Sanremo 2026, the first night's report cards: Patty Pravo full of grace, applause for Fedez and Masini

The first piece in the history of the Festival more or less dedicated to artificial intelligence, Dargen does his job by relying on an engaging dancefloor. But he knows how to do even better.

Very classic song. Which resentfully, in the arrangement by the Ariston orchestra, is even more classical. She sings very well and the Ariston is calling her name out loud. What do you want to tell her?

The pop turn (or rather: the 'petrellization') of the Neapolitan urban artist continues to be unconvincing.

Eighties revival, with a wink to Anna and Marco in the refrain. Far from flawless interpretation.

Dancing catchphrase laden with the usual paraphernalia of richness, transparencies and ostrich feathers. More than a singing performance, a gymnastic recital. That of the dancers behind her.

The piece written by Giovanni Caccamo is beautiful. Doubts, if anything, arose over the live performance, but the stage test can be said to have been passed. With style. Patty Pravo full of grace.

Reggaeton without much ado: winking lyrics, kissing rhymes without much imagination. Good taste lies elsewhere.

Reassuring Raf: you find him exactly where you left off. Ballad with an eye on the glorious eighties, one eye in his repertoire and the other in that of Michele Zarrillo.

The piece is meant to be a country song about contemporary Italia. Some suggestive imagery is there ('Ti passo la canna del gas'), but the end result does not sound very credible and as vocals go, we are not there. However, a sufficiency, for ambition, fits.

You hear it half a time and you remember it. Once upon a time, the yardstick for predicting the success of a song was this. Stupid Bad Luck works like this: Fulminacci rinses his laundry on the Riviera and the pop experiment all works.

Sophisticated, at times prissy, love-themed ballad. When you know that playing it easy pays off.

The pairing works, the song is serious and has its merits, the Ariston audience shouts 'Bravi'. Even in this case, a sufficiency fits.

The song plays on the contrast between the serious theme of the lyrics (in the Middle East, war does not spare children) and the light-hearted rhythmic arrangement. Sufficient yes, but the mixture of the two components cannot be called successful.

Serena Brancale's chic version does justice to the free-range version we saw last year with Anema e core. This piano ballad may not be highly original, but the live performance ennobles it. Serena Brancale's, who at the finale is moved to tears thinking of her mother who is no longer with us, is one of the best performances of the evening without ifs and buts.

Rap without particular flashes of inventiveness.

Seventies party at the Ariston for this decidedly downbeat second life of Malika Ayane. A little more lightness, compared to the past, after all, suits her.

Attempt to recreate Olly's success in the laboratory with Nostalgia Nostalgia.

"It will be me and you/ that way/ it will always be yes". In short: an instant classic of Vesuvian weddings. In its genre, however, the performance is impeccable.

A somewhat scholastic meditation on the passing of time, with musical solutions that belong to the time that has passed.

Gianni Morandi's rapper son has to deal with the microphone acting up: he sings, his voice does not come out and so his performance starts from the beginning. The song is clever and he holds his own.

Song of love when it ends heavily influenced by the Smashing Pumpkins of the golden years. Half a mark more for ambition.

Poppettino full of naivety in a r0ck (evening) suit.

Earnest, intelligent, refined. Pop as it should be. And provocative enough: 'Baby, let's pull a heist together'.

The alternative title could be: The Sorrows of the Young Gassman.

Renga is reassuring in his own way. The world turns, everything passes, we grow old, but his pop remains that stuff there.

Latinisms abound. In the sense of Latin music, of course. But, listened to again and again, of this song we are left with the most original compliment you can address to the person you love: 'You are Naples underground'.