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Tre Domande a: Nyo

Cosa vorresti far arrivare a chi ii ascolta?

Il messaggio che vorrei trasmettere è l’importanza di avere il coraggio di essere se stessi, in un mondo che spesso spinge a uniformarsi e a nascondere la propria autenticità. La mia musica nasce proprio da questa esigenza: guardarsi dentro, accettare le proprie fragilità e trasformarle in forza. Voglio che chi mi ascolta si senta meno solo nel suo percorso, che capisca che la vulnerabilità non è una debolezza, ma una forma di potere. In un’epoca dominata dall’apparenza e dalla superficialità, il mio obiettivo è invitare le persone a ritrovare la propria verità, a riconoscersi nelle parole e nei suoni, e a vivere in modo consapevole, senza paura di mostrare il proprio vero io.

Quanto punti sui social per far conoscere il tuo lavoro? Ce n’è uno che usi più di altri?

I social sono ormai una parte integrante del progetto: non solo uno strumento di promozione, ma un’estensione del messaggio artistico. Li considero una vetrina viva, un modo per far respirare la mia musica anche fuori dallo studio o dal palco. Instagram è sicuramente il canale principale — è lì che cerco di costruire un dialogo costante con chi mi segue, mostrando non solo i risultati, ma anche il percorso, i momenti di scrittura, le prove, le ispirazioni quotidiane. L’obiettivo è far coesistere la musica con l’immagine, mantenendo però sempre un filo di verità e coerenza: ciò che pubblico deve rispecchiare davvero ciò che sono e ciò che racconto nei brani. In un mondo digitale saturo di contenuti, la sfida è restare autentici e riconoscibili.

Qual è la cosa che ami di più del fare musica?

Ciò che amo di più nel fare musica è la possibilità di condividere emozioni vere e di trasformare esperienze personali in qualcosa di universale. Ogni brano per me è una tela bianca su cui dipingere stati d’animo, pensieri, contraddizioni. Il rap, in particolare, mi permette di esprimere tutto questo in modo diretto e sincero: è una lingua cruda, immediata, capace di affrontare temi sociali profondi ma anche di raccontare la quotidianità con poesia e realismo. Attraverso le parole e le sonorità cerco di creare connessioni, di accendere riflessioni, di motivare le persone a ritrovare se stesse nella loro forma più pura. Fare musica è un atto di libertà: un modo per restare vivi, per comunicare senza filtri e per lasciare un segno autentico.

Hans Zimmer @ Barclays Arena

To say that the music of Hans Zimmer has been an ever present and important part of my life would not be really selling it very well. As a film buff and soundtrack aficionado, Hans Zimmer for me is up there with the likes of Danny Elfman, Alan Silvestri and the Godfather himself, John Williams. So, I jumped at the chance to go to Hamburg to photograph and review the Next Level tour currently making its way around Europe. 

First things first, I had to get there.

Travelling down from Denmark it felt like the gods were having a laugh that day. Heavy rain delays due to car crashes blocking the road and then crazy traffic getting into Barclays Arena. Honestly, if it started raining frogs or a plague of locust showed up I would have shrugged. I must shout out the team at Barclays Arena. Despite being late, and the show having already started I was ushered in and managed to get a few snaps. Hats off to the kind, professional team there for going above and beyond. 

So, the concert. What can I say? Not too much as I am still reeling. Please do yourself a favor and get a ticket however you can. It was a mix of the popular hits over the years with a few deep cuts like Beyond Rangoon. Performing this with Hans was his Disruptive Collective, an all-star cast of international musicians backed up by a phenomenal choir and orchestra. 

But it was two original performers that really put the icing on the cake. For the Gladiator medley, original vocalist Lisa Gerrard took to the stage for a powerhouse performance that ended with The Wheat. It brought both a chill to my spine and tears to my eyes to hear something live I have listed to so many times on earphones.

The best part of the evening? King of Pride Rock. As original vocalist Lebo M belted out that unmistakable opening the stage bounced to a Lion King medley that was without doubt the highlight of the night for me. Surprising, considering it’s his later work on Interstellar and Inception that gets the most rotation these days for me.

There was so much more, The Dark Knight, Pirates, Dune and even some new stuff like F1. The stage craft, sound production and performances were all fantastic. A special shout out in seeing guitar legend Guthrie Govan shred some solos. I won’t spoil some of the more bespoke performance and visuals, but it all ended with Hans on a piano for the performance of Time from Inception. A perfect end to a perfect night. As I said up top, get your hands on a ticket at any cost. You won’t regret.

Tre Domande a: Veronica Fusaro

Come e quando è nato questo progetto?

Le prime canzoni di questo album le ho scritte alla fine del 2023, l’ultima molto probabilmente verso la fine del 2024. È stato in quel periodo che ho iniziato a lavorare a quello che poi sarebbe diventato Looking for Connection. Venivo da un periodo intenso di concerti e mi sono ritrovata davanti a un foglio bianco, senza sapere da dove ripartire. All’inizio è stato difficile, poi ho ricominciato a scrivere ogni giorno, a riflettere su quello che stavo vivendo e su come mi sentivo in un mondo sempre più connesso ma anche più distante. Da lì sono nate le prime canzoni, tra il mio studio a Berna e i viaggi a Berlino, dove ho lavorato con i produttori Kim Wennerström e Charlie McClean. È stato un percorso molto personale, una ricerca di autenticità e significato, sia nella musica che nella vita.

C’è un artista in particolare con cui ti piacerebbe collaborare/condividere il palco?

Adorerei suonare con Chappell Roan. Amo la sua presenza sul palco, le sue canzoni e ciò che rappresenta. È autentica, libera, piena di personalità. E poi dal vivo è pazzesca: energia pura, una band fortissima e un pubblico che vibra con lei. Sarebbe davvero un sogno condividere quel tipo di palco.

Se dovessi scegliere una sola delle tue canzoni per presentarti a chi non ti conosce, quale sarebbe e perché?

Direi Slot Machine. È stata la prima canzone che ho scritto per questo album ed è quella che ha fatto scattare tutto. Parla del vuoto che a volte sentiamo pur vivendo in un mondo pieno di stimoli e connessioni. Musicalmente rappresenta bene il mio suono: pop, ma con profondità e groove. E a livello emotivo racchiude il cuore di quello che faccio — trasformare la confusione e la malinconia in qualcosa di luminoso e vero.

UNWOUND al TPO di Bologna il 19 Novembre 2025

UNWOUND

19 nov 2025, 19:00

Centro Sociale TPO, Via Camillo Casarini, 17/5, 40131 Bologna BO, Italia

Dopo oltre 20 anni tornano in Italia gli UNWOUND!

Nati nel 1991 nel cuore della scena alternativa del Pacific Northwest, gli Unwound hanno saputo distinguersi in un panorama dominato da grunge e Riot Grrrl con il loro sound spigoloso e sperimentale che li ha resi un punto di riferimento per la scena punk/hc degli anni ‘90, consolidandoli come una delle band di punta dell’iconica etichetta Kill Rock Stars.

Nel corso della loro carriera hanno collaborato anche con Gravity, Troubleman Unlimited e Matador, costruendo un’eredità musicale che ancora oggi anche grazie alla serie di ristampe della Numero Group ispira le nuove generazioni.

Conosciuti per essere una band da tour implacabile, gli Unwound si sciolgono nel 2002, ma nel 2020 la morte del bassista Vern Rumsey ha rappresentato una perdita devastante ed è stato anche il momento in cui l’idea di una reunion ha iniziato a prendere forma.

Nell’aprile del 2022, Jared Warren (Karp, Big Business, Melvins) si è unito al basso ai due membri originali, Justin Stroper e Sara Lund, infine Scott Seckington ha arricchito il sound della band con la sua chitarra e le tastiere.

Porte 20,00

Prevendita 28,00€ + d.d.p./ Porte 33,00€

Prevendita qui > https://link.dice.fm/I19755b0f6f7

TPO

Via Casarini 17/5 Bologna

Highasakite @ Store VEGA

Ethereal.

This is probably the best way to describe Highasakite, the Norwegian indie pop band led by front woman Ingrid Helene Håvik, who brought dreamlike vocals to VEGA in Copenhagen on a chilly October day! 

Highasakite once again make their way through Scandinavia, this time as part of their Testament Tour, but make just three stops outside Norway, visiting Aarhus, Copenhagen and Stockholm. 

Having become known for putting on some large productions in Norway, including a recent sold-out arena show in Oslo, their trip through Denmark is significantly scaled down but no less magical. It does make you wonder what kind of an elaborate show it could have been! 

Unsurprisingly, VEGA’s 900 large audience was filled largely with a female audience and many Norwegians coming to show their support.

Local Danish act, Xenia, came on to warm up with a melodic pop act in a dimmed, atmospheric setting. Considering the Aarhus show the day before featured a different opening act, it seems as though Highasakite is tapping up local talents and featuring them as part of their show rather than taking one support act along for the whole tour.

When Highasakite came on, you really got the feeling that this is what everyone was really here for. All four members came on dressed in red before going straight into Messiah, one of their new songs off the Testament album. 

Halfway through the set, Autopsy changed the mood of the show from that otherwise ethereal atmosphere to one that left the audience wondering if they were at an electronic dance concert instead. It felt strangely out of place with Ingrid having left the stage and all focus being on the three multi-instrumentalist bandmates powering on. But the audience had fun with it nonetheless, as they danced to the tunes. 

Autopsy was followed by Keep That Letter Safe which saw Trond Bersu ditch his drums to join Ingrid on vocals, supported by a hauntingly quiet audience that intensely listened. This is the kind of respect I admire from an audience!

Shortly after, they progressed into Uranium Heart, and once again, Trond Bersu showed how multi-talented he is as he picked up the acoustic guitar to add a new layer of sound. One thing you’ll certainly come to enjoy about Highasakite is how layered their music is and the width of instruments and effects used to experiment and create their sound.

One hour and twenty minutes into the show, Highasakite bowed out, but quickly came back on for another whopping four song long encore, following a round of foot stamping, cheering and clapping from the crowd. It was a long show but enjoyable throughout, rounded off by So Cool, Since Last Wednesday, Mother and Goldent Ticket.

Throughout the show, Ingrid threw around a few “Tusind tak” (thousand thanks) remarks and introduced her bandmates, but otherwise kept engagement limited. If you’re the kind of person who goes to concerts expecting a lot of crowd engagement, then this might not be the show for you. 

Highasakite’s music and atmosphere are romantic, and this show is one of those perfect date night concerts as you see plenty of couples embracing and swaying to the melodies and dreaming away.

Setlist

Messiah
Science and Blood Tests
God Don’t Leave me
Call me when you need me
Biblical
Chemotherapy
Can I Be Forgiven
Autopsy
Keep That Letter Safe
Samurai Swords
Uranium Heart
Lover, Where Do You Live?
But, I loved
Make it
Someone Who’ll Get It
Farewell

So Cool
Since Last Wednesday
Mother
Golden Ticket

Shame @ Pumpehuset

Autumn has arrived for real in Copenhagen and this Monday evening, a stone’s throw from the iconic Tivoli, Shame took the stage of the old Pumpehuset, a venue built in 1856 as the old water supply for the city that now hosts in its ceiling-high wooden structure a deep underground program of concerts.

The evening was all about pure primordial energy from the London based band. You could clearly notice that they are fuelled by youth and punk, especially bassist Josh Finerty, that was wildly jumping up in the air almost every half minute.

The energy flew from stage to the crowd and back, the audience a wide spectrum of people all with the common denominator of a black post punk heart beating in their chests.

Although the songs melted a bit together, the mix of vocals, guitars playing out of nowhere and heavy drumming gave the whole thing quite some charm if you’re into it. The sound was loud but artfully mastered to contribute to the dark and dusty atmosphere.

It might seem an obvious conclusion to say that they belong heavily to the Fontaines D.C. and Idles family, but if you are into British post punk, just grab your black clothes and go out and sweat to a Shame concert.

Setlist

Axis of Evil
Nothing Better
Cowards Around
Concrete
Tasteless
To and Fro
Alphabet
Screwdriver
Fingers of Steel
Quiet Life
Spartak
Lampião
Born in Luton
Plaster
Adderall
Snow Day
One Rizla
Cutthroat

Parkway Drive @ OVO Arena Wembley

“Pack up your shit and get out of here 2025, because it’s gonna be tough to top that”

Parkway Drive pummeled the Wembley Arena (or the OVO Arena Wembley) on Saturday night with a behemoth of a production to celebrate 20 years of the band and its discography of hits. With crushing riffs, production values and enough pyrotechnics to make Micheal Bay blush, London was treated to a celebratory setlist of 20 years of hits with many old favorites making their way into the setlist.

As both reviewer and photographer I had the privilege of shooting the entire gig and admittedly it’s going to take a few days for the adrenaline and buzz factor to leave my veins after this night.

Winston McCall (vocals), Jeff Ling (lead guitar), Ben Gordon (drums), Luke Kilpatrick (rhythm guitar) and Jia O Connor (bass) hail from Byron Bay, Australia and have been a driving force in the Metalcore scene since 2005 with the release of Killing with a Smile.

To thunderous roars, theyentered the arena at the back of the room, making their way to the stage through the crowd, flags waving, intro music swelling. It was like a scene from a Rocky movie with the contenders entering the venue towards the ring. An apt analogy as this crowd was about to go 12 rounds with a bruising sonic and visual beast.

After the two opening songs on what was called Stage B, Carrion and Prey (one of my favorites),ended, the curtain finally fell and the main stage itself was unveiled. A metal bridge submerged from the ceiling to connect the B stage to the big stage, making a catwalk that was often used throughout the set for pyro set pieces. We then kicked into Glitch from the latest album Darker Still. Winston, a commanding and energetic stage presence as always never let up from the start of the gig.

Sacred gave way to Vice Grip with Jeff Ling taking front of stage to deliver that iconic riff. Jeff’sriffs highlight how tight this band is with guitar parts from Jeff and Luke complimented by crushing bass and drums from Jia and Ben, this is a band that bleeds for its craft.

Boneyards had great fun with the support of openers band members Amity Affliction, Cemetery Bloom brought the visual theatrics. The Void from Reverence delivered as always, a classic with fireworks. Wishing Well literally rained on the situation. They also performed their popular 2006 album Killing With A Smile as a medley which really kicked the circle pits into overdrive.

Idols and Anchors had Winston join the back of the crowd to act as ringmaster to the craziest circle pit I have seen in recent years. Pure bliss.

Chronos brought a breather and an exceptional one at that with an all-female trio intro of violins and cello that then supported the rest of the song. Fantastic, and it also highlighted the range that this band has on the melodic front as well as the skull crushing riff, base and drum front. Highlighted again as we went into Darker Still from their latest album, a ciggie/phone lighter waving moment as good as any. 

Bottom Feeder went nuts on the pyro and then we are into the final stretch. Ben gives us a good fashioned drum solo. Or maybe not? Surrounded by dancers his drum rig began to rotate upside down in a real “holy shit” moment, only for it and the stage to be lit aflame for Crushed. As Winston took to the sky’s, bare chested on the floating platform it erupted in flames. Jaws on the floor. “Are you not entertained” Rusty Crowe once asked.

We ended the night with Wild Eyes, a crowd favorite and perfect sing along song to bring everyone together in one final moment of musical camaraderie. As everyone spilled out of the arena into the London night, exhausted but riding high one thought kept spinning in my mind. A thought that I mentioned at the top of my review. How the hell can any gig top that for the rest of 2025? Perhaps Parkway’s final stop of the tour in Copenhagen on the 16th of November can, and I will be there to find out. Can’t bloody wait.