8 Italo disco tracks at Sanremo Festival 1981 - 1985

Italo disco comes out of the club scene to blend with Italy's cradle of traditional pop music.

This post was originally published in 2025—we provided alternative links as some appear to be broken as of today.

To the untrained ear (and eye), Sanremo might not scream “innovation” or “experimentation,” nor would it be associated with anything emerging from nightlife. Ever since its inception in 1951, it has been associated with a type of musica leggera that’s heavy on melodic flourishes –both vocal and instrumental– and seemingly plays it safe.

By the time the 1980s rolled around, however, Italo disco was no longer contained within clubs, and, thanks to variety shows like Fantastico, Discoring, and, subsequently, Premiatissima, it did not feel out of place on the quaint stage of the Ariston theater. Here is a list of our favorite italo-disco entries at the Sanremo Festival editions that took place between 1981 and 1985.

Passengers “Midnight” (1981)

This is perhaps the earliest proper Italo disco track to be included in the official Sanremo Festival selection. Sung in English (not an uncommon occurrence at the time), the track is played entirely on synths, with a complete absence of live instruments–quite groundbreaking for such a traditional music event. The previous year, Lorella Pescerelli dared to surprise the audience with a cascade of arpeggiated synths in her song “New York,” although its lush orchestral intervention still tied it to a somewhat traditional style.

Barbara Boncompagni “Notte e Giorno” (1983)

1983 was perhaps the most prolific year for Italo disco at Sanremo. The genre had not only permeated club culture, but many established Italian artists also discovered that synth-driven productions offered a way to connect with younger audiences and keep their careers relevant. The daughter of renowned writer and director Gianni Boncompagni—who played a significant role in popularizing disco music in Italy and in making Raffaella Carrà an iconic TV personality—Barbara entered the Sanremo Festival with “Notte e Giorno,” a pop tune that begins with a dark, minor-key vibe before opening up in the chorus.

Flavia Fortunato “Casco Blu” (1983)

Iconic and evergreen, “Casco Blu” by Flavia Fortunato holds a special place in our hearts—not only for its catchy melody but also for Flavia’s distinctive styling and fierce stage presence during her performance at the Sanremo Festival of that year. Flavia was signed with YEP, a Rome-based record label that, though modest in budget, was bold in its ideas. The accessibility of synthesizer production allowed many small labels to thrive in early-'80s Italy, with YEP being one of them. Previous to her participation in the festival, Flavia released the single “Rincontrarsi,” featuring “Se Tu Vuoi” as its B-side—a track that, a few years ago, had helped re-introduce Italo disco sounds to a global audience.

Sibilla “Oppio” (1983)

Although Italian visionary songwriter and producer Franco Battiato never set foot on Sanremo’s stage, his protégé Sibilla became his messenger through both music and style. "Oppio" is a beautifully written and arranged song, co-created by Sibilla with contributions from Battiato and violinist Giusto Pio. Unfortunately, a technical glitch during her Sanremo performance led to her singing off key for the entire song, broadcast live to millions worldwide. Yet, this setback does not change the fact that "Oppio" remains a masterpiece.

DHUO “Walkin'“ (1984)

Comprising the Italian composer Bruno Bergonzi and British musician Mike Logan, Dhuo is the last act to have brought an English-sung track to the Sanremo Festival. "Walkin’" is a slow, romantic electronic tune that clearly showcases the intersection between Italo disco and the British new wave—styles popularized in those years by bands such as Depeche Mode, Erasure, and others. In fact, the track (and the album) was licensed in the US by SIRE Records, which was distributing records by those bands as well as by the rising pop star Madonna. This is a true little gem, and Dhuo’s album deserves to be rediscovered.

Richter, Venturi & Murru “Mondorama” (1984)

Talk about a one-hit wonder! There is hardly any information about this trio, who released only this track—a competing entry at the 1984 Sanremo Festival. The project was led by Varo Venturi, who had written Nada’s stellar “Amore Disperato” and most of the tracks on her album Smalto, arguably one of her best. “Mondorama” is a sophisticated electro-pop gem that has unjustly faded from Italian collective memory. It’s time to bring it back into the spotlight. Still, all 3 members of the band all went on to have their personal careers in music and theater.

Canton “Sonnambulismo” (1984)

Following the massive popularity that British new wave bands were enjoying in Italy, record labels tried to replicate this success locally by promoting a variety of groups—many of which disappeared before their music was officially released. Canton was one such attempt to capitalize on the international music trend. Despite this, their Sanremo entry remains one of the catchiest songs ever presented at the festival, securing its place in history. Buoyed by the band's success in Italy, the label also released an English version of the track in an effort to launch the band onto the international stage, though this move ultimately failed to generate any significant impact.

Eugenio Finardi “Vorrei Svegliarti” (1985)

To conclude this list, here is a beautiful and unjustly forgotten gem by one of Italy’s most talented songwriters, Eugenio Finardi. In 1985, he released “Vorrei Svegliarti,” produced by Angelo Carrara—a longtime collaborator of Franco Battiato, Giusto Pio, Giuni Russo, Alice, and many others. The song’s chorus, with its tantric longing (“I miss you tonight”), strikes deep chords within our hearts.