SANREMO 2024- NEGRAMARO: Starting everything again is our moral imperative


NEGRAMARO will be competing at the 74th edition of the Sanremo Festival with the song Let’s start everything again.

The song, written by Giuliano Sangiorgi, is a highly emotional rock ballad.

A climax that sees Negramaro’s sound expand in a crescendo of sound explosions and Giuliano’s voice is supported by the orchestra arranged by the maestro Davide Rossi (the Italian musician and producer who has won multiple Grammy Awards and who in his career has collaborated with the biggest names on the international scene such as Coldplay, Ed Sheeran, U2, Depeche Mode, Kanye West, Frank Ocean, The Verve and many others).

Thanks for any comments expressed, – this is how Giuliano Sangiorgi, leader of the band, breaks the ice – we belong to a generation in which press commentary has a value.

We were thrilled to read your reviews. We live in a rock n roll era in which it seems that the artist lives in a world divorced from commentary. For us it was important to share the first step with you in the press. “


Let’s start everything again was born a year ago, in Abruzzo, it seems that that song could be born from a moment of crisis but instead it was born from an incredible and simple image: I was with my partner Ilaria and my daughter Stella. In this historical moment I wrote with this vision. For us this song is an act of hope. All six of us do it all the time and every day we start all over again. It’s important to be reborn every day, it’s the most important thing beyond everything. The song is small and then becomes big for six people and we hope it becomes a climax that everyone can believe in. There is the desire to say that to feel good one must recognize in the other, a person free from prejudice, even that I myself have about myself. I don’t want everything to be pre-established. It’s a training session that we do between the six of us in the rehearsal room. Doing it without prejudice, with the orchestra was an explosive emotion, almost as if we were doing a cover. As if we had taken a journey into a parallel universe, as if it were something written by adults. If you remove my voice which is bulky, this song has M83, U2 references. It starts from a piano and voice like Only for youpassing through Clouds and sheets and new versions. We understood what the true essence of our music is. There is no intention to win. But having already received positive feedback has made it wonderful.


Sanremo means starting everything again, it means starting without prejudice even towards the Festival. It’s our Oscar week. There’s all the focus on the young people, and they can take advantage of that that week. We worked for 20 years so that the kids had the right light, we played at 2 and no one listened to us. Today young people benefit from the work of Negramaro, Subsonica, Marlene. Our experience at the 2005 Festival was a trauma for us. There are prejudices that we have overcome ourselves. Let’s all start again seems very similar to our Festival. It’s true that Amadeus doesn’t need survivors. He took away the concept of competition. I hope young people win. For us, our music is the life that has been and will be. Maybe it could be a springboard for some kids. They managed to make Sanremo a place where you don’t feel like you’re competing. At the time they were all giants.


It was a shock because of the late hour we played. From the elimination, to being on everyone’s lips the next day, we remember him as one of the pieces that was part of our history. That passage to Sanremo was decisive for our career which we remember as a beautiful snapshot. Caterina Caselli came down from the stage and next to us was Califano, who paid us huge compliments. That was an emotion that I still have in mind. We didn’t know if it was a disappointment or a dream. At the time we thought we were Blur. We lived that experience as if it were a dream.

While everything flows Caterina took it away from Mina, we wanted to go to Sanremo, Caterina did a lot of convincing, thanks to Mina. She has the original version sung by Mina which we have never heard. This time we go to share something that seems classic but isn’t.


Travel is essential. In one of these, in Berlin, I wrote a song. I wrote East Berlin which will be on the next album. Making a record and closing it after Sanremo means having awareness. There is writing, some auditions. That song gave us the push to go there to Berlin. We want to remain in the alveoli of substance. We are used to doing the job the old way. When we went to play abroad we went to places where no one knew us, to hear the criticism. Travel has always characterized us and records must be filled with stories and enthusiasm. It’s not easy to experience moments of enthusiasm. We have always made music to travel and travel to make music. Only for you with Fresu it was born in the studio. Other important Negramaro songs were born on the road while I was reaching a studio. It’s not nostalgia.


Working with Davide is extraordinary. It’s nice to find yourself composing something lyrical but at the same time what you’ve done in these twenty years. It contains all our influences and those that are the influences of our twenty years. The Anglo-Saxon European trend is important for us. It is the fruit of an empathy that is explosive and when we rehearsed with the orchestra, the work done materialized. Rossi was also excited. I hope I don’t ignore it. It was really nice to approach our music as if we were performers for the first time.


I haven’t forgiven myself for forgetting my father. When the pain becomes severe there is something in the body that makes you protect yourself. I no longer wanted to listen to his voice, so as not to experience that pain to the fullest. When someone feels that pain, I tell them enjoy it, then there’s something you won’t feel anything about anymore.

Starting everything over should be a very positive imperative. Do it without prejudice. I couldn’t forgive myself for that. I hope, if I had to play the devil’s and social advocate, I hope that in the community there is no longer a moral life sentence. It’s a difficult thing to accept. Loving without prejudice, knowing each other every day, knowing yourself. Knowing yourself several times is very difficult. I hate the cynicism we’re going into. The new Middle Ages of the new millennium, thumbs up, thumbs down but I don’t find myself in this squadrism of thought.


For the younger scene, I’m overjoyed. There is a greater Italian spirit, there is a desire for incredible musical literature.

In the latest editions I have noticed the ease and confidence of the new youngsters. The ability to manage such a challenging situation, that sometimes it is created more in the head than in the reality of the facts. As far as we are concerned, we are very attentive to what is happening around us, each of us in a different way. Contact is important not only in the studio, but also in listening, in changing language. We experience the speed of change in this way compared to those who were born at this speed. We live it thanks to experience. After more than 20 years, he helped us deal with the urge to keep up with the outsiders now, we have to be technically ready. Because many have played it, they tried, it went well and then they adjusted the aim. We are in the dimension where our music does not have to be affected by these rhythms. All this social fury can eliminate the creative part. The flattening comes sooner or later. We feel we have that experience to be able to deal with any type of emergency.

We can make an appeal to you, allow the kids to make mistakes. Don’t expect the numbers of Madame, of Elodie. We allow the new generations to make mistakes, only through error can they recover the peculiarities that will remain over time.

An example is that of Blanco last year on stage as a guest in Sanremo, the reaction was disproportionate. He didn’t know how to handle the problem. He didn’t have time to do it.


Definitely a tribute. We took precise references. We played with the cover, this song has within it all the stylistic features of the things that have shaped us in recent years. In a song that we feel we have treated with great care. It’s a piece containing a mix, we’re thinking of making a transfer. Both songs are the synthesis of these 20 years in music. We got some musical freebies. The mix is ​​so natural that it is not forced. It represents a lot of our music and our 20 years but also represents the nostalgic side of other bands.



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Written by

Christopher Johnson

Christopher Johnson is a dedicated writer and key contributor to the WECB website, Emerson College's student-run radio station. Passionate about music, radio communication, and journalism, Christopher pursues his craft with a blend of meticulous research and creative flair. His writings on the site cover an array of subjects, from music reviews and artist interviews to event updates and industry news. As an active member of the Emerson College community, Christopher is not only a writer but also an advocate for student involvement, using his work to foster increased engagement and enthusiasm within the school's radio and broadcasting culture. Through his consistent and high-quality outputs, Christopher Johnson helps shape the voice and identity of WECB, truly embodying its motto of being an inclusive, diverse, and enthusiastic music community.