It’s hard to describe in few words the intensity that Nana Vasconcelos can bring to a concert. When  he comes on the stage, the music starts to become  something magical. Nana is not only popular, he is also an innovator, who has amplified the concept of percussion extending it to everything that emits sound: nature, electronics and human bodies are the fields where Nana have made his experiments, always bearing in mind the Brazilian musical tradition. If you assist to a concert by Nana, you will see a one man band playing the strangest instruments and the audience transformed into an instrument too. Antonello Salis is an extrovert and creative musician, a real force of nature and also a poet. Versatile, unforeseeable, simple and innovative; a complete musician, he can pass from playing the piano to the accordion with the same fantastic style – he lives for music with extreme passion, a daydream to share with musicians and spectators alike. Thanks to his great sense of rhythm that permits him a remarkable self sufficiency, he generally prefers to collaborate with percussionists and drummers. Peppe Consolmagno, who is considered the Italian Alter-ego of Nana Vasconcelos, is very concerned with the search for new sounds, overriding the classical language of percussions in order to create sound track.  Unlike Nana, Peppe seems to draw closer to the noises of our urban civilization, dissecting the complex reflections that are born from the contrast between the desire to meditate and the frenetic pace of the twenty first century man. He builds instruments for himself and for Nana too, he is a surrealist artist, a sort of De Chirico of the music world, who transforms the stage into a workshop of dreams.

Photo by Victoria Lourdes Baltodano