The review of the new album by Madame, Disenchantmentedited by Alvise Salerno.
You know, the person writing to you has been part of this world for fifteen years now. It was way back in 2011 when a 19-year-old boy, enchanted by the radio and the magic of music, was given the chance to speak in front of a camera and a microphone.
From that moment, magic and enchantment diminished as things became more and more serious and that boy, now a man, understood that roses and flowers can only be found in meadows and fields.
Day after day he discovered things, people, names and surnames of those who evidently did not have the well-being of music and those who created it at heart, of those who only cared about vile money and exploited art to buy villas, apartments, cars without leaving anything tangible for others, only for themselves.
That boy, now a man, didn't adapt, he never accepted and this caused him problems: if you don't accept the system, the system rejects you.
“Ah but you're the one who always complains”, “you have to stay away from him”to the point of advising singers not to approach that boy for fear that he might say something uncomfortable.
That boy, now a man, just wanted to talk about the beauty of the seven notes, the well-being that listening to a project done with all the necessary attributes could give, the joy that the discovery of the creative process can bring.
Then, however, the years passed and the pleasure of discovery turned into the displeasure of the awareness that nine times out of ten there is no joy, there is no study, there is none of this in the creation and publication of albums and songs.
The enchantment had become doubtful, it had transformed into a very simple question: “But what's happening?”. The enchantment had become disenchantment, the joy had become a habit of swimming in the slime, the desire to change things had become resignation.
Yes, resignation, because in this world the strongest wins and it doesn't matter if you want to do something good. The system crushes you and if you want to change something, first you have to become like them and only then have the hope that everything you wanted to change has not corrupted you.
Many have collapsed behind the specific weight of the zeros on the checks, many have transformed the enchantment into disenchantment and many have succumbed to the charm of the mortgage to be paid in cash. Those who did not give in were marginalized, cornered, nicknamed “dissidents” to avoid causing damage.
Enchantment and disenchantment, two faces of Italian music which has no longer had a soul for many years and at all levels and which, perhaps, now someone is trying to talk about without fear because it evidently has nothing left to lose.
That someone has a name, a surname and a stage name: Francesca Calearoin art Madame.
Madame and the disenchantment of a world that has no truth
Release an album called Disenchantment and filling it from beginning to end with truth must have been very difficult. Yet here we are, with 14 songs that tell the last years of life of a girl who became a woman amidst a thousand difficulties, within a system that is not made for sensitive people.
This is one of the most visceral albums released in recent times but, above all, it is the truest album linked to the story of today's recording world that devours, chews and then spits out without a shred of hesitation.
Madame puts everything he can into play: the story of his illness (OCD, obsessive compulsive disorder), a new relationship with a man, the themes linked to the recording world, to Instagram pages that pass themselves off as magazines even though they aren't, to subjects who have soured the entire industry with their way of operating.
It's his story, his truth, his vomiting in the faces of deluded people that, in reality, entering this world means becoming disillusioned and understanding that music is the last thing to take into consideration if you want to be successful.
The songs that corner the industry
Madame decides to put the entire industry into a corner in some songs in particular: How are you?, Never again and, in part, Red like mud.
In the first, the radio stations that organize the summer festivals are immediately targeted, guilty of passing the songs only if the singers agree to perform at the same festivals. Immediately afterwards it's the turn of the record companies who give advances to the artists, transforming them into a cage: that money must be returned, there is no non-repayable fund, and if you don't produce income you won't be able to pay the installment. In the same song we also talk about the Madame-Francesca dualism and how the character, her creation, saved the person.
In Never again the time has come for a very respectable diss track, probably the best of 2026, a Shablo (which was denied, but which thousands of people on the web considered quite obvious) and to social pages that talk about rap – Esse Magazine in the crosshairs, who coincidentally isn't talking about the album despite being perfectly on target. There is also the awareness related to Sanremo and to a participation that did not serve her as a person but only to flesh out rankings and results.
In Red like mudinstead, we talk about entering the discography, in Sugarand of abandoning the family nest with all the illusion of the world in the mind. It was the beginning of the end. Fame was the complete opposite of what Francesca thought it could arrive, he destroyed it, and the results are there for all to see when listening to this album.
Disenchantment it's also an opportunity to talk about the last two years, and everything comes to a head in Thank you. The final track is a full-fledged psychological session that sees us listeners from the doctor's side: we just have to listen, not judge, while Madame he talks about his family problems, his dysfunctional relationships, his OCD, everything that has become a burden along the way. The “Thank you” pronounced at the end is not an artistic gloss: it is a “Thank you” said by Francesca Calearonot from Madame.
Disenchantment is real, sincere, raw – but not perfect
As intense and visceral as it is, this album hides question marks along the way, especially towards the end, when a trap stain arrives within a record that wants to be urban but which, all in all, is singer-songwriter.
The song with Very black Serpent, Pope V And 6 occia ruins the listening flow: it doesn't work in a tracklist like this because the bars of the three are disconnected from the rest of the concepts expressed, even those of Madame in the song itself. They look like three alien forms in a human album, and it would be interesting to understand why they chose to include strangers in such a personal project.
The final tracks, except for Thank youdespite having very intense lyrics, they cannot hold a candle to the first nine and reduce attention. A healthy curiosity is born, not a complaint: with 10 or 11 songs this would not have been a perfect album, but almost.
And what happens now? Will Madame be put in a corner?
The question is legitimate after listening like this: Madame will it be minimized, weakened, or will the experts finally take advantage of the opportunity to sit around a table and discuss what has been done and which must never be repeated?
Will it be an opportunity to find solutions or will we choose to hide the dust under the carpet again? The hope is that we move towards the proactive path, not towards the “well, what a great artist, ok, let's move on” to avoid talking about it.
It's the perfect opportunity, it must be seized. Madame it put down on paper what we had been trying to protect and hide for years. Radio has had a problem for a long time, discography has had a thousand problems for even longer, artists are not victims because they accept everything – so let's not pretend they are saints in heaven.
We all contributed to creating this massacre. It's time to make mea culpa and start again well, with renewed joy and without this disenchantment anymore.
The vote
Score: 8-
⭐⭐⭐⭐⭐⭐⭐⭐-
Best songs: No pressure, Beast
Worst Song: Swiss whore
Daniel D`Amico for SANREMO.FM
