Ghali, the rebirth and the dates in the arenas

Ghali it’s in his first. The artistic moment he is experiencing can be summarized in this way, borrowing an Anglo-Saxon way of saying, used above all in the world of sport and entertainment to describe those who are expressing themselves to the maximum of their abilities. The two dates at the Milan Forum marked the pinnacle of the spring of Ghali. Two sold outs that had the flavor of religious ceremony. Don’t panic – the last single released by Ghali at the dawn of the tour and defined by the artist himself as the most important song of his life – closed the Milan live shows like a prayer. Thousands of people sang in unison what has already become a hymn. They were moved by the artist’s ability to communicate anxiety and fear. The primary emotions of a generation that sees Ghali as a point of reference, indeed beyond the music. And the first of the 31-year-old from Baggio also manifests itself through the awareness he has of this role. Something more than one popstars.

He appears on stage more confident and powerful than ever. His is an artistic, aesthetic and ethical record, which gives even more effectiveness to his words, whether they are contained in texts or in statements to the press. Communicate externally with determination and empathy. Unlike many of his colleagues (or perhaps today it would be more correct to call them ex-colleagues) rappers now gets involved without limiting yourself to homework. To the cooked and eaten hit, to the ostentation of success. He manages not to be swallowed up and emptied of meaning by marketingwhich however remains a dominant component of this world.

If, as Ghali himself declared, “rap is dead”, then new avenues of artistic expression open up for those who come from the streets and want to convey social messages of protest. And the popwith his digestibilitycan be the right viaticum to reach as many people as possible with complex content, often considered by the market buffers. The first of Ghali allows him to take sides – a very old-fashioned concept for those who have to sell records, especially in Italy – without fear of losing a following. To carry the flag of Palestine on the stage of the Forum and to say that the war in Gaza “is not a war but a genocide“. To sing Bayna with the videos of the rescues at sea by the Mediterranean NGO behind us: “You dream of America, I dream of Italy. The new Italy”.

But he is not satisfied with being the Italian-Tunisian artist symbol of a new Italian multiculturalism, often exploited from the television salons of politics. It is the voice of a time when weaknesses are no longer a stigma to hide. Shares with the public the fragility of the starwithout however hiding the privilege which entails being Ghali. He underlines the importance of not underestimating the pain that every individual can experience in life, but at the same time he reiterates how important it is to admit that we are lucky, in a world torn apart by massacres And inequalities.

The first it’s no longer just a question of success commercial. It is an expressive ambition through which Ghali realized himself. Its roots they gave him the character and stories with which to assert himself. His personal and artistic growth it gave him the mastery to expose himself. And the packed Milan Forum was the perfect theater to show everyone its spring.

Playlists

Three Merry Dead Boys (feat. Paolo Baldini DubFiles) – The new dubbata for me

Motta (feat. Teho Teardo) – And It’s Almost Like Being Happy (Suona Session Vol.1)

The Night Skinny, Papa V, Nerissima Serpe, Kid Yugi, Tony Boy, Rasty Kilo, Paky, Jake La Furia, Emis Killa, Guè – CNTNRS