I bet on Nikos Economopoulos
This short article is a response to some questions I’ve been asked recently by various people. Basically, these questions ask one thing: ”Why do you think Nikos Economopoulos deserves such attention as a singer, as there are so many other good and hard-working people in Greek music?”
Well, in my previous articles I have addressed these questions, but, probably, my answers have not been heard.
Firstly, I have a position: that real talent needs constant support. I don't believe that it can break all the walls alone.
Secondly, Nikos has qualities, which should lead him to excel far above local recognition. He has the talent and potential to become an international star. This is aside from his excellent personal ethics and features such as modesty, honesty and ability to work hard. I simply want to emphasize his professional abilities because, essentially, they are the main factors that influence our discussion about the potential international recognition of a singer.
Nikos' trump card is a voice of exceptional beauty of tone. The voice of this singer has a unique richness of color, depth and sonority (the so-called singing formant, the ability of the human voice to cover other sounds and noises, due to the existence of the high overtones in it). So, I would say, that Nikos’ voice perfectly reflects the features of the Greek language, which in its nature is not only very melodic but also very sonorous. And this feature is doubled by Nikos’ immaculate articulation. In other words: Nikos Economopoulos’ voice perfectly shapes the laiko style, which is the cornerstone genre of this singer.
No less important is his rare musicality: I have mentioned on numerous occasions the exactness of his singing, the “recording studio” quality of his live performances as well as his ability to improvise.
And finally, it is his dedication to the “laiko” song, this trade mark of Greek music, which will also lead him to international fame.
That’s why I bet on Nikos Economopoulos, ladies and gentlemen!
Edited by Theo Simeonidis