The article discusses the current state of songs performed at the Sanremo Music Festival, highlighting a trend of emotional ballads that fail to evoke true sentimentality, instead presenting a sense of desolation within their musical scores. The author notes that many songs, rather than being touching, come off as overly simplistic and predictable, raising questions about their originality and artistic merit. For instance, the criticism points to the superficiality found in the compositions of various artists, who seem to stick to familiar chord progressions and melodic formulas that make their work feel formulaic and unoriginal.

The opening act of the festival featuring Ditonellapiaga was seen as particularly fitting, with a song titled "Che fastidio!" which encapsulates the author’s sentiment towards the overall mediocrity of this year’s offerings. Artists like Arisa and Fulminacci are called out for their melodies that lack depth and creativity, with Arisa being compared to a mix of Disney tunes and church music, while Fulminacci's work supposedly echoes beginner-level harmony exercises. This pattern suggests a deeper issue within contemporary Italian pop music, as many performers seem to favor safety in their songwriting, opting for comfortingly familiar melodies rather than pushing creative boundaries.

Ultimately, the article paints a bleak picture of the current musical landscape at Sanremo, suggesting that what was once a prestigious stage for innovation has devolved into a showcase of what the author sees as emotionally barren and unimaginative compositions. This critique not only reflects on the festival itself but also raises questions regarding the direction of popular music in Italy and the criteria by which new music is now being composed and celebrated.