Chiara Furiani
In the beginning it was Peach.
Before, long before Lady Gaga appeared on the square with her strange alter egos and various disguises and costumes.
And much more.
If you thought until now that Miss Germanotta or even Madonna were the nonconformist queens of pop, then you’ve never seen or listened to the Peaches, so the first two seem like something for boarders.
Well, yes, because since the 90s, for Peach, transgression has been a verb, the basis of a narrative that focuses on the freedom to be and appear as we want, and not as others want us to be.
The discussion that inevitably ends up primarily revolves around the topic of how much a woman can actually show herself free and be whoever she wants in a society that is still so conditioned by the male and patriarchal imagination.
From this perspective, you might think that Peaches is a “snotty, angry, old feminist singer-songwriter.”
This is far from true: irony, play, fun, carnival production, mockery – this is the common thread that underlies all the work of the Canadian artist.
And of course, the spectacle reigns in all this – to talk in this case only about the concert would be decidedly simplistic.
It is for this reason that it would be a mistake to judge an artist solely from a musical point of view: there is more than one review online – perhaps unsurprisingly written by a male hand – that tears ours apart with a bitterness worthy of a better cause.
“Peaches” is in fact a complete presentation of a total art, almost Warolian, which goes far beyond the seven notes and in which the number one rule is to be inside, body and soul, without sparing an ounce of sweat, without pretense. .
At 56 years old, Peaches also dares to jump off the stage and throws herself into the audience, who greet her warmly, and then, between one costume and another, she also proudly performs topless, not afraid to flaunt flaws no younger than her age.
She has two top dancers with her and the show is guaranteed without slowing down for a minute.
With all this, do not think that music is the last wheel of the cart.
The electroclash, Peach’s dance is sparkling, energetic, exciting, and everyone dances like crazy, right up to the intimate close of “Private Dancer”, a Tina Turner workhorse that she sings very well, and also shows herself to be an excellent interpreter of ballads.
The crowd was delighted and the Live Rock Festival of Acquaviva (SI) achieved its goal of truly outdoing itself this year with an amazing lineup.
Also quite remarkable is the Congolese band Jupiter & Okwess, pure adrenaline and enviable compactness for an African and at the same time deeply international sound, which is not surprising and has led this team to perform on very important stages recently.
Well, yes, beyond our narrow borders there exists a very rich and stimulating universe, human and cultural, more advanced than we tend to imagine.
And then dEUS, among the headliners of this courageous little great Tuscan festival, was able to take place only thanks to volunteers and with completely free admission.
Having disappeared from the scene for about ten years, they are back with us with a truly interesting album “How to replace it”, confirming the Belgian act as one of the most stimulating realities on the independent European scene, balancing between echoes of Nick Cave and even Tom Waits, but always with their clear recognition.
Perhaps the slightly mixed sounds did not fully reflect the clear and complex writing, making the live performance less than enjoyable.
But we sincerely welcome you back to us, dear dEUS, we missed you.