Nino D'Angelo, icon of Neapolitan music and voice of the people, has turned the spotlight on a topic that, although whispered, is rarely addressed with such frankness. In an interview with Corriere del Mezzogiorno, the singer-songwriter denounced the existence of a “Freemasonry of music” which, according to him, controls the Italian music scene, influencing the Sanremo Festival and the destiny of the artists.
The "Freemasonry of Music" and the Recording System
According to D'Angelo, behind the scenes of the music industry lies a lobby composed of a few record labels, powerful radio stations, artist agencies, and the omnipresent influence of social media. A closed system that decides who gets to emerge, favoring a small circle of artists, often the same ones, relegating the others to marginal roles.
"There are artists who are listened to over and over again on the radio, in talent shows and on TV, always present at the big street parties organised by the most important radio stations, where they often sing in playlists.k", said the singer. According to him, the true value of the song, of the melody and of the lyrics, is now marginalized, replaced by market dynamics that reward views and likes, sometimes purchased.
Autotune and the Crisis of Musical Authenticity
D'Angelo also criticized the use of autotune, a technology that corrects vocal imperfections, calling it a "Magic wand" which, if removed, could jeopardize many careers. A jab at those who rely more on technology than pure talent, highlighting how playback and filtered performances have changed the relationship between artists and audiences.
Sanremo: A Closed Circuit Festival?
The Sanremo Music Festival, a symbol of Italian music, has not remained immune to criticism.
It might interest you
A 29-year-old Neapolitan man arrested for attempting to defraud an elderly woman in Aosta.
Florence: A minor from Naples was stopped at the train station with €15 worth of stolen jewelry.
A pregnant woman's tumor was removed: a record-breaking procedure at the Sant'Eugenio Hospital in Rome.
Arzano, dead bodies "left" in burial pits: the consortium begins exhumation procedures for 61 bodies.
With the passing of the artistic direction from Amadeus to Carlo Conti, new prospects are opening up for the next edition. But will this be enough to dismantle a system that, according to D'Angelo, is now rooted?
D'Angelo's Vision: Staying True to His Identity
Despite the criticism, Nino D'Angelo does not lose its connection with its roots. "The Neapolitan singer: I have it written on my identity card. I want to sing, I need it, like breathingA statement that encapsulates the sense of belonging and passion of an artist who, beyond market dynamics, continues to sing for his audience and his land.
A System to Reform
Nino D'Angelo's words open an important reflection: Does the Italian music scene need more openness and meritocracy? And the Sanremo Festival, historically a stage for all, can it become truly inclusive again?
Beyond the controversies, Nino D'Angelo's cry represents an invitation to rethink the dynamics that regulate the music market, to restore centrality to music and talent, without filters or shortcuts. A message that, even if it comes from an artist deeply rooted in tradition, has a universal value for all those who believe in the authentic power of music.
Comments (1)
The idea that Nino D'Angelo expressed about the freemasonry of music is interesting. But I wonder if there really is such a closed system. Music must be for everyone and not just for a few. We must reflect on this.