Last Saturday 7th March, the zaal the Oude Melkweg's Zaal in Amsterdam was full to receive one of the icons of Italian music in recent decades, the versatile Franco Battiato, author of some of the most recognisable songs of culture of the transalpine country and came to the Dutch capital on tour to promote his alter ego "Joe Patti" under which he published a LP last year.
Before a room full of countrymen that waiting anxiously Catanesi singer, the sexagenarian was present wearing a scarf accompanied by his inseparable partner Pino "Pinaxa" Pischetola and the pianist Carlo Guaitoli, warning that the show will be divided into two clearly differentiated parts, the first about 30 minutes that would present "Joe Patti Experimental Group", later to offer what himself described as a "walk through its pop songs." In the first half, in which Battiato alternated synthesizers with microphone, highlighted certain passages near its recent collaboration with Antony Hegarty and even progressive rock , but in the overall it was repetitive and on some moments also boring due to an excess of orchestration where the Italian singer's voice was lost easily.
As in a turn of 180º as far as mindset is concerned, the artist left the synthesizer aside, going on sit in a chair facing the audience in order to play some of the greatest hits of his long discography. The first minutes were used to approaching the most intimate Battiato, who guides with his voice the most primal feelings in songs like "L'ombra della luce", "Stati di ioia" or "L'incantesimo", among which intercalated a powerful interpretation of that marvel near the symphonic metal is "Il mantello and the spiga" where the use of vocoder enhanced still more darkness related in lyrics. The level of emotion followed with "Niente è come sembra", later to merge the controversial "'Fornicare" with one of his greatest hits "No Time, not Space" with which the audience went wild screaming the sentences in English. As looking for a break, the Italian chose to play a song version of Shakespeare's text "Come Away Death", which froze an environment that was at its height, and then return to please the public with the declaration of immortal love and passion which is "E ti vengo a cercare", resulting in a golden touch on the setlist proposed by veteran singer.
Before an audience that requested in a more strongly way songs of their idol, he returned to the stage with a first series of some slack encores in which an error in the lyrics of the famous "Perspectiva Nevski" and a heartfelt version of "La cura" were the most highlights, while the second set of encores if it was a real success due to he sang another of his greatest hits of the 80s as "La stacione del amore" and the well-known "Voglio vederti danzare", with which the audience danced and sing a capella his famous chorus. As a last gift before saying goodbye, the master of southern Italy performed again with the help of synthesizers "Propiedad prohibida", one of the first songs on his progressive stage reminiscent of the best Pink Floyd and that also served to close the show after about two hours. For me, whose early childhood memories are associated with familiar trips with Battiato on the background, it may be difficult to analyze objectively the show, but aside the fanaticism I must recognise that the first part of the show was too slow and at times the the setlist had too many ups and downs. However, with the same sincerity, it is also necessary to admit that part of the setlist includes 6 or 7 hits that hold for itself the concert, showing a vital and energetic Battiato that despite his nearly 70 years remains as one of the great stars on stage.
