Elettra Lamborghini will save us from Sanremo 2026 The only one who knows how to have fun when everyone else takes themselves too seriously

Music is a serious matter. But how serious should Sanremo be as well? Yesterday, while discussing the first night, we saw how the Italian Song Festival is trying to retrace its own steps, an expression that should mean rediscovering its original identity, but which can also be read as an important step backward compared to what the event had become in recent years. We also said that what Sanremo 2026 misses the least is the singers’ obsession with Fantasanremo, which had turned performances and on-stage moments into a real circus, but that does not mean an entertainment component should be completely removed, especially if one wants to carry on a show lasting several hours.

Music is a serious matter, therefore a large part of the Festival - perhaps the most significant - must be as well. So why is the best thing this year the total carefreeness mixed with free genuineness of Elettra Lamborghini? First of all, because even while performing on the Ariston stage, she does not have to be labeled as the «golden mom» of the Olympics, as happened once again to Francesca Lollobrigida. A sports champion who has been at the center of controversy for days for being reduced more to the role of parent than athlete by much of the Italian media - a narrative also joined by host Carlo Conti. As if being a mother were the fundamental element that led her to achieve an Olympic record.

Or, returning again to Lamborghini and the bullets she managed to dodge, she did not have to face an out-of-touch journalist in a completely surreal dispute whose protagonists were the members of the group Bambole di pezza. According to the man, feminism should now be considered outdated - A man. Explaining it to a group of women. It would almost be comical if it were not frustrating.

In any case, a festival where everything is taken a little too intensely. Between the series of in memoriam moments between the first and second nights that Conti often wanted to recall even just verbally - with the segment dedicated to Ornella Vanoni reluctantly scheduled at a quarter to one in the morning - the best thing to listen to is the singer of Voilà, who, after her performance, goes to Ema Stokholma and Gino Castaldo at Radio2 and continues her battle against «bilateral parties,» explaining that she really has no desire to fool around with her husband during these competition nights. At the same time, she shows she truly cares about the Festival by pointing out that, in her opinion, she could have done better on stage.

It often happens that the liveliest moments of an event take place outside the event itself. Not even Lillo and Pilar Fogliati, whom we would gladly leave the Festival to next year, managed to involve Conti when it came to performing a silly musical bit invented by the comedian for the occasion. The two personalities from cinema and entertainment seemed to have their brakes on anyway, forced to repeat sketches and impressions that, although only a few years old, already feel dated. One wonders how it would have gone if they had been allowed to act freely. Laura Pausini surely would have followed them, even though all her attention was captured by a composed Achille Lauro, who by now does not move from his position as a modern crooner. And so long live, long live, long live Elettra Lamborghini and long live, long live, long live Carrà.