After a personal and artistic crisis, Francesca Michielin flew to the United Kingdom to build a concept album on witchcraft that connects the Middle Ages and contemporary society, also talking about emancipation from society and the music market. Certainly curious, the project brings together a sophisticated eighties pop, with Kate Bush and Enya often appearing, mixing it with Branduardi, Battiato, philology and didactic references.
The medieval carousel of “1484”, the year in which the witch hunt begins, points in the direction of sophisticated international pop, between folk and electronics and lyrics that are a little over the top (“what a shitty time”). It puts the listener in context fantasy in which the entire lineup moves. The collaboration between Alice and Battiato seems to come back to life in “A woman can't”, electronic and slightly theatrical pop.
Venetian folklore is central in “Il canto delle anguane”, river nymphs protagonists of a synthwave lent to pop. That the intention is to talk about the present, even reaching political commentary, is made clear by “Feral Girl”, which contains perhaps the most insightful verses:
It would take a spell
Against techno-feudalism
The most blatantly pop moment is “Witch Commands”, complete with a quote from Caparezza, a slightly erotic and slightly childish nursery rhyme with other over the top verses (“But know that I am an esoteric mistress”). The most erotic passage is instead “Litha”, even if the refrain does not hit the mark and perhaps this guise is not yet entirely aligned with the author.
The dreamy “Summer Solstice”, a little naive in its fairy arpeggios, and the final “Magia bianca, magia nera”, a trip-hop with folk elements, conclude the listening session in a confusing way.
Francesca Michielin wants to change her skin and tries with an album that is courageous and eccentric in its own way, full of references, symbols, winks. The themes of identity, freedom and social pressure are addressed in just 25 minutes, including perfect hints for Pride Month but also claims for a change that still seems to be taking place. We therefore get a short album that is more curious than successful, ambitious but also naive. In the age of musical homologation, at least in pop, it is still something to be respected.
06/24/2026
Daniel D`Amico for SANREMO.FM
