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A staple of Italy's musical scene, Zucchero is the kind of artist that inherently resonates with New York audiences as well: rough around the edges but an inarguable artistic genius.
The 68-year-old is considered the father of Italian blues, after all, and has performed on this side of the Atlantic plenty of times since his 1983 debut LP, “Un Po' di Zucchero.”
This spring, Zucchero will make his return to New York City as part of his Overdose D’Amore World Tour, taking over the stage at The Theater at Madison Square Garden on May 9—a show he already holds dear.
“Madison Square Garden is a mythical place, a prestigious and important stage,” he tells Time Out New York on a Zoom video call. “It’s always a pleasure to play there.”
While preparing for his world tour, Zucchero takes the time to discuss what he loves most about New York, the difference between American and European audiences and more.
How New York has influenced him throughout the years
"New York has always been a source of inspiration for me and it still is. I lived beautiful moments while in town with Luciano Pavarotti, who used to live across from Central Park, and my friend Sting. When here, we have the chance to meet and make music together."
The difference between American and Italian audiences
“Fans in Italy are more rooted: they know my songs, even the not-as-famous ones, so they all sing together. They are more immediate: you get on stage and without you having even opened your mouth yet, they scream.
“Here, on the other hand, the audience is warm but you need to conquer them. It takes three or four songs but, at the end of the day, they are very faithful. They need to understand if you are really transmitting something and are of value and, after that, they let themselves go and the show becomes a party.”
One of his first New York memories
“The first time I came to New York was when Miles Davis decided to play on my song ‘Dune Mosse.’
“I got here and I was very intimidated by the evening in New York, by the skyscrapers. I think it was 1991 or 1992. I remember we lost the multitrack recording so we were all in a state of panic thinking we came to town for no reason. They called a private investigator and, at the last moment, about half an hour before getting into the studio, we found it in a taxi.
“So, in addition to never forgetting the great Miles Davis and the emotions I felt that night, it was also a bit of a mystery novella.”