Sanremo 2026, the report cards of the songs of the second evening

It's not an original piece, to put it mildly, but at least they sing it with a lightness that doesn't hurt, halfway between a Puerto Rico that never existed and an imaginary Gulf of Naples. They bring an air of celebration. We reward the spirit.

Pro: the unusual choice of not bringing a chorus and a beautiful musical phrase to Sanremo. Cons: the soporific atmosphere, the absence of something that strengthens this song over the passage of time, the lack of personality which even in songs should be an indispensable requirement.

An ultra-romantic declaration of this kind, with traces of many things in it, from Venditti to Dalla, can only be accepted from someone who has the rumpled look and slapping face of Tommaso Paradiso. On the second listen the piece is already easily singable. Unpretentious, but it works.

It should be a lively song, but it comes out weak, static, wooden. She plays it without transport, conviction or joy, as if she were not making pop music, but a task to be freed from as soon as possible. And in fact it resumes as soon as the music ends. Maybe it's because of the parties they throw near his hotel.

A little girl in Palestine, or rather «in a tormented land» as Achille Lauro says. Rating 6. Political.

A group of female rockers who play and arrive at the Festival after more than twenty years: how can you not side with them at least a little? One forgives her for the song being much less strong than what one had hoped they would bring.

In this respectable Sanremo we can't help but like someone who sings in an undisciplined and put-down way as if he had just come out of an after party. And then the very rhetorical Lauro comes after and the break is healthy, like Vasco Rossi singing after Claudio Villa. We expect him at the covers evening. Today at the press conference he said that Morgan “can say what he wants”, but it was he (him in the sense of Chiello) who decided not to take him to Sanremo. “We haven't found each other.”

This evening no cheerleaders, but cowboys. The question remains: why bring to the Festival this “bad song that makes pappapparappa” and is full of clichés, with a country/bluegrass/pop arrangement? We are also waiting for him on Friday with Cochi Ponzoni, Paolo Rossi, Paolo Jannacci, Ale & Franz, when he should play at home (Milan is on Gran Milan) and not away (Appalachia). We record the dangerous convergence towards the West with the ship's Pezzali. Let's hope it doesn't become a trend.

Stupid bad luck up to a point. Yesterday went well for him, deservedly so. Awarded by the press room jury with Ditonellapiaga, Arisa, Serena Brancale and the Fedez-Masini couple. Tonight he did an encore with his lovably light song.

Even at the second performance the song seems to represent a step backwards for Fedez, who last year was among the few to have brought a contemporary piece to Sanremo. The forced serious tone and above all the fact that the song seems like a very predictable summary of the styles of both do not help. Warning: they are present in the prime time, this one, in which perhaps it is easier to obtain Bulgarian percentages in televoting. It could count for entry into the final five on Saturday.

As in all the songs that Dargen has brought among the big names of Sanremo, this is the third, it is not clear if the public is only getting the slightly '70s groove or even something from the lyrics with its images that pile up quickly and that say and don't say, hint, suggest. Tonight is something in between: part desire to dance on the disaster and part light-hearted tale of pain, with an enviable apparent nonchalance on Dargen's part about the fact that he isn't playing the fool with his friends, but is part of the most important television show of the year.

The doubt was: will we understand what he sings tonight? Yesterday the voice and the lyrics were lost in the sound mix, a lack which however did not cost her the favor of the press, TV and web room which included her in the top 5. Tonight is better, everything is more centered, but she still lacks something for the annoyance to become a catchphrase.