When he was little, Dario Faini, better known as Dardust, saw the piano as a spaceship capable of launching it towards the dazzling career that he managed to hold in his hands thanks to the commitment and dedication to work. His name – a tribute to Ziggy Stardust by David Bowie and the Dust brothers alias The Chemical Brothers – has its roots in that flamboyant passion that has seen him write and produce some of the most important pieces of the Italian music scene, from New era by Jovanotti ad Andromeda by Elodie, from Voice by Madame a It is like this every time by Emmafrom Viral by Matteo Romano a Money by Mahmood, the song that, at the 2019 Eurovision Song Contest, finished second behind the Netherlands. Two years later, it is Dardust himself this time to go up on the Eurovision stage and perform during the first semifinal aired on Tuesday 10 May in prime time on Rai1.
With him, Benny Benassi and Sophie and the giants, protagonists of a medley of Italian dance hits signed, among others, by Eiffel 65 and Gigi D’Agostino, enriched by the skilful hand of Lace in the staging. Certainly a great satisfaction for Dardust, who keeps about sixty platinum records in his showcase and who boasts in his career a propulsive thrust capable of pushing him to unhinge the rules to search for the truest and courageous sound to identify the things of the world. When Vanity Fair asked what the future sounded like, Dardust replied «fluid and courageous. Who does not want to belong to genres or categories: today, instead, things work if they are easy to label ».
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Its double soul – the more classical one of the piano and the more daring one of the electronics – has always made it one artist eager to destroy the schemes to embrace freedom. The last step to be taken, together with the performance at Eurovision, is, however, as he was able to tell on the stage of the last edition of Vanity Fair Stories, the landing in the cinema, signing a soundtrack. “I’ve already received proposals, but they didn’t seem suitable for a baptism. Here, I would like an emerging to the work of him before him, with whom to start together. Or, a call from the directors I love: Luca Guadagnino, Matteo Garrone, Paolo Sorrentino ». And who knows if, after Eurovision, something really moves.
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Source: Vanity Fair
