It’s hard to describe in few words the intensity that  Naná  Vasconcelos  can bring to a concert. When  he comes on the stage, the music starts to become  something magical. Nana is not only popular, he is also an innovator, who has amplified the concept of percussion extending it to everything that emits sound: nature, electronics and human bodies are the fields where Naná have made his experiments, always bearing in mind the Brazilian musical tradition. If you assist to a concert by Naná , you will see a one man band playing the strangest instruments and the audience transformed into an instrument too.

For Jayadeva, playing is like living inside a " Universal Village " where communication, rhythm, melody and harmony converge towards the center, towards the heart, in a language that combines the spirit. A profound experience that will lead him to embrace the music as a whole. For Jayadeva, today music represents more and more a unique expression with endless stories of humanity. A fusion of styles and traditions, united by a vocabulary which breaks down all barriers between academic and popular language, a cultural action that goes beyond the music itself, able to communicate, respect different cultures and consequently, mankind.

Peppe Consolmagno, who is considered the Italian Alter-ego of Naná  Vasconcelos, is very concerned with the search for new sounds, overriding the classical language of percussions in order to create sound track.  Unlike Nana, Peppe seems to draw closer to the noises of our urban civilization, dissecting the complex reflections that are born from the contrast between the desire to meditate and the frenetic pace of the twenty first century man. He builds instruments for himself and for Nana too, he is a surrealist artist, a sort of De Chirico of the music world, who transforms the stage into a workshop of dreams.