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ROME – Italian singer-songwriter Elio, whose real name is Stefano Belisari, discussed his band Elio e le Storie Tese’s upcoming summer tour and a special performance titled “Concertozzo” in Monza on May 26th, reflecting on a career marked by both musicality and a unique brand of Italian comedy.

The “Concertozzo,” featuring the Trio Medusa, is envisioned as a day-long musical event, running from 3 PM to midnight. “It will be a celebration,” Elio said, “with live music, people actually playing instruments on stage – no autotune or tricks. Everything real, live.”

Rumors of the band’s disbandment have circulated, but Elio dismissed them, playfully suggesting they enjoy mimicking the patterns of groups that announce farewell tours only to reunite years later. He likewise alluded to a history of theatrical stage antics, recalling instances of deliberately destroying guitars, albeit inexpensive ones, in homage to Jimi Hendrix.

Elio expressed concern about the current climate for comedy, suggesting it has turn into increasingly difficult to make people laugh. “There aren’t many opportunities anymore, it almost feels forbidden. When it happens, it’s like the Madonna of Czestochowa has appeared,” he remarked, referencing the surprise success of his recent television program, Lol. He described being stopped on the street by viewers thanking him for providing a moment of levity, as if the band were “saviors from the creeping sadness.”

He contrasted the present day with the 1970s, a period marked by political turmoil and social unrest, yet still characterized by a vibrant sense of humor. He cited the Milanese nightclub Derby as an example of a space that fostered a spirit of joyful absurdity.

When asked what makes him laugh now, Elio lamented a pervasive atmosphere of self-censorship and fear of judgment on social media. “Everyone is holding back, afraid of the ever-open Grand Tribunal of social media that judges and condemns everything that deviates from prescribed norms,” he said. “There has never been a more bigoted, more conservative time. There should be no limits in art and culture. You should feel free to say anything.”

He praised the surreal and absurd humor of artists like Cochi and Renato, Jannacci, Mel Brooks, Monty Python, and Frank Zappa, and singled out contemporary comedian Luca Lundini for his “lunar, unpredictable” style.

Elio acknowledged the band’s unusual combination of musical sophistication and comedic performance. He drew a parallel to the Skiantos, another Italian band known for its experimental music and satirical lyrics. He emphasized the importance of the musical component of their work, stating, “We’ve had a long success, which isn’t always a good thing, you can become lazy. Today, I’m very happy with what we’re doing musically. Of course, we’ve always tried to be unique in our lyrics and staging, but believe me, the musical part is vital to reaching the audience fully.”

The band’s two second-place finishes at the Sanremo Music Festival were also discussed. Elio described their participation as a public service, a way to represent a “splendid minority” within the mainstream event. He recounted a controversial incident surrounding their 1996 entry, “La Terra dei Cachi,” which sparked a judicial investigation and allegations of interference by the festival’s host, Pippo Baudo. According to Elio, a police officer confided in him that they had actually won, and that blank ballots had been discovered. Giorgia, another contestant, reportedly received similar information.

The conversation turned somber as Elio reflected on the death of band member Feiez in 1991. “It was right in front of our eyes,” he said. “I don’t know how many people have had to watch a friend die like that, someone you’ve shared days, dreams, hopes, and anger with. He was 36 years old. When he collapsed onstage, I felt like a part of me had gone with him, that nothing would ever be the same.”

He recalled a particularly chaotic performance at the Primo Maggio concert in Rome in 1991, where the band deliberately disrupted the event with a politically charged rap song criticizing prominent Italian politicians. The broadcast was interrupted, and the band was confronted by organizers, prompting Elio to stage a dramatic fall, invoking the spirit of Jim Morrison.

Elio also recounted a staged “brawl” at the Night Express television show, which was widely mistaken for a genuine altercation. He described it as a playful provocation designed to test the audience’s reaction.

The discussion concluded with a poignant reflection on his son Dante’s autism. Elio and his wife recognized developmental differences early on, and navigated a challenging diagnostic process. He emphasized the importance of early intervention and the lack of adequate public support for families affected by autism. He described the isolation experienced by parents and the need for a coordinated system of care.

Elio criticized proposals for segregated classrooms for students with disabilities, advocating for inclusive education. He highlighted the importance of autonomy and independence for individuals with autism, and the need for increased investment in research. He spoke of the transformative impact of organizations like PizzAut, which provides employment opportunities for people with autism.

The upcoming meeting with associations supporting autism in Monza, prior to the “Concertozzo,” is intended to provide a platform for families and experts to share experiences and advocate for improved services. Elio expressed his hope that their performance will offer a moment of joy and connection, a reminder of the power of art to uplift and inspire.