Sanremo 2025: what women tell you / 1

The debate on the absence of women on the Podium of Sanremo 2025 fueled different opinions. Women are not a monolithic category and, as it is natural, the points of view on this theme vary. On Rockol, Marta Blumi Tripodi and Elena Palmieri share their reflections on the matter.

While the first jokes of the type “were already on SundayAnd we also removed this Sanremo …”, Almost a week after the final, Sanremese discussions continue to monopolize every conversation. The opinions holding the bench on the Festival focus on various issuesand among the most debated themes this year stands out the one on perception, positioning and narration of women in Sanremo. Among the irony on super fast conduction, the comparisons between Carlo Conti and Amadeus, the reflections (here ours) or controversies on the actual value of the vote of the composition of the press juries, seems to have been very at heart The absence of women’s artists on the final podium. Following the proclamation of the final ranking who decreed Olly as a winner of Sanremo 2025, in the newspapers, on blogs and on social networks, he turned on both The debate on the manager Marta Donà that on how much the result reflects, or not, a matter of gender discrimination .

The case of a podium without women

Net of (in) complete rankings and the impossibility of knowing exactly – not even on an explicit request – the real numbers and statistics of the votes of televoting and press juries, TV, web and radio, The positioning of the artists in the final ranking therefore requires a reflection. The question arises: It is really the ranking that sheds light on a possible problem of discriminationboth in Sanremo and in music in general?

This year, On twenty -nine artists in the race (thirty originally), Twelve were women: Marcella Bella, Serena Brancale, Clara, Elodie, Gaia, Giorgia, Francesca Michielin, Noemi, Joan Thiele, Sarah Toscano, Rose Villain and California (Francesca Mesiano) of the Coma_Cose. None of them reached the podium and – apart from the duo of “Cuoricini” and the voice of “The cure for me”, a favorite date until the last, and arrived in sixth place – Ten of them did not even enter the top ten of the final ranking of the final, view of 13 million 427 thousand viewers. These are the data concrete, reported almost everywhere and who now know everyone, on which the story of these days was built who wonders about disparities and discrimination. Especially against a comparison with last year when, in addition to the winner Angelina Mango, three other women returned among the top ten positions. The result is that We end up putting a sort of defeat of women at the centerin spite of them. The artistsin doing so, come in fact reduced to numbers and pink quotas. What is the reason why you are martyring them like that?

Perception and narration of the artists in Sanremo

The discussions that turned on around the results of the female voices in Sanremo seems to have triggered a story aimed at diminishing their valueconsequence of a Narration and Swiss representation already upstream. Nicholas David Altea explained it very well on “Wired”: “The problem of artistic representation is evident not because in the final podium there are five men – it is also legitimate that some songs may not have been a liking – but in the general representation at the Festival and in the opportunities offered It is there that the gender gap presents itself, various passages first in the entire record supply chain that subsequently leads to a sub -representation “.

First, during and after Sanremo 2025, the women in the race were too often put at the center of.a media storytelling who dealt with them for marginal elements. Among the striking examples, amplified by social networks, there is case of elodies That in the aftermath of the final, a guest of “Sunday in Special Sanremo”, discussed with a journalist to keep silent the rumors that he had angry for a torn dress. As if his problem could only concern accessory aspects. Nobody torn me anything, they are bullshit, I was emotionally shaken“, He replied the voice of” forgetting at 7 “. Always on the same occasion, it was up to Gaia the torment of having to be reduced to numbers and rankings, when it was pointed out to be Arrived last on the televoting. Only subsequently, after abandoning the study of the program in tears, the singer of “Chat I call you” managed to return to the subject with an Instagram post: “The numbers, the rankings come and go. I have already touched good peaks and heard immense empty and I understood that my end has never been that, but to show myself to as many people as possible for what they really are, for my cultures, roots, personality, for how I live music and For the love and respect I feel for the stage “.

In any situation, ideally, No woman should and would like to find herself discussing that she is a womanor have to express yourself on one’s condition as a woman. It therefore becomes difficult to express themselves on issues that by force of things start from the assumption of having to relegate the fact of being a woman to a case of study, to a number, to a pink quota, to the fuse of a debate or a speech. “We will arrive at a point where it will no longer be necessary to notice if there is a woman or is not there, because As long as we have to underline the problem there is“, He said Giorgia At “Sunday in Special Sanremo”, when a reflection was asked – “a not so much of the gender, but musical reading” – on the final result of Sanremo framed in the current moment of women in music.

In arguing his response, the singer said: “.I swear to you I don’t explain it. I think about it. This is a theme, that theory that enunciates, that there is an unconscious mentality when we have to treat one genre rather than another and we have automatically different treatment “. And again: “The thing I can tell you, however, is that we are so united, because we understood that, when something is fine with one, it is good for everyone. It is a market action that favors us all, therefore in reality The success of one is actually the success of another or in any case it sets some important dynamics in motion. We are very united“. He concluded: “I had the opportunity to be with the girls, Clara, Gaia, Joan Thiele, Elodie. There is a lot of seriousness and honesty with respect to our work and art, but also this sense of solidarity. Knowing that the other perhaps lives on things, or that maybe he has already lived them. Maybe this message must pass more. We will come to a point where it will no longer be necessary to notice if there is a woman or there is not, because as long as we have to underline it the problem there is. Here you are Even to get to a ranking where there are only men or only women nobody am surprisingbecause then the normality will be not surprising. You have to work on the mentality of children, young people, that’s where you have to act“.

In a context in which attention focuses exclusively on gossip and dress, or debates on the presence or absence in the standings open, To get back together with women, they are nothing more than the songs. But, Sanremo is not the “Italian song festival”?

The musical question

The songs, therefore. Shouldn’t these be the only real meter of judgment at the Festival, without discrimination? To makeand to underestimate an artist, of any kind, is always the lack of a real musical question. The acclaimed “victory” of the songwriters underlined how much the public does not want to constantly be satisfied with a musical and authorial poverty. The results achieved by most of the female artists do not reflect their being women, but the appreciation of their songs by the public of Sanremo. Which is not all their potential public. In the radio ranking of the week from 14 to 17 February,

Giorgia has even taken the summit with “the cure for me”, while Elodie And Gaia They positioned themselves respectively to ninth and eleventh place. According to the data collected by Spotify those of Giorgia, Elodie and Rose Villain They are among the ten most listened songs during the week of the Festival among those in the race. Serena Brancale, Joan Thiele, Sarah Toscano, Marcella Bella and Francesca Michielin they are instead among the artists, in a total of ten names, whose Listen to the Streaming platform They grew up more thanks to the festival.

If the artists are dealt with on the same level By really focusing on music, one would not be reduced to having to make gender discrimination in turn by limiting female voices to simple numbers or mere pink quotas. In this perspective, the speech would move to the actual general quality of the Sanremo proposal, which for the seventy -five edition, under the direction of Conti, seems to have focused above all on quantities, linearity and uniformity. The consequence was that of a festival of multiple voices defined as the “restoration”, with flatness of themes and sobriety. In a context “predictably dominated by large numbers” and where you “went back”, as written by Gianni Sibilla on Rockol, where The quantity seems to have prevailed on qualitybecomes chopped the forced presence of a womanput to balance and equally equally narration, if the story does not do them justice. It is from itself that a change is needed in the way artists in general are told and valued.