Everything we know about LIBERATO

A more or less large slice of Italian music audiences spent the last few months wondering who, or what was hiding behind LIBERATO.

Many thought that the Mi Ami would have solved the mystery about his identity, but, unfortunately, that was not the case. As you probably have already read, to rock the stage have been Shablo, Preistress, IZI and, in particular, Calcutta. The show was shocking, memorable, and confirmed once more the incredible involvement of the audience around the LIBERATO project.LIBERATO that on Sunday morning has posted a video shot by himself present among the audience, praising and thanking the performance of the four artists.

What seems to be sure, then, is that the show presented at Mi Ami was nothing more than the umpteenth proof of the strength of his anonymity - as well as a strategy to feed the pathos. But for every praise there is a criticism: so many have expressed a sort of dissent for the performance, criticizing the excessive hype and the not particularly innovative "marketing move". The problem of these criticisms - which is also the main issue concerning the general approach to LIBERATO - is that these criticisms are advanced without thinking at the whole picture. What we have seen until now is just the beginning. A beginning we know neither where will lead nor what it will produce in the middle but, if we'll have to criticize LIBERATO we will do this just at the end of his journey when he will have finished telling his love story, characterized by the classic Neapolitan poetic and imagery.

Because LIBERATO is nothing else but the re-evaluation of Naples' image. LIBERATO is Naples' greatest exaltation: as the city prepares to enter (perhaps for the first time) in the globalized world, t the is opening must, in fact, start from the city itself and its citizens. The four artists who on the Mi Ami stage sang 9 Maggio and Tu t'e scurdat e me are from four different areas of Italy. A metaphor for the willingness to welcome and to be welcomed - not counting the opportunity to make the Neapolitan music tradition known to an audience that, otherwise, would hardly have been approached. During the introductory set at the Magnolia concert, in fact, songs of 99 Posse and Nino D'Angelo were played to a delirious audience.

We can, therefore, stop looking for who's hiding behind LIBERATO and begin, once and for all, to listen to what he has to say. LIBERATO is a noisy answer to Google's search, it's the commonplace that becomes a novel.
LIBERATO seems to have said that he is all of us, and we should be happy about that.