Sanremo 2024, the record companies: “Winning Amadeus model”

Promoted by the public, by the numbers and also by the record companies. The fifth Amadeus festival everyone agrees and great successes are already expected in the charts but the question remains of who will inherit the artistic director’s scepter next year also because “there’s no going back”. The words are those of Enzo Mazzathe CEO of Fimithe Federation of the Italian music industry, which takes stock of the latest Sanremo festival at Adnkronos: “Very positive” and the result of Amadeus’ choices “we are also seeing it in success of songs”.

“From our point of view, therefore – explains Mazza – this festival is certainly a further confirmation of the line that Amadeus has carried out over the years: young artistswhich are in classificationartists who are particularly close to the market and who, therefore, have an immediate impact also in the relationship with fans and consumers”. Now, however, underlines the CEO of Fimi, “the problem of continuity arises” also because “from this Festival template you can not go back. The same Rai he sees it in the numbers that also concern the decline in the age of viewers and the great phenomenon that revolves around television. I am therefore talking about the success that the Festival is having on all channels, including digital ones.”

A result linked “to the fact that the record companies have brought to the Festival artists who have a relationship with the public, live on social media, live from streaming and a very important contact with their fan base”. This has greatly moved a new audience on which Rai must make its calculations also in view of the future choice“. The number one of Fimi, however, does not name a possible candidate for artistic direction for next year but explains: “I think we need to evaluate and think carefully about everything that was the model of the Amadeus Festival and guarantee a continuity. Therefore, as soon as possible, the relationship with the industry for new ones must be addressed artistic choices and obviously try to build an event that maintains this centrality of music and artists who are protagonists in the music market. This was the great innovation of Amadeus.”

The public of the festival, therefore, has changed: it is more young, more social and vote. And it is perhaps this that created the short circuit in the voting pattern that he then saw Geolier coming in second place despite 60% televoting. Will it be necessary to review the system? “There hasn’t been a festival that hasn’t had discussions about vote but we, as an industry, look at the success these artists have afterward.”

“Even if you don’t win the festival you can become the disk best seller of the year or the artist with the most success on the platforms and that’s what matters. The artists they know it and that’s why, more and more, they choose to compete” says Mazza recalling that “in the past the artists who were successful and sold records didn’t take part in the Festival because they feared the flop or they didn’t share the line of the artistic directors which was more strictly linked to a television product”.

Over the years this has changed, only in the last three editions of the festival “one of the competing artists has always been the artist who sold the most, first in the Fimi top ten: two years ago there was Rkomilast year Lazza and this year Geolier. And this is incredible”, comments Mazza, underlining that “last Friday’s top ten sales were made up entirely of the artists of the festival and, in the end, this is the result that counts: everyone is a winner on the market”.

And in fact i record numbers of the platinum records linked to the pieces that pass the festival speak for themselves: 16 platinums in 2020, 28 in 2021, 40 in 2022 and 37 in 2023. A positive trend that will be confirmed again this year? Mazza has no doubts: “The conditions are there. The growth in sales these days is impressive. Here there are songs that will last all year.”

In the end, the controversies on Geolier. “Definitely – explains Mazza – the genre ‘urban’, which includes rap, trap and hip hop, has more difficulty with the original Rai 1 audience. In recent years, however, the kids who listen to Geolier or Lazza have dramatically moved closer to the Festival. There is therefore a generational change in the audience too” and we should take note of this. The Ariston’s boos “are those of an adult and very traditional audience who certainly cannot understand that type of music”.

Anti-Southernism, therefore, has nothing to do with it but, according to the CEO of Fimi, “there is a prejudice towards the musical genre, perceived as something that glorifies negative behaviours. They are artists who also represent social problems and very controversial themes in Italian society in their stories and songs. There is, therefore, a bit of prejudice towards this world which, in the end, is the one that best represents the new generations”, he concludes. (By Loredana Errico)

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