Vasco takes us to the Rossi mountains

There is a precise moment, every year, when the Italian summer stops being a promise and becomes reality. It happens when a roar passes through thousands of people and appears on stage Vasco Rossi. The air of Rimini it is charged with that dense, salty electricity that precedes the storm. For the zero date of the tour, I Romeo Neri Stadium it transforms into the temple of a pagan ritual, a lung of steel and concrete that breathes to the rhythm of twenty-five thousand beating hearts.

In recent days, the Komandante had done so a clear promise to his people: the lineup will be “unpredictable, unattainable, unattainable, unambiguous, inescapable, extraordinary and astonishing.” And when the first song starts, you immediately understand that he wasn’t joking. A I’m going all out in a punk and very tight version it opens the dance of a liturgy that is a ferocious and spectacular mirror of our present.

A glowing stage

The underlying theme of the concert is revealed from the first moment. There is no soft introduction: after I’m going all outStef Burns’ guitar continues to rend the sky because they start at point blank range It’s late now And Liver, mushy liver. It’s an aggressive start, perfect to usher in the concept: who are we amid the bombs of this piecemeal world war, and above all, who do we want to be? Vasco responds with rock. A call to arms of conscience.

His Majesty the stage It boasts 70 meters wide, 24 meters deep and 1200 square meters of LED screens. Gigantic numbers – in its fifth edition, Vasco Live reached 3,000,000 tickets sold – but the numbers, with Vasco, only tell part of the story. The other part is the invisible one: the shining eyes, the liberated anger, the infinite chorus that transforms a stadium into a single voice. As happens with A new song for hera pearl from 1985 never before performed live.

But the adrenaline doesn’t drop, on the contrary. Here comes the funk soul of Soap bubbles and then a deadly combination: Alibi (the first but not the last theatrical moment of the evening, next to Dario Fo) e I’m still in a coma. One surprise after another, like the Pink Floyd and Mozart reinterpretation of HIwith strings and wind instruments. Next to the Komandante, in fact, there is a exceptional bandunder the direction of Vince Pastano: in addition to Burns there are Antonello D’Urso (acoustic guitar, programming, percussion, backing vocals), Andrea Torresani (bass, synth bass, backing vocals), Alberto Rocchetti (keyboards), Donald Renda (drums), Andrea Ferrario (sax), Tiziano Bianchi (trumpet), Roberto Solimando (trombone, sousaphone), Roberta Montanari (backing vocals, percussion) and the historian bassist Claudio “il Gallo” Golinelli as special guest.

As in every great rite of communion, after the outburst comes the need for closeness. The dive into the 80s ends with the rhythmic lightness of Tomorrow yes, now nothe irony of Tango… (of jealousy) and the push of Mondayperfect portrait of our daily melancholy. At this point the interlude gives space to the band, which prepares the ground for another, highly anticipated live debut: Tide.

Between Giorgio Gaber and resistance

The inexorable flow of Tide it is the darkest and most psychedelic moment of the concert. The atmosphere becomes intimate, the band slows down. “Living with me… you’re right, you’re right: it’s not easy” admits Blasco in We are alone; “If I could tell you how many times I wanted to die,” he confesses in If I could tell you. This is where the deepest strings of the soul are touched, but the rocker from Zocca knows his audience and knows when it’s time to loosen his grip.

This is where the military march of comes (for what I have to do) I’m in the militaryirreverent and very current, the face of the most brazen Vasco, the one capable of laughing in the face of power and conventions: “Power is a drug and all those in the government are drug addicts”. A taste of theater rock song that of Giorgio Gaber it shares both the form (spoken and sung) and the foresight, because the border between the introspection of Milanese theater and the dimension of stadium rock is thinner than it seems: “We’re not the Americans, they can shoot the Indians”. A mix between America gaberiana and the Sand Creek River Faberian. The Americans’ shots are those of You shoot at himanother invective against power, the exact reflection of the torn world we live in today.

But not everyone is subservient to the rhetoric of war: There are those who say no. A roar – seasoned with masterful solos by Pastano and Burns – that unites generations because freedom belongs to everyone, rebellion belongs to everyone. And revolution is the opposite of loneliness. “I remember those who wanted a better world than this” he continues Stupendousintimate and profound, a cathartic scream in which love becomes a desperate escape. Rewind it arrives as a necessary escape from reality, an explosion of collective euphoria, a sabbath of dancing bodies and flying bras, as per tradition.

The concept is about to happen. If the concert had opened with I’m going all outthe last song must be the keystone, the answer to the uncertain, cynical and fragile times we are going through. The broad, poignant and melancholic notes of A better world: “The last song of the 2026 setlist will be perfect for the times we are in!”, the rocker had anticipated. And in fact it is the perfect, unequivocal closure. In an era marked by fears, divisions and a desperate need for clear horizons, this song is a caress and a secular prayer. “You know, being free only costs a few regrets” Vasco whispers, and Rimini responds in a chorus that smells of effort but above all of rebirth. With the stubborn promise to look forwardconvinced that “everything is possible, even believing that a better world can exist”. That it is still possible to build it. Together.

The grand finale

“Everything exists at the same time” says Schrödinger on the giant screen. After an interlude dedicated to quantum physics, iBlasco takes us by the hand to bring us back to the surface, more alive than before. Also because “no, not boredom… I don’t live there anymore!”. Boredom he had been missing from live shows for many years, but this is where the ritual comes in – which everyone knows, but which no one ever gets tired of. Because when Sally he walks down the street without even looking at the ground, the entire stadium mourns his scars and celebrates his strength. The blood pact between Vasco and his people is sealed: It’s just us there “generation of shocked people who no longer have saints or heroes”. A catharsis that finds its fulfillment in Reckless lifethe one we all want, the rude one, who doesn’t care. The mother of all restless dreams, in Rimini in the rare piano and voice version.

Before the farewell, Vasco’s embrace opens with Songa gem performed in full, and can only end with Albachiaraeternal and enveloping. We have sung it so many times that that light breathing, “so as not to make any noise”, is our home. Vasco’s songs and concerts take your soul, rub it with the story of our lives and give it back to you with shining eyes, big eyes “perhaps a little too sincere”, in which “you see what you think, what you dream”. Vasco continues to speak to an entire country because his songs don’t look for perfection: they look for cracks. And everyone ends up inside those cracks.

The ladder

I’m going all out

It’s late now

Liver, mushy liver

A new song for her

Soap bubbles

Alibi

I’m still in a coma

HI

Tomorrow yes, now no

Tango… (of jealousy)

Monday

– Interlude –

Tide

We are alone

If I could tell you

(for what I have to do) I’m in the military

You shoot at him

There are those who say no

Stupendous

Rewind

A better world

Boredom

Sally

It’s just us

Reckless life

Song

Albachiara