How much we miss concerts.

In the slow gait of these abstract days of confinement we found ourselves, even in a forced way, deeply confronting ourselves, coming to terms with what we really feel is important.

We had to distinguish what is only rhetoric of comfort, drugged by the daily routine, and what is really substance for our spiritual banquet. We've revolutionized our days, recalibrated habits, forced to feel what we're really missing. We found ourselves yearning for (forcefully sincere) the things that comfort us and make us feel good.

The concert represents for many (for me certainly) the climax of recent nostalgic fantasies, partly because it is the unexpressed epicenter of all known social limitations, partly because it is a container and generator of indestructible sensations and memories. And it is often terribly difficult to enclose the report of a concert in an article: too many variables, too many subjective trajectories. Furthermore, the live experience exudes short-term emotions, the physical impact begins to diminish the moment the lights are turned on and the ritual elaboration process begins.

A strangest experience is writing about an online event, an unfamiliar (for many still unedited) way of using a band as intense as it is impossible to place on a single perception track. Added to this is the visual collaboration, complete with performances of great physical-vibrational impact (represented by the Rhuena Bracci entity of gruppo nanou) to make everything even more enigmatic and evocative.

On the occasion of this year's Transmissions Festival in Ravenna, dedicated to the celebration of the 700th anniversary of Dante's death, this exclusive streaming concert/event is presented, visible for only 48 hours, accessible for free, with the possibility of making donations at the user's discretion.

Ovo appear on a deliberately minimal stage, where the space is organized in a clean, geometric way. The sensitive evocation of the miasma is accentuated by the mixture of stage colors, which accompany a multimedia and multisensory performance on the cultural union, very important in a moment like this, in which the fusion between the public and the artistic occasion is at its maximum.

Stefania Pedretti's steamroller guitar is as always pure driving force, her voice is firepower and liberating anger. Bruno Dorella's drums weave the rhythmic web, draw the basis for delirium, strike, accompany, devastate.

Guitar and drums become energy peaks that radiate the central figure (Rhuena Bracci), materializing the pole of attraction with solipsist gasps, now of possession, now of bliss. Ovo's music is embodied on stage, it becomes a transmission flow for (the?) actor's body, like an electric discharge for Frankenstein's monster.

At a time when the separation is at its historical peak, the streaming appearance of the group resembles an esoteric monolith that conveys the energy flows of history, simultaneously carrying us back and forth, like gravitating electrons.

Having traced the stage space in such a ritualistic way, the band almost disappears from the stage, leaving it to the spectator/listener to decipher/pick up the signal, with the music as the universal conductor of inner visions, at the same time creating a new alchemy for the sap of sound and image.

The Ovo project carries on the constant narration of the mystery; that lives precisely because it doesn't resolve itself. It is an entity that is not afraid, but rather that feels the need to share its change of wetsuit, to luxuriantly display its new scales (but also feathers, exoskeleton, new flesh). Miasma by Ovo is something that is felt, that feels, stimulates and disgusts us in which we can all mirror ourselves if we want to deal with it.

An incredible result if we consider that live streaming in any case limits access to an enormous range of sensations relating to the live artistic experience: from the physical and moral effort of going to the concert, to the irreplaceable joy of being materially there to be there (and viceversa).

Ovo are seekers of nuggets in conceptual trajectories, but also tireless hunters of ever new projects, collaborations and challenges. The same ones that allow the "Creature" to continue to feed and expand. Ovo are one of the profound mysteries of Italian (Italian?) music as they are indecipherable and for this very reason grandiose. Immediate because they are elusive, unscratchable, eternally human, forever dissolved in space.

Ovo are cultural resistance, fury, noise, onomatopoeic joy.