zucchero world wild tour scaletta

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Zucchero: ecco la scaletta ufficiale del World Wild Tour

Dopo essere stato costretto a rinviare per due anni consecutivi il suo tour mondiale causa pandemia, zucchero è pronto per il suo world wild tour. ecco quale sarà la scaletta ufficiale dei concerti.

di Tiara Operno

Dopo un rinvio durato due anni a causa pandemia Covid-19, potrà finalmente ripartire il nuovo tour mondiale di Zucchero . Il World Wild Tour è iniziato per la precisione il 15 Aprile, a Rimini . Il cantante italiano si sposterà poi in tutte le principali capitali europee, fino ad arrivare anche in Australia, il prossimo anno.

Spirito nel buio Soul Mama Il mare impetuoso al tramonto salì sulla Luna e dietro una tendina di stelle… Sarebbe questo il mondo La canzone che se ne va Senza rimorso Partigiano reggiano Ci si arrende Facile Dune mosse Vedo nero Baila (Sexy thing) Pene Pane e sale Un soffio caldo L’urlo Solo una sana e consapevole libidine salva il giovane dallo stress e dall’Azione Cattolica Ho visto Nina volare Fiore di maggio Amore adesso (no time for love like now) Miserere Diamante Il volo X colpa di chi? Diavolo in me Hai scelto me

Per quanto riguarda le date, queste ultime sono ancora in fase di aggiornamento, almeno per quanto riguarda quelle di Paesi come Spagna e Stati Uniti, Canada, Nuova Zelanda ecc..

Finora, invece, queste sono state le date confermate. In Italia , oltre alla data di Rimini, sono previste altre 15 date di Zucchero, di cui ben 14 si terranno solamente all’ Arena di Verona , mentre un’altra data è prevista per il Lucca Summer Festival il 20 Luglio.

Date del World Wild Tour di Zucchero

15 aprile: Italia Italia, Rimini – RDS Stadium 18 aprile: Regno Unito Regno Unito, Glasgow – Royal Concert Hall 19 aprile: Regno Unito Regno Unito, Manchester – Bridgewater Hall 21 aprile: Regno Unito Regno Unito, Londra – Royal Albert Hall 22 aprile: Regno Unito Regno Unito, Londra – Royal Albert Hall 25 aprile: Italia Italia, Verona – Arena di Verona 26 aprile: Italia Italia, Verona – Arena di Verona 27 aprile: Italia Italia, Verona – Arena di Verona 29 aprile: Italia Italia, Verona – Arena di Verona 30 aprile: Italia Italia, Verona – Arena di Verona 1º maggio: Italia Italia, Verona – Arena di Verona 2 maggio: Italia Italia, Verona – Arena di Verona 4 maggio: Italia Italia, Verona – Arena di Verona 5 maggio: Italia Italia, Verona – Arena di Verona 6 maggio: Italia Italia, Verona – Arena di Verona 7 maggio: Italia Italia, Verona – Arena di Verona 8 maggio: Italia Italia, Verona – Arena di Verona 10 maggio: Italia Italia, Verona – Arena di Verona 11 maggio: Italia Italia, Verona – Arena di Verona 13 maggio: Francia Francia, Nice – Palais Nikaïa 15 maggio: Francia Francia, Floirac – Arkea Arena 18 maggio: Francia Francia, Paris – Accor Arena 20 maggio: Lussemburgo Lussemburgo, Lussemburgo – Rockhal 21 maggio: Francia Francia, Lille – Zènith Arena 22 maggio: Belgio Belgio, Bruxelles – Forest National 24 maggio: Paesi Bassi Paesi Bassi, Amsterdam – Ziggo Dome 26 maggio: Germania Germania, Monaco di Baviera – Olympiahalle 27 maggio: Germania Germania, Francoforte sul Meno – Festhalle 29 maggio: Germania Germania, Berlino – Waldbühne (con Eric Clapton) 31 maggio: Austria Austria, Innsbruck – Olympiahalle 1º giugno: Germania Germania, Stoccarda – Hanns-Martin-Schleyer-Halle 5 giugno: Svizzera Svizzera, Zurigo – Hallenstadion 7 giugno: Francia Francia, Lyon – Cité internationale – Amphithéâtre 9 giugno: Francia Francia, Marsiglia – Le Dôme 11 giugno: Svizzera Svizzera, Sierre – Sierre Blues Festival 15 giugno: Slovenia Slovenia, Lubiana – Arena Stožice 16 giugno: Austria Austria, Vienna – Stadthalle 17 giugno: Austria Austria, Salisburgo – Arena 19 giugno: Germania Germania, Lingen – Emsland Arena 21 giugno: Germania Germania, Lipsia – Quarterback Immobilien Arena 23 giugno: Germania Germania, Amburgo – Barclaycard Arena 24 giugno: Germania Germania, Düsseldorf – ISS Dome 26 giugno: Austria Austria, Graz – Stadthalle 28 giugno: Croazia Croazia, Zagabria – Lisinski Theatre 30 giugno: Austria Austria, Dornbirn – Messequartier 1° luglio: Austria Austria, Klam – Burg Clam 3 luglio: Montenegro Montenegro, Podgorica – City Groove Festival 5 luglio: Romania Romania, Cluj-Napoca – Sala Polivalentă 7 luglio: Romania Romania, Bucarest – Sala Palatului 10 luglio: Francia Francia, Aix-les-Bains – Music Festival 12 luglio: Spagna Spagna, Barcellona – Palau de la musica catalana 14 luglio: Spagna Spagna, Madrid – Noches del Botanico 19 luglio: Svizzera Svizzera, Locarno – Moon and Stars 20 luglio: Italia Italia, Lucca – Lucca Summer Festival 26 luglio: Francia Francia, Colmar – Festival de la Foire aux vins

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Zucchero in concerto a Milano: date 2024 e biglietti

Zucchero in concerto a milano: date 2024 e biglietti - altre info.

Zucchero in concerto a Milano San Siro: date Overdose D’Amore World Tour e come acquistare i biglietti

Zucchero annuncia le nuove date del “Overdose D’Amore World Tour” 2024: sono tre le tappe in Italia, la prossima estate, per il cantautore di “Senza una donna”. Data unica al Meazza di Milano : il 4 luglio 2024. Quanto costano i biglietti del concerto di Zucchero allo Stadio San Siro? I prezzi vanno da 39€ a 120€ (settore Platea Cat 1) con vendita aperta su Ticketone , da mercoledì 18 ottobre, anche per i pacchetti VIP.

Quando aprono le vendite per i concerti di Zucchero? Prevendite biglietti attive su Ticketone, per la data milanese, dal 18 ottobre 2023 alle ore 16.00 ( come acquistare il tuo biglietto ).

Queste le date confermate finora: 27 giugno allo Stadio Dall’Ara di Bologna, 30 giugno allo Stadio Franco Scoglio di Messina e 4 luglio allo Stadio San Siro di Milano.

Tre imperdibili concerti – solo qualche settimana dopo i live di Vasco Rossi – in cui Zucchero regalerà al pubblico grande musica e forti emozioni, ripercorrendo la sua incredibile carriera ed esibendosi con i suoi più grandi successi.

Chi aprirà le date nel capoluogo lombardo? Stay tuned per aggiornamenti! Scopri l’elenco aggiornato dei concerti del 2024, mese per mese .

Sommario di questo articolo: tutto su Zucchero a San Siro per il Tour 2024

• Zucchero Tour negli stadi: date 2024 in Italia

Come acquistare i biglietti per Zucchero a Milano nel 2024

• Indirizzo Stadio San Siro, date e orari concerti
• Settori San Siro Stadium e costi biglietti su Ticketone

Cosa includono i pacchetti VIP di Zucchero e quanto costano

• Scaletta concerto Zucchero a San Siro e durata dello show

Come arrivare allo stadio Meazza con il bus-navetta dall’Aeroporto di Orio al Serio

• Mappa dello stadio San Siro: settori concerto Zucchero nel 2024
• Contatti e pagina Facebook per altre informazioni

Zucchero Sugar Fornaciari Tour negli stadi: date 2024 in Italia

Il cantautore – che nell’ultimo anno e mezzo ha portato il suo World Wild Tour in giro per il mondo con oltre cento spettacoli e tantissime nazioni visitate – annuncia le nuove date programmate per il 2024 negli stadi italiani.

Ecco le date confermate della tournèe:

• 27 giugno, stadio Dall’Ara di Bologna
• 30 giugno, stadio Franco Scoglio di Messina
• 4 luglio, stadio San Siro di Milano

Nota bene: i biglietti di ciascun concerto sono nominativi. Per maggiori informazioni, consulta le FAQ sui ticket nominativi al link https://www.ticketone.it/helpcenter/

Ascolta gli album con i brani più popolari di Zucchero su Spotify .

I biglietti dei concerti già confermati, prodotti da Friends & Partners, saranno disponibili in prevendita da oggi pomeriggio, mercoledì 18 ottobre, alle ore 16.00.

I biglietti per le date di Milano e Bologna saranno venduti su Ticketone.it e nei punti di vendita abituali, mentre quelli per la data di Messina su Ticketone.it, Ciaotickets e Box Office Sicilia e nei punti di vendita abituali.

Eventiatmilano.it non è l’organizzatore dell’evento e non è responsabile di eventuali cambiamenti di programma. Verifica sempre il sito web di riferimento per informazioni aggiornate sull’evento.

Indirizzo Stadio San Siro, date e orari apertura concerti

Stadio San Siro (Giuseppe Meazza), Piazzale Angelo Moratti, Milano – Giovedì 4 luglio 2024 dalle ore 20.30

Costi dei biglietti in prevendita su Ticketone, per ogni settore

Quanto costano i biglietti dei concerti? I prezzi sono stati annunciati con l’avvio della prevendita su Ticketone: si parte da 39€ per un posto nel Terzo Anello Blu e Verde NON NUMERATO.

Sono stati resi noti anche i prezzi biglietti per i diversi settori. Elenchiamo di seguito, per ogni posto, il costo del ticket: vedi mappa dello stadio Meazza di Milano):

• Settore Platea Cat 1: 120€
• Settore Platea Cat 2: 110€
• Platea Cat 3 (Intero): 99€
• Platea Cat 4 (Intero): 89€
• Platea Cat 5 (Intero): 79€
• I Anello Rosso Cat 1: 95€
• I Anello Rosso Cat 2: 85€
• II Anello Rosso Cat 1: 75€
• II Anello Rosso Cat 2: 65€
• I Anello Blu e Verde: 75€
• II Anello Blu e Verde Cat 1: 65€
• II Anello Blu e Verde Cat 2: 59€
• III Anello Rosso: 49€
• III Anello Blu e Verde NON NUMERATO: 39€

Prima di procedere all’acquisto su Ticketone , verifica termini e condizioni d’acquisto accessibili dal sito https://www.ticketone.it/help/terms

Il costo dei pacchetti VIP arriva fino ai 349€ della postazione SKY BOX PACKAGE .

Cosa include il pacchetto più costoso? SKY BOX PACKAGE prevede un ambiente riservato per te. Una vera suite per coloro che vogliono vivere lo show con il massimo della comodità e riservatezza, con accesso a una tribuna riservata nello spazio sottostante, dotata di comode poltroncine imbottite.

Il pacchetto SKY BOX PACKAGE include:

• Un biglietto nella poltroncina in pelle con poggiatesta.
• Accesso preferenziale tramite ingresso dedicato e welcome desk riservato
• Un Pass laminato e cordino da collezione
• Un gadget esclusivo
• Servizio di catering pre-show all’interno dello Skybox dalle ore 19:30 alle 20:30. Il servizio catering (standing buffet) include: aperitivi, piatti caldi e freddi, dessert, bevande e vino. Food and beverage saranno serviti esclusivamente nell’orario sopra indicato
• Bagno e guardaroba privato
• Hostess e cameriere a disposizione
• Un posto auto per ciascun ordine effettuato nel parcheggio di superficie o sotterraneo
• Servizio account per soddisfare al meglio ogni richiesta prima dello show: [email protected]

Il pacchetto Gold Package , dedicato a chi vuole vivere lo show da protagonista, costa 319€ e comprende:

• Un biglietto numerato nei migliori posti in Platea
• Un pass laminato e cordino da collezione
• Un invito per accedere all’hospitality dedicata pre-show (dalle 19:30 alle 20:30). Il servizio catering (standing buffet) include: aperitivi, piatti caldi e freddi, dessert, bevande e vino. Food and beverage saranno serviti esclusivamente nell’orario sopra indicato

Nota bene: L’Artista non partecipa ad alcuna attività legata al pacchetto.

Scaletta Concerto Zucchero a San Siro (ipotesi)

Dall’annuncio del ritorno live di Zucchero è tanta l’attenzione sulla scaletta del tour portata nei precedenti spettacoli in Italia e non solo.

Per ora non è affatto semplice dire con certezza se verrà eseguita la stessa scaletta vista in occasione del World Wild Tour 2023 : gran parte delle canzoni dovrebbero tuttavia essere confermate.

Ricchissima la setlist, con 29 canzoni che vedono in scaletta – oltre al brano Iruben Me , anche brani evergreen del passato, come Dune mosse e Miserere con un appassionato ricordo di Luciano Pavarotti.

Di seguito la possibile scaletta dei concerti di Zucchero allo Stadio San Siro di Milano nel 2024:

• Spirito nel buio
• Sarebbe questo il mondo
• La canzone che se ne va
• Quale senso abbiamo noi
• Partigiano reggiano
• 13 buone ragioni
• Ci si arrende
• Baila (Sexy Thing)
• Un soffio caldo
• Stayin’ Alive
• Nutbush City Limits
• Honky Tonk Train Blues
• Overdose (d’amore)
• Let It Shine
• Così celeste
• X colpa di chi?
• Diavolo in me
• Con le mani
• Solo una sana e consapevole libidine salva il giovane dallo stress e dall’Azione Cattolica

Quanto dura il concerto di Zucchero a Milano? Nei recenti show in Italia, Adelmo da Roncocesi ha calcato il palco per quasi tre ore e mezza. La durata può variare anche a causa della presenza di guest star, o di bis aggiuntivi.

Sei diretto allo stadio Meazza per assistere al concerto? Su Tiqets puoi prenotare il bus-navetta che partendo dall’aeroporto di Orio al Serio ti porterà in città, in meno di un’ora.

Acquista online e fai convalidare il codice QR dal personale che ti aspetta fuori dall’autobus. Prenota il transfer in anticipo e goditi il resto del viaggio.

Fermate dell’autobus, con partenza ogni ora: Aeroporto di Orio al Serio, Stazione di Milano Centrale, Milano Lambrate e Milano Cascina Gobba.

Indicazioni su come arrivare allo stadio da Orio al Serio : prenota il bus navetta, scendi alla prima fermata (Stazione Milano Centrale), prendi la linea verde della metro fino a MM2 Garibaldi; cambia linea prendendo la linea lilla e scendi alla fermata MM5 San Siro.

Mappa San Siro per Zucchero Overdose D’Amore World Tour 2024 : i settori da preferire

Di seguito è mostrata la mappa dei settori dello stadio Meazza , in modo da poter valutare il miglior posto per assistere al concerto.

Contatti organizzatore, pagina Instagram e Youtube per altre informazioni

Sito web di Friends & Partners: https://www.friendsandpartners.it/

Per qualsiasi ulteriore informazione, o per prenotazione posti disabili, contatta il team Assistenza Clienti dell’Organizzatore: e-mail [email protected].

E-mail organizzatore: [email protected]

Pagina Instagram Zucchero: https://www.instagram.com/zuccherosugar/

Canale Youtube Zucchero: https://www.youtube.com/channel/UCG4RubLWf6IFFbKhWKWj-yA

Valuta cosa fare oggi a Milano , sfogliando la nostra agenda eventi. Hai programmi per il fine settimana? Scopri gli eventi del weekend in città e dintorni.

Luogo dell'evento

Stadio San Siro (Meazza) di Milano

+39 02 48798201

Organizzatore

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Zucchero in Tour: biglietti, date concerti, scaletta e biografia

04/12/2023 Luca Landoni Biglietti Tour 0

Biglietti - Seguici su Whatsapp - Telegram

Dopo l’esteso tour italiano e internazionale 2023, Zucchero aka Adelmo Fornaciari – ha annunciato l’Overdose D’Amore World Tour 2024. Vediamo insieme date, probabile scaletta e dove comprare i biglietti della tournée del cantante.

• Date tour Zucchero

Biglietti Zucchero Ticketone

Scaletta zucchero.

• Biografia Zucchero

Discografia Zucchero

1983 – Un po’ di Zucchero 1985 – Zucchero & The Randy Jackson Band 1986 – Rispetto 1987 – Blue’s 1989 – Oro, Incenso & Birra 1992 – Miserere 1995 – Spirito DiVino 1998 – Bluesugar 2001 – Shake 2006 – Fly 2010 – Chocabeck 2012 – La sesion cubana 2016 – Black Cat 2019 – D.O.C.

Zucchero –  Concerti 2024

Overdose D’Amore World Tour

23 giugno 2024 Bluenergy Stadium (Stadio Friuli) di Udine 27 giugno 2024 Stadio Dall’Ara di Bologna 30 giugno Stadio Franco Scoglio di Messina 2 luglio Stadio Adriatico di Pescara 4 luglio Stadio San Siro Meazza di Milano

I biglietti del Tour 2024 di Zucchero si trovano in vendita su Ticketone e in tutti i punti autorizzati abituali. Sono attualmente disponibili e li trovate qui .

Scaletta World Wild Tour 2023 – Terme di Caracalla

Spirito nel buio Soul Mama Sarebbe questo il mondo La canzone che se ne va Quale senso abbiamo noi Partigiano reggiano 13 buone ragioni Ci si arrende Pene Facile Vedo nero Baila (Sexy Thing) Iruben Me Dune mosse Un soffio caldo Il volo Miserere

Intermezzo musicale

Stayin’ Alive Nutbush City Limits Honky Tonk Train Blues

Overdose (d’amore) Let It Shine Diamante Così celeste X colpa di chi? Diavolo in me

Chocabeck Con le mani Solo una sana e consapevole libidine salva il giovane dallo stress e dall’Azione Cattolica

Scaletta World Wild Tour 2022 – Rimini

Spirito nel buio Soul Mama Il mare impetuoso al tramonto salì sulla Luna e dietro una tendina di stelle… Sarebbe questo il mondo La canzone che se ne va Senza rimorso Partigiano reggiano Ci si arrende Facile Dune mosse Vedo nero Baila (Sexy Thing) Pene Pane e sale Un soffio caldo L’urlo Solo una sana e consapevole libidine salva il giovane dallo stress e dall’Azione Cattolica

Ho visto Nina volare Fiore di maggio Amore adesso (No Time For Love Like Now) Miserere Diamante Il volo X colpa di chi? Diavolo in me

Hai scelto me

Scaletta 2021

Testa o croce Il suono della domenica Un soffio caldo Spirito nel buio Soul Mama Ci si arrende Blu Voci Wonderful Life È un peccato morir Never can tell Indaco dagli occhi del cielo Don’t Cry Angelina È delicato Rossa mela della sera Love Is All Around Dune mosse Diamante Il volo Baila (Sexy Thing) Diavolo in me

Hey Man Come il sole all’improvviso

Un piccolo aiuto Everybody’s Talkin’

Un pugno di sabbia Dio è morto You Are So Beautiful

Scaletta Wanted – Un’ Altra Storia Tour 2018 

Partigiano reggiano 13 buone ragioni Porca l’oca Ci si arrende Ten More Days Hey Lord L’anno dell’amore Fatti di sogni Voci Un’altra Storia

Vedo nero Baila (Sexy Thing) Never Is a Moment Iruben Me Il volo Ridammi il sole L’urlo Chocabeck Allora canto Un soffio caldo Un piccolo aiuto / Hey Man / I tempi cambieranno / Occhi / Il suono della domenica / Spincinfrin Boy / Blu Miserere Freedom Jazz Dance Wake Me Up

Solo una sana e consapevole libidine salva il giovane dallo stress e dall’Azione Cattolica È delicato Diamante X colpa di chi? Diavolo in me

Indaco dagli occhi del cielo Long as I Can See the Light Hai scelto me

Bio e Storia di Zucchero

Zucchero Fornaciari, pseudonimo di Adelmo Fornaciari, è un cantautore e musicista italiano nato a Roncocesi (Reggio Emilia) il 25 settembre 1955. È uno dei più importanti esponenti del blues in Italia, con oltre 70 milioni di dischi venduti in tutto il mondo.

Zucchero nasce in una famiglia di contadini. Da bambino inizia a suonare la chitarra e a scrivere le sue prime canzoni. Dopo due esperienze a Sanremo poco esaltanti, alla terza partecipazione sfonda con Donne (1985) e l’anno successivo ripete il successo cn Canzone triste.

Da qui decolla una carriera clamorosa che si consolida con gli album “Blue’s” (1983) e “Oro incenso e birra” (1989). La beffarda canzone Solo una sana e consapevole libidine salva il giovane dallo stress e dall’Azione Cattolica diventa un inno generazionale, così come la successiva Diavolo in Me.

Nel 1992, Zucchero collabora con Luciano Pavarotti al concerto “Pavarotti & Friends” e pubblica il singolo congiunto Miserere. La collaborazione è una novità per il mercato e un clamoroso successo e Zucchero inizia a farsi conoscere anche all’estero dove è uno degli artisti italiani più apprezzati.

Nel 2019, ha pubblicato il suo ultimo album, “D.O.C.”.

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Marcello mio

26 maggio 1966, nasce helena bonham carter, vangelo secondo maria, 25 maggio 1969, esce un uomo da marciapiede, furiosa – a mad max saga, i thirty seconds to mars conquistano torino: le foto e la scaletta, domenica 26 maggio, cinedelik: le perle del vecchio cinema, sabato 25 maggio, syd barrett, arriva in dvd il docufilm “have you got it yet”, una storia rock and roll verso l’ignoto mixtape interstellare, freebuds pro: the sound of silence, whatsapp cambia ancora con nuove funzioni per il risparmio energetico, disney+ arriverà anche in italia. ecco quando e a che prezzo, nuove mirrorless z6 e z7 nikon, addio alla “immensamente giulia” de le vibrazioni, su rai1 la miniserie dedicata a guglielmo marconi, laura pausini: una festa speciale per i suoi (primi) 50 anni, “panariello vs masini”, si aggiungono tre date al tour estivo, al via la seconda edizione del biodiversity summit, gino cecchettin a “che tempo che fa”: «vorrei che tutti i maschi dicessero ti amo alle proprie mogli e compagne», il tour della sostenibilità. con barbascura, lady day arriva a cagliari, festival universitario. tra divertimento, formazione, tecnologia e sostenibilità, un progetto di franco mussida: sonorizzato san vittore con musiche selezionate dai detenuti, museum of failure, il museo che celebra i più grandi flop della storia, nuove aperture per lo store healthy color, auguri a venezia (venezia che muore), “qui giace un poeta”, un libro poeticamente ispirato e necessario., un racconto di quarantena in divenire vol.5 quarantena, creatività e altre storie., zucchero riparte in tour mondiale da londra: racconto e intervista.

È partito con una tripletta sold out alla Royal Albert Hall di Londra l’ Overdose D’amore World Wild Tour di Zucchero . Ben 15.000 spettatori totali per uno degli artisti italiani più famosi nel mondo, ed un pubblico formato per davvero in gran parte da locals , oltre che da qualche italiano che ha approfittato del ponte pasquale per raggiungere la capitale britannica.

Lo show ha visto una scaletta rodata e la stessa band che lo ha accompagnato nell’ultimo tour mondiale, con un cambiamento dell’ultimissima ora, come ci ha raccontato lo stesso Zucchero nell’incontro con la stampa del giorno di Pasqua (trovate il resoconto più in basso e, in fondo all’articolo, la videointervista). Il giorno prima del debutto londinese, Adriano Molinari , batterista storico della band, ha avuto un problema di salute che lo terrà distante dai palchi per qualche tempo. In fretta e furia è stato chiamato a sostituirlo Phil Mer , arrivato a Londra la mattina stessa del concerto. Phil ha dovuto trascrivere, preparare e suonare una scaletta di 30 brani senza nessuna prova, a parte il soundcheck del pomeriggio. La resa del live, comunque, non ne ha minimamente risentito, a riprova della grande bravura e professionalità del batterista trentino.

Il resto della band, come dicevamo, è lo stesso dell’ultimo tour mondiale: Polo Jones (direttore musicale, basso), Kat Dyson (chitarre, cori), Peter Vettese (hammond, piano e sintetizzatori), Mario Schilirò (chitarre), Nicola Peruch (tastiere), Monica Mz Carter (batteria, percussioni), James Thompson (fiati, cori), Lazaro Amauri Oviedo Dilout (fiati), Carlos Minoso (fiati) e Oma Jali (voce e cori) .

Ospite annunciato, Jack Savoretti , che tra poche settimane pubblicherà Miss Italia , il suo primo album interamente in italiano. All’interno del disco c’è anche Senza una donna , in duetto con Zucchero e con un nuovo arrangiamento. Ed è proprio lo storico brano, cantato originariamente in coppia con Paul Young, che Jack e Sugar hanno cantato insieme sul palco della Royal Albert Hall.

L’incontro con la stampa

Come accennato, nella mattina di Pasqua, Zucchero ha incontrato i giornalisti, e ha presentato il tour mondiale in partenza. Ecco il reseconto delle dichiarazioni di Sugar.

La grande novità di questi concerti è un musicista, ovvero Phil Mer al posto di Adriano Molinari alla batteria. Come mai?

Quando siamo arrivati a Londra abbiamo ricevuto la notizia che Adriano Molinari ha avuto un problema di salute serio ed è stato ricoverato d’urgenza a Modena. Ci siamo quindi dovuti inventare qualcosa e abbiamo chiamato Phil Mer, che ci ha letteralmente salvati: pensate che fino alla mezzanotte lui non sapeva niente, e alle 7:50 era a Linate a prendere l’aereo per Londra. Ha dovuto imparare 30 brani, scrivendoseli tutti e leggendoli a prima vista durante il concerto. Abbiamo fatto un lungo soundcheck nel pomeriggio, ma è stato l’unico momento di prova, e devo ringraziare tutti i ragazzi della band, che sono stati stupendi e hanno dimostrato grande unità. Pensate la pressione e lo stress di andare sul palco in una situazione del genere: ovviamente ho iniziato il concerto con un po’ di patema, ma quando dopo 2-3 pezzi ho visto che Phil andava alla grande, mi sono tranquillizzato. È riuscito a suonare tutto il concerto senza sbavature o errori, facendo tutto quello che ha sempre fatto Adriano, e per questo non smetterò mai di ringraziarlo.

Nei miei live ci sono due batterie, ma non sono alternative, bensì complementari, ad incastro. Non avrei potuto usarne una sola perchè averne due serve a dare diversi colori ed esaltare ogni dettaglio, ed ognuno fa una cosa diversa: c’è il motore che era Adriano e che in questo caso è Phil, mentre l’altra batteria, quella di Monica, è fantasia, abbellimento e dettaglio.

Ovviamente quando Adriano Molinari tornerà in forma riprenderà il suo posto nella band, ma nelle prossime settimane, in scandinavia e nei balcani, sicuramente ci sarà Phil al suo posto.

La scaletta è ormai quasi la stessa da un paio di anni. Hai trovato la formula giusta per sintetizzare tutta la tua storia in questi trenta brani, come se fosse una Zuccherology ?

Per me la scaletta è funzionale così: ci sono dei picchi di ritmo, poi le ballate, i mezzi tempi. È una cosa studiata, e sto attento a non fare nè troppe ballate nè troppi pezzi veloci. Se poi una sera faccio Un soffio caldo e la sera dopo Il suono della domenica o un’altra ballata non cambia lo show, perchè sostituisco brani con uno stesso stile, quindi la struttura rimane la stessa. Se la dinamica di uno show funziona bene, perchè devo cambiarla? Con questa band, oggi, funziona bene così. Se poi un giorno decidessi di fare un altro tipo di concerto, magari con un trio, un quartetto o un’orchestra, è chiaro che anche la dinamica dello show cambierebbe, e di conseguenza dovrei cambiare anche la scaletta.

Questo tour è un po’ la prosecuzione dello scorso World Wild tour , ma tra le hit riesci sempre a mettere qualche “sorpresa”, come ad esempio Quale senso abbiamo noi , scritta da Tricarico e mai suonata dal vivo negli anni passati, oppure Pene , che non suonavi da quasi trent’anni. Con quale motivazione scegli un pezzo del passato piuttosto che un altro?

Non è mai facile scegliere solo 30 brani, perchè il repertorio è di quasi 400 canzoni, tra le mie e quelle che ho scritto per altri. Quando mi capita di sentirne qualcuna che è un po’ che non sento, mi dico “ma perchè non l’ho più fatta, o perchè non l’ho mai fatta? Adesso la faccio!” Sai quante volte ci ho pensato? Fare una scaletta composta solo da canzoni che non sono mai state pubblicate come singoli. Secondo me alcune sono anche più belle di quelle che la discografia e le radio hanno deciso di trasmettere. Però un po’ di canzoni che il pubblico conosce devo farle per forza. Come faccio a non fare Diamante , X colpa di chi? , Diavolo in me ? Nella scaletta ho già tralasciato tante hit, come Solo e una sana consapevole libidine , Con le mani , Il mare impetuoso al tramonto … Quindi ci sarà sempre qualcuno che dirà “quella non l’ha fatta” . Donne , ad esempio, non c’è mai, perchè mi vergogno a cantare quel “du du du” . So che è una cazzata, ma sono cose mentali e non posso farci niente. Magari un giorno la farò, ma in una versione diversa da quella originale.

C’è un brano su Rispetto che ho risentito l’altro giorno, si intitola Nella casa c’era . In quella canzone c’è un assolo fantastico di David Sancious e un andamento incredibile del quartetto, capitanato da Corrado Rustici. Ascoltandolo mi sono detto “qui si respira, si sente aria pura” : era suonato e registrato tutto live, in presa diretta e senza sovraincisioni. Quando risenti quelle cose lì, fatte in quel modo, ti dici “dove siamo andati? O dove stiamo andando?”.

Ti è mai capitato di non cantare canzoni per un certo periodo di tempo perchè magari ti riportavano alla mente pensieri che non volevi rivivere? Penso, ad esempio, ai brani di un album nato da un periodo difficile come Miserere , che non hai suonato per moltissimi anni.

Nel periodo in cui ho scritto quel disco ero messo male, ma ci sono canzoni che ogni tanto suono. Penso ad It’s alright , che parla della fine di una storia: mi piace molto farla e adesso non soffro più a cantarla.

Ce n’è un’altra, sempre da Miserere , che mi piacerebbe molto fare, ed è Miss Mary . L’abbiamo provata l’altro giorno ed è una goduria, perchè suonano solo tre stumenti: batteria, basso e organo, oltre al coro che entra alla fine. È una canzone che proprio mi eccita, e la parte di organo è davvero incredibile. Tra l’altro l’assolo di organo di quel brano sul disco l’ha inciso proprio Peter Vettese, che da un paio d’anni fa parte della band. Inoltre il testo di quel brano è stato scritto dal Elvis Costello, è molto bello ed ha una storia particolare: lui è entrato in un museo, ha visto il quadro di questa Madonna, si è innamorato del quadro e l’ha chiamato Miss Mary. Poi accanto c’era un altro quadro francese, ma lui dice al frenchman “quella non è tua, Miss Mary è mia” . Praticamente una storia d’amore tra lui e due quadri.

Durante questi concerti londinesi hai avuto Jack Savoretti come ospite. Ci saranno altri ospiti nelle prossime date del tour, dato che conosci artisti in ogni angolo del pianeta?

Jack Savoretti è da sempre un mio grande fan, e dice che quando ha sentito Senza una donna da piccolo è rimasto folgorato. Quando ha avuto l’idea di fare un disco in italiano mi ha chiesto di cantarla insieme, ma è una cosa nata per gioco, in amicizia, per il piacere di farla, ed è per questo ho deciso di partecipare. Inoltre, aprirà anche alcuni dei miei concerti in Germania.

Per quello che riguarda i prossimi concerti, a me piace fare sorprese, non amo annunciare gli ospiti in anticipo. Per questi live europei e statunitensi penso che non ce ne saranno, mentre non ho ancora pensato alla seconda parte del tour, quella che partirà con i concerti negli stadi in Italia. Di solito queste cose, però, succedono all’ultimo momento: guardo chi c’è vicino, chi è in giro, e si organizza. Certo, se fosse libero mi piacerebbe avere ospite Mark Knopfler.

Per caso, hai ancora nel cassetto qualche duetto storico rimasto inedito da far ascoltare?

I duetti li ho esauriti nel passato, non c’è rimasto niente da far ascoltare. Sono stato uno dei primi a farli: la prima volta è stata con Miles Davis nel 1988, e via via tutti gli altri che conoscete. All’epoca c’era una motivazione forte: l’altro mi porta qualcosa che io non posso avere, la canzone prende una direzione diversa nell’arrangiamento o nel gioco delle voci, assume un altro tipo di magia che ti dà qualcosa in più. Oltre a questo, ovviamente, c’è anche il piacere di fare qualcosa insieme. Mi sarebbe piaciuto fare qualcosa con Amy Winehouse, avendo la canzone giusta per lei.

Non provo nessuna emozione a fare un duetto tanto per farlo, quindi rispetto a questa overdose di featuring che ci sono in giro ora sono bastian contrario: non li faccio, li ho già fatti. Li lascio fare agli altri, a meno che non ci sia una motivazione importante e sia una cosa che nasce spontaneamente.

Molti tuoi colleghi stanno annunciando i tour d’addio. Farai anche tu lo stesso o un giorno dirai “questo era l’ultimo concerto, ora non mi vedrete più” ?

Se smetto smetto, e il giorno dopo non mi vedrete più sul palco. Dire “tra due anni chiudo” o “tra cinque anni smetto” come ha fatto Elton John, è un impegno che non mi sento di prendere. E se voglio smettere prima che figura ci faccio? Oppure se decido che voglio continuare?

Per quanto tempo ti vedi ancora con questa band su questi palchi? Proprio in questi giorni Vasco ha detto al Corriere che vuole morire sul palco.

L’ho detto prima io! E io ci sono anche andato vicino, a Zurigo (ride, ndr )… Già da prima del Covid ho detto che volevo continuare a fare musica dal vivo. I dischi sono un’altra dimensione, perchè ti ritiri per un anno e fai un lavoro “francescano” e certosino. Il live invece è cotto e mangiato e, soprattutto in questo momento, vista anche l’età, preferisco fare concerti: giri il mondo, senti l’adrenalina, ed è una cosa che mi fa sentire vivo. Fare dischi mi piace ancora, ma il live sarà sicuramente la parte più importante del mio prosieguo. Ovviamente bisogna vedere come reggo a livello fisico, perchè sono 150 concerti in media ad ogni tour, e a volte faccio anche 5 o 6 date consecutive. Al momento, però, non me ne accorgo nemmeno, quindi vado avanti.

Quindi non c’è nessun disco in programma?

Non ho avuto molto tempo, perchè prima eravamo in tour in Australia, poi sono stato negli Stati Uniti con Bocelli, però c’è qualcosa. Intanto nel frattempo ho rinnovato il contratto con la mia casa discografica: non potevano lasciarmi andare (ride, ndr ).

Ho scritto diversi testi durante il tour, perchè è una cosa che mi piace fare. Alcuni sono anche “tosti”, visto il periodo che stiamo vivendo, ma alla fine c’è sempre una luce, un po’ di speranza, come canto in Spirito nel buio , che non a caso apre i concerti. Viviamo tempi bui, neri come la notte, e l’umanità intera è già talmente depressa con quello che sta accadendo che non bisogna lasciarsi andare, quindi non mi sento di scrivere cose troppo negative e tendo ad essere il più solare possibile.

L’anno scorso è stato il tuo anno reggiano: a Reggio Emilia ci sono ancora le luminarie con le parole di Diamante , hai fatto il doppio concerto alla RCF Arena e ricevuto la cittadinanza onoraria. Che emozione ti ha lasciato tutto questo?

Ero e sono ancora emozionato, perchè nelle mie canzoni ho sempre parlato in qualche modo delle mie radici, dell’emilianità. Poi però è successo che sono andato via che avevo 11 anni e sono capitato, pur non volendo, a Forte dei Marmi: un posto assurdo che non c’entrava niente con me, con i miei, con la mia cultura. Da quel momento non mi sono più sentito a casa da nessuna parte, è come se vivessi fuori casa dall’età di 11 anni.

Tu suoni ovunque in tutto il mondo, e tra gli artisti c’è chi in Russia non ci suona, e chi suona per Putin come fa Pupo…

Io andavo volentieri a suonare in Russia: di solito facevamo Mosca e San Pietroburgo, poi c’erano Kiev e Odessa in Ucraina. I russi fin dai tempi del concerto del Cremlino del 1990 si sono sempre dimostrati un pubblico molto attento, che ama l’arte e la cultura. Ho sempre avuto delle reazioni molto positive quando siamo andati a suonare lì, però dopo l’invasione dell’Ucraina ovviamente non è più successo. Anche se dovessero invitarmi non ci andrei, così come non andrei a suonare per Netanyahu o per Trump.

Fiorella Mannoia è andata in gara a Sanremo per festeggiare i suoi 70 anni. L’anno prossimo tocca a te tagliare questo traguardo. Torneresti a Sanremo?

In gara a far cosa? Arriverei ultimo. L’Italia è l’unico paese al mondo dove c’è ancora la gara a chi vince e chi perde su delle canzoni, come se fossimo dei cavalli da corsa. È una cosa che trovo allucinante, ma piace al popolo e fa audience, quindi vuol dire che siamo rimasti al tempo degli antichi romani al Colosseo, col televoto che ha sostituito il pollice in alto o in basso. Quest’anno per la prima volta l’ho visto a pezzettini perchè mi ha veramente stancato: è troppo lungo ed è diventata una cosa da influencer più che un festival musicale. È quasi come vedere la De Filippi.

Il sottosegretario alla cultura con delega alla musica, Gianmarco Mazzi, ha detto “lavoriamo ad un protocollo per evitare testi troppo violenti nelle canzoni”. Non ti riguarda personalmente, ma cosa ne pensi di un protocollo che possa in qualche modo limitare gli artisti?

Perchè, c’è qualcuno tra i politici che a parole non è più violento di uno che scrive canzoni? Solamente il fatto di vedere certe facce in televisione è una violenza terribile.

Videointervista

A margine della conferenza stampa, abbiamo avuto un faccia a faccia con Zucchero per la presentazione dei concerti negli stadi italiani della prossima estate. Ecco la nostra videointervista, con un estratto di Baila (Sexy Thing) proprio da una delle date londinesi.

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Il tour negli stadi italiani

Dopo i 3 concerti alla Royal Albert Hall, l’ Overdose D’amore World Wild Tour proseguirà nelle prossime settimane in Danimarca, Svezia, Norvegia, Finlandia, Estonia, Lettonia, Lituania, Bulgaria, Stati Uniti, Canada, Francia, Monaco, Germania, Paesi Bassi, Austria, Slovacchia e altri paesi in via di definizione, prima di tornare in Italia per cinque appuntamenti speciali negli stadi .

23 giugno – Udine , Bluenergy Stadium Stadio Friuli 27 giugno – Bologna , Stadio Dall’Ara 30 giugno – Messina , Stadio Franco Scoglio 2 luglio – Pescara , Stadio Adriatico Giovanni Cornacchia 4 luglio – Milano , Stadio San Siro

I biglietti per le date di Udine , Milano e Bologna sono disponibili su TicketOne e nei punti vendita abituali. Quelli per la data di Pescara sono disponibili su Ticketone, su Ciaotickets e nei punti di vendita abituali, mentre quelli per la data di Messina su TicketOne, Ciaotickets e BoxOffice Sicilia e nei punti di vendita abituali.

Per ulteriori informazioni è a disposizione il sito Friends&Partners .

La scaletta del concerto di Zucchero il 30 marzo alla Royal Albert Hall di Londra

1. Oh, Doctor Jesus (Oma Jali on vocals) 2. Spirito nel buio 3. Soul Mama 4. La canzone che se ne va 5. Quale senso abbiamo noi 6. Partigiano reggiano 7. Vedo nero 8. Ci si arrende 9. Pene 10. Facile 11. L’urlo 12. Baila (Sexy Thing) 13. Iruben Me 14. Everybody’s Got to Learn Sometime 15. Dune mosse 16. Un soffio caldo 17. Without a Woman (Senza una donna) (con Jack Savoretti) 18. Miserere 19. Nutbush City Limits (band only) 20. Honky Tonk Blues (band only) 21. Overdose (d’amore) 22. Let It Shine 23. Diamante 24. Così celeste 25. Il volo 26. X colpa di chi? 27. Diavolo in me

28. Chocabeck 29. Blu

30. Hey Man

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SPETTAKOLO! SOCIAL

Musica / day by day - accadde oggi, cinema / ieri oggi domani, 7 giorni su spettakolo.it, sul lago maggiore torna il festival “musica e spiritualità”, 21 maggio 1976, esce novecento, i-days 2024, l’edizione dei record.

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La scaletta del concerto di Zucchero alle Terme di Caracalla a Roma

Al via il tour del cantante, con quattro repliche nello scenario più bello della Capitale

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Parte ufficialmente il World wide tour di Zucchero “Sugar” Fornaciari con la prima data di stasera alle Terme di Caracalla di Roma. Un concerto che sarà replicato nelle serate di mercoledì 31 maggio, venerdì 2 giugno, sabato 3 giugno e domenica 4 giugno. 

Il tour di Zucchero

Comincia oggi il tour di Zucchero, che vedrà ben quattro repliche nella città di Roma, per poi proseguire il 4-5 luglio in Piazza Unità d’Italia a Trieste, 24-25 luglio al Cortile della Reggia di Caserta, 28-29-30 luglio al Teatro Greco di Siracusa. Un tour incredibile, che vedrà il cantante portare sul palco alcuno dei suoi successi più grandi, accompagnato da una band composta da Polo Jones, Kat Dyson, Peter Vettese, Mario Schilirò, Adriano Molinari, Nicola Peruch e molti altri.

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Zucchero in concerto, 5 nuove date per il world wild tour, la scaletta.

• Spirito nel buio
• Il mare impetuoso al tramonto salì sulla Luna e dietro una tendina di stelle…
• La canzone che se ne va
• Partigiano reggiano
• 13 buone ragioni
• Ci si arrende
• Baila (Sexy Thing)
• Un soffio caldo
• Stayin’ Alive (Bee Gees cover)
• Let the Good Times Roll (Louis Jordan and His Tympany Five cover)
• Così celeste
• X colpa di chi?
• Diavolo in me
• Senza una donna

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Zucchero: Overdose D’Amore World Tour 2024

Latest Setlist

Zucchero on may 16, 2024.

Overdose D’Amore World Wild Tour 2024

Copernicus Center, Chicago, Illinois

Note: Setlist incomplete

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Zucchero Concert Setlists & Tour Dates

Overdose d’amore world wild tour 2024 tour, upcoming shows.

• Date and Venue Doors Scheduled
• Jul 04 2024 Stadio Giuseppe Meazza Milan, Italy Add time Add time Add times
• Jul 06 2024 Montreux Jazz Festival 2024 Montreux, Switzerland Add time Add time Add times
• Jul 13 2024 Bospop 2024 Weert, Netherlands  –  Find tickets Add time  –  Scheduled: 11:20 PM Tickets Add time Add times 11:20 PM
• Jul 24 2024 Zitadelle Mainz, Germany Add time  –  Scheduled: 7:00 PM Add time Add times 7:00 PM
• Sep 06 2024 Gran Arena Monticello Mostazal, Chile Add time Add time Add times
• Sep 08 2024 Teatro Gran Rex Buenos Aires, Argentina Doors 8:00 PM  –  Start time: 9:23 PM (Est.) 8:00 PM 9:23 PM Estimated

Zucchero at Copernicus Center, Chicago, IL, USA

• Oh, Doctor Jesus
• Spirito nel buio
• La canzone che se ne va
• Partigiano reggiano
• Baila (Sexy Thing)
• Un soffio caldo
• Edit setlist songs
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Zucchero at Roy Thomson Hall, Toronto, ON, Canada

Zucchero at olympia de montréal, montreal, qc, canada.

• Menta e rosmarino

Zucchero at Colonial Theatre, Boston, MA, USA

• Never Is a Moment
• Eccetera eccetera
• Così celeste

Zucchero at The Theater at Madison Square Garden, New York, NY, USA

• Quale senso abbiamo noi
• L'urlo

Zucchero at Au-Rene Theater at The Broward Center for the Performing Arts, Fort Lauderdale, FL, USA

Zucchero at ndk hall 1, sofia, bulgaria, zucchero at palace of culture and sports, varna, bulgaria, zucchero at compensa concert hall, vilnius, lithuania, zucchero at palladium, riga, latvia.

• Everybody's Got to Learn Sometime
• Oltre le rive

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Most played songs

• Diavolo in me ( 424 )
• Diamante ( 384 )
• X colpa di chi? ( 363 )
• Il volo ( 356 )
• Solo una sana e consapevole libidine salva il giovane dallo stress e dall'Azione Cattolica ( 324 )

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Zucchero Sugar Fornaciari brings Italian blues across North America with his 2022 World Wild Tour

By serena perfetto | October 18, 2022

Five concerts around Italy were sold out in no time. Others across Europe got as much interest and love from local audiences. Finally, on July 27th, he opened for the Rolling Stones in Germany, for the second time in his career. This is what any artist dreams of. Simply put, summer 2022 became sort of a perfect one for Zucchero Sugar Fornaciari , right before his North America tour officially kicked off in early September.

Adelmo Fornaciari was born in a small village near Reggio Emilia and spent most of his childhood in Tuscany. It was at a very early age that he discovered American soul and blues music, through an African-American friend studying in Bologna. He learned how to play guitar and started writing his own songs when he was 13 or 14 years old. Zucchero is a child of the 70s and played with several small bands before visiting San Francisco, where he met Corrado Rustici , who ultimately became his record producer. It wasn’t until the mid-1980s that Zucchero delivered successful hits. Blue became the then-highest-selling album in Italian history, with 1.5 million copies in 1987 alone. The album, produced by Rustici and featuring musical performances by Clarence Clemons, The Memphis Horns and David Sancious, included the Italian hit singles Con Le Mani , lyrics by Gino Paoli, and the original version of Senza una Donna (“Without a Woman”), which later became an international hit in a duet version with Paul Young. During the following Blue Tour, Fornaciari shared the stage with Joe Cocker (for a cover of “With a Little Help from my Friends”), Ray Charles and Dee Dee Bridgewater.

In 1989, Zucchero and his band recorded the album Oro Incenso & Birra in Memphis. The album, influenced by American soul music, included guest appearances by Ennio Morricone, Eric Clapton, and blues singer Rufus Thomas. That was the beginning of a fantastic career: known today as the “father of Italian blues,” Zucchero has sold more than 60 million records worldwide, winning more than twenty music awards and getting a Grammy Award nomination. His music has a wide range of influences including BB King, Joe Cocker, Ray Charles, Otis Redding, The Beatles, the Rolling Stones, yet it stays unique in many ways. One of them is surely what he gives to the audience during the show. Each concert has a different setlist, thus famous songs alternate with recent releases, Discover and D.O.C. Meanwhile, the stage for the World Wild Tour becomes home to a giant sun whose color changes throughout the performance and well matches the vibe of each song.

In addition to his work as a music artist, Zucchero has been contributing to fundraisings and projects to bring awareness to many issues, organizing and attending concerts in collaboration with other artists, both in Italy and around the world. Just to mention, in 1992 Zucchero and Luciano Pavarotti brought the concept of the Pavarotti & Friends charity gala to life. The first edition, broadcast live worldwide, was the first in a series of benefit concerts that are now held annually. He was a special guest of the Rolling Stones when they played in front of 200,000 people at the IMST Festival in Austria, and he appeared with Michael Jackson at the Red Cross charity concert in Munich. Zucchero was also invited by Bono of U2 to play at the New York Net Aid charity.

Zucchero wrapped up his North America tour in early October in Tucson, Arizona, after some stops on the East Coast, in Canada, and on the West Coast, in Portland, San Francisco, Los Angeles, and San Diego.

The show in San Francisco , held at the magnificent venue of the Palace of Fine Arts, opened with a video of his solo performance in an empty Piazza San Marco, in Venice. After that, fans got a full hour of blues before a short break. “I just need a coffee, don’t go anywhere,” Zucchero kindly asked when he left the stage to his band for a few minutes. He then returned for more music, a tribute to Pavarotti with Miserere , and the grand finale of Senza una Donna . L’Italo-Americano talked to Zucchero for an interview about his latest work and the international tour.

Let’s start by taking a step back: this concert was scheduled for April 2021, then it was postponed to the end of September. How was your experience of the pandemic, both from a professional and personal standpoint?

The pandemic was as difficult for me as it was for everyone else. However, I spent time working on many projects. I filmed a home version of Everybody’s Got to Learn Sometime for Lady Gaga’s Global Citizen One World Together at Home , which aired worldwide on April 18 th 2020. I collaborated with Bono to record Canta La Vita … Let your Love be Known , for which we made a video at the Colosseum in Rome, and I worked with Michael Stipe to record and film, in an empty Venice, Amore Adesso … No Time for Love . Also, I recorded the new Discover album. Lastly, I was also able to spend some good time with my family, which I normally can’t do because I’m away on tour.

You’re an artist with years of experience in front of an audience. What feelings did you have when you returned on stage and met your audience live again after so many months?

I love playing music for my fans and it was great to start the tour this year in April. I’ve done over 80 concerts and it was a fantastic feeling to go back to performing live after all this time.

You are one of the few Italian artists who can capture the interest of foreign audiences, thanks also to songs in English. What kind of advantage does it give you on and off stage? Do you consider it a plus for an Italian artist?

I love playing for all people, everywhere and anywhere in the world. It is always a challenge for me to perform in new places. I play some songs in English however most of my setlist is in Italian because that’s what the audience wants.

Your tour of the United States began in early September and saw several stops between the East and West Coast. What kind of atmosphere did you find? What do you expect for the final dates?

My North American tour was great. The audience has been incredible everywhere, on the East Coast, in Canada, and on the West Coast of course. I am really enjoying this tour.

With World Wild Tour you did some stops in Europe, before returning to Italy in the summer. It ends with some cities in North America. How did it go in Europe and Italy?

I started with two shows at the Royal Albert Hall in London, then I went to Verona for 14 concerts at the Arena, my favorite place. Then, I performed in Germany, France, Switzerland, and the rest of Europe. It went really well and I ended up as a special guest of the Rolling Stones in Gelsenkirchen in Germany. It was a great moment for me, as I met Mick Jagger at his birthday party last year.

The list of songs you play changes for each concert. Is there a particular goal behind this choice?

I’ve always loved changing the setlist on each show and playing different songs. So every concert is different and that’s good for me and my band.

Let’s talk about Discover , a collection with other artists’ songs. What prompted you to record an album of this kind?

There have always been songs, written by other people, that I loved and wanted to sing, so I thought it was a good chance to make an album with some of those songs.

You’ve collaborated with plenty of other artists in your career. What makes a collaboration unique and successful? And which are your favorite collaborations to date?

To work well, a collaboration requires a great relationship between artists. Additionally, you need to come up with songs that bring excitement to those who listen. I loved all my collaborations and it’s difficult to say which my favorite are. Miserere with Pavarotti was wonderful and the outcome was that we became great friends. I could say the same for Senza una Donna with Paul Young.

You embody today’s Italian blues. Is there an heir of Zucchero Fornaciari in Italy or do we have to wait to see one?

It is hard for me to name who my heir may be. I believe that Italy has some great new artists to watch and listen to.

Cinque concerti in giro per l’Italia andati sold out in pochissimo tempo. Altri, in tutta Europa, hanno ottenuto altrettanto interesse e amore dal pubblico locale. Infine, il 27 luglio, l’apertura, per la seconda volta in carriera, del concerto dei Rolling Stones in Germania. Questo è ciò che ogni artista sognerebbe. Anche per questo, l’estate 2022 è diventata una sorta di estate perfetta per Zucchero Sugar Fornaciari, proprio alla vigilia del tour in Nord America, cominciato ufficialmente a inizio di settembre.

Adelmo Fornaciari è nato in un piccolo paese vicino a Reggio Emilia e ha trascorso gran parte della sua infanzia in Toscana. Fu in tenera età che scoprì la musica soul e blues americana, attraverso un amico afroamericano che studiava a Bologna. Ha imparato a suonare canzoni per chitarra e ha iniziato a scriverne di proprie quando aveva 13 o 14 anni. Zucchero è un figlio degli anni ’70, ha suonato con diverse band prima di visitare San Francisco, dove ha incontrato Corrado Rustici, che alla fine è diventato il suo produttore discografico. A metà degli anni ’80 Zucchero ha prodotto brani di successo. Blue è diventato l’album più venduto nella storia italiana, vendendo 1,5 milioni di copie solo nel 1987. L’album, prodotto da Rustici e caratterizzato da esibizioni musicali di Clarence Clemons, The Memphis Horns e David Sancious, includeva singoli italiani di successo “Con Le Mani”, testi di Gino Paoli, e la versione originale di “Senza una donna” che in seguito divenne un successo internazionale in versione duetto con Paul Young.

Durante il successivo Blue’s Tour Fornaciari ha condiviso il palco con Joe Cocker (per una cover di “With a Little Help From My Friends”), Ray Charles e Dee Dee Bridgewater. Nel 1989 Zucchero e la sua band registrarono l’album Oro Incenso & Birra a Memphis. L’album, influenzato dalla musica soul americana, includeva le apparizioni come ospiti di Ennio Morricone, Eric Clapton e il cantante blues Rufus Thomas. Conosciuto come il “padre del blues italiano”, Zucchero ha venduto più di 60 milioni di dischi in tutto il mondo e ottenuto più di venti premi musicali e una nomination ai Grammy Award. La sua musica ha diverse influenze tra cui quella di BB King, Joe Cocker, Ray Charles, Otis Redding, The Beatles, Rolling Stones, eppure rimane unica in molti modi. Uno di questi è sicuramente quello che regala al pubblico durante le sue performance. Ogni concerto ha una scaletta diversa, brani famosi si alternano a uscite recenti, come Discover e D.O.C. Rimane lo stesso il palco, in particolare quello del World Wild Tour con un sole gigante il cui colore cambia durante la serata e si abbina all’atmosfera di ogni canzone.

Oltre al suo lavoro come artista musicale, Zucchero ha contribuito a raccolte fondi e progetti di sensibilizzazione su molti argomenti, organizzando e partecipando a concerti in collaborazione con altri artisti, sia in Italia che nel mondo. Solo per citarne alcuni, nel 1992 Zucchero e Luciano Pavarotti hanno dato vita al Gala benefico “Pavarotti & Friends”. La prima edizione, trasmessa dal vivo in tutto il mondo, è stata la prima di una serie di concerti di beneficenza che ora si tengono ogni anno. È stato un ospite speciale dei Rolling Stones, suonando davanti a 200mila persone all’IMST Festival in Austria ed è apparso con Michael Jackson al concerto di beneficenza della Croce Rossa a Monaco. Zucchero è stato anche invitato da Bono degli U2 a suonare per beneficenza al Net Aid di New York.

Zucchero ha concluso il suo tour in Nord America all’inizio di ottobre a Tucson, in Arizona, dopo alcune tappe sulla East Coast, in Canada, e sulla West Coast – Portland, San Francisco, Los Angeles e San Diego.

La tappa di San Francisco, presso il magnifico Palace of Fine Arts, si è aperta con il video della sua solo performance in una Piazza San Marco vuota, a Venezia. Dopodiché, i fan hanno avuto un’ora di blues prima di una breve pausa. “Ho solo bisogno di un caffè, non andate da nessuna parte”, ha chiesto gentilmente quando ha lasciato per qualche minuto il palco in mano alla sua band. E’ ritornato poi per altra musica, l’omaggio a Pavarotti con Miserere e il gran finale con Senza una donna . L’Italo-Americano ha parlato con Zucchero del suo lavoro e del tour negli Stati Uniti.

Partiamo facendo un passo indietro: questo concerto era previsto per aprile 2021, poi è stato rimandato a fine settembre. Come ha vissuto il periodo della pandemia, sia da un punto di vista professionale che personale?

La pandemia è stata difficile per me come per tutti. Tuttavia, ho passato il tempo lavorando a vari progetti. Ho filmato in casa una versione di Everybody’s got to Learn Sometime per il  “Global Citizen One World Together at Home” di Lady Gaga, che è stato trasmesso in tutto il mondo il 18 aprile. Ho collaborato con Bono per registrare Canta La Vita… Let your Love be known , con un video realizzato al Colosseo a Roma, e ho lavorato con Michael Stipe per registrare e filmare in una Venezia vuota Amore Adesso …No Time for Love . Inoltre, ho registrato il nuovo album Discover . Ho potuto trascorrere anche del buon tempo con la mia famiglia, cosa che normalmente non posso fare perché sono sempre in giro per concerti.

Per un artista con anni di esperienza davanti al pubblico, come nel suo caso, che tipo di sensazione si ha nel tornare sul palco e incontrare il pubblico dal vivo dopo mesi e mesi?

Amo suonare musica per i miei fan ed è stato bello riprendere il tour quest’anno in aprile. Ho realizzato oltre 80 concerti. E’ stata una grande emozione tornare a fare concerti dal vivo dopo tutto questo tempo.

Lei è uno dei pochi artisti italiani capace di catturare l’interesse del pubblico straniero, grazie anche a canzoni in inglese. Che tipo di vantaggio le dà fuori e sul palco? Lo considera un plus nella vita di un artista italiano?

Mi piace suonare per tutta la gente, ovunque nel mondo. E’ sempre una sfida per me esibirmi in posti nuovi. Faccio alcune canzoni in inglese, ma la maggior parte della mia scaletta è in italiano perché è quello che il pubblico vuole.

Il suo tour negli Stati Uniti è cominciato a inizio settembre e vedrà diverse tappe tra East e West Coast. Che tipo di atmosfera ha trovato finora? Che cosa si aspetta per le date finali?

Il mio tour nel Nord America è stato grandioso. Il pubblico è stato incredibile ovunque siamo stati, sia sulla Costa Orientale, sia in Canada, sia sulla Costa Occidentale. Mi sta piacendo molto questo tour.

Il suo “World Wild Tour” ha fatto tappa in Europa, prima di tornare in Italia in estate e con tappe in Nord America per concludere. Com’è andata in Europa e in Italia?

Ho iniziato con due show alla Royal Albert Halls di Londra, poi sono andato a Verona per 14 concerti all’Arena di Verona, il mio posto preferito dove suonare. Poi ho suonato nelle arene

di Germania, Francia, Svizzera e del resto dell’Europa. E’ andato veramente bene e ho concluso come ospite speciale dei Rolling Stones a Gelsenkirchen in Germania. E’ stata una grande emozione per me, dato che avevo incontrato Mick Jagger alla sua festa di compleanno l’anno scorso.

Le scalette delle canzoni cambiano ad ogni concerto. C’è un obiettivo particolare dietro questa scelta?

Ho sempre amato cambiare la scaletta in ogni show e suonare canzoni differenti. Così ogni concerto è diverso e questo è un bene per me e per la mia band.

Parliamo di “Discover”, la collezione che raccoglie canzoni di altri artisti. Cosa l’ha spinta a incidere un album di questo tipo?

Ci sono sempre state canzoni scritte da altre persone che ho amato e che avrei voluto cantare,  così ho pensato che fosse una buona occasione per realizzare un album con alcuni di questi brani.

Non mancano nella sua carriera collaborazioni con altri artisti. Cosa rende una collaborazione con un altro artista unica e di successo? Quali sono le sue collaborazioni preferite ad oggi?

Per fare una collaborazione che funzioni serve che ci sia un grande feeling tra gli artisti e che le canzoni alla fine risultino emozionanti. Ho amato tutte le mie collaborazioni ed è difficile distinguere le une dalle altre. Miserere con Pavarotti fu meravigliosa e il risultato fu che diventammo grandi amici. Lo stesso potrei dire per Senza Una Donna con Paul Young.

Lei incarna ad oggi il blues italiano. C’è un erede di Zucchero Fornaciari in Italia o c’è ancora da aspettare?

È difficile per me dire chi sia il mio erede, ma sono sicuro che dall’Italia stanno uscendo grandi artisti.

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Zucchero, 2024 stadium tour announced

There are three concerts by the great bluesman scheduled for next summer in Italian stadiums: here is all the information

This year he enchanted over a million spectators with his latest tour in Italy and around the world and with two extraordinary concerts at the RCF Arena in Reggio Emilia in front of 60 thousand spectators. Now Zucchero is preparing to return in 2024 with “Overdose D'Amore World Tour” in Italian stadiums .

Zucchero's dates in stadiums in 2024

The announced dates are as follows: on 27 June at the Dall'Ara Stadium in Bologna, on 30 June at the Stadium Franco Scoglio of Messina and on July 4th at the San Siro Stadium in Milan . Three unmissable concerts in which Zucchero will give the audience great music and strong emotions, retracing his incredible career and performing with his greatest hits.

Concert tickets, produced by Friends & Partners, will be available for pre-sale from Wednesday 18 October starting at 16pm.

Tickets for the Milan and Bologna dates will be available on TicketOne and in the usual sales points. Those for the Messina date will be on TicketOne, Ciaotickets, Box Office Sicily and in the usual sales points. For further information, consult the website www.friendsandpartners.it .

The documentary

On 23, 24 and 25 October he arrives at the cinema with the documentary film Zucchero – Sugar Fornaciari. The film, which will premiere at the 18th edition of the Rome Film Festival on October 21st, tells the story of the extraordinary artist through his words and those of colleagues and friends such as Bono, Sting, Brian May, Paul Young, Andrea Bocelli, Salmo, Francesco Guccini, Francesco De Gregori, Roberto Baggio and many others.

The documentary will be a journey of the soul which, thanks to images from Zucchero's private archives and from the "World Wild Tour", his last and triumphant world tour, goes beyond the portrait of a successful musician reaching into the doubts and the frailties of man.

Photo credit: Matteo Girola

Notizie.it is a newspaper registered with the Court of Milan n.68 on 01/03/2018

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Grande successo di Zucchero per il debutto di “Overdose D’Amore World Wild Tour”

Grande successo di Zucchero alla Royal Albert Hall di Londra, dove ha debuttato “Overdose D’Amore World Wild Tour” . La prima volta che Zucchero aveva calcato il palco del tempio della musica londinese era il 1990 per aprire i concerti di Eric Clapton, conosciuto qualche mese prima in Italia. Da allora ha girato il mondo con la sua musica, esibendosi in 5 continenti. Quest’anno Zucchero è tornato ancora una volta nella prestigiosa sala da concerto di Londra per regalare uno show energico e appassionante di oltre 2 ore, guidando gli spettatori in un viaggio entusiasmante nella sua straordinaria carriera musicale con il suo inconfondibile stile.

Ad accompagnarlo sul palco il coro gospel L J Singers e la sua fedele super band internazionale composta da Polo Jones (Musical director, bass), Kat Dyson (guitars, bvs), Peter Vettese (hammond, piano and synth), Mario Schilirò (guitars), Phil Mer (drums), Nicola Peruch (keyboards), Monica Mz Carter (drums, percussions), James Thompson (horns, bvs), Lazaro Amauri Oviedo Dilout (horns), Carlos Minoso (horns) e Oma Jali (backing vocals).

Il nuovo tour vede Zucchero in giro per il mondo in occasione dei 35 anni dalla pubblicazione del singolo “Overdose D’Amore” , contenuto nell’album da record “Oro, incenso & birra” . Dopo i 3 concerti alla Royal Albert Hall, l’“Overdose D’amore World Wild Tour” proseguirà in Danimarca, Svezia, Norvegia, Finlandia, Estonia, Lettonia, Lituania, Bulgaria, Stati Uniti, Canada, Francia, Monaco, Germania, Paesi Bassi, Austria, Slovacchia e altri paesi in via di definizione… passando per l’Italia con 5 imperdibili eventi negli stadi italiani:

23 giugno al Bluenergy Stadium – Stadio Friuli di Udine 27 giugno allo Stadio Dall’Ara di Bologna 30 giugno allo Stadio Franco Scoglio di Messina 2 luglio allo Stadio Adriatico Giovanni Cornacchia di Pescara 4 luglio allo Stadio San Siro di Milano

Per le speciali date negli stadi italiani, Zucchero trasformerà i suoi show in una festa collettiva, sarà l’occasione per assistere a uno spettacolo mozzafiato ricco di sorprese.

I biglietti per le date di Udine, Bologna e Milano sono disponibili su Ticketone e nei punti di vendita abituali, quelli per la data di Pescara su Ticketone , Ciaotickets e nei punti di vendita abituali, quelli per la data di Messina su Ticketone , Ciaotickets e Box Office Sicilia e nei punti di vendita abituali.

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descriptive comparative research definition by authors 2017

Demystifying the research process: understanding a descriptive comparative research design.

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Demystifying the research process often involves understanding research terminology, the rationale for the selection of a research design, and the known benefits and consequences in the selection of a design. This commentary discusses the major aspects of a well-known and used quantitative research design in nursing research used by Tourigny, Clendinneng, Chartrand, and Gaboury (2011) to evaluate the utility of a virtual education tool for pediatric patients undergoing same-day surgery. The rationale for why this design was chosen by these nurse researchers and its advantages and disadvantages are discussed.

A research design is the overall plan for answering research questions and hypotheses. The design spells out strategies the researcher adopts to gather accurate, objective, and interpretable information (Polit & Beck, 2007). Tourigny et al. (2011) used a non-experimental, quantitative research design known as a descriptive, comparative design. It is also known as casual comparative research and pre-experimental research. The basic purpose of these designs is to determine the relationship among variables. The most important distinctions between these designs and experimental designs are no control (manipulation) of the independent variable (IV) and no random assignment of study subjects to the intervention or control group. These designs are frequently used in nursing research studies because nurse researchers are often faced with these specific limitations.

In summary, the known properties of descriptive, comparative research studies are 1) no manipulation of an independent variable, 2) no random assignment to groups, and 3) often inclusion of a control or comparison group. The paradigm for these studies is diagrammed in Figure 1.

In this diagram (see Figure 1), the researcher hypothesizes that "X" is related to and a determinant (cause) of "Y," but the presumed causes are not manipulated, and subjects are not randomly assigned to groups (LoBiondo-Wood & Haber, 2010). Rather, a group of subjects who has experienced "X" in a natural situation is located, and a control group of subjects who has not experienced "X" is chosen. The behavior performance or condition of the two groups is compared to determine whether the exposure to "X" had an effect predicted by the hypothesis (LoBiondo-Wood & Haber, 2010). Tourigny et al. (2011) hypothesized a determinant of study participants' level of knowledge about hospital equipment and procedures, and their emotional state would differ based upon whether or not they viewed the Surgery Virtual Tour presentation. In this study, the exposed group resulted from participants choosing to view the Surgery Virtual Tour. These researchers then compared this group with a group at the same institution who did not view the Surgery Virtual Tour presentation.

Tourigny et al. (2011) noted that the Surgery Virtual Tour was posted on the hospital's Web site and available to all children, adolescents, and parents being cared for at this institution. Thus, these researchers had no control over which study participants viewed or did not view the educational program. Prohibiting access of this educational program to some participants for the purposes of conducting this research study would have violated these children's, adolescents', and parents' ethical right to fair treatment. The right to fair treatment is based on the ethical principle of justice that each person should be treated fairly and should receive what he or she is due or owed (Burns & Grove, 2005).

An important criterion in determining a research design's rigor is its potential to generate findings that are interpretable. The term interpretable relates to the credibility and dependability of data generated by a study, and is based on the study's design to sufficiently test "cause and effect" relationships. The term "causality" implies that a systematic relationship exists between the independent variable (IV), which is the "cause" or intervention of the study design, and the dependent variable(s) (DV) or the outcome(s) of the study. In other words, confidence that the outcome of a research study is a consequence of the effects of the intervention must exist.

There are three criteria for causality: 1) the cause (the IV) must precede the effect (the DV) in time, such that the IV had to occur before the DV); 2) an empirical relationship exists between the IV and DV, meaning that a relationship that is measurable must exist between the presumed cause and effect; and 3) the relationship between the IV and DV cannot be explained by a third variable. Of these three criteria, researchers are most concerned about ensuring results of their study are due to the experimental treatment and not due to the characteristics of the subjects or other competing explanations for the results. Characteristics of the subjects or other competing explanations are known as internal validity threats.

There are several limitations in the design used by Tourigny et al. (2011) that threaten the confidence in their study's findings, specifically having no control over the internal validity and characteristics of the subjects influencing the outcome of the study. The internal validity threat due to characteristics of the subjects is known as selection bias and is always a threat if random assignment to groups does not occur. Researchers are cautioned to be aware that when intact groups are compared, differences existing between the two groups before the start of the experiment could have affected the outcome of the study. People "self-select" to a group based on personal characteristics and preferences, and these personal characteristics and preferences can influence the outcome of a study. Tourigny et al. (2011) addressed this potential threat operating in their study's findings by measuring selected differences in sociodemographic variables that could have accounted for dissimilarities between the groups. There were no significant differences in socio-demographic variables between participants who viewed or did not view the Virtual Tour, with the exception that families who took the Tour were more likely to have access to the Internet at home (Tourigny et al., 2011). These findings provide some evidence that these socio-demographic variables can be ruled out as internal validity threats operating in this study; however, it remains unknown if characteristics not measured by Tourigny and colleagues could be operating as threats to the study's interal validity. It is not feasible to measure an exhaustive list of socio-demographic characteristics that could pose every possible internal validity threat related to study participants' characteristics, but researchers carefully select known factors from previous studies and their clinical experiences as was done by Tourigny et al.

Another strategy used by Tourigny et al. (2011) to increase the internal validity of their study was to establish inclusion and exclusion criteria to determine the study's sample. Inclusion and exclusion criteria are guidelines or the standards determining who can or cannot be in the study. Population descriptors, also known as important characteristics of a population, are criteria that set the standards. These characteristics can also operate as internal validity threats in a study. In their study, Tourigny et al. identified the inclusion criteria for their study as only allowing children and adolescents 6 to 18 years of age, able to understand or read and write in English, be at a schoolage cognitive level, and who gave an assent or written consent to be in the study. They also excluded children with any developmental or physical state that could prevent them from completing the questionnaires. These criteria placed more control over potential internal validity threats operating in the study, but as a consequence of doing so, the external validity of the study's findings was decreased. External validity addresses the ability to generalize the findings of the study to other groups. The findings generated by Tourigny et al. are not generalizable to children younger than 6 years, who are unable to understand or read and write in English, are not at a school-age cognitive level, or have a developmental or physical impairment. Internal and external validity have an inverse relationship; the more internal validity control a study design employs, the more likely its external validity will be limited.

In summary, Tourigny and colleagues (2011) selected a feasible research design; its implementation protected research participants' ethical rights, tested the identified intervention, and generated interpretable findings. A researcher's choice in selecting a research design is dependent on many factors, and researchers usually make conscious decisions in their selection to augment some aspects of rigor in their study while foregoing others. Selection of a research design requires creativity to maximize interpretable findings within known limitations in conducting the investigation.

Burns, S., & Groves, S.K. (2004). Understanding nursing research (3rd ed.). Philadelphia: Saunders.

LoBiondo-Wood, G., & Haber, J. (2010). Nursing research: Methods and critical appraisal for evidence-based practice (7th ed.). St. Louis, MO: Elsevier.

Polit, D.F., & Beck, C.T. (2007). Nursing research: Generating and assessing evidence for nursing practice (8th ed.). Philadelphia: Lippincott Williams & Wilkins.

Tourigny, J., Clendinneng, D., Chartrand, C., & Gaboury, I. (2011). Evaluation of a virtual tool for children undergoing same-day surgery and their parents. Pediatric Nursing, 37(4), 177-183.

Mary Ann Cantrell, PhD, RN, is an Associate Professor, College of Nursing, Villanova University, Villanova, PA.

Cantrell, Mary Ann

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The Qualitative Descriptive Approach in International Comparative Studies: Using Online Qualitative Surveys

Affiliations.

• 1 School of Population and Public Health, Faculty of Medicine, University of British Columbia, Vancouver, BC, Canada.
• 2 Centre for Clinical Epidemiology & Evaluation, Vancouver Coastal Health Research Institute, University of British Columbia, Vancouver, BC, Canada.
• PMID: 30316225
• PMCID: PMC6186482
• DOI: 10.15171/ijhpm.2017.142

International comparative studies constitute a highly valuable contribution to public policy research. Analysing different policy designs offers not only a mean of knowing the phenomenon itself but also gives us insightful clues on how to improve existing practices. Although much of the work carried out in this realm relies on quantitative appraisal of the data contained in international databases or collected from institutional websites, countless topics may simply not be studied using this type of methodological design due to, for instance, the lack of reliable databases, sparse or diffuse sources of information, etc. Here then we discuss the use of the qualitative descriptive approach as a methodological tool to obtain data on how policies are structured. We propose the use of online qualitative surveys with key stakeholders from each relevant national context in order to retrieve the fundamental pieces of information on how a certain public policy is addressed there. Starting from Sandelowski's seminal paper on qualitative descriptive studies, we conduct a theoretical reflection on the current methodological proposition. We argue that a researcher engaged in this endeavour acts like a composite-sketch artist collecting pieces of information from witnesses in order to draw a valid depiction of reality. Furthermore, we discuss the most relevant aspects involving sampling, data collection and data analysis in this context. Overall, this methodological design has a great potential for allowing researchers to expand the international analysis of public policies to topics hitherto little appraised from this perspective.

Keywords: Health Policy Analysis; International Comparative Studies; Online Qualitative Survey; Qualitative Description.

© 2018 The Author(s); Published by Kerman University of Medical Sciences. This is an open-access article distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.

• Comparative Effectiveness Research / organization & administration*
• Data Collection / methods*
• Public Policy*
• Qualitative Research
• Research Design

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Lau F, Kuziemsky C, editors. Handbook of eHealth Evaluation: An Evidence-based Approach [Internet]. Victoria (BC): University of Victoria; 2017 Feb 27.

Handbook of eHealth Evaluation: An Evidence-based Approach [Internet].

Chapter 11 methods for descriptive studies.

Yulong Gu and Jim Warren .

11.1. Introduction

Descriptive studies in eHealth evaluations aim to assess the success of eHealth systems in terms of the system planning, design, implementation, use and impact. Descriptive studies focus on describing the process and impact of eHealth system development and implementation, which often are contextualized within the implementation environment (e.g., a healthcare organization). The descriptive nature of the evaluation design distinguishes descriptive studies from comparative studies such as a before/after study or a randomized controlled trial. In a 2003 literature review on evaluations of inpatient clinical information systems by van der Meijden and colleagues, four types of study design were identified: correlational, comparative, descriptive, and case study ( van der Meijden, Tange, Troost, & Hasman, 2003 ). This review inherited the distinction between objectivist and subjectivist studies described by Friedman and Wyatt (1997) ; in the review, van der Meijden and colleagues defined descriptive study as an objectivist study to measure outcome variable(s) against predefined requirements, and case study as an subjectivist study of a phenomenon in its natural context using data from multiple sources — quantitatively or qualitatively ( van der Meijden et al., 2003 ). For simplicity, we include case study under the descriptive study category in this chapter, and promote methodological components of qualitative, quantitative, and mixed methods for designing eHealth evaluations in this category. Adopting this wider scope, the following sections introduce the types of descriptive studies in eHealth evaluations, address methodological considerations, and provide examples of such studies.

11.2. Types of Descriptive Studies

There are five main types of descriptive studies undertaken in eHealth evaluations. These are separated by the overall study design and the methods of data collection and analysis, as well as by the objectives and assumptions of the evaluation. The five types can be termed: qualitative studies, case studies, usability studies, mixed methods studies, and other methods studies (including ethnography, action research, and grounded theory studies).

11.2.1. Qualitative Studies

The methodological approach of qualitative studies for eHealth evaluations is particularly appropriate when “we are interested in the ‘how’ or ‘why’ of processes and people using technology” ( McKibbon, 2015 ). Qualitative study design can be used in both formative and summative evaluations of eHealth interventions. The qualitative methods of data collection and analysis include observation, documentation, interview, focus group, and open-ended questionnaire. These methods help understand the experiences of people using or planning on using eHealth solutions.

In qualitative studies, an interpretivist view is often adopted. This means qualitative researchers start from the position that their knowledge of reality is a social construction by human actors; their theories concerning reality are ways of making sense of the world, and shared meanings are a form of intersubjectivity rather than objectivity ( Walsham, 2006 ). There is also increasing uptake of critical theory and critical realism in qualitative health evaluation research ( McEvoy & Richards, 2003 ). The assumption for this paradigm is that reality exists independent of the human mind regardless of whether it can be comprehended or directly experienced ( Levers, 2013 ). Irrespective of the different epistemological assumptions, qualitative evaluations of eHealth interventions apply similar data collection tools and analysis techniques to describe, interpret, and challenge people’s perceptions and experiences with the environment where the intervention has been implemented or is being planned for implementation.

11.2.2. Case Studies

A case study investigates a contemporary phenomenon within its real-life context, especially when the boundaries between phenomenon and context are not clearly evident ( Yin, 2011 ). Case study methods are commonly used in social sciences, and increasingly in information systems ( is ) research since the 1980s, to produce meaningful results from a holistic investigation into the complex and ubiquitous interactions among organizations, technologies, and people ( Dubé & Paré, 2003 ). The key decisions in designing a case study involve: (a) how to define the case being studied; (b) how to determine the relevant data to be collected; and (c) what should be done with the data once collected ( Yin, 2011 ). These decisions remain the crucial questions to ask when designing an eHealth evaluation case study. In eHealth evaluations, the fundamental question regarding the case definition is often answered based on consultation with a range of eHealth project stakeholders. Investigations should also be undertaken at an early stage in the case study design into the availability of qualitative data sources — whether informants or documents — as well as the feasibility of collecting quantitative data. For instance, eHealth systems often leave digital footprints in the form of system usage patterns and user profiles which may help in assessing system uptake and potentially in understanding system impact.

Case study design is versatile and flexible; it can be used with any philosophical perspective (e.g., positivist, interpretivist, or critical); it can also combine qualitative and quantitative data collection methods ( Dubé & Paré, 2003 ). Case study research can involve a single case study or multiple case studies; and can take the strategy of an explanatory, exploratory or descriptive approach ( Yin, 2011 ). The quality of eHealth evaluation case studies relies on choosing appropriate study modes according to the purpose and context of the evaluation. This context should also be described in detail in the study reporting; this will assist with demonstrating the credibility and generalizability of the research results ( Benbasat, Goldstein, & Mead, 1987 ; Yin, 2011 ).

11.2.3. Usability Studies

Usability of an information system refers to the capacity of the system to allow users to carry out their tasks safely, effectively, efficiently and enjoyably ( Kushniruk & Patel, 2004 ; Preece, Rogers, & Sharp, 2002 ; Preece et al., 1994 ). Kushniruk and Patel (2004) categorized the usability studies that involve user representatives as usability testing studies and the expert-based studies as usability inspection studies. They highlighted heuristic evaluation ( Nielsen & Molich, 1990 ) and cognitive walkthrough ( Polson, Lewis, Rieman, & Wharton, 1992 ) as two useful expert-based usability inspection approaches. Usability studies can evaluate an eHealth system in terms of both the design and its implementation. The goals of usability evaluations include assessing the extent of system functionality, the effect of interface on users, and identifying specific problems. Usability testing should be considered in all stages of the system design life cycle. The idea of testing early and often is a valuable principle for having a good usable system (e.g., to get usability evaluation results from early-stage prototypes including paper prototypes). Another principle, although challenging for eHealth innovations, is to involve users early and often — that is, to keep real users close to the design process. The interaction design model ( Cooper, 2004 ) recommends having at least one user as part of the design team from the beginning, so that right from the formulation of the product its concept actually makes sense to the type of users it’s aimed for; and the users themselves should participate in the usability testing.

A classic usability study is done through user participation, either in a laboratory setting or in the natural environment. There is also a suite of techniques that are sometimes called “discount” usability testing or expert-based evaluation (as they are applied by usability experts rather than end users). The most prominent expert-based approach is heuristic evaluation ( Nielsen & Molich, 1990 ). Whichever approach is taken for usability studies, the target measures for usability are similar:

• How long is it taking users to do the task?
• How accurate are users in doing the task?
• How long does it take users to learn to do the task with the system?
• How well do users remember how to use the system from earlier sessions?
• And, in general, how happy are users about having worked the task with the tool?

A usability specification can combine these five measures into requirements, such as: at least 90% of users can perform a given task correctly within no more than five minutes one week after completing a 30-minute tutorial.

11.2.4. Mixed Methods Studies

Increasing uptake and recognition of mixed methods studies, which combines qualitative and quantitative components in one research study, have been observed in health sciences and health services research ( Creswell, Klassen, Plano, & Smith, 2011 ; Wisdom, Cavaleri, Onwuegbuzie, & Green, 2012 ). Mixed methods studies draw on the strength of utilizing multiple methods, but have challenges inherent to the approach as well, such as how to justify diverse philosophical positions and multiple theoretical frameworks, and how to integrate multiple forms of data. A key element in reporting mixed methods studies is to describe the study procedures in detail to inform readers about the study quality.

Given the nature of eHealth innovations — often new, complex and hard to measure — a mixed methods design is particularly suitable for their evaluations to collect robust evidence on not only their effectiveness, but also the real-life contextual understandings of their implementation. For instance, the system transactional data may indicate the technology uptake and usage pattern; and end user interviews collect people’s insights into why they think certain events have happened and how to do things better.

11.2.5. Other Methods (ethnography, action research, grounded theory)

In addition to the above four main categories of designs used in eHealth evaluation studies, this section introduces a few other relevant and powerful approaches, including ethnography, action research, and grounded theory methods.

• With origins in anthropology, an ethnographic approach to information systems research aims to provide rich insights into the human, social and organizational aspects of systems development and application ( Harvey & Myers, 1995 ). A distinguishing feature of ethnographic research is participant observation, that is, the researcher must have been there and “lived” there for reasonable length of time ( Myers, 1997a ). Interviews, surveys, and field notes can also be used in ethnography studies to collect data.
• Similarly, multiple data collection methods can be used in an action research study. The key feature of action research design is its “participatory, democratic process concerned with developing practical knowing” ( Reason & Bradbury, 2001 , p. 1). Action research studies naturally mix the problem-solving activities with research activities to produce knowledge ( Chiasson, Germonprez, & Mathiassen, 2009 ), and often take an iterative process of planning, acting, observing, and reflecting ( McNiff & Whitehead, 2002 ).
• Grounded theory is defined as an inductive methodology to generate theories through a rigorous research process leading to the emergence of conceptual categories; and these concepts as categories are related to each other as a theoretical explanation of the actions that continually resolve the main concern of the participants in a substantive area ( Glaser & Strauss, 1967 ; Rhine, 2008 ). In the field of information systems research, grounded theory methodology is useful for developing context-based, process-oriented descriptions and explanations of the phenomena ( Myers, 1997b ). A 2013 review found that the most common use of grounded theory in Information Systems studies is the application of grounded theory techniques, typically for data analysis purposes ( Matavire & Brown, 2013 ).

It is worth noting that the use of the above methods does not exclude other designs. For instance, ethnographic observations can be undertaken as one element in a mixed methods case study ( Greenhalgh, Hinder, Stramer, Bratan, & Russell, 2010 ).

11.3. Methodological Considerations

There are a range of methodological issues that need to be considered when designing, undertaking and reporting a descriptive eHealth evaluation. These issues may emerge throughout the study procedures, from defining study objectives to presenting data interpretation. This section provides a quick guide for addressing the most critical issues in order to choose and describe an appropriate approach in your study.

11.3.1. Study Objectives and Questions

The high-level goals of an eHealth evaluation study are often planned in the initial phase of the study. The goals define what the study is meant to reveal and what is to be learned. These may be documented as a multilevel statement of high-level intentions or questions. This statement is then expanded in the methodology section of the final study report with specific aspects of the purpose of the evaluation: that is, things you want to find out. For instance, if the innovation were an electronic referral (e-referral) system:

• The acceptance of e-referrals by all impacted healthcare workers.
• The impact of e-referrals on safety, efficiency and timeliness of healthcare delivery.
• The key problems and issues emerging from a technical and management perspective in implementation of e-referrals.

Some of the above specific statements may be expressed as testable hypotheses; for example, “Use of e-referrals is widely accepted by General Practitioners ( gp s).” A good use of expanded objectives is to state specific research questions; for example, we might ask, “Do gp s prefer e-referrals to hard copy referrals?” as part of the “acceptance” assessment objective above.

11.3.2. Observable and Contextual Variables

In many cases, eHealth evaluation will be linked to (as part of, or coming after) a health is implementation project that had a business case based on specific expected benefits of the technology, and specific functional and non-functional requirements as critical success factors of the project. These should be part of the evaluation’s benefits framework. International literature (e.g., the benefits found with similar technology when evaluated overseas) may also inform the framework. The establishment of benefits framework in an eHealth evaluation will dictate the study design and variables selection, as well as the methods of data collection and analysis. For instance, observable variables to measure system outcome may include: mortality, morbidity, readmission, length of stay, patient functional status or quality of health/life.

One of the strengths of descriptive studies is that the study findings are contextualized within the system implementation environment. Hence, it is a good practice to explain in the methodology what system(s) is evaluated, including the technologies introduced, years and geography of implementation and use, as well as the healthcare delivery organizations and user groups involved in their use. Contextual variables also include those detailing the evaluation parameters such as research study period and those contextual conditions that are relevant to the system implementation success or failure, for example, organizational structure and funding model.

11.3.3. Credibility, Authenticity and Contextualization

The philosophy of evaluation that is taken along with the detailed research procedures should be described to demonstrate the study rigour, reliability, validity and credibility. The methods used should also be detailed (e.g., interviews of particular user or management groups, analysis of particular data files, statistical procedures, etc.). Data triangulation (examining the consistency of different data sources) is a common technique to enhance the research quality. Where any particularly novel methods are used, they should be explained with reference to academic literature and/or particular projects from which they have arisen; ideally, they should be justified with comparison to other methods that suit similar purposes.

Authenticity is regarded as a feature particular to naturalistic inquiry (and ethnographic naturalism), an approach to inquiry that aims to generate a genuine or true understanding of people’s experiences ( Schwandt, 2007 ). In a wider sense of descriptive eHealth evaluation studies, it is important to maintain research authenticity — to convey a genuine understanding of the project stakeholders’ experiences from their own point of view.

Related to the above discussion on credibility and authenticity, the goal of contextualizing study findings is to support the final theory by seeing whether “the meaning system and rules of behaviour make sense to those being studied” ( Neuman, 2003 ). For example, to draw a “rich picture” of the impact of the evaluated eHealth implementation, the study may inquire and report on “How has it impacted the social context (e.g., communications, perceived roles and responsibilities, and how the users feel about themselves and others)?”

11.3.4. Theoretical Sampling and Saturation

Theoretical sampling is an important tool in grounded theory studies. It is to decide, on analytic grounds, what data to collect next and where to find them ( Glaser & Strauss, 1967 ). This requires calculation and imagination from the analyst in order to move the theory along quickly and efficiently. The basic criterion is to govern the selection of comparison groups for discovering theory based on their theoretical relevance for furthering the development of emerging categories ( Glaser & Strauss, 1967 ).

In studies that collect data via interviews, ideally the interviewing should continue, extending with further theoretical sampling, until the evaluators have reached “saturation” — the point where all the relevant contributions from new interviewees neatly fit categories identified from earlier interviews. Often time and budget do not allow full saturation, in which cases the key topics of interest and major data themes need to be confirmed, for example, by repeating emphasis from individuals in similar roles.

11.3.5. Data Collection and Analysis

Descriptive studies may use a range of diverse and flexible methods in data collection and analysis. Detailed description of the data collection methods used will help readers understand exactly how the study achieves the measurements that are relevant to your approach and measurement criteria. This includes how interviewees are identified, and sources of documents and electronic data, as well as pre-planned interview questions and questionnaires.

In terms of describing quantitative data analysis methods, all statistical procedures associated with the production of quantitative results need to be stated. Similarly, all analysis protocols for qualitative data should be clarified (e.g., the data coding methods used).

11.3.6. Interpretation and Dissemination

Key findings from descriptive studies should provide answers to the research objectives/questions. In general, these findings can be tabulated against the benefits framework you introduced as part of the methodology. Interpretation of the findings may characterize how the eHealth intervention enabled a transformation in healthcare practices. Moreover, when explaining the interpretation and implications drawn from the evaluation results, the key implications can be organized into formal recommendations.

In terms of evaluation dissemination, the study findings should reach all stakeholders considering uptake of similar technology. Evaluation and dissemination as iterative cycles should be considered. Feedback from dissemination of interim findings is a valuable component of the evaluation per se. A dissemination strategy should be planned, specifying the dissemination time frame and pathways (e.g., conventional written reporting, face-to-face reporting, Web 2.0, commercial media and academic publications).

11.4. Exemplary Cases

This section illustrates two descriptive eHealth evaluation studies, one case study as part of the commissioned evaluation on the implementation and impact of the summary care record ( scr ) and HealthSpace programmes in the United Kingdom, and the other study from Canada as a usability evaluation to inform Alberta’s personal health record ( phr ) design. These two examples demonstrate how to design a descriptive study applying a range of data collection and analysis methods to achieve the evaluation objectives.

11.4.1. United Kingdom HealthSpace Case Study

Between 2007 and 2010, an independent evaluation was commissioned by the u.K. Department of Health to evaluate the implementation and impact of the summary care record ( scr ) and HealthSpace programmes ( Greenhalgh, Stramer et al., 2010 ; Greenhalgh, Hinder et al., 2010 ). scr was an electronic summary of key health data drawn from a patient’s gp -held electronic record and accessible over a secure Internet connection by authorized healthcare staff. HealthSpace was an Internet-accessible personal organizer onto which people may enter health data and plan health appointments. Through an advanced HealthSpace account, they could gain secure access to their scr and e-mail their gp using a function called Communicator.

This evaluation undertook a mixed methods approach using a range of data sources and collection methods to “capture as rich a picture of the programme as possible from as many angles as possible” ( Greenhalgh, Hinder et al., 2010 ). The evaluation fieldwork involved seven interrelated empirical studies, including a multilevel case study of HealthSpace covering the policy-making process, implementation by the English National Health Service ( nhs ) organizations, and experiences of patients and carers. In the case study, evaluators reviewed the national registration statistics on the HealthSpace uptake rate (using the number of basic and advanced HealthSpace accounts created). They also studied the adoption and non-adoption of HealthSpace by 56 patients and carers using observation and interview methods. In addition, they interviewed 160 staff in national and local organizations, and collected 3,000 pages of documents to build a picture of the programme in context. As part of the patient study, ethnographic observation was undertaken by a researcher who shadowed 20 participants for two or three periods of two to five hours each at home and work, and noted information needs as they arose and how these were tackled by the participant. An in-depth picture of HealthSpace conception, design, implementation, utilization (or non-use and abandonment, in most cases) and impact was constructed from this mixed methods approach that included both quantitative uptake statistics and qualitative analysis of the field notes, interview transcripts, documents and communication records.

The case study showed that the HealthSpace personal electronic health record was poorly taken up by people in England, and it was perceived as neither useful nor easy to use. The study also made several recommendations for future development of similar technologies, including the suggestion to conceptualize them as components of a sociotechnical network and to apply user-centred design principles more explicitly. The overall evaluation of the scr and Health­Space recognized the scale and complexity of both programmes and observed that “greatest progress appeared to be made when key stakeholders came together in uneasy dialogue, speaking each other’s languages imperfectly and trying to understand where others were coming from, even when the hoped-for consensus never materialised” ( Greenhalgh, Hinder et al., 2010 ).

11.4.2. Usability Evaluation to Inform Alberta’s PHR Design

The Alberta phr was a key component in the online consumer health application, the Personal Health Portal ( php ), deployed in the Province of Alberta, Canada. The phr usability evaluation ( Price, Bellwood, & Davies, 2015 ) was part of the overall php benefit evaluation that was embedded into the life cycle of the php program throughout the predesign, design and adoption phases. Although using a commercial phr product, its usability evaluation aimed to assess the early design of the phr software and to provide constructive feedback and recommendations to the phr project team in a timely way so as to improve the phr software prior to its launch.

Between June 2012 and April 2013, a combination of usability inspection (applying heuristic inspection and persona-based inspection methods) and usability testing (with 21 representative end users) was used in Alberta’s phr evaluation. For the persona-based inspection, two patient personas were developed; for each persona, scenarios were developed to illustrate expected use of the phr . Then in the user testing protocol, participants were asked to “think aloud” while performing two sets of actions: (a) to explore the phr freely, and (b) to follow specific scenarios matching the expected activities of the targeted end users that covered all key phr tasks. Findings from the usability inspection and testing were largely consistent and were used to generate several recommendations regarding the phr information architecture, content and presentation. For instance, the usability inspection identified that the phr had a deep navigation hierarchy with several layers of screens before patient health data became available. This was also confirmed in usability testing when users sometimes found the module segmentation confusing. Accordingly, the evaluation researchers have recommended revising the structure and organization of the modules with clearer top-level navigation, a combination of content-oriented tabs and user-specific tabs, and a “home” tab providing a clear clinical summary.

Usability evaluation can be conducted at several stages in the development life cycle of eHealth systems to improve the design — from the earliest mock-ups (ideally starting with paper prototypes), on partially completed systems, or once the system is installed and undergoing maintenance. The Alberta phr study represents an exemplary case of usability evaluations to inform the development of a government-sponsored phr project. It demonstrates the feasibility and value of early usability evaluation in eHealth projects for having a good usable system, in this case avoiding usability problems prior to rollout.

11.5. Summary

Descriptive evaluation studies describe the process and impact of the development and implementation of a system. The findings are often contextualized within the implementation environment, such as — for our purposes — the specific healthcare organization. Descriptive evaluations utilize a variety of qualitative and quantitative data collection and analysis methods; and the study design can apply a range of assumptions, from positivist or interpretivist perspectives, to critical theory and critical realism. These studies are used in both formative evaluations and summative evaluations.

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• Descriptive Research Designs: Types, Examples & Methods

One of the components of research is getting enough information about the research problem—the what, how, when and where answers, which is why descriptive research is an important type of research. It is very useful when conducting research whose aim is to identify characteristics, frequencies, trends, correlations, and categories.

This research method takes a problem with little to no relevant information and gives it a befitting description using qualitative and quantitative research method s. Descriptive research aims to accurately describe a research problem.

In the subsequent sections, we will be explaining what descriptive research means, its types, examples, and data collection methods.

What is Descriptive Research?

Descriptive research is a type of research that describes a population, situation, or phenomenon that is being studied. It focuses on answering the how, what, when, and where questions If a research problem, rather than the why.

This is mainly because it is important to have a proper understanding of what a research problem is about before investigating why it exists in the first place. 

For example, an investor considering an investment in the ever-changing Amsterdam housing market needs to understand what the current state of the market is, how it changes (increasing or decreasing), and when it changes (time of the year) before asking for the why. This is where descriptive research comes in.

What Are The Types of Descriptive Research?

Descriptive research is classified into different types according to the kind of approach that is used in conducting descriptive research. The different types of descriptive research are highlighted below:

• Descriptive-survey

Descriptive survey research uses surveys to gather data about varying subjects. This data aims to know the extent to which different conditions can be obtained among these subjects.

For example, a researcher wants to determine the qualification of employed professionals in Maryland. He uses a survey as his research instrument , and each item on the survey related to qualifications is subjected to a Yes/No answer. 

This way, the researcher can describe the qualifications possessed by the employed demographics of this community. 

• Descriptive-normative survey

This is an extension of the descriptive survey, with the addition being the normative element. In the descriptive-normative survey, the results of the study should be compared with the norm.

For example, an organization that wishes to test the skills of its employees by a team may have them take a skills test. The skills tests are the evaluation tool in this case, and the result of this test is compared with the norm of each role.

If the score of the team is one standard deviation above the mean, it is very satisfactory, if within the mean, satisfactory, and one standard deviation below the mean is unsatisfactory.

• Descriptive-status

This is a quantitative description technique that seeks to answer questions about real-life situations. For example, a researcher researching the income of the employees in a company, and the relationship with their performance.

A survey will be carried out to gather enough data about the income of the employees, then their performance will be evaluated and compared to their income. This will help determine whether a higher income means better performance and low income means lower performance or vice versa.

• Descriptive-analysis

The descriptive-analysis method of research describes a subject by further analyzing it, which in this case involves dividing it into 2 parts. For example, the HR personnel of a company that wishes to analyze the job role of each employee of the company may divide the employees into the people that work at the Headquarters in the US and those that work from Oslo, Norway office.

A questionnaire is devised to analyze the job role of employees with similar salaries and who work in similar positions.

• Descriptive classification

This method is employed in biological sciences for the classification of plants and animals. A researcher who wishes to classify the sea animals into different species will collect samples from various search stations, then classify them accordingly.

• Descriptive-comparative

In descriptive-comparative research, the researcher considers 2 variables that are not manipulated, and establish a formal procedure to conclude that one is better than the other. For example, an examination body wants to determine the better method of conducting tests between paper-based and computer-based tests.

A random sample of potential participants of the test may be asked to use the 2 different methods, and factors like failure rates, time factors, and others will be evaluated to arrive at the best method.

• Correlative Survey

Correlative surveys are used to determine whether the relationship between 2 variables is positive, negative, or neutral. That is, if 2 variables say X and Y are directly proportional, inversely proportional or are not related to each other.

Examples of Descriptive Research

There are different examples of descriptive research, that may be highlighted from its types, uses, and applications. However, we will be restricting ourselves to only 3 distinct examples in this article.

• Comparing Student Performance:

An academic institution may wish 2 compare the performance of its junior high school students in English language and Mathematics. This may be used to classify students based on 2 major groups, with one group going ahead to study while courses, while the other study courses in the Arts & Humanities field.

Students who are more proficient in mathematics will be encouraged to go into STEM and vice versa. Institutions may also use this data to identify students’ weak points and work on ways to assist them.

• Scientific Classification

During the major scientific classification of plants, animals, and periodic table elements, the characteristics and components of each subject are evaluated and used to determine how they are classified.

For example, living things may be classified into kingdom Plantae or kingdom animal is depending on their nature. Further classification may group animals into mammals, pieces, vertebrae, invertebrae, etc. 

All these classifications are made a result of descriptive research which describes what they are.

• Human Behavior

When studying human behaviour based on a factor or event, the researcher observes the characteristics, behaviour, and reaction, then use it to conclude. A company willing to sell to its target market needs to first study the behaviour of the market.

This may be done by observing how its target reacts to a competitor’s product, then use it to determine their behaviour.

What are the Characteristics of Descriptive Research?  

The characteristics of descriptive research can be highlighted from its definition, applications, data collection methods, and examples. Some characteristics of descriptive research are:

• Quantitativeness

Descriptive research uses a quantitative research method by collecting quantifiable information to be used for statistical analysis of the population sample. This is very common when dealing with research in the physical sciences.

• Qualitativeness

It can also be carried out using the qualitative research method, to properly describe the research problem. This is because descriptive research is more explanatory than exploratory or experimental.

• Uncontrolled variables

In descriptive research, researchers cannot control the variables like they do in experimental research.

• The basis for further research

The results of descriptive research can be further analyzed and used in other research methods. It can also inform the next line of research, including the research method that should be used.

This is because it provides basic information about the research problem, which may give birth to other questions like why a particular thing is the way it is.

Why Use Descriptive Research Design?  

Descriptive research can be used to investigate the background of a research problem and get the required information needed to carry out further research. It is used in multiple ways by different organizations, and especially when getting the required information about their target audience.

• Define subject characteristics :

It is used to determine the characteristics of the subjects, including their traits, behaviour, opinion, etc. This information may be gathered with the use of surveys, which are shared with the respondents who in this case, are the research subjects.

For example, a survey evaluating the number of hours millennials in a community spends on the internet weekly, will help a service provider make informed business decisions regarding the market potential of the community.

• Measure Data Trends

It helps to measure the changes in data over some time through statistical methods. Consider the case of individuals who want to invest in stock markets, so they evaluate the changes in prices of the available stocks to make a decision investment decision.

Brokerage companies are however the ones who carry out the descriptive research process, while individuals can view the data trends and make decisions.

Descriptive research is also used to compare how different demographics respond to certain variables. For example, an organization may study how people with different income levels react to the launch of a new Apple phone.

This kind of research may take a survey that will help determine which group of individuals are purchasing the new Apple phone. Do the low-income earners also purchase the phone, or only the high-income earners do?

Further research using another technique will explain why low-income earners are purchasing the phone even though they can barely afford it. This will help inform strategies that will lure other low-income earners and increase company sales.

• Validate existing conditions

When you are not sure about the validity of an existing condition, you can use descriptive research to ascertain the underlying patterns of the research object. This is because descriptive research methods make an in-depth analysis of each variable before making conclusions.

• Conducted Overtime

Descriptive research is conducted over some time to ascertain the changes observed at each point in time. The higher the number of times it is conducted, the more authentic the conclusion will be.

What are the Disadvantages of Descriptive Research?  

• Response and Non-response Bias

Respondents may either decide not to respond to questions or give incorrect responses if they feel the questions are too confidential. When researchers use observational methods, respondents may also decide to behave in a particular manner because they feel they are being watched.

• The researcher may decide to influence the result of the research due to personal opinion or bias towards a particular subject. For example, a stockbroker who also has a business of his own may try to lure investors into investing in his own company by manipulating results.
• A case-study or sample taken from a large population is not representative of the whole population.
• Limited scope:The scope of descriptive research is limited to the what of research, with no information on why thereby limiting the scope of the research.

What are the Data Collection Methods in Descriptive Research?  

There are 3 main data collection methods in descriptive research, namely; observational method, case study method, and survey research.

1. Observational Method

The observational method allows researchers to collect data based on their view of the behaviour and characteristics of the respondent, with the respondents themselves not directly having an input. It is often used in market research, psychology, and some other social science research to understand human behaviour.

It is also an important aspect of physical scientific research, with it being one of the most effective methods of conducting descriptive research . This process can be said to be either quantitative or qualitative.

Quantitative observation involved the objective collection of numerical data , whose results can be analyzed using numerical and statistical methods. 

Qualitative observation, on the other hand, involves the monitoring of characteristics and not the measurement of numbers. The researcher makes his observation from a distance, records it, and is used to inform conclusions.

2. Case Study Method

A case study is a sample group (an individual, a group of people, organizations, events, etc.) whose characteristics are used to describe the characteristics of a larger group in which the case study is a subgroup. The information gathered from investigating a case study may be generalized to serve the larger group.

This generalization, may, however, be risky because case studies are not sufficient to make accurate predictions about larger groups. Case studies are a poor case of generalization.

3. Survey Research

This is a very popular data collection method in research designs. In survey research, researchers create a survey or questionnaire and distribute it to respondents who give answers.

Generally, it is used to obtain quick information directly from the primary source and also conducting rigorous quantitative and qualitative research. In some cases, survey research uses a blend of both qualitative and quantitative strategies.

Survey research can be carried out both online and offline using the following methods

• Online Surveys: This is a cheap method of carrying out surveys and getting enough responses. It can be carried out using Formplus, an online survey builder. Formplus has amazing tools and features that will help increase response rates.
• Offline Surveys: This includes paper forms, mobile offline forms , and SMS-based forms.

What Are The Differences Between Descriptive and Correlational Research?  

Before going into the differences between descriptive and correlation research, we need to have a proper understanding of what correlation research is about. Therefore, we will be giving a summary of the correlation research below.

Correlational research is a type of descriptive research, which is used to measure the relationship between 2 variables, with the researcher having no control over them. It aims to find whether there is; positive correlation (both variables change in the same direction), negative correlation (the variables change in the opposite direction), or zero correlation (there is no relationship between the variables).

Correlational research may be used in 2 situations;

(i) when trying to find out if there is a relationship between two variables, and

(ii) when a causal relationship is suspected between two variables, but it is impractical or unethical to conduct experimental research that manipulates one of the variables. 

Below are some of the differences between correlational and descriptive research:

• Definitions :

Descriptive research aims is a type of research that provides an in-depth understanding of the study population, while correlational research is the type of research that measures the relationship between 2 variables. 

• Characteristics :

Descriptive research provides descriptive data explaining what the research subject is about, while correlation research explores the relationship between data and not their description.

• Predictions :

 Predictions cannot be made in descriptive research while correlation research accommodates the possibility of making predictions.

Descriptive Research vs. Causal Research

Descriptive research and causal research are both research methodologies, however, one focuses on a subject’s behaviors while the latter focuses on a relationship’s cause-and-effect. To buttress the above point, descriptive research aims to describe and document the characteristics, behaviors, or phenomena of a particular or specific population or situation. 

It focuses on providing an accurate and detailed account of an already existing state of affairs between variables. Descriptive research answers the questions of “what,” “where,” “when,” and “how” without attempting to establish any causal relationships or explain any underlying factors that might have caused the behavior.

Causal research, on the other hand, seeks to determine cause-and-effect relationships between variables. It aims to point out the factors that influence or cause a particular result or behavior. Causal research involves manipulating variables, controlling conditions or a subgroup, and observing the resulting effects. The primary objective of causal research is to establish a cause-effect relationship and provide insights into why certain phenomena happen the way they do.

Descriptive Research vs. Analytical Research

Descriptive research provides a detailed and comprehensive account of a specific situation or phenomenon. It focuses on describing and summarizing data without making inferences or attempting to explain underlying factors or the cause of the factor. 

It is primarily concerned with providing an accurate and objective representation of the subject of research. While analytical research goes beyond the description of the phenomena and seeks to analyze and interpret data to discover if there are patterns, relationships, or any underlying factors. 

It examines the data critically, applies statistical techniques or other analytical methods, and draws conclusions based on the discovery. Analytical research also aims to explore the relationships between variables and understand the underlying mechanisms or processes involved.

Descriptive Research vs. Exploratory Research

Descriptive research is a research method that focuses on providing a detailed and accurate account of a specific situation, group, or phenomenon. This type of research describes the characteristics, behaviors, or relationships within the given context without looking for an underlying cause. 

Descriptive research typically involves collecting and analyzing quantitative or qualitative data to generate descriptive statistics or narratives. Exploratory research differs from descriptive research because it aims to explore and gain firsthand insights or knowledge into a relatively unexplored or poorly understood topic. 

It focuses on generating ideas, hypotheses, or theories rather than providing definitive answers. Exploratory research is often conducted at the early stages of a research project to gather preliminary information and identify key variables or factors for further investigation. It involves open-ended interviews, observations, or small-scale surveys to gather qualitative data.

Read More – Exploratory Research: What are its Method & Examples?

Descriptive Research vs. Experimental Research

Descriptive research aims to describe and document the characteristics, behaviors, or phenomena of a particular population or situation. It focuses on providing an accurate and detailed account of the existing state of affairs. 

Descriptive research typically involves collecting data through surveys, observations, or existing records and analyzing the data to generate descriptive statistics or narratives. It does not involve manipulating variables or establishing cause-and-effect relationships.

Experimental research, on the other hand, involves manipulating variables and controlling conditions to investigate cause-and-effect relationships. It aims to establish causal relationships by introducing an intervention or treatment and observing the resulting effects. 

Experimental research typically involves randomly assigning participants to different groups, such as control and experimental groups, and measuring the outcomes. It allows researchers to control for confounding variables and draw causal conclusions.

Related – Experimental vs Non-Experimental Research: 15 Key Differences

Descriptive Research vs. Explanatory Research

Descriptive research focuses on providing a detailed and accurate account of a specific situation, group, or phenomenon. It aims to describe the characteristics, behaviors, or relationships within the given context. 

Descriptive research is primarily concerned with providing an objective representation of the subject of study without explaining underlying causes or mechanisms. Explanatory research seeks to explain the relationships between variables and uncover the underlying causes or mechanisms. 

It goes beyond description and aims to understand the reasons or factors that influence a particular outcome or behavior. Explanatory research involves analyzing data, conducting statistical analyses, and developing theories or models to explain the observed relationships.

Descriptive Research vs. Inferential Research

Descriptive research focuses on describing and summarizing data without making inferences or generalizations beyond the specific sample or population being studied. It aims to provide an accurate and objective representation of the subject of study. 

Descriptive research typically involves analyzing data to generate descriptive statistics, such as means, frequencies, or percentages, to describe the characteristics or behaviors observed.

Inferential research, however, involves making inferences or generalizations about a larger population based on a smaller sample. 

It aims to draw conclusions about the population characteristics or relationships by analyzing the sample data. Inferential research uses statistical techniques to estimate population parameters, test hypotheses, and determine the level of confidence or significance in the findings.

Related – Inferential Statistics: Definition, Types + Examples

Conclusion  

The uniqueness of descriptive research partly lies in its ability to explore both quantitative and qualitative research methods. Therefore, when conducting descriptive research, researchers have the opportunity to use a wide variety of techniques that aids the research process.

Descriptive research explores research problems in-depth, beyond the surface level thereby giving a detailed description of the research subject. That way, it can aid further research in the field, including other research methods .

It is also very useful in solving real-life problems in various fields of social science, physical science, and education.

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methodologies, research design, and research methodology under "research methods" rather than "methods" in the Handbook.5 Comparative research is also a broad word that refers to the use of qualitative and quantitative research tools to compare any subject across two environments. When the term "comparative research" is combined ...

Descriptive-comparative; In descriptive-comparative research, the researcher considers 2 variables that are not manipulated, and establish a formal procedure to conclude that one is better than the other. For example, an examination body wants to determine the better method of conducting tests between paper-based and computer-based tests.

Exploratory research is the umbrella term used by Brink and Wood (2001) to describe all description qualitative research and suggest it "is a Level 1 research endeavor" (p. 85), and Savin-Baden and Howell Major (2013) refer to a pragmatic qualitative approach. This interchangeable use of terms creates ambiguity and confusion in relation to ...

A descriptive study design is a research method that observes and describes the behaviour of subjects from a scientific viewpoint with regard to variables of a situation (Sharma, 2019). Here, the ...

research, institutions doing comparative research, comparative research papers (including those with rural focus) and journals with comparative research ... & Vittuari, M. (2017). Energy input in conventional and organic paddy rice production in Missouri and Italy: A comparative case study. Journal of Environmental Management, 188, 173-182.

Descriptive comparative method provides explanation about the extent of relationship between two or more variables (Ariola, 2006). The researcher will examine the relationship including the differences of the two variables, this research design can be easily conducted and the researcher can easily gather information and data.

Second, in this study, authors have collected primary data using a qualitative online survey, 'a relatively novel and often invisible or side-lined method' (Braun et al., 2020, p. 1).

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Biografie - zucchero.

Zucchero ist ein Sänger, Komponist und Multiinstrumentalist, der als Vorreiter des italienischen Blues gilt. Der Musikstil des Künstlers, der sowohl in italienischer als auch in englischer Sprache singt, ist eine Mischung aus Blues, Rock und Gospel.

Geboren wird Adelmo Fornaciari, wie Zucchero mit bürgerlichem Namen heißt, am 25. September 1955 im Dorf Roncocesi in Nordostitalien. Schon mit etwa zehn Jahren begeistert sich Adelmo, der auf einem Bauernhof aufwächst, für Musik. Er lernt zuerst Saxofon spielen, später auch Orgel, Klavier, Schlagzeug und Gitarre. Zu seinen musikalischen Helden gehören der Soul-Sänger Otis Redding und die Rolling Stones.

Zwischen 1970 und 1978 lebt Adelmo Fornaciari in der Toskana und gründet mit Freunden R’n’B-Bands wie Le Nuove Luci, Sugar & Daniel und Sugar & Candies. Schon damals nennt ihn jeder Zucchero. Der Spitzname mit der Bedeutung "Zucker" stammt von einer seiner Grundschullehrerinnen.

Die Liebe zur Musik siegt

Geprägt von seiner Kindheit auf dem Bauernhof entschließt sich der tierliebe Zucchero zunächst, Veterinärmedizin zu studieren. Auch während seines Studiums an der Universität in Pisa tritt er an Wochenenden mit seiner Band auf. Inzwischen Ehemann und Vater einer kleinen Tochter, entscheidet sich der junge Mann schließlich für die Musik und bricht sein Studium ab.

Aus der später gescheiterten Ehe mit Angela Figliè stammen die Töchter Alice, geboren 1981, und Irene, die 1984 zur Welt kommt. 1992 lernt Zucchero die Schweizerin Francesca Mozer kennen, mit der er seither zusammenlebt. Sie bringt 1999 den gemeinsamen Sohn Adelmo Blue zur Welt.

Wie ein Zufall Zucchero zum Welterfolg verhilft

In seinen Bands steht Zucchero zunächst nicht am Mikrofon, sondern spielt Saxofon. Durch einen Zufall ändert sich alles: Zu einem Konzert seiner Band Le Nuove Luci erscheint der Sänger einfach nicht. Zucchero ist als einziger aus der Band textsicher, so muss er an diesem Abend einspringen und singen.

Der Rest ist Geschichte: Heute gilt Zucchero als Inbegriff italienischer Rocksänger – wenn auch der Start als Solo-Künstler etwas holperig verläuft. Obwohl er im Jahr 1981 mit dem Titel "Una Notte Che Vola Via" das Castrocaro-Musikfestival gewinnt, floppen die ersten Singles und Alben. Mit "Donne", seinem Beitrag zum Sanremo-Festival 1985, gelingt Zucchero dann endlich der Durchbruch.

Mit dem autobiografischen Song "Senza Una Donna", in dem er seine Scheidung verarbeitet , wird Zucchero auch international bekannt. Erfolgreich ist vor allem die Version, die er mit dem britischen Sänger Paul Young ("Love Of The Common People", "Every Time You Go Away") aufnimmt.

Italo-Rocker mit mächtiger Stimme und großen Emotionen

Vor Kollaborationen mit anderen großen Namen im Musikbusiness kann sich Zucchero seit seinem Durchbruch kaum retten. 1992 lädt ihn Brian May zum Freddie-Mercury-Tribute-Konzert ins Wembley-Stadion ein. Später arbeitet Zucchero mit Stars wie Eric Clapton, Miles Davis, John Lee Hooker, Sting, Mark Knopfler, Iggy Pop, Macy Gray oder Bono zusammen .

Seiner Produktivität im Studio tut das zum Glück keinen Abbruch: In kurzen Abständen veröffentlicht der Singer-Songwriter neue Platten. In Italien erobern seine Alben verlässlich die Spitze der Charts und heimsen eine Platin-Schallplatte nach der anderen ein. Für seine großen Erfolge erhält Zucchero im Jahr 2006 sogar den "Verdienstorden der Italienischen Republik". Fast ebenso beliebt ist er in Deutschland, Österreich und der Schweiz und wird für seine Charterfolge mehrfach mit Gold und Platin geehrt.

Auch experimentiert Zucchero immer wieder mit anderen musikalischen Stilrichtungen und gewinnt so beispielsweise Luciano Pavarotti für seinen Song "Miserere". Mit "Discover" legt Zucchero 2021 sein erstes Cover-Album vor, das zu einer musikalischen Zeitreise von den 1960er-Jahren bis weit in die 2000er einlädt.

Zuccheros Touren durch Europa, die USA, Südamerika und Länder anderer Kontinente füllen regelmäßig große Hallen. Wer sich Tickets für eine Zucchero-Show kauft, kommt in den Genuss der unverwechselbaren Stimme des für seine Hüte bekannten Italieners und erlebt Bluesrock, der tief ins Herz geht . Gänsehautfeeling ist garantiert, wenn der Vollblutmusiker seine Songs voller Emotionen mit seiner grandiosen Live-Band performt.

Zucchero Fan-Report: Bewertungen und Rezensionen

127 bewertungen (ø 4,87), super abend danke zucchero.

Danke Zucchero für den tollen Abend!

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Over thr TOP!!!!

War wieder mal ein tolles Erlebniss den Meister des Italienischen Blues mit seine Top Band zu erleben und zu hören!!

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1955 - 1989

Adelmo Fornaciari was born in Roncocesi on 25th September 1955. He later moved to Forte dei Marmi in Tuscany where, between 1970 & 1978 he formed his first R&B bands: ‘Le Nuove Luci’, ‘Sugar & Daniel’ and ‘Sugar & Candies’. By that time he was already known as Zucchero, a nickname given to him by one of his school teachers.

In 1981 he won the Castrocaro Festival with ‘Canto Te’. Then in 1983 he recorded his first studio album entitled ‘ Un Po di Zucchero ’. He travelled to San Francisco to visit Corrado Rustici who introduced him to Randy Jackson. When he returned to Italy in 1985 it was with a new band featuring Randy Jackson on bass, Corrado Rustici on guitar, Walter Afanatieff on keyboards and Giorjo Francis Perry on drums. He competed at the San Remo Festival with the song ‘Donne’ and then released ‘ Zucchero & The Randy Jackson Band’ . The follow up album, ‘ Rispetto’, topped the charts upon release. Zucchero triumphantly competed at the San Remo Festival once again the following year with ‘Canzone Triste’.

In 1987 Zucchero recorded ‘ Blue’s ’ with Corrado Rustici and David Sancious who teamed up for the sessions with Clarence Clemmons and the Memphis Horns. The result was over 1.3 million copies sold in Italy, the biggest commercial breakthrough ever to be reached by a rock music album in Italy. Zucchero followed the release by touring with Joe Cocker & Miles Davis.

In 1988 he wrote a musical score for the movie ‘Snack Bar Budapest’, directed by Tinto Brass. During the same year Zucchero recorded a new version of ‘Dune Mosse’ with Miles Davis.

In 1989 Zucchero released his fifth studio album, ‘ Oro Incenso e Birra ’, featuring Eric Clapton as well as the musicians who had collaborated on ‘Blue’s’. It is Clapton’s guitar solo on ‘Wonderful World’’ that makes this song so unique. This album sold over 1.7 million copies in Italy alone breaking the record set by ‘Blue’s’.

1990 - 1999

1990 saw the release of ‘ Oro Incenso e Birra’ in England and to promote it Zucchero went on a double-billed European tour with Eric Clapton. He became the first rock artist to perform at the Kremlin in Moscow, and during the concert, which was broadcast all over Europe, he duetted with Randy Crawford on ‘Imagine’ and with Toni Childs on ‘Many Rivers to Cross ’.

In 1991 Zucchero recorded ‘Senza Una Donna’ (Without a Woman) with Paul Young. The single topped the charts in almost all European countries and the United States. The next single, ‘Diamante’ also topped the European charts. Zucchero wrote the lyrics & sang on the Italian version of ‘Mad About You ’, (Muoio per te) featured on Sting’s ‘The Soul Cages’ album. That same year, Brian May invited Zucchero to join him and the other members of Queen to perform at Wembley Stadium in London at the ‘Freddie Mercury Tribute’ where he performed ‘Las Palabras de Amor’.

‘ Miserere’, his sixth studio album, was released internationally on October 1 st , 1992 in both English and Italian. The title track is a duet with the Maestro, Luciano Pavarotti. The lyrics of the English version of the album were adapted by Bono of U2.

Also in 1992 Zucchero & Luciano Pavarotti together devised the concept of the Pavarotti & Friends charity gala. The first edition, broadcast live worldwide, was the first in a series of benefit concerts which are now held annually.

On January 25th 1993 ‘Miserere’ was certified multi platinum and at the World Music Awards Zucchero took the award for the ‘Year’s Most Successful Italian Singer’.

In 1994 Zucchero released ‘ Diamante ’ a greatest hits package especially for South America with translations by Fito Paez. That summer he was the only European artist to appear at the second Woodstock festival & feature in the movie of the event, ‘ My Generation ’.

‘ Spirito Di Vino’ was released worldwide on 27th May 1995. The album concept arose from Zucchero’s desire to immerse himself in the musical scene of New Orleans, where the album was recorded. It succeeds in capturing the sounds and atmosphere of the Mississippi Delta.

In the middle of his 1996 European tour, he stopped off in Monte Carlo to collect the award for ‘World’s Best Selling Italian Artist of the Year 1995’ at the World Music Awards. In July of the same year ‘Spirito di Vino’ was awarded the IFPI’s Million Seller award and later that month he performed at the Montreux Jazz Festival, where he played with Little Richard. He also performed with Buddy Guy at the benefit concert for Liberia which was held in Milan at the San Siro Stadium.

The ‘ Best of Zucchero’ greatest hits album was released worldwide in November 1996. Upon release the album took the top spot in Europe with hits like ‘Il Volo/My Love’, ‘Menta e Rosmarino / I Wont Be Lonely Tonight ’ as well as some old favourites like ‘Diamante’, ‘Senza Una Donna ’   and ‘Diavolo in Me ’. The ‘Best of…’ album has sold close to 3 million copies to date.

Touring in 1997 kicked off in New York at the Carnegie Hall where he performed at the Rainforest Benefit, participating with artists such as Sting, Elton John, Stevie Wonder and many others. ‘Best of…’ was re-released at Christmas and included the single ‘Va Pensiero’, the famous classical chorus from Giuseppe Verdi’s ‘Nabucco’. The original lyrics were modified by Zucchero who turned the song into a lullaby; the aim was to raise awareness in children towards the problem of deforestation in the Amazon.

The 1998 ‘Annual Grammy Awards’ in New York featured Zucchero singing ‘Va Pensiero’ by invitation of Pavarotti. Later that year he was invited by Roman Polanski and Gerard Depardieu to perform at the ‘Cinemus International Festival’ in Gstaad with Vangelis and his orchestra. ‘ Bluesugar ’ was released in Italian and English on October 30th, and included the track ‘Blue’ with lyrics by U2’s Bono.

In February 1999 the Bluesugar World Tour kicked off from Italy and during the course of the year Zucchero appeared at the Pavarotti Charity Gala in Modena playing with B.B.King, at the IMST Festival in Austria where he was special guest to The Rolling Stones playing in front of 200,000 people and at the Red Cross charity concert in Munich where he appeared with Michael Jackson. Later, Zucchero was invited by Bono of U2 to play at the New York Net Aid charity which was broadcast worldwide. November saw the release of Tom Jones’ ‘Reload’ album featuring Zucchero duetting on ‘She Drives Me Crazy’.

2000 - 2009

The year 2000 saw Zucchero once again at the Pavarotti International Charity Gala and as part of the Millennium celebrations he made a special guest appearance with the Scorpions and the Berlin Philharmonic Orchestra in Hannover. In Paris, he joined among others, fellow musicians Johnny Hallyday, Peter Gabriel and YoussouN’Dour to take part in a cd project called ‘ Solidays L’Album ’, to raise money for AIDS victims in Africa.

2001 started in the Napa Valley, California where Zucchero and Corrado Rustici with DJ John O’Brien worked on the backing tracks of the new album. Soon after they went to the Plant Studios in Sausalito to record with Polo Jones on bass & Zach Alford on drums and here one of the highlights was an appearance by legendary bluesman John Lee Hooker, this sadly being one of the last sessions he was to perform on. From California Zucchero returned to Italy to complete recording at Umbi Studios in Rovigo and from there to Peter Gabriel’s Real World studios in England to mix the album with U2 mix engineer Richard Rainey and finally to master at Metropolis studios in London.

‘Baila (sexy thing)’ the first single from the new album went to #1 in Italy upon release (July 2001) and also topped the charts in Switzerland (GOLD) and in Spain (for the first time ever!). The new album ‘ Shake’ recorded in the Sausalito US and Real World UK studios was completed in Italy and released in September in Europe. It was certified IFPI PLATINUM for sales exceeding 1 million copies in Europe alone. The album includes an incredible duet with John Lee Hooker to whom the record was dedicated. A long SOLD OUT SHAKE TOUR followed.

In November 2003 Zucchero was invited by Brian May and Dave Stewart to take part in the mega-concert “46664 give 1 minute of your life to AIDS” an event organised by Dave Stewart and Queen to support Nelson Mandela’s campaign.   Zucchero sang “Everybody’s got to learn sometime” accompanied by Brian May, Roger Taylor, Sharon Corr and then Queen’s marvellous medley “I want it all” and “We are the Champions” with Anastasia. And finally, he joined all the other artists for the grand finale to sing “46664 (long walk of freedom).”

Zucchero was also the only 46664 Ambassador to appear at the “Festival 46664 Comunidad de Madrid” event which took place in the Spanish capital.   He also performed at the “46664 Arctic” concert which took place in Tromsø, Norway in June 2004.

Zucchero’s 2004 international hit album “Zu & Co.”   featured duets with many music greats, including Miles Davis , Paul Young , Ronan Keating , Sheryl Crow , The Cranberries ‘s Dolores O’Riordan , B.B. King , John Lee Hooker , Maná , Brian May , and Solomon Burke . The international launch of the album took place at London’s Royal Albert Hall with a special concert featuring Brian May, Mousse T., Jenny Bae, Tina Arena, Fher from Mana, Paul Young, Dolores O’Riordan, Solomon Burke, Cheb Mami, Ronan Keating, Luciano Pavarotti, Eric Clapton, and Irene Fornaciari. The album sold millions of copies throughout Europe and the rest of the world and entered the Billboard charts after its release in the U.S. in the summer of 2005.

In July 2005 , Zucchero took part in the Live 8 concerts in both Rome and Paris .

The next album to be released in September 2006 was entitled “Fly” . Produced by Don Was , it includes the singles “Bacco perbacco”, “Cuba Libre” and “Occhi” and features collaborations with artists such as Ivano Fossati and Jovanotti . The album track “L’amore è nell’aria” (“Love Is In The Air”), borrows instrumental backing from the b-side “Broken” by UK rock band Feeder , but it is a new recording based on the Feeder original rather than a sample taken directly from the recording. The album immediately entered all European charts debuting at No. 1 in many countries.

Sam Moore’s album “Overnight Sensational” was released including a duet of “You Are So Beautiful” by Zucchero and the legendary soul man, accompanied by Billy Preston (Hammond organ), Eric Clapton (guitar) and Robert Randolph (pedal steel). This version of “You Are So Beautiful” from the Sam Moore album was nominated for the 49th Grammy Awards in the “Traditional R & B Vocal” category.

The beginning of 2007 saw Zucchero promoting “Fly”, throughout Europe guesting on major television and radio shows, followed by a worldwide tour which opened in Paris and ran until the end of the year, playing more than 150 concerts (almost all of them sold-out) all over Europe, Canada, the US and Latin America. The tour was a huge success both in terms of audience response and critical acclaim, and Zucchero played legendary places and venues like the Opera in Paris, the Arena in Verona, the Valle dei Templi in Sicily, the Carnegie Hall in New York, the House of Blues in Los Angeles, and many others…

On November 26 th “All the best” , a collection of Zucchero Sugar Fornaciari’s greatest hits, was released simultaneuosly all over the world.

Following this release, Zucchero went on a 2 year worldwide tour, playing more then 200 gigs in 5 continents.

In November 2008, the album “Live in Italy” was released. It was a double package, 2 CDs + 2 DVDs of recorded and filmed footage capturing the magic atmosphere of the concerts held in Milan’s San Siro Stadium and the Arena in Verona. Again, the album was a huge, worldwide success.

Then in 2009, following the terrible earthquake which shook the central Italian town of L’Aquila on April 24 th , Zucchero and other major Italian artists joined forces to record a single called “Domani 21-04-09” (Tomorrow 21-04-09), with all proceeds from the sale of this single going to the rebuilding and restoration of the “Alfredo Casella” Academy of Music and the Stabile Theatre of Abruzzo in L’Aquila.

At the VII Ischia Global Film & Music Fest Zucchero and Paul Haggis presented Sting with an award, and later on during the gala Zucchero gave a surprize performance with Sting and Andrea Bocelli. On the second day of the event it was Zucchero’s turn to receive an award, presented to him by Sting and his wife Trudie Styler.

Zucchero was invited to the festivities for Nelson Mandela’s 91 st birthday and to take part in the “46664 Make An Imprint” concert held at New York’s Radio City Music Hall. Other artists performing were Aretha Franklin, Stevie Wonder, Will.I.Am, Josh Groban, Carla Bruni, Dave Stewart, Wyclef Jean, Alicia Keys, Angelique Kidjo, Whoopi Goldberg, Forest Whitaker, Morgan Freeman and many more. Zucchero, who was introduced to the audience as “the biggest rockstar in Italy”, sang “You Are So Beautiful” and then joined the other stars to sing the chorus accompanying Stevie Wonder’s rendition of “Happy Birthday”.

A terrible disaster at Viareggio railway station in Tuscany (June 30 th 2009) led Zucchero and promoter Mimmo d’Alessandro to organize a “Concert For Viareggio – Lest We Forget”. Accompanied by a house band formed by Massimo Marcolini (musical director and guiitarist), Andrea Cozzani (bass), Guido Carli (drums), Giuseppe Zito (keyboards), Eros Cristiani (keyboards), Joe Damiani (percussion), Sara Grimaldi (vocalist), Stefania Orrico (vocalist), Mario Schilirò (guitar), Derek Wilson (drums), James Thompson (sax) and Massimo Greco (trumpet). Zucchero sang “Diavolo In Me” with Solomon Burke, “Baila (Sexy Thing)”, “Dio è Morto” with Bebbe Carletti from The Nomadi, “Dune Mosse” with Jeff Beck on guitar, “Every Breath You Take” with Sting, “Fragile” with Sting and Jeff Beck, “Così Celeste” with the Puccini Festival Choir and “Miserere” performed as a virtual duet with Luciano Pavarotti on the mega screens.

2010 - 2020

November 2010 saw the release of ‘ Chocabeck ’, already hailed as one of the best, if not the best album ever written by Zucchero. Recorded across the Globe including stints in Los Angeles, Bolgheri, and London the album featured production from some of music’s best known alumni including Don Was (The Rolling Stones, Bob Dylan, and Roy Orbison) and Brendan O’Brien (AC/DC, Bruce Springsteen, Pearl Jam). Additional production also came from people who were at the helm of the incredibly successful last Coldplay record (Viva la Vida or Death and All His Friends) messrs Jon Hopkins and Davide Rossi . Featuring some of Zucchero’s most poignant and touching lyrics he also managed to enlist the assistance of his good friends Bono (who the lyrics for the track ‘Someone Else’s Tears’ ((Il Suono Della Domenica)) and Brian Wilson (who recorded backing vocals for the title track). With this record Zucchero opened up a new chapter in his illustrious and coveted career.

‘Chocabeck’ was also the name of Zucchero’s acclaimed ‘Chocabeck World Tour’ that saw him to play more than one hundred concerts in Europe, North America and Latin America.

In summer 2012 Zucchero recorded in Havana ‘ La Sesión Cubana’ , an album that featured collaborations from some of Cuba’s most important musicians. The album was preceded by the first worldwide single “Guantanamera (Guajira)”, which was produced by Zucchero and Don Was, and mixed by Michael Brauer. ‘La sesión cubana’ combined seven brand new songs with six newly arranged Zucchero hits (“Baila”, “Un Kilo”, “Così Celeste”, “Cuba Libre”, ”Everybody’s got to learn sometime” and “L’Urlo”). The new recordings consisted of the first single “Guantanamera (Guajira)”, adapted by Zucchero into Italian, original compositions “Love is all around” and “Sabor a ti”, and covers “Never is a moment”, “Nena”, “Pana” and “Ave Maria no morro”. “Nena” and “Pana” are in Spanish, the second one a duet with   Bebe, and “Ave Maria no morro”, sung in Portuguese, was a duet with one of the most prestigious singers of contemporary Brazilian music, Djavan.

Zucchero described his album in his own words: My music, as everybody knows, comes from blues, from soul, from gospel. This project is a trip from New Orleans to Cuba via Mexicali. Latin, Cuban, tex-mex sounds and rhythms melt together dancing. “Hasta l’asta siempre”.

The album was launched with a mega concert event   at the University of Arts of Cuba with the collaboration of the Cuban Culture minister, the Cuban Institute of Music and the Italian embassy in Havana. Zucchero performed in front of 80,000 people.

In 2013, Zucchero was invited to take part at the “Los Angeles, Italia – Film, Fashion & Art Fest” the night before the annual Academy Awards.   At the Grammy Museum, he received the “L.A. Italian Excellence Award 2013’’ . The night after, at the Chinese Theatre there was a the premiere of the recording of the Havana concert that took place in December.

In the same year he brought his tour to Australia. After 3 sold-out dates at the Arena of Verona, La Sesiòn Cubana World Tour 2013 arrived in Europe with more than 60 dates including a 4 th Arena di Verona show.

Zucchero took part at the flash-mob wanted and organized by Bono in London called “Agit8”, where he sang “Love is all around” transformed for the occasion to “Love is still around” and then, by popular demand, “Everybody’s got to learn something”. 

The Italian and International version of the cd+dvd live “ Una rosa blanca ” that contained the recording of legendary Cuba concert was released in December 2013.

The following year Zucchero embarked on his Americana Tour 2014, which lasted 2 months and consisted of more than 40 dates around the United States and Canada. During the triumphal Madison Square Garden concert, Zucchero invited on stage Sting, Sam Moore, Fher, of Mana, Elisa, Jovanotti, Fiorella Mannoia, Chris Botti, Monica Messinger, Andrea Griminelli and Irene Fornaciari.

During the Americana Tour 2014, Randy Jackson, Corrado Rustici, Don Was, Jimmy LaFave and Andy J. Forest all made guest appearances.

Zucchero was chosen as the headliner of th sold out 18 city   German “Night of the promsms” arena tour.

April 29 th 2016 saw the release of Black Cat (Universal Music), a new studio album which Zucchero presented live on the Black Cat Tour 2016. The tour kicked off at the Verona Arena on September 16 th with the extraordinary “10 + 1” shows,   and between October 1 st and November 15 th 2016 it became the “ Black Cat World Tour ”, enjoying enormous success among an international audience. On November 25 th the “ BLACK CAT DELUXE EDITION ” was released, a box set containing 2 CDs and 1 DVD to mark the great success of ZUCCHERO and his latest studio album “ Black Cat ”.

In February 2017 Zucchero was, for the first time, a special guest at the Festival of Sanremo during the final evening of Italy’s most famous song contest. In March, the “Black Cat World Tour” began again , this time taking in North America, Australia, New Zealand, Japan, Europe and South America, as Zucchero presented to the world the songs from “Black Cat” as well as all his greatest hits. In Italy, the “Black Cat World Tour” reached the city of Verona, where Zucchero set an extraordinary record of completing 22 concerts at the Verona Arena within a 12-month period (September 16-17-18-20-21-23-24-25-26-27-28 2016, May 1-2-3-4-5 2017 and September 20-21,22,23,24,25 2017). 

On the “Black Cat World Tour”, Zucchero played to over 1 million people in 611 cities, 67 countries and 5 continents.

November 2017 saw the release of “ WANTED – THE BEST COLLECTION”, celebrating the best of over 30 years of music and featuring live material from the Verona Arena shows, a docufilm with backstage footage as well as interviews, other special content and three brand new songs .  

In February 2018 Zucchero played some of the most important indoor arenas in Italy during his “WANTED ITALIAN TOUR 2018” , and all ten dates were sold out! Still in Italy, on July 3 rd and 4 th , Zucchero performed for the first time in Piazza San Marco, the first pop/rock artist to do so for seven years. The summer then took Zucchero on an international tour entitled “Summer Events and Festivals 2018”, and he played at some of the most important festivals in Europe, including “British Summer Time” in Hyde Park, London, the Cornbury Music Festival in Oxfordshire, the Bospop Festival in the Netherlands, as well as events in Croatia, France, Bulgaria, Macedonia, Germany, Switzerland and Austria, in other words, pretty much the whole of Europe.

Between September 2016 and July 2018, Zucchero performed 166 shows in 48 different countries on 5 continents.

Between September 2016 and July 2018, Zucchero performed 166 shows in 136 cities in 48 different countries on 5 continents.

In October, Zucchero was awarded the TENCO ARTISTA PRIZE 2018 (the most prestigious recognition for Italian singer-songwriters) during the 42 nd edition of the TENCO AWARDS.

On January 3rd 2019 Zucchero performed for the first time in Oman, in the beautiful surroundings of the Muscat Royal Opera House.

November 2019 saw the release of Zucchero’s fourteenth studio album, “ D.O.C .”, whose first single “ Freedom ” was co-written with British artist Rag’n’bone Man . In December of the same year, he performed at New York’s Beacon Theatre for the 30 th edition of the “RAINFOREST FUND” , a benefit concert organised by Sting and his wife Trudie Styler. As well as Zucchero , the event featured performances from international music legends such as Sting, Bruce Springsteen, Eurythmics, James Taylor, John Mellencamp, Debbie Harry, Bob Geldof, Ricky Martin, DMC, MJ Rodriguez, Adrienne Warren and Shaggy.

2020 - 2022

In March 2020 , Zucchero took part in “ Music For The Marsden ”, a benefit show organised by the Royal Marsden Cancer Charity, performing at London’s 02 Arena. The only Italian artist present, Zucchero shared the stage with artists of the calibre of Eric Clapton, Van Morrison, Tom Jones, Gary Brooker of Procol Harum and Mick Hucknall of Simply Red, John Illsley of Dire Straits , Paul Jones, Rick Wakeman, Mike Rutherford, Paul Young, Paul Carrack, Yusuf (Cat Stevens), Bonnie Tyler and Nick Mason.

In April, due to the Covid-19 pandemic, Zucchero was forced to postpone the “D.O.C.” world tour, and during the course of the year he participated, together with some of the world’s biggest stars, in the worldwide live streaming event “ One World: Together at Home ” (in support of the World Health Organisation in its fight against Covid-19). He was the spokesman for a universal message on the occasion of the 50 th anniversary of World Earth Day, performing a brand new song in front of a deserted Colosseum entitled “ Canto la Vita ”, an adaptation of Bono’s “ Let Your Love Be Known ”. The song features Italian lyrics by Zucchero and a contribution from Bono himself. As well as this, he sent a message of hope all around the world from a magically empty St. Mark’s Square in Venice, as he played the song “ Amore adesso! ” , adapted from the Michael Stipe and Aaron Dessner’s “ No Time For Love Like Now ”, again with Italian lyrics written by Zucchero.

In November 2020 Zucchero renewed his collaboration with Tomoyasu Hotei on the brand new song “ Lotus Flower ” (with music by Hotei and lyrics by Zucchero), released in Japan and in the rest of the world on the Japanese artist’s album “ Soul to Soul ”.

December 2020 saw the release of “ D.O.C. Deluxe Edition ” , a double CD featuring of all the songs from “ D.O.C .” and six brand new tracks, including the first single, a STING & ZUCCHERO duet entitled “ September ”.

May 2021 saw the release of “ Inacustico D.O.C. & More ”, Zucchero’s first ever entirely acoustic project containg all the songs from studio album “D.O.C.” plus a selection of his greatest hits re-arranged and recorded as previously unreleased acoustic versions. During the summer of 2021 , Zucchero performed a series of acoustic shows in Italy and abroad despite reduced venue capacities due to Covid-19 restrictions.

In November 2021, Zucchero released “DISCOVER”, the first covers album of his career, preceded by the radio release of the single “Follow You Follow Me”, by Genesis. In “Discover”, Zucchero stripped down and infused his own inimatable style into a selection of iconic songs from the Italian and international music scene. There were prestigious collaborations with BONO in “ Canta la Vita ” (Italian version of Bono’s “Let Your Love Be Known” with lyrics written by Zucchero), ELISA in “ Luce (Tramonti a Nord Est) ” and   MAHMOOD in “ Natural Blues ”, a reworking of Moby’s version of “ Trouble So Hard ”, originally by Vera Hall. There was also an intense and emotional version of “ Ho Visto Nina Volare ”, in which Zucchero engages in a virtual duet with FABRIZIO DE ANDRÉ.

December 2021 sees the cinema release of the film “ SING 2 ”, sequel of the successful “SING” directed by Garth Jennings, and, for the first time, Zucchero tries his hand at dubbing, lending his voice to the character Clay Calloway, dubbed by BONO in the original language verison of the film.

From April to October 2022, Zucchero returned to the live stage with 80 shows throughout the world for his “World Wild Tour” , during which he played 14 nights at the Verona Arena .

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