The times of “Despacito” ended. Not only for the inexorable sunset of Latin music in the Italian summers (Alvaro Soler still has been waiting for an explanation), but because for some years now that song has been missing for a few years capable of gaining listening to mass, monopolizing radio, TV, social, becoming the soundtrack of the holidays of an entire population.

The last – Duole say it – was Fedez with “Mille” in 2021, because already “La dolce vita” the following year he began to lay on the long wake of hit ready to be forgotten within a couple of aperitif games, and then get to the tired “Disco Paradise”, feat Annalisa and article 31, trying the tail blow last summer with “Sexy Shop”, which however played more with the gossip. The Italian scene, which in the last ten years has taken over on Luis Fonsi & Co, with the various Boomdabash, Takagi & Ketra, Rocco Hunt, Rovazzi, The Kolors and all the pop and rap protagonists ready to launch the piece with the end of spring – from Elodie to Tony Effe – seems to have been lost in the Mare Magnum of his own offer.

There are too many hits – or perhaps it would now be better to say aspiring – and they disperse between radio, Spotify and background for Instagram and Tiktok. Everyone listens to what they want and hardly converge on the same pieces. It is also difficult to make a general classification, because every means has its own. So if you want to crowned the reuccio or musical queen of this summer – or the royal, given the proliferation of featuring – it would be almost advisable and more natural to start dancing the Watussi or the Macarena.

The end of a fashion (or better of an era)

The abundance of songs, however, together with the artistic blanket that comes out, is not the only reason why the catchphrase is struggling to emerge. The other great truth is that we are distracted. The continuous stimuli to which we are subjected, the vast possibility of choice we have in front of – not only the musical one – puts us in a condition of perennial frenzy, for which to stop even a handful of minutes to listen to a song becomes demanding, let alone choose the one that can make us as a soundtrack for a couple of months.

The pieces – like many other things – slip on us quickly, often they really listen to, they remain to do as a background and nobody ends up on the cover (not necessarily for his demerit). The content bombardment made us lose the taste for the emotion to be photographed in a text or a melody. The truth, after all, is that the catchphrase in the ‘Fast sentiment’ society no longer goes out of fashion. And it’s a shame.