Trent singers for thirty songs. Sanremo 2026 it has begun with all its huge team of Bigs, and like every year it’s time for report cards on the first performances. While Can Yaman thrilled the audience with an extraordinary physical prowess, the singers performed for the first time at the Ariston, progressively closing an evening that ended at 1.30 or later. Evening started with Ditonellapiaga and his How annoying! and finished with LDA and Aka7even with Clandestine poems. Here’s how they performed between top and flop.
Sanremo 2026: prime time report cards, top and flop singers
Totonellapiaga, What a nuisance!rating: 8
With an irresistible look – Lana Del Rey backcombing and bustier on miniskirt –, Ditonellapiaga gives an adrenaline-filled performance with his How annoying!. Vocally impeccablethe Roman singer-songwriter unleashes the Ariston with a powerful song and a dance troupe perfectly blended with the song.
Toe in the sore. (Getty Images)
Michele Well done, Sooner or laterrating: 6
Elegant singer-songwriter with a very particular voice, Michele Bravi brings an overly refined song to the competition for the good mouth of the Sanremo public. Sooner or later at first listen, however, it doesn’t arrivethe classic song that requires further steps to leave a trace. And this is not good for a Sanremo 2026 which should have consecrated the Umbrian singer.
Sayf, I like you a lotrating: 7
The first performance of the Genoese rapper was good with its enthralling I like you a lot. Song with Balkan influences that mixes with the rhythms of Vinicio Capossela. Sayf will certainly not be remembered for his vocal performance but, on his side, he has one of the best constructed (and least banal) texts of all the Bigs in the competition.
Mara Sattei, The things you don’t know about merating: 4
He tries and tries again but the Roman singer-songwriter is always missing something. First of all a bit of originality but above all co-authors capable of sewing a decent piece on her. Vocally, Mara isn’t up to par than the piece would require and his performance is also flawed and too unbalanced towards a rather annoying hypertrophy.
Dargen D’Amico, Ai Airating: 5
At his third Sanremo, Dargen D’Amico – dressed in an orange-parquet suit – it is no longer convincing. Once the surprise effect of the past is over, the Milanese rapper is left with it some good rhymes but nothing more. On a heartfelt and deeply felt funket baseDargen also seems to have lost the flow of the good times and he is the first to seem listless.
Arisa, Magical fairy talerating: 5
Even the always in tune Arisa lets herself be overwhelmed by emotion and his vocal performance suffers greatly. The piece doesn’t work either: too fairytale-like and with lyrics that would sound like a third grader. A shame since the singer of Sincerity he had dreamed of returning to competition in Sanremo for years.
Luchè, Labyrinthrating: 6
Classy piece but the vocals of the Neapolitan rapper unfortunately cannot express themselves at their best in a song sung entirely in Italian. A rarity for the co-founder of the legendary Co’Sang. Voice rough enough, Luché and his Labyrinth but at the moment they are not leaving their mark.
Thomas Paradiso, The romanticsrating: 6
Song in full Tommaso Paradiso style, The romantics adds little to the repertoire of the former frontman of The Giornalisti. Dreamy ballad atmospheres like the Beatles, lyrics with enough effect, Paradiso can still count on an excellent performance. Perhaps more than vocal.
Elettra Lamborghini, Voilarating: 3
Despite three not bad authors, Elettra’s piece is frankly indefensible. Very far from the nice and irreverent atmospheres of Music (and the rest disappears), Voila has text that seems pre-compiled by Artificial Intelligence. The melody is even worse and the autotune can’t work miracles this time. Even the choreography of the performance is poor, with dancers in gloves and plumage from the Moulin Rouge of Castel Maggiore.
Patty Pravo, Operarating: 7
Legends are not discussed. Even if, as in this case, the divine Patty brought to the Ariston a song worthy of its history. Written by Giovanni Caccamo, Opera it has the charm of an anachronistic piece, from the “old school” of Sanremo which Patty’s (always) great interpretation ennobles.
Patty Pravo. (Getty Images)
Samurai Jay, Obsessionrating: 4
It’s difficult to understand how such an insipid song could have entered the Big list. Immature on stage and in his interpretation, Samurai Jay proposes recycled latin rhythmsgood at most for the amusement park bumper cars. Finally, Belen’s much announced “vocal participation” is reduced to a few (useless) words.
Raf, Now and foreverrating: 6
A long-awaited return that leaves however a hint of bitterness in the mouth. Raf eats up the stage for class and experience but the song, written together with his son Samuele, at first listen noIt doesn’t have the strength of his past ballads.
J-Ax, Italy Starter Packrating: 6
Strengthened by a chaotic and compelling staging – with violin, banjo and tricolor majorette –, the Milanese rapper knows very well how to please the public. Crazy country rhythm and very well written lyricsJ-Ax eats up the stage with his intelligent irony.
Thunderbolts, Stupid luckrating: 8
Classy outfit, centered voice and just the right amount of emotionthe Roman singer-songwriter doesn’t do anything wrong. One of the best songs in the competition, Stupid bad luck conquers with its slightly 80s rhythm and a text full of metropolitan suggestions. One of the favorites for the final podium.
Levant, It’s yourating: 6
She doesn’t lack class, presence and voice but It’s you by the Palermo singer-songwriter is a song that, at first listen, is neither fowl nor fowl. His fan base will certainly be happy but, with this song, Levante it probably won’t gain any further supporters.
Fedez & Masini, Necessary evilrating: 7
Difficult piece to perform, the Fedez – Masini couple nails the performance without any particular problems. The Milanese rapper, for the first time, convinces live; Masini is an el guaranteeThe amalgam of voices works well. The staging of the piece is also excellent, dark and essential.
Marco Masini and Fedez. (Getty Images)
Ermal Meta, Little starrating: 8
Essential and very engaging performance, Ermal sings his perfectly Little star with measured pathos and great vocal mastery. Thanks to Dardust’s rhythmic arrangementthe song slides like a marvel and, at the same time, moves you due to the power of a “simple” but very effective text.
Serena Brancale, Here with merating: 7
Announced winner of this edition, Serena Brancale has everything: range and great vocal technique, ability to excite and a song that excites from the first listen. Dedicated to the mother who passed away six years ago, Here with me ha all it takes to conquer the top step of the podium.
Serena Brancale. (Getty Images)
Nayt, Beforerating: 6
Roman singer-songwriter with years of apprenticeship behind him, Nayt confirms all his talent with a correct and essential performance.
Malika Ayane, Nocturnal animalsrating: 7
Between tropical rhythms and suggestive imagesMalika’s piece recalls the Marina Rei of the 90s, seasoned by the (forgotten) Dirotta su Cuba. The result involves, above all thanks to the singer’s always perfect voice, suggestive visuals and a transition from black and white to spot-on color.
Eddie Brock, Vulturesrating: 5
Despite a well-made song, the Roman singer-songwriter’s performance is disappointing. Probably too excited, Eddie out of too much enthusiasm mess with the earphones and there’s no shortage of splints. Rude and not very incisive.
Sal Da Vinci, Forever yesrating: 8
Overwhelming and highly applauded, the Neapolitan singer put on a great show on the Ariston stage. His Forever yes made the audience go wild and the feeling is that the good Sal will repeat the success of Lipstick and coffee.
Sal Da Vinci. (Getty Images)
Enrico Nigiotti, Whenever I don’t know how to flyrating: 5
Written together with Pacifico, it is a lullaby which, on a piano texture, heartens without falling into cloying. Indeed, going more and more into the territory of decisive and moving hope.
Thirteen Peter, Falling manrating: 5/6
A black urban sound that starts off very well, with rap parts and use – in the development – of double voices and multipliers. Poor Pietro was unlucky, with the microphone that initially went out of order, and then with the emotion that took over, drying out his voice.
Rag dolls, Stay with merating: 6
The first rock band to participate in the festival arrived with all the trappings of their fame, dyed hair, tattoos, determination, female empowerment. The piece, however, is quite normal in its belonging to the genre, especially for a band that showed very different metal tastes in the press conference.
Rag dolls. (Getty Images)
Chiello, I always think of yourating: 6+
Pop rock ballad with a sweet flavor that has the semi-power of an all-round piece. It’s a pleasure to spin, giving a feeling of melancholy comfort.
Marie Antoinette & Colombre, Happiness is enough, rating: 6/7
Couple in life who joined together in a duo, Maria & Colombre are the Coma_Cose of this edition (hopefully not in the outcome). The memory of Little hearts it is in fact high, if not very high. Enjoyable, joyful, exhausting, Happiness and that’s it It tastes like afternoon sugar summer suddenly invigorated by a song blasted from a bar in the neighborhood.
Leo Gassmann, Naturalrating: 5
The handsome boy son of – but with its beauty everything is forgiven neobabyism of the case – brings a piece of the throat that wants to be a cry of passion. It is, but it is also a piece that makes you smile for the slightly limping images it shows: from The sweatshirt with the black eyeliner to Rome in August seems like Antarctica. Good energy and commitment, but what remains memorable is the shirt open on the chest, the only man after Can Yaman.
Marie Antoinette & Colombre. (Getty Images)
Francesco Renga, The best of merating: 5
Leo Gassman’s counterpart, almost his double. Homogeneous to the point of being transparent, The best of medespite the care taken in its construction, it turns out to be yet another Renga song-ritualwhich almost hurts to hear it presented every time in Sanremo as the one who won for Angel (now over 20 years old).
LDA & Aka 7even, Clandestine poemsrating: 6+
Naples in all callara, almost touching on an essay on the Campania regionfrom its sounds to its folk traits. An enthralling piece, nothing to say, but was it really necessary to include it in the 30?
