It would be easy to say that, in view of the two concerts in the June stadiums, whose presales – now it is no longer news – are not going well, Elodie has simply done the proverbial step more than the leg: it is not the first in recent years to launch into the big arenas without a protective network (remember Blanco in 2023?), Which in these cases means a loyal audience and a robust repertoire, we say, intense. It is clear: otherwise, in the stadiums, anyone would play. Likewise, Forget about 7the piece with which he was competing at the last Sanremo Festival and who should have pulled the sprint on concerts, stopped only in 12th place and on the radio went well but not very well (a gold disc, which with the new certifications is not very little anyway): even that, in the end, could only be The wrong song at the wrong time. It happens, the artists and their managers are not robots, sometimes they make errors. But it’s really, here, only a matter of having moved too much in advance and bad? I don’t know.

In his revolutionary way, but now more is needed

Listening You love me you hate methe new album of the 35 -year -old Roman Popstar – has just come out – which should carry out the speech of Forget about 7 Towards the summer, where Elodie is usually a race horse, at least if we talk about catchphrases, it seems that the problem is if anything structural. It is as if there is a crystal ceiling on his head: it is not that at all costs you have to play in the stadiums, let’s be understood, but if the goal is that, you need an evolution compared to what has been done – and well, moreover – in recent years. Elodie has imposed himself as a female pop star, using the body and sensuality, a model taken from the international market that suits them but which, by us, for culture, has no precedent, if we exclude the alien Raffaella Carrà. It was, in his little one (who is not a small, given the numbers), a revolutionary. But perhaps now this formula has already paid all possible dividends and, to go up again, you need more.

The latest editions of Sanremo himself showed it: with Amadeus, in 2024, even in the face of a format formed Hit Mania Danceall possible catchphrases, from Sincerely of Annalisa down, in the race they collected less than expected; With Carlo Conti, they were directly overcome to the right by the various songwriters, by Lucio Corsi to Olly himself. Then, for heaven’s sake, when you continue on the radio it is another matter: I call I call you Di Gaia, very weak on televoting, has become a tank, to name one; and the same Forget about 7 He took beautiful revenge, as he had been the year before for Annalisa and The Kolors, among the various. The theme is: the songs that propose themselves as brazen hits are good as a background, accompanying tunnels, on the radio and as a meme on Tiktok; But when the audience has to open the wallet – and then buy records in physical format, go to the concerts, trivially televoting: and the money is not infinite – it does not let itself be seduced by so little. What wants, often, is a story, of values, an artist in whose experience and in whose more or less explicit messages, meet again. Someone who looks at hand, who represents something. In this sense, Taylor Swift is the model that has brought to the extreme a trend that has always made pop music great.

A turning point is needed

Elodie knows, perhaps he understood it even for first, but even with the sincerity that distinguishes it so far has invested us little and badly. The documentary I still feel the vertigo (2023) It was a blank blow, in general all the attempt to widen the emotional spectrum of the project – the battles for rights, the presence in the TV lounges to be “of all” and rightly, the history of the suburban girl who runs away from a situation of degradation but does not forget – has never scored, either because I do not go to the songs itself – until last summer, that is, up to Black Nirvanahe always has “sought the hit” – and want because our country, unfortunately, still struggles to grant the pass to an emancipated and successful woman as she is. On the other hand, everything You love me you hate me suffers from the same problems as Forget about 7: focuses on the dimension of Clubbing (it seems like this will also be in the stadiums) in a sort of dance upgrade seen so far, as well as on an almost beyoncé -style r & b that in Italy has no meadow in front, but for the rest it is lost halfway between the songwriter who would also ambush and, again, the catchphrase.

It is not the only one: Annalisa herself, but also The Kolors and Mahmood, struggle or have struggled for years to build a faithful audience, which therefore speech to go to the live. On the contrary, then names like Tananai and Alfa arrive – which have focused a lot on the narration of oneself, with songs, however, online – and immediately fill the buildings. Before Sanremo, Elodie had said that they would want to do “another martini” of her: the interpreter caste and a little set, in short, the eternal return of tradition. She was good at disappearing, but the challenge is now another: to thicken the proposal, because the hits, told so, are no longer enough. And perhaps, for the projects she has, they will never be enough.