Towards the Festival

Sanremo 2026, record number of songwriters: 107. Here's who writes the most

Seven have written more than one of the Big's songs in this year's competition. Edwyn Roberts the most prolific, then the usual Federica Abbate and Davide Petrella

by Francesco Prisco

Da sinistra Davide «Tropico» Petrella, Federica Abbate ed Edwyn Roberts tra gli autori più «prolifici» del Festival di Sanremo

3' min read

Translated by AI
Versione italiana

3' min read

Translated by AI
Versione italiana

Before it has even begun, Sanremo 2026 has already broken a record. It will be the Festival with the most songwriters among the last thirty Big editions in the competition: in fact, there are 107 who have contributed to the writing of lyrics and music of the bands selected by artistic director Carlo Conti.

Last year there were 90, in 2024 - the last of the five consecutive editions led by Amadeus but also the first with 30 Bigs - there were 95. Numbers that did not differ much from those of the 28 contestants edition of 2023 (94 authors), also led by Amadeus. The comparison with the 2018 Festival, the first directed by Claudio Baglioni, which featured twenty Bigs, is impressive: there were just 54 authors. Practically an era ago.

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If you ask those in the industry to explain the trend, they will surely refer to how writing techniques have changed in the era of 'liquid music', with the urban genre establishing itself as the new mainstream: you have those who write the verses, topliners who take care of the melody lines, maybe beatmakers who work on the backing tracks, and, like nothing else, you find yourself credited with six or seven people for the same song. A working method that didn't take long to infect even the pop world. And the results can be seen punctually at Sanremo.

In the 2026 edition we do not find a concentration of authors comparable to that of the Festival that preceded it, when the same 11 authors wrote 66.6% of the songs in the competition, a circumstance that also led to a Codacons complaint to the Antitrust that a month later was filed. In the Sanremo to be held from 24 to 28 February there are seven authors who have written more than one song.

The most prolific this year is Edwyn Roberts, 34 years old, born in Cremona to Argentinian parents of Welsh origin, who worked for a long time with the stable of Maria De Filippi's Amici and then with Edizioni Curci: his signature is on the songs of Malika Ayane, Dargen D'Amico and Elettra Lamborghini.

With two signed songs, we also find regulars Federica Abbate and Davide Petrella (the former competes with Fedez-Marco Masini and Sal Da Vinci, the latter with Tommaso Paradiso and Luchè), but also Andrea Bonomo (J-Ax and Lamborghini), Mattia Davì (Francesco Renga and Leo Gassmann), Alessandro La Cava (Fedez-Masini, Sal Da Vinci) and Stefano Tognini (Luchè and Nayt).

Last year Federica Abbate co-wrote as many as seven songs. At five was Davide Simonetta, who this time co-wrote only the song Paradiso, then at four songs were Petrella, Jacopo Ettorre and Nicola Lazzarin aka Cripo, this year on the track with Fedez and Masini. If we go to the Sanremo of 2024, on the other hand, the record was held by Petrella (four songs), who had won the previous year with Marco Mengoni, tied with Ettorre. At three was 2026 record holder Edwyn Roberts but also Francesco Catitti (this time on the track with Maria Antonietta and Colombre), Paolo Antonacci (by Biagio son) and Cheope (by Mogol son).

In short, just scroll through the festival almanacs: there are names that are repeated more frequently than others. Someone, in recent years, has used the term 'caste'. If you ask the insiders in this case too, they will answer that there are authors who are more or less functional at the Festival and it is to the former that the artists' teams tend to turn when they apply to participate. Recent stories, but also less so: Vito Pallavicini in 1965 and 1966 signed no less than seven songs out of the 24 in the competition the first year and out of the 26 in the competition the second, while Mogol, again in 1965, came in at five. Because the Festival changes, but Italia basically remains the same.

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