The official narrative: “just an effect”

Words matter: Auto-Tune will be allowed “as an effect.” Elegant semantics. But on a live TV stage full of click tracks, in-ear monitors, and pre-programmed cues, the line between “effect” and “correction” is razor-thin. Especially when voices can’t stand on their own and the plugin is expected to turn shaky singing into flat, perfect lines ready for social media.

Not style, but an alibi

The artistic direction dresses it up as “modernity.” The truth is simpler and uglier: many so-called artists would collapse without the digital crutch. What they call “style” is just makeup covering poor breath control, weak pitch, and lack of skill.

Labels pulling the strings

Who’s really in charge? The marketing departments that must turn influencers into “singers.” With Auto-Tune, post-production moves into prime time: talent becomes optional, personality is flattened into presets. Products, not performers. Image, not voice.

When last year’s example said it all

It only took one shaky performance to expose the elephant in the room: without the filter, the whole façade crumbles. So here comes the solution: legalize the filter as “choice.” This way no one risks embarrassment and Sanremo aligns itself with playlist-ready sound.

What Sanremo loses (and what we lose)

The proving ground

Sanremo was where a voice measured itself against the truth of live performance. Tilt the scales, and the weight means nothing.

The emotion of imperfection

That tiny crack that moves you disappears. What’s left is a sterile line, identical for all. Goosebumps cannot be programmed.

The cultural memory

Great performances endure because they’re human. Algorithmic “perfection” ages in a weekend.

“It’s just creative” (spoiler: no)

Creative use

If an artist chooses the effect to express an idea, fine. That’s language. That’s artistic responsibility.

Alibi use

If the effect is there to hide flaws and sell the illusion of singing ability, it’s not style—it’s perceptual fraud.

System use

When it becomes broadcast policy to protect ratings and rosters, we’ve reached cultural surrender.

Auto-Tune: from studio tool to prime-time crutch

1997

Born as invisible correction in studio.

1998

Becomes a creative effect in pop and makes history.

2010s

Turns into a mass crutch for weak vocalists.

2025

Sanremo normalizes it as “effect.” TV embraces the preset.

Objections (and blunt answers)

“Everyone uses Auto-Tune”
So what? Everyone uses beauty filters too—does that make them art? Abuse is still abuse.
“It’s just technical support”
On live national TV it becomes an identity prosthesis. If you collapse without it, it’s not support: it’s a crutch.
“Better in tune than off-key”
Better true than fake. Surgical intonation without interpretation is background muzak, not music.
“It keeps us modern”
Modern for algorithms, maybe. For music, no. Music’s tempo is human, not pre-programmed.

Verdict (merciless)

Calling it a “style choice” is linguistic makeup. What we’re witnessing is a system that prefers filters over voices, appearances over interpretation. Sanremo tells us music is a preset. We say the opposite: music is the human voice when it chooses not to cheat.