Sanremo has returned to its origins

Humanity (or rather, the part of Italy that watches the Sanremo Festival) is split in two. On one side, there are those who love the old-school, reassuring, slightly boring, centrist traditional Sanremo, with veteran singers, awkward pauses, chaotic moments, middle-of-the-road opinions, and surprise video messages from Pope Francis. Then, there are those who crave a modern, international, fast-paced show, full of dazzling lights and radio-friendly hits, with stylish outfits, a U.S. vibe, and Kendrick Lamar. Needless to say, after watching this first night of Sanremo 2025, we can say with certainty: the first faction is winning—and winning big. 

Sanremo’s chaotic and old-school opening night

Let’s be honest: Sanremo has never been revolutionary. It’s a dazzling spectacle, one that has drawn in younger viewers perhaps out of boredom, perhaps thanks to Amadeus’ choices, or perhaps because a decade-long strategy has finally paid off. Ultimately, it’s nothing more than a mirror of Italy itself—its fear of change, its relentless nostalgia. Amadeus was just better at distracting us. Carlo Conti, however, is not. And so, we get a duet that’s supposed to be between a Palestinian and an Israeli singer, but—Google it—both actually have Israeli citizenship. We get Jovanotti holding us hostage for what feels like two hours, reflecting on life and death—when maybe Francesco Gabbani singing Viva la Vita would have sufficed. Even the hosting style feels like a throwback: traditional, smooth but uninspired, all about good intentions, awkward moments, and endless thanks to the crew. There’s Antonella Clerici, reclaiming a stage that was once hers before being unfairly criticized. There’s Gerry Scotti, ensuring an easy win. By 1:21 AM, we’re all in bed. 

And the artists? The women stole the show, 100%

All well and good, but what about the songs? This return to order is reflected in the over-the-top Roman theatrics of Tony Effe, who seems like a fascist re-educator’s dream against trap music—but with less energy. It’s also there in the nostalgic performance of Shablo and his crew (Gué, Joshua, and Tormento), who feel like insects forever trapped in amber. A rare moment of delicacy comes from Lucio Corsi, whose much-talked-about duet with Topo Gigio overshadowed his real artistic depth, which he fully showcased on stage. But the real stars? The women. They shined on the Ariston stage, miles ahead of the rest. And it’s thrilling to finally see more than five of them taking their rightful place (though still less than half, in a lineup that started with 30 and is now 29). Sarah Toscano is a pop princess with Amarcord, Francesca Masiano from Coma Cose channels a mix of Martin Margiela’s muses, Pat McGrath, and the Corpse Bride, complete with a heart-shaped dance. Joan Thiele in Chanel takes the Nancy Sinatra (or St. Vincent) route with an incredibly captivating track. Elodie and Clara, Gaia and Giorgia—each unique, yet all united in their performances. 

The Final Ranking of Sanremo 2025’s First Night Proves Us Wrong

It seems clear, obvious, undeniable—but the ranking proves us wrong, instead reinforcing a sense of restoration and a return to tradition. The top 5, in random order according to the Press, TV, and Web jury, includes: Brunori Sas, Giorgia, Lucio Corsi, Simone Cristicchi, and Achille Lauro. A decisive shift towards singer-songwriter artistry, seriousness, and weighty themes delivered in a structured and traditional way. We know it's only the first night, that everything can still change, but we had hoped for something more, something different, something new, something bold. We can still hope. See you tomorrow night.