Era l’estate del 2008. Dopo le vacanze estive sarei approdato in prima media, un traguardo spaventoso, nonostante si trattasse solo di allungare di qualche passo il tragitto casa-scuola. Da me elementari e medie distano due cassonetti ed un marciapiede.
Mi regalarono un Walkman, l’alternativa della “fascia alta della classe media più bassa” all’iPod. Divenne una sorta di migliore amico e mi accompagnò fino alla totale fusione della batteria, credo nel 2013.
Era l’estate di Infinity di Guru Josh Project, ma Eugene Hutz (cantante dei Gogol Bordello ndr) impostato come sfondo ne impedì il download.
L’inverno successivo, in mezzo ad 8Gb di Queen, Megadeth ed altra roba completamente sconnessa, fece capolino un album scovato girovagando in uno dei tanti blog dei primi 2000. Si chiamava “Canzoni da spiaggia deturpata”, di un giovane ferrarese classe ’84, tale Vasco Brondi, che giocava a nascondino dietro allo pseudonimo “Le luci della centrale elettrica”.
Giorni fa mi è giunta notizia che, quel ragazzetto emiliano, ha annunciato la fine del progetto dopo l’uscita del doppio album (“2008-2018 Tra la Via Emilia e la Via Lattea”) ed il tour in occasione dei suoi dieci anni. Poche volte ho sfiorato la blasfemia, questa è una di quelle.
La voce di Vasco Brondi è stata una compagna di viaggio, un modo “Per combattere l’acne” per me e per chi come me si chiedeva: “Ma perché questo tizio sta urlando sotto alla Coop che non ci sono più i CCCP? Ma chi sono poi, ‘sti CCCP?” .
Cinque dischi all’attivo dal 2008 ad oggi, una carriera che vanta collaborazioni con Jovanotti, Manuel Agnelli (Afterhours), Federico Dragogna (Ministri) e Giorgio Canali, una crescita artistica ed emotiva fatta di parole spesso incomprensibili e viscerali. Un racconto che “coinvolge una, massimo due persone” dice lo stesso Brondi, ma che con il tempo ha acquisito ben altre dimensioni. Dalla delusione in “Arrivava via Internet la sera” (Le Luci della Centrale Elettrica, 2007), alle “lettere d’amore scritte al computer” in “Cara Catastrofe” (Per ora noi la chiameremo felicità, 2010) al bisogno di respirare di “Iperconnessi” (Terra, 2017). L’immagine di una generazione digitale che ha perso l’importanza “analogica” del contatto, della bellezza del reale. Le emozioni creano più connessioni di un router.
“Cantami dei posti dove il Wi-Fi non arriverà mai, mai e poi mai”.
La storia de Le Luci è il percorso di un lamento, del grido di chi giorno per giorno affronta una realtà che sembra sempre più non appartenergli, di chi si districa nella giungla della crisi economica e sentimentale, di chi si tiene stretto in “questi periodi neri spettacolari”.
A 12 anni alle mie orecchie sembrava tutto così strano, grezzo, “sopra le righe”, ma sapeva di quella libertà che si comincia a cercare già nella pre-adolescenza. La voglia di avere un’identità, di essere almeno un abbozzo di se stessi. Ci vuole coraggio.
Agli esordi de Le Luci, “indie” era ancora una parola strana, insolita, quasi una parolaccia. Doveva arrivare Lo Stato Sociale di turno un paio di anni dopo a sdoganare il termine con “Sono così Indie” (Welfare Pop, 2010). Poi vabè, gli è presa la mano.
La semplicità espressiva del genere, grazie ad artisti come Brondi, ha scatenato quello che negli anni si è affermato come il fenomeno musicale del momento.
Oggi il panorama indipendente vanta un gran numero di artisti in continua crescita e l’ “indie” è diventato pane quotidiano per programmi televisivi e radiofonici, tanto aver preso le sembianze di quello che ora viene chiamato “ITPop”. Antagonista di se stesso.
L’affermazione dello stile come status symbol sta lentamente portando ad una perdita di significato e maturità nei contenuti essenziale per la credibilità e la longevità di un progetto. Quantità e rapidità nel produrre contenuti raramente è sinonimo di qualità, nonostante il riscontro del pubblico sia comunque positivo.
“I maestri sono fatti per essere mangiati”, si dice in un film Pasolini (Uccellacci e uccellini, 1966), invece spesso il successo è dato proprio dal senso di familiarità che gli artisti cercano di dare alle orecchie di chi ascolta, per imitazione dei riferimenti più famosi. Pochi, ma preziosi, quelli che i maestri se li mangiano e lottano, come quel ragazzo di Ferrara, per far sentire la propria voce in un mare che a volte sembra una tastiera troppo grande su cui suonare.
Anche Le Luci della Centrale Elettrica si posa nella mensola dove si espongono i ricordi importanti, insieme a quei progetti con contenuti, maturità artistica e mentalità che a tanti, me compreso, mancano terribilmente.
Ora c’è chi parla di una svolta imminente, chi del tramonto del genere, altri hanno altro di meglio da fare.
Io ancora non capisco gli incubi dei pesci rossi.
“La disperazione è una forma superiore di critica. Per ora noi la chiameremo felicità [..]”
La Solitudine, Leo Ferrè
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