
Battiato is an artist who Cristicchi and bitter, companion on stage and in life, know well. And in fact they interpret it with rigor and respect. The song is, of course, extraordinary: the two artists, when in the end they let themselves go, come out a little from the tracks, exaggerating.

Giorgia with Annalisa: “Skyfall”: 8

Technique, harmony, magic: a balanced phrasing of voices, neither of them dominates, but indeed they come together with a creepy ending. The embrace moved, in the end, between the two artists.

Francesco Gabbani with Tricarico: “I am Francesco”: 7

From pop song with the sad doublefund becomes a theatrical staging, with Gabbani singing, Tricarico playing, with the orchestra that makes the soundtrack and children who enter. Bravi, what a great song.

Rocco Hunt with Clementino: “Yes i know my way”: 6
A tribute all Campania between memories of Pino Daniele and unpublished bars. Grooves to sell and a nice harmony.

Marcella Bella with Twin Violins: “The emotion has no voice”: 5
It is not really a duet – he sings with the Twin Violins – and in some ways it is not even a cover: he remains in the family with a song written for Celentano by his brother Gianni (framed in the audience), with Mogol. Great song, clean interpretation, but a little off topic for the evening.

The Kolors with Sal da Vinci: “Rossetto and coffee”: 6
Yes, it is the apotheosis of the “Paraculism”: from the choice of the song to the performance to the descent into the audience to sing between the public. But in the evening of the covers this type of approach can only entertain, without pretensions.

Gaia with Toquihno: “The desire and the madness”: 6

Gaia presents a song by Ornella Vanoni with an icon of Brazilian music: the result is a sound full of colors that surrounds, but up to a certain point.

Irama with Arisa: “Say Something”: 7
Arisa’s perfect voice and the lower one of Irama merge well together, the arrangement is minimal, especially in the first part, and does not invade the song. Bravi.

Serena Brancale with Alessandra Amoroso: “If I Ain’t Got You”: 6

If you sing Alicia Keys, play with fire. The interpretation holds, the two singers do not disfigure, but it is not enough to keep the vowels open to fully recall the black world of the winning singer -songwriter of Seventeen Grammy Awards.

Lucio Corsi with Topo Gigio: “In the blue painted blue”: 9
Game, set, match. Great idea, great song, great staging, respectful of a classic, with an original touch (the Blues harmonica) and references to the history of TV (here our interview with the history of the song and Topo Gigio).

Francesca Michielin and Rkomi: “The new Broadway star”: 6
First enough of the evening: a nice piece of Cremonini, played without overdoing it, with a beautiful harmony between the two friends and singers.

Noemi and Tony Effe: “Everything else is boredom”: 4
Tony Effa more than “doing calfano”, seems involved in a school play. Noemi, with his scratched voice, gives the coup de grace to an interpretation that deserves a completely different charisma and attitude.

Clara with the flight: “The sound of silence”: 4

Intense looks and ugles stretched out: they try to transform a minimal classic into a soundtrack by James Bond, but it looks like a Christmas concert recorded in August.

Modà with Francesco Renga: “Angelo”: 5
A beautiful song that is too “screamed”, goes over the lines and to the traits derail.

Rose Villain with Chiello: “Pink flowers, peach flowers”: 5
Rose, despite some smudges, fills the stage and song by Lucio Battisti, Chiello instead appears several steps back: not only does not affect, but dirty the performance, making it dozen and karaoke.