«Fnobody’s daughter, melody of a song, that of the people who loved you so much.” The poignant lullaby of Ermal Meta, Little stardedicated to innocent victims of Gazaenveloped the stage of Sanremo Festival. A melody with oriental sounds accompanied the words of the singer-songwriter, who on the stage ofAriston Theatre he showed up with the writing «Amal» embroidered on the shirt collar. A word of Arabic origin meaning “hope” and which, for the artist, becomes the symbol of all the girls of Gaza, the «nobody’s daughters, everyone’s daughters».
Every evening a different name on the collar of Ermal Meta
The handwriting of the name hand-embroidered on the dress is hers and every evening there will be a new one: the name of a different girl or boy, to be worn on the chest on the Ariston stage. «The protagonist of Stella Stellina is a little girl without a name, but perhaps she has all the names»he explained Ermal Meta on social media. «Aysha, Amal, Layla, Nour, Hind: who cares, maybe nothing, maybe everything. No one’s daughters, everyone’s daughters”. At the end of the performance, Carlo Conti delivered the flowers to Ermal Meta with these words: «Let the flowers be just for celebrating and not on the graves of children who have nothing to do with the follies of men».
Ermal Meta’s intimate look
For the Sanremo 2026 stage, Ermal Meta chooses delicacy and character: oversized trousers, light duster coat and pink silk shirt ancient. An intimate and collected look, which prepares the audience for listening. The singer-songwriter moves away from a classic, rigorous or rigid style. The pale palette dampens any scenographic effect. The attention to detail: the knot left deliberately imperfect at the neck, the unbalanced proportions, the idea of an elegance that does not want to appear “constructed”.
The video clip of Little star: the remains of a broken life
The video clip of Little star accompanies and amplifies the meaning of the song: a young journalist enters an abandoned house and starts photographing what she sees: the remains of a family party, probably for a little girl’s birthday. The house is empty, there is no one left.
As the journalist passes through the rooms, they resurface the fragments of a life broken by war: a cake cut into several slices to celebrate together, a karaoke microphone, confetti and the symbol of what remains of a broken childhood: a doll. Delicate, almost suspended images that tell of childhood as a fragile territory, always on the verge of cracking. A story in images which, like the song, does not seek sensationalism, but a form of attention: look without turning away.
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