Music
the interview •
Filippo Graziani: “Fiero di essere figlio di Ivan, sul nepotismo ci rido su”
The singer-songwriter discusses his new album “Verso Casa”, his father’s musical legacy and his collaboration with Marracash, who covered “Firenze – Canzone triste”. Regarding Sanremo, he remarks: “If I had the right track, I might give it some thought”.
“I’m the son of Ivan Graziani, who used to play in the bars along the Romagna Riviera to earn a living amongst the beer and pizza. I started playing when my dad was no longer with us, and back then he wasn’t exactly enjoying the renewed appreciation he’s receiving now. I’m proud of him, and all this talk of nepotism just makes me laugh.” With these words, Filippo Graziani tells Il Foglio about the origins of Verso Casa, his new album of previously unreleased tracks, released almost ten years after his previous album, Sala giochi. The project marks a new artistic maturity, fuelled by the birth of his son Ludovico.
While many struggle to shake off the label of ‘following in their father’s footsteps’, the artist – born in Cattolica and raised in Rimini – proudly embraces his roots: ‘I’m proud of my family, of the musical legacy I’ve inherited, and of the work my father did, so why on earth should I distance myself from it?’. Set against a backdrop of memories of provincial life and his twenties in Milan, the album finds its emotional centrepiece in an unreleased track by Ivan, ‘Le tre chiavi’, the perfect symbol of this intergenerational dialogue. This is how the family legacy is transformed into a language of its own, embracing 1970s American folk-rock and paving the way for the ‘Casa Graziani’ tour, which will see Filippo performing in theatres first in November and December with an acoustic set, and then in the spring of 2027 with the band in an electric line-up. "The house on the cover is my home, where I was born and raised in a small village in Romagna," he says.
What is contained within these walls?
It holds my childhood, my teenage years and the sound of my family. It holds the experience I have gained through my father’s songs and the journey I am embarking on today with this new album.
It holds my childhood, my teenage years and the sound of my family. It holds the experience I have gained through my father’s songs and the journey I am embarking on today with this new album.
Looking back, is there anything about your father, Ivan, that you didn’t understand as a child but which you now understand, as a father yourself?
I’ve come to understand why he spent so much time away from home. I now understand many aspects of my father’s life that I witnessed first-hand much better. This happens to anyone who becomes a father or mother: you recognise certain things your parents did that you didn’t understand at the time.
I’ve come to understand why he spent so much time away from home. I now understand many aspects of my father’s life that I witnessed first-hand much better. This happens to anyone who becomes a father or mother: you recognise certain things your parents did that you didn’t understand at the time.
In what sense?
I find myself doing the same things to my son that my father used to do to me: coming home as soon as possible, travelling many kilometres just to sleep at home. It’s like a sort of return to memories of my childhood and adolescence.
I find myself doing the same things to my son that my father used to do to me: coming home as soon as possible, travelling many kilometres just to sleep at home. It’s like a sort of return to memories of my childhood and adolescence.
The connection with his father is evident in the previously unreleased track ‘Le tre chiavi’. How did you come across this piece?
I stumbled upon the song completely by chance on a TDK cassette whilst I was listening to his old demo recordings. The process is rewarding because it allows me to observe how he composed his songs, to hear his voice once more, and to draw inspiration from it. The track emerged, fully completed, and fit perfectly with the album’s concept. I wanted to include something of his on this record, to serve as a bridge between my work and his repertoire.
I stumbled upon the song completely by chance on a TDK cassette whilst I was listening to his old demo recordings. The process is rewarding because it allows me to observe how he composed his songs, to hear his voice once more, and to draw inspiration from it. The track emerged, fully completed, and fit perfectly with the album’s concept. I wanted to include something of his on this record, to serve as a bridge between my work and his repertoire.
In terms of sound, “Verso Casa” remains rooted in 1970s American folk-rock, much like most of his father’s work. Was that a natural choice?
“I am not accountable to anyone for what I write except myself,” he states. “I couldn’t have done otherwise; I don’t like chasing trends.” Moreover, he notes, he is now at a stage of life when it would feel incongruous to discuss matters that do not reflect his authentic self. The album is deeply personal, and its sound is the product of the past decade spent performing his father’s songs, to which he has added his own stamp—that of 1970s rock.
“I am not accountable to anyone for what I write except myself,” he states. “I couldn’t have done otherwise; I don’t like chasing trends.” Moreover, he notes, he is now at a stage of life when it would feel incongruous to discuss matters that do not reflect his authentic self. The album is deeply personal, and its sound is the product of the past decade spent performing his father’s songs, to which he has added his own stamp—that of 1970s rock.
The music video for “Selvaggio” also features archive footage and home movies shot by your father. Why did you make this choice?
To make a sincere album, you have to take responsibility. If I truly wish to assert that this album is 100 per cent me, I must offer something of myself and genuinely put it out there. Those home movies are proof that these elements have always been—and remain—extremely precious to me.
To make a sincere album, you have to take responsibility. If I truly wish to assert that this album is 100 per cent me, I must offer something of myself and genuinely put it out there. Those home movies are proof that these elements have always been—and remain—extremely precious to me.
Speaking of his father’s artistic legacy, in 2024 Marracash used “Firenze – Canzone triste” in his track “È finita la pace”. How did you feel about this?
I thought it was brilliant. We gave him permission to do so; he invited me to one of his gigs at the Forum in Milan to perform it together. His approach was sincere, executed extremely well, and with great respect. It’s lovely to see different genres intersecting.
I thought it was brilliant. We gave him permission to do so; he invited me to one of his gigs at the Forum in Milan to perform it together. His approach was sincere, executed extremely well, and with great respect. It’s lovely to see different genres intersecting.
Looking ahead to the coming months, the thirtieth anniversary of your father’s death is approaching. Are you planning any special commemorations?
For the moment, I’m focusing on the album and the tour. Obviously, Dad’s songs will be on the set list because they’re part of who I am. Many colleagues have asked me in the past to go to Sanremo or do similar things to honour him.
For the moment, I’m focusing on the album and the tour. Obviously, Dad’s songs will be on the set list because they’re part of who I am. Many colleagues have asked me in the past to go to Sanremo or do similar things to honour him.
Speaking of Sanremo, you took part in the ‘Nuove Proposte’ category in 2014 with ‘Le cose belle’. Would you consider returning to the competition, perhaps in the ‘Big’ category?
“I’d love to. It’s an important showcase, and if there’s a song worth sharing, why shouldn’t I? Today, the festival is completely different from what it used to be; everyone takes part, from rappers to singer-songwriters, and the way we experience music has changed. But if there were the right track, I’d certainly give it some thought.”
“I’d love to. It’s an important showcase, and if there’s a song worth sharing, why shouldn’t I? Today, the festival is completely different from what it used to be; everyone takes part, from rappers to singer-songwriters, and the way we experience music has changed. But if there were the right track, I’d certainly give it some thought.”