The official video had yet to be released and already thousands and thousands of clips and creations had gone viral: “Mon amour”, the second chapter of Annalisa’s story (started with the hit “Bellissima” which reached double Platinum) thanks to the boost of social media, and in particular of TikTok, has become a phenomenon. The piece, today, is sixteenth in the Fimi ranking, is the fifth most played on the radios, has almost 2 and a half million streams and remains very high in the trends of social trends. And it will grow even more with the arrival of summer, we are sure of it. Everything goes hand in hand with the transformation of the singer herself: “With the latest album, ‘naked’, I removed the superstructures. Once everything is removed and the blank sheet remains, you can afford to build something new”, he said at the launch of “Bellissima”.
She doesn’t like the new Beyoncé
It was 2010 when, then twenty-five, Annalisa Scarrone made her television debut in Amici’s school. Almost fifteen years after the singer has radically changed. Seeing her again a few days ago, once again a guest of Maria De Filippi, singing gritty like a lioness with a black boot, neckline and wig with raven bangs a la Valentina di Crepaxits latest evolution for the launch of “Mon amour”, it made the jaws collapse and widening the public’s eyes of the program, judging by the comments on social media. Annalisa has not only grown technically, increasing the strength of a volcanic voice, but she has also transmitted a new image of herself. Today she is as sexy, daring and ironic as ever. She plays on herself, on her body, on her way of dancing, and she does it in a crystal clear way, without pulling it off as a new Beyoncé.
Sing “your way of saying things that sex is”“if we don’t do it, I can imagine it”, “Blood on the dance floor, I’ll dance to it”: it is precisely her not taking herself too seriously that makes her so close to the public and far from divided. She has a femme fatale image, but in these last two hit singles puts disappointments, abandonments and revenge at the centerplacing itself on the same level as one common girl that she took a scam, all told with fresh language.
Nada and Viola Valentino
Try to ride an international sound alla Dua Lipa and The Weekndbut at the same time very Italian in the pop sign of Nada and Viola Valentino. “Mon amour”, written with Paolo Antonacci and Davide Simonettawho also oversaw the production together with Zephrecounts that moment that divides a disappointing past from the desire to run towards the future, without giving up a basic lightness, which today is really the singer’s extra weapon. “Because it takes time to start again, you have to be ready and so while waiting you suspend yourself in a sort of limbo, until you find yourself. This is the song of that limbo, of that unconsciousness, and why not, of that crazy idea of revenge that makes you feel powerful againeven if only for an instant”, says Annalisa, who will next November 4th will tread the stage of his first Milan Forum.
Analysis on Espresso
Reduce the analysis of the current “Annalisa phenomenon” the thought that it’s all the result of an infinite generator of ballets for teenagers, or TikTok, is too simplistic: anyone sings the last songs of the Ligurian singer. But really anyone. “Bellissima” has even become a stadium chant with which the Genoans make fun of their Sampdorian cousins (here the video). And if a piece ends in the curves, it means that it has really broken every fence thanks to its melody. Whenever “Bellissima” or “Mon amour” echo in bars or are spat out on radios, there are often scenes of contagious euphoria, falsetti, unlikely moves, ventriloquist moments to follow its rhythm and words. They are commonly called “snatches”.
I read Gino Castaldo’s analysis on Espresso in which he underlines the indisputable boost that TikTok has offered to these songs, but stigmatizes the low level of musical production. I think that in the chaos of an Italian pop that too often takes itself terribly seriouslyoffering us singers who feel themselves gurus and write faux-committed pieces with tunes resulting from cloning, and despite this they have been acclaimed for years, the “new” Annalisa works precisely because it is lightfrom all points of view. She is a technically prepared womanat this moment self-confident as perhaps never before, but for attitudes, words and ideas, perfectly popular. “Desperate and also lighthearted. I come to steal your show”: and winks at you.