Online review by Ondarock, translated to English below
The only date in the South of Robyn Hitchcock 's tour, the concert at the MEET in Atripalda (Avellino) is a pleasant opportunity to see with pleasure the commitment and courage of some entrepreneurs, determined to take risks and invest in contexts and places that are not exactly easy. .

Emma Swift has the difficult task of introducing Robyn Hitchcock's performance with a short acoustic concert that highlights an interesting talent, a penetrating and crystalline voice at times pleasantly melancholy, but entrusted to a repertoire not entirely focused or sufficiently original. Just enough time to appreciate the MEET for the good quality of the sound and for the large space for public and users of the place, which here appears after some technical checks the eccentric and brilliant English musician, the one who gave psychedelia the connotations of punk fitting them perfectly, the young 21-year-old who embarked on an unfortunate journey in search of his idol and psychological alter ego Syd Barrett.

It is no mystery that the sizelive is one of the most suitable to appreciate the talent of Hitchcock, the album with the Egyptians "Gotta Let This Hen Out" and the splendid acoustic creature of "I Often Dreams Of Trains" (revived in a series of exciting concerts a few years ago) are exemplars of his skill as a performer .

Robyn Hitchcock confirms all his qualities as a shrewd composer full of irreverent humor, almost a Captain Beefheart lent to the cause of psychedelic folk or a Syd Barrett snuck into the backstage of the Sex Pistols, his songs hold up the acoustic and minimal treatment of live reinterpretation highlighting a harmonic and technical complexity which are the peculiar elements of his music.

A harmonica solo opens the set, the remarkable guitar technique and the always scratchy and almost surreal voice instantly seduce the public, even the most distracted. The musician seeks an ironic and amused dialogue by mangling Italian and English slang terms with a subtle irony.

Many of those present recognize the absolute class of the ex-leader of the Soft Boys, who randomly captures some pearls from his vast and articulate repertoire, Seductive and unexpected the beautiful two-voice version (Emma Swift) of "Queen Elvis" , intense and engaging "Airscape", and almost cathartic the reinterpretation of "Raymond Chandler Evening", and finally the folk-psych soul that emerges from the lively reinterpretation of "Full Moon In My Soul" taken from "Spooked", album made with Gillian Welch and David Rawlings, focusing on fascinating acoustic songs of love and death.

What should be emphasized once again is the excellent performance of the English musician as a guitarist: folk, blues and psychedelia come together in a unique style rich in complex compositional architectures that broaden the charm of his songs. For a musician who has never pursued success (no record has ever appeared in the charts), celebrating 40 years of artistic career while maintaining such intense honesty and stylistic integrity is one of the most satisfying artistic achievements. On the other hand, ascertaining his state of artistic health was a source of great pleasure for us.