Achille Lauro: Italy’s Chameleonic Artist With a Hundred Lives

Achille Lauro has had many different lives: that of a “street boy” in the Roman crew Quarto Blocco, then as protagonist of the Sanremo Festival and Eurovision Song Contest, a performer in sold-out arenas, entrepreneur and now a judge on The X Factor Italy. He is a person with solid, sincere and passionate convictions, who put their idea of an artist at the center of attention, capable of overlooking everything but never their own abilities and determination. Meeting Achille Lauro for this interview on a nice afternoon in Milan — after the release of his latest single “Amore Disperato,” with the delicate sound of a piano lesson in the background — was just the confirmation of all this.

As an artist, but not only, you reinvented yourself several times. You are like a cat: you have nine lives.

I hope, so I still have some to spend! For me, life is always full of opportunities for change. I don’t think I’m the only one. There are people who live just like this, changing their skin and their lives, chasing an idea, aiming for an increasingly distant goal. My curse, but also my blessing, is all of this. I often feel so projected toward the future that I can’t live well in the present. However, this is also my strength: being beyond the contemporary. The worst thing they wrote about me was that I always tried to amaze people, but instead I just tried to surpass myself, often ending up in territories I didn’t know. I don’t want my job to turn into an assembly line.

After all, you are artistically omnivorous and have nothing to defend other than your talent.

I like “omnivorous,” but I believe that talent is ultimately not enough. Dedication toward what you love and extreme commitment count. In the end, all this leads to great results, as well as always seeking innovation. It’s true, I’ve never been afraid of losing anything. Each of my albums is always different from the previous one, because I am looking for a new universe to immerse myself in. I think it was harder initially for a listener to understand my direction. But I’m not reassuring, I don’t want to bring you into a comfort zone by always doing the same thing.

You’ve been on the scene for 10 years, and in this decade, everything has happened musically in Italy: a real generational revolution in the charts, but also the renewal of Sanremo – and you have been the protagonist of the festival several times.

They have been 10 intense years because there has been a great evolution of our music scene, especially thanks to younger artists. Many of them have understood that the more unique and particular they make themselves, the more they strike the chords of the public’s feelings. I’m not even completely convinced that Auto-Tune was the stylistic hallmark of this era. Already in the ’70s funk bands used the Vocoder, then there were Daft Punk in the ’90s…. When I started, it was the era of street rap, in which you had to say certain things and maybe you were ashamed to show your feelings, your weaknesses. Today, however, there is room for emotions, which is very important for me. However, there has been a great evolution in the trap and urban scene. We went from a very dark production to something lighter. Above all, those kids who come from the suburbs didn’t ape the Americans but chose their own narrative path, going much higher in quality. They tell of miserable realities that are in contrast with the luxury that glitters 15 minutes away from them. Milan is the place par excellence to describe this discrepancy. For them, as for me, music is a path to redemption and redemption. Then it’s nice that pop is no longer considered synonymous with poor music, and this allows many young artists to try their hand at this genre without fear.

What do you think about the fact that electronic dance music is connecting more and more with pop? It is a process that began many years ago but continues at a mainstream level in Italy, too.

True. I would like to open the top 50 and hear globally competitive productions and also an acceleration toward the contamination between dance and what really characterizes one’s culture, one’s country. Look at what is happening in Spain with Rosalía or C. Tangana, who take their tradition and mix it with something new.

What are you finding as a judge of The X Factor?

I’m trying to find something strong in identity in my team. My final three choices are slightly unconventional talents. I’m delighted to be able to try to do something different for the program. In the end, in Italy, only The X Factor and Sanremo are left to give great motivation to kids, to new talents…. Only in these contexts does something different and important really happen.

And you know a lot about Sanremo.

Let’s say that I was part of a change for the better. The festival was more permeable to the innovations seen in our music scene. It approached very distant worlds that never paid attention to before. Standing on stage with 10 million people watching you is an opportunity that I have always taken advantage of, even when I made mistakes.

Now, after four times at the festival, would you like to do Sanremo more as a guest or as a competitor?

If I have the right song I would go as a contestant. I love what I do and I want to take it to the top, but not in a grimly economic sense. I’ve always found my way, now I’m also an entrepreneur, I’ve opened a real estate company, so I’m not thinking about Sanremo for an economic question. But I’m ambitious: Sanremo is like the Champions League for a footballer. If you go there, you do it not only to participate but to win.

In your movie Ragazzi Madre: L’Iliade there is a passage where you reveal your great love for ballads, and the new single “Amore Disperato” is an intimate song, with acoustic sounds and a melancholic flavor.

I love ballads because they allow me to talk about my personal stories, to tell my experience, without inventing details to embellish them or make them more authentic. It’s all in that song. I want to maintain a certain simplicity, which for me goes hand in hand with authenticity. “Amore Disperato” is about a true story, so it was very easy for me to make it.

You recently went to the United States and talked about a future collaboration with Arturo Fratini, aka Lester Nowhere. We know he worked with Kanye West after giving him a CD with his phone number.

We did some things together during my work trip to Los Angeles, which was a very interesting and profitable period for me. Lester Nowhere is a very interesting artist and another demonstration that between obsession and attraction something incredible can happen. As in his case: meeting and then working with a great artist like Kanye West.

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