An artist's career is made up of courses and recurrences, of leaps and falls, of moments in which everything seems to stop and others in which everything suddenly falls back into alignment.
For Sal Da Vinci, these last few months have had the thunderous noise of unexpected surprises: the overwhelming success of “Rossetto e Caffè” last summer, the transversal embrace of the public, Sanremo, Eurovision, a popularity that has once again become gigantic and almost touching in its spontaneity.
We meet him in the middle of this vortex of joy and affection as he releases “Per semper Sì”, the new album.
A record that, behind the clamor of numbers and charts, tries to remain profoundly human. Inside there are pain, family, the passing of time, loyalty to feelings and that stubborn need to continue to believe in true emotions.
Sal Da Vinci speaks without constructions and without poses. And perhaps this is precisely the reason why his music continues to resonate so strongly today.
THE INTERVIEW
Your new album has a very personal and almost therapeutic dimension. Does it surprise you how audiences are reading it?
It always surprises me when people manage to grasp something authentic, sincere. I read so many analyses, so many comments, and it strikes me that the message has arrived in such a direct way. This album was born right from there, from a true emotional urgency. It is an album that talks about family, feelings, bonds, loyalty towards others but above all towards oneself.
Inside there are lost loves, newfound loves, eternal promises, the relationship between father and son, pain, the need to communicate in a time where we often speak little and listen to each other even less. We live frenetic, distracted, almost neurotic lives. But I have always tried to work on the craft of love. And it's not easy.
Loyalty, for example, is not a natural condition. It's a continuous job. Being faithful also means remaining consistent with who you are, with the promises you make to yourself.
Betraying yourself is the worst thing.
Very different languages coexist on the album. After “Rossetto e Caffè” did you feel the need to change your musical approach?
When the word “neomelodic” is used, an artificial distance is often created. But that word simply means “new melody.” I have always made popular music in the highest sense of the term: music that reaches people's hearts.
I have gone through many different musical experiences. From the most classic Neapolitan song to the work with Roberto De Simone, Claudio Mattone, up to more contemporary sounds. I have never experienced music as an enclosure.
My son Francesco certainly played an important role. He belongs to a new generation, he has another ear, other references. However, I have always been open to changes, to new languages. The forms change, but the substance remains the same: love, fragility, emotion. When you fall in love we are all the same, we all become vulnerable.
“Rossetto e Caffè” was born as one melody among many. Nobody imagined what would happen.
We self-produced it almost as a family, without gigantic strategies. Then it exploded. And to this day I still can't really explain why.Perhaps it was a reward after so many years of work, sacrifice, resilience. I am someone who built everything step by step, with crumbs.
This is why I experience what is happening to me today almost with amazement. Sometimes it even seems too big to me.
“I Want to Love You Again” is one of the most intense songs on the album. How difficult was it to dedicate it to your father?
It was born from unbearable pain. At first I couldn't even sing it. I stopped constantly in the studio. I left it locked in a drawer for a long time.
Then during the theater show Stories, thanks also to the push of director Luca Miniero, I found the courage to bring it on stage. But it was devastating. I was crying, people were crying, my voice was constantly breaking. It seemed almost impossible to move forward.
Over time, however, that song changed its meaning. The pain turned into something else. It has become a way to exorcise absence, to share a wound that belongs to everyone.
Yesterday, a colleague told me that she had lost her father three years ago and that while listening to the song she had finally felt something move inside. Well, I believe that music also serves this purpose.
People today don't want frills. He doesn't want the empty performance. He wants to get really excited. He wants truth.
After Sanremo, Eurovision and this enormous success, how are you experiencing this period physically and mentally?
It was a grueling time. After the summer I started writing a theater show, then forty consecutive performances, then the album, then Sanremo, then Eurovision. A continuous machine.
At Eurovision we did twenty rehearsals a day. We arrived at half past eight in the morning and left at half past one at night. In just one day I did something like 176 interviews. At a certain point the body stops, but you still have to go on stage and sing.
I try to live in a very disciplined way. I don't drink, I don't smoke, I'm very careful about my voice. But there are situations that you don't control: temperature changes, travel, stress.
And then there are social media, comments, improvised “experts”. I've read absurd things, people who talk without knowing anything about music. But honestly they don't affect me.
I'm more worried about the poison that some people carry inside them.We have a huge responsibility when we speak publicly. The words remain. They spread. This is why you need to be careful what you say.
You have often spoken of “popular song” as a high form of expression.
Absolutely yes. Roberto Vecchioni said something beautiful: the high song is not the complicated or intellectual one. The high song is the one that enters people's hearts and causes an emotional earthquake.
I hope this album can keep people company. Even just one song, maybe half a song, if it can make someone think, then I have achieved my goal.
How important was the collaboration with Adriano Pennino in the sound construction of the album?
Adriano is fundamental. He has been my producer for many years. He is an extraordinary musician and was able to accompany this musical transformation without losing my identity.
Today music thrives on continuous contamination. There is a new way of constructing songs, of putting together different sensibilities. “Rossetto e Caffè”, arranged by Adriano Pennino, opened a new path for us too.
Then different souls coexist on the album. There is the work done with Vincenzo D'Agostino, an immense poet who unfortunately left us a few months ago. There is the new generation of authors, there is my son Francesco and the duet with Serena Brancale.
I have always loved bringing together different people, energies and worlds. I feel like an aggregator of souls. And perhaps this album was born precisely from that continuous encounter between experience and new sensibilities.
LISTEN TO THE RECORD
WATCH THE VIDEO
The video clip of the song, directed by Giuseppe Marco Albano, confirms the successful artistic partnership with Sal Da Vinci, for which the director has already signed the video clips of So' pazz' e te, Il cielo blu di Napoli, A due passi dal cuore, Lipstick and coffee, It's not true that I'm fine and Forever yes.
Entirely shot on the beach of Castel Volturno, at the Lido Don Pablo, the video clip tells a delicate and intense love story between Sofia, a young Cuban girl who dreams of becoming a dancer, and Antonio, a young Neapolitan worker. The two work in the same beach and, through small gestures, glances and the magic of dance, they build a deep bond that Sal Da Vinci accompanies with his poetics, transforming their story into a true “poetry” of love. The actors Megan Ria and Gennaro Lillio play the two protagonists.
INSTORE
the instore tour will visit various Italian cities: on May 30th at the Maximall Pompeii in Torre Annunziata (Naples) at 5.00 pm, on May 31st at the Maximo Shopping Center in Rome at 5.00 pm, on June 1st at the Gran Shopping Mongolfiera in Molfetta (Bari) at 6.00 pm, on June 2nd at the CC I Petali in Reggio Emilia at 5.00 pm, on June 3rd at the Feltrinelli Duomo in Milan at 4:00 pm and June 4th at the CC La Torre in Palermo at 5:30 pm.
THE DATES
Thursday 9 July 2026 | Locarno, Moon&Stars
Wednesday 15 July 2026 | Benevento, BTC Music Festival
Thursday 16 July 2026 | Paterno (PZ), Piazza Morra (free)
Saturday 18 July 2026 | Cattolica (RN), Arena della Regina
Tuesday 21 July 2026 |Cervere (CN), Anima Festival
Monday 27 July 2026 | Este (PD), Este Music Festival
Wednesday 29 July 2026 | Adrano (CT), Piazza Umberto (free)
Thursday 30 July 2026 | Agrigento, Il Mito Festival
Saturday 1 August 2026 | Francavilla al Mare (CH), Piazza Sant'Alfonso
Sunday 2 August 2026 | Campitello Matese (CB), Altura Festival (free)
Wednesday 5 August 2026 | Golfo Aranci (SS), Golfo Aranci Mon Amour (free)
Friday 7 August 2026 | Giovinazzo (BA), Levante Arena
Saturday 8 August 2026 | San Pancrazio Salentino (BR), Events Forum
Monday 10 August 2026 | Santa Maria di Castellabate (SA), Villa Matarazzo
Wednesday 12 August 2026 | Cirò Marina (KR), KrimiSound Festival
Thursday 13 August 2026 | San Nicola Arcella (Cs), Arcella Open Air
Saturday 15 August 2026 | Lucera (FG), Lucera Music Lights Festival (free)
Sunday 16 August 2026 | Tottea (TE), XX edition of Notte Azzurra (free)
Tuesday 18 August 2026 | Sabaudia (LT), Arena del Mare BCC Rome
Thursday 20 August 2026 | Forte dei Marmi (LU), Villa Bertelli
Tuesday 25 August 2026 | Maiori (SA), Tourist Port
Friday 28 August 2026 | Torrenova (ME), Amunì Festival (free)
Tuesday 1 September 2026 | Trasacco (AQ), Piazza Matteotti (free)
Thursday 3 September 2026 | Rome, Rome Summer Fest
Friday 25 September 2026 | Naples, Arena Flegrea
Saturday 26 September 2026 | Naples, Arena Flegrea
Sunday 27 September 2026 | Naples, Arena Flegrea
Wednesday 7 October 2026 | San Marino, Nuova Dogana Theatre
Friday 9 October 2026 | Rome, Conciliazione Auditorium
Monday 12 October 2026 | Brescia, Clerici Theatre
Tuesday 13 October 2026 | Turin, Colosseum Theatre
Wednesday 14 October 2026 | Turin, Colosseum Theatre
Friday 16 October 2026 | Padua, Gran Teatro Geox
Sunday 18 October 2026 | Bologna, Europaauditory
Tuesday 20 October 2026 | Milan, Arcimboldi Theatre
Friday 23 October 2026 | Bitritto (BA), Palatour
Thursday 29 October 2026 | Avellino, Gesualdo Theatre
Tuesday 3 November 2026 | Florence, Verdi Theatre
Thursday 5 November 2026 | Catania, Metropolitan Theatre
Saturday 7 November 2026 | Avellino, Gesualdo Theatre
Monday 9 November 2026 | Ancona, Theater of the Muses
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