Via guitars, batteries and vintage tinsels: today they dominate beat digital, Autouman and a narrative that starts from barrio And it arrives straight at the top of the rankings. But, be careful, it's not just a fashion: in the case of Morad, it is a trajectory lived on the skin. It does not come from America, it does not pretend to do so. He grew up in the most complicated neighborhoods in Barcelona, is of North African origin, and sings in Spanish. Yet he also speaks to the boys of our cities and of Rome in particular, judging by the two Sold out At the Cavea Parco della Musica, a stage that rarely hosts exponents of his world.
The audience is heterogeneous in the origins, Italians, Latinos, North Africans, but surprisingly uniform in age: almost all millennials, with some parent on behalf, more observer who participates, but still present.
On stage, Morad keeps the rhythm high with a well -calibrated ladder, which alternates without pauses the most recognizable hits (“Normal”, “Yo No Voy”, “Motorola”, “Pelele”, “Carretera”) to the songs of the latest album “Reinsertado”, released in 2023 between the enthusiasm of one fans which guarantees him over fourteen million monthly listeners on Spotify.
Songs like “Niños Pequeños“ or “Soledad” And “Fiesta“among the most sung of the evening, they are joined by lucky collaborations with Italian artists, above all “Casablanca“ with baby gang in which, as per practice, the parts of the other singers flow in playback While Morad keeps control of the scene.
The Moroccan artist moves alone on stage, followed by a cameraman who projects his movements on a screen, in a minimal set -up which, however, manages to support the show. Scenography reduced to the bone, but public participant: thanks to a series of choices that seem to be part of a manual tacit on how to build a live in 2025. There is the shirt of the local football team – foreseeable move but, in the Rome of the two fans, not exactly neutral – followed by a barrage of praise to the warmth of the public, the emotional moment dedicated to the mother (“Mama me”) and several recalls, to which the Moroccan flag waved, a song dedicated to the full -back of the Atlas' lions (“Paris Como Hakimi“) It is a tribute to the “delante delaro del Mundo” Lamine Yamal.
The topicality also finds space, with a parenthesis dedicated to Palestine, managed with discretion and a certain effectiveness: no slogans or proclamations, only silence, and brunette walking on stage with the flag on the shoulders.
Everything seems designed to work, and in fact it works, even if, at times, that feeling of déjà vu emerges which today accompanies many live at high exposure. It is the price of success in the present: to standardize, compact, refine, until the experience as accessible as possible. And if the goal is to make every city feel a little Barcelona, Morad succeeds very well.
Daniel D`Amico for SANREMO.FM
