In short, what music have we listened to, in Italy, in 2024? Almost only that of our country, mostly male, white and Italian rappers. The data released by Spotify – which, it goes without saying, are not exhaustive, but still concern the most widespread streaming platform in the world and here, especially among an audience under 30, but not only – leave no way out and it is not a news: autarky reigns, hip hop is only in preferences and has a prairie in front of it. The only woman capable of entering the top ten overall is Anna, fifth behind, in order, Geolier (first for the second consecutive year), Sfera Ebbasta, Lazza and Tedua. Below her, Guè (the only over 40 on the list), Kid Yugi, Capo Plaza, Shiva and Tony Effe. All rappers, one woman, no bands or anything else.

Do we live in a bubble?

Of course, being generous is an encouraging sign: after decades of xenophilia, perhaps free of charge, listening to Italian music has never been so fashionable. The impression, however, is of living in a bubble. Global phenomena such as Taylor Swift and Billie Eilish arrive only briefly here, respectively fourth and eighth among the most listened to female artists, in a ranking dominated by Anna and which then sees, again in order, Rose Villain second, Annalisa third, Angelina Mango fifth , Elodie sixth, Emma seventh, Dua Lipa ninth (third and last foreigner) and Madame tenth. Above all, it cannot help but be strange to notice how, to read the name of some woman, always with the exception of Anna, you have to go to the dedicated ranking: if on a global level, once again, Swift and Eilish dominate, here there is a problem of representation, however you look at it. So, ok, on the one hand Anna’s story proves to be even more exceptional, but on the other, due to a series of causes and consequences that don’t fit into an article of this type, the gender issue is real and creates monsters.

Not to mention, still speaking of bubbles, the list of our most listened to in the rest of the world: Måneskin dominate, then among others there are Laura Pausini, Raffaella Carrà, Gabry Ponte, Andrea Bocelli, Meduza and even Vivaldi; here too, the tastes of the rest of the planet, what others find interesting in us, are not in the slightest aligned with ours, instead focused on hip hop.

Anna proves that rap has no genre, not even in Italy

Rapcracy, but not only that

The names, after all, are always the same: Geolier (what a year, his) is also first among the most listened to records with God knowsin a ranking that roughly reflects that of the artists themselves with their respective works, apart from Simba La Rue (another rapper, however) tenth, with Tunnel. The presence of is surprising The divine comedy by Tedua e The courage of childrenagain, by Geolier, two albums released even in the first half of 2023, proving that it’s not all fast food. The only real unscheduled ones are Sex and samba (which however includes Tony Effe, in addition to Gaia) e Sincerely by Annalisa, two pop pieces and not, at least, urban, fifth and ninth respectively in the ranking of the most listened to in Italy, where Geolier still reigns with I’m for me, you’re for youfollowed by Like thunder by Rose Villain and Guè, Gold suit by Mahmood e 100 messages of Lazza. The indication is clear: we go through Sanremo or the summer hit, otherwise it’s tough.

Geolier always wins, because he never betrays himself

But streaming doesn’t tell the story of the country: where are Ultimo and Vasco Rossi?

Yet, these small exceptions also tell us how streaming itself is not really indicative of the real country. Or that, in any case, doesn’t really say everything. It will be a question of lower age groups, probably of genres, rewarded in form and use by playlists, selections and algorithms. The fact is that in the ranking of the most listened to there are, yes, absolute giants such as Geolier, Sfera Ebbasta and Lazza, who have begun to perform in large contexts, albeit in a cautious manner, or a now national-popular icon such as Tony Effe (from whom we expects the big leap in Sanremo), but also less mainstream artists, who the general public ignores, such as Shiva and Kid Yugi. On the contrary, those giants who keep the industry of large live concerts afloat are missing, those of the truly sold out stadiums: Vasco Rossi (his fans are tired of listening to him, they prefer other formats or simply full-throttle streaming isn’t everything ?), Max Pezzali and Cesare Cremonini, but above all champions of the new generations such as Ultimo and the Nuclear Tactical Penguins. Artists who, evidently, manage to convert their audience better. Are we missing something?