Interview - IRAMA: San Siro is not a goal, it's a party. The real challenge is to stay (Scaletta and Gallery)

Great debut for Irama at his first San Siro. A goal awaited, imagined and finally achieved.

This evening Irama wrote one of the most important pages of his career, bringing his musical universe to the stage of the San Siro Stadium in Milan in front of over 55 thousand spectators. A concert-event conceived as a great celebration of the first ten years of his artistic career, including successes, guests and one of the most impressive spectacular productions ever created for one of his live shows.

With 55 Platinum albums under his belt, Irama confirms himself as one of the most solid figures of contemporary Italian pop, capable of crossing languages and generations while maintaining a recognizable and personal stylistic signature. The Milanese concert retraced all the stages of his artistic evolution through over thirty songs, from great hits such as “Nera”, “Mediterranea”, “Arrogante”, “Ovunque ordini” and “La genesi del tuo colore” up to the most recent songs taken from the album Antologia della vita e della morte, including “Lentamente” and “Tu no”.

The show opened with Irama appearing on the new San Siro Skywalk, becoming the first artist to use the panoramic balcony at a concert. From there he performed “Tu no” involving the audience in a long collective chorus before disappearing and reappearing a few moments later on the main stage.

The scenography, developed under the creative direction of Vanta Studio together with Intera Musica management, had as its centerpiece a gigantic Gothic rose window of approximately ten meters in diameter entirely covered with video surfaces. A monumental and dynamic element which, thanks to dedicated visual content for each song, transformed the stage into a narrative machine in continuous transformation.

Among the most innovative elements of the show is also the long catwalk with a circular ending made up of walkable high-definition LED walls. Thanks to Zactrack technology, the artist's movements generated interactive effects in real time, making images and surfaces react as he passed and amplifying the dialogue between music, light and scenography.

There was no shortage of special effects, including flames, columns of smoke and spectacular cascades of sparks, while thousands of luminous bracelets distributed to the public transformed the stadium into a large visual installation synchronized with the music.

Among the most applauded moments of the evening was also the presence of exceptional guests. Annalisa, Arisa, Giorgia and Rkomi took turns on stage, protagonists of special performances that made Irama's first time at San Siro even more significant.

Accompanying him is a band made up of five musicians and five choristers led by the musical director Giulio Nenna, together with twenty performers involved in the various scenic scenes of the show.

The Milanese live represents a new starting point for the artist, who in the coming months will also debut as a judge on

THE LADDER

The setlist exceeds thirty songs and crosses the fundamental stages of Irama's repertoire.

THE INTERVIEW

San Siro is special for the people who fill it

The first San Siro is often described as a milestone or a new beginning. What does it mean to you?

Neither of those things. I see it as a big party. It's an important concert, certainly iconic, but I don't think it's the places that make things special. It's the people. When I enter an empty stadium I don't feel emotion. The emotion comes when it fills up, when people are there, when that collective magic is born.”

What kind of show did you imagine?

I will start from a newly built panoramic terrace in San Siro. I'll open with an acoustic version of 8.9. It will almost be a pre-show, a very intimate moment to thank those who are there. I want to immediately create a connection with the audience before the most spectacular part begins.”

Will there be a strong visual component?

Yes, but in a different way than usual. The stage will be completely LED and the visuals will live directly on the stage surface. I was interested in the images being integrated into the physical space of the concert and not simply projected behind.”
My biggest fear? Boring»

How did you build the setlist?

When you have seven albums under your belt it becomes increasingly difficult. There are songs you can't take off. Some songs now belong to people. Every exclusion inevitably creates someone who is disappointed.”

Will the show have more anime?

We worked on three main dimensions. One more linked to ballads, one influenced by the flamenco world which is increasingly contaminating my writing, and one more energetic and rhythmic. In the finale there will be a very played, very organic part.”

Why this choice?

Because I need movement. My biggest fear is being bored. I get bored easily myself. I love acoustic moments, they are probably my favorite, but if a concert were all acoustic I would end up losing attention. I believe in contrast. A beautiful thing becomes even more beautiful if something different comes after it.”
The rush to the stadiums matters less than the ability to stay”

There seems to be a stadium rush in recent years. How do you live it?

I think it's a very subjective question. Some artists arrive earlier, others later. But the real difficulty of this job is not arriving. It's staying.”

Everyone goes through highs and lows. It happens to any artist. The challenge is to build something that lasts over time. A repertoire. Songs that become memories in people's lives. That's what really matters.”

Do you feel like you're in a particular phase of your journey?

Yes, I consider myself halfway there. I already have so many songs that I can no longer remove from the setlists. This lets you know you're building a story. And the more time passes, the more responsibility increases.”

I'm in a rare moment: I feel more positive”
On a personal level, what moment are you experiencing?

It's a difficult question. I'm running a lot and maybe I haven't had time to really stop and understand what's happening yet. But I feel more positive than usual.”

By nature I am a melancholy person. This phase, however, is different. I'm learning to let go of some things. Before, I tended to continually dig inside myself, to rethink everything endlessly. Today I'm trying to flow more.”

Even artistically?

I still struggle with art. I always need to go very deep into things. But in life I'm learning to loosen my grip a little.”
X Factor is a responsibility”

This phase coincides with your debut as an X Factor judge. Is it a coincidence?

Actually no. X Factor arrives at a time when I want to show myself from different perspectives. It's a place where you can tell your story and at the same time help other artists grow.”

How do you experience this new role?

Mostly as a responsibility. I find myself in front of kids who are starting their journey and I feel the duty to be sincere with them.”

Do you recognize yourself in the competitors?

Very. I also started at a very young age and I know certain dynamics well. We don't have the truth in our pockets, but we can offer experience. If I can help someone avoid mistakes or find direction, then my role makes sense.”

Did you ask those who came before you for advice?

Yes, I spoke with Manuel Agnelli. He was very helpful. We have always had an excellent relationship and he told me a little about his experience.”

THE WINTER TOUR

Sunday 6 December 2026 | Mantua @ Palaunical – Data Zero
Tuesday 8 December 2026 | Florence @ Mandela Forum
Saturday 12 December 2026 | Rome @ Palazzo dello Sport
Wednesday 16 December 2026 | Milan @ Unipol Dome
Saturday 19 December 2026 | Bologna @ Unipol Arena
Monday 21 December 2026 | Turin @ Inalpi Arena
Wednesday 23 December 2026 | Naples @ Palapartenope

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Interview – IRAMA: San Siro is not a goal, it's a party. The real challenge is to stay (Scaletta and Gallery)