We can call it Genius Loci. In the Marche, the small homeland of Leopardi, the region with the highest density in the world of opera houses, land of guitar and accordion artisans, there is currently the best review of the Italian songwriting to come.
Musicultura is not Sanremo, nor the Eurovision found and not even the Tenco Prize. Musicultura tries to draw a map of what is to come. Thirty-three editions, including this one (24 and 25 June). So let’s try to define Musicultura for what it is not: it is not a Festival intended as a simple summer container of (musical) contents. And it is not a competition intended as a festival for the best uvula or the most effective catchphrase. In Macerata a creative atmosphere is cultivated for two days, putting eight young songwriters or groups selected by a committee made up of masters such as Ruggeri (also presenter), Baglioni, Avitabile, Consoli on the same stage. Here they meet with musicians, historical authors of the Italian song and international voices.
Sferisterio
Shoulder to shoulder, on the stage of the Sferisterio, a spaceship of music dropped in the center of the small town in the Marche region, the young musicians (and not just singers) of Musicultura try to trace something new, together. For two days, Capital of songwriting and popular music with Manuel Agnelli, Gianluca Grignani, Ilaria Pilar Patassini, Ditonellapiaga and the dirty rock of Litfiba, together with the world universe (electric and acoustic) of Violon Barbare, of the Ukrainians Dakharbakha , by the Italian-Icelandic Emiliana Torrini & Colorist Orchestra (only Italian date).
All in two evenings, together with the eight young winners of Musicultura 2022. Squeezing these eight songs together, what’s left? A centrifuged that collects the spirit of the time, but also the flame of new ideas, in particular in the writing and in the executive quality (vocal and instrumental). Too bad in general for some compositional and aesthetic models proposed for a decade now, a level that refers to a certain idea of dance-pop-trap music that has now given way (fortunately, I would say) and at the same time left its mark (unfortunately ). You can also joke about it, as in the case of Yo with TRAPsodia POPolare, one of the most innovative and fun things of this edition, or choose other paths, as is the case of Te quieto Euridice, Vito, Cassandra Raffaeli (who knows, from The Lista Representative and Simone Cristicchi passed through here at the beginning). But it is not a responsibility of the young talents of Musicultura, it is the generations that precede them who have oiled the car and paved the paths on which these twenty-year-olds drive at their best so as not to skid.
