Karoliina Simoinen
The expected counterpoint remained silent: Ahti did not reach Sanni’s level, writes Iltalehti editor Karoliina Simoinen.
Sanni released his song You and that boy a week ago. Henri Kärkkäinen
Finnish music has seemed to forget one very important thing: emotions are the fuel of music. The story of too many songs today remains smooth, faceless and distant. You can’t grasp anything more deeply, and nothing tempts you to come back to them later.
That’s why it was interesting when Sanni, a musician who carefully guards his private life, released a personal song You and that boy.
Over the years, Sanni has turned into a rather distant character. If Sanni has given interviews, he has only talked about his music. It has been possible to read about Sanni’s life mostly in gossip articles, which have never told anything about him as a person or as a person.
It was surprising that in the song You and that boy there were such feelings and experiences that he could connect directly to his own life. And the lyrics didn’t just remain at the level of innuendo, but the song had Sanni’s characteristic concreteness and genuine brutality.
The song managed to arouse sympathy and emotion even in the author, even some kind of longing for Sanni and Shirly Karvinen’s love story that ended.
The song strongly referred to Karvinen’s current partner, the rapper Ahti. It was to be expected that Ahti would make a game move typical of rappers: an answer song, or in rap terms a diss track.
In the picture, the rapper Ahti, who released his own song a week after Sanni had released the song Sinä ja se poitsu. WMG
The idea itself was good. As has been stated many times, the rap genre is at its best when diss tracks are created. Rap’s best gift is its competitive spirit, explosive emotions and bold taunting. It makes the genre come alive.
On the day of the release, however, the mood died down. I hope that there is no pre-agreed and long-honed marketing strategy behind all of this, because for Ahdi, the end result was embarrassing and quickly felt stale.
Boy– in the song, the minutes were used for rapping clichés: there was a rise from rags to riches, money and a million-dollar mansion, and bragging about a girlfriend’s appearance. A dozen raps like that have been heard in Spotify’s top 50 a million times before.
Sanni’s song had emotion and personal thoughts that made it recognizable. Ahti did not dare to answer at the same level.
The insecure rapper hid behind a familiar and safe protective wall. This would have been a good opportunity for Ahdi to make herself interesting and versatile. He didn’t dare to take the risk, but ended up responding with a clichéd threat that remains detached.
In his song, Ahti accused Sanni of trying to save a fading career, but managed to turn the situation against himself.
The reply piece was supposed to be a winning blow, but the end result spoke for itself.
Ahti practically proved that he is still the young boy.
