Photo by Luca Moschini
On May 13, the Hiroshima Mon Amour stage welcomed the return of Pierpaolo Capovilla with the project Pierpaolo and The Bad Mastersan event that confirmed the strength of essential rock, direct and deeply rooted in contemporary reality. One of the most intense and recognizable voices on the Italian independent scene, Capovilla has gone through over thirty years of music, from One Dimensional Man to Il Teatro degli Orrori, helping to redefine the language of rock in Italian through a poetic, political and uncompromising writing that today finds new life in this more frontal and militant artistic dimension.
The project was born as a space in which sonic tension is intertwined with a declared ethical vision, a path already traced in the 2022 debut album for Garrincha Dischi. It is a compact and rough work, characterized by dry arrangements and the centrality of the word, capable of constantly alternating invective with confession.
With I Cattivi Maestri, Pierpaolo Capovilla reiterates his role as a voice outside the chorus: an uncomfortable and passionate presence, capable of questioning the present and calling his own time to answer for its contradictions. The formation, which sees Capovilla supported by Fabrizio Baioni on the battery, Loris Cericola on guitar and Federico Aggio on bass, they have proven to be a compact collective that finds its natural space in the live dimension. The performance at Hiroshima was proof of how this expressive urgency can transform itself into an incandescent and unmediated sound experience.
Click here to see photos of Pierpaolo Capovilla and The Bad Mastersin concert in Turin (or browse the gallery below).
Daniel D`Amico for SANREMO.FM
