Phantasmagorical singer-songwriter, poet, writer, but also illusionist, showman, and band-builder, Vinicio Capossela debuted in 1990 with the album All'una e trentacinque circa under the aegis of Renzo Fantini (historical producer of Francesco Guccini and Paolo Conte) winning Targa Tenco Opera Prima, an award he would be given another three times in the following years. After the first "pre-biographal" albums - the telluric Ballo di San Vito with Marc Ribot and Evan Lurie, the explosive Live in Volvo with the balcanic brass band Kocani Orkestar – from the pataphysique Canzoni a Manovella (2000) on he shifted his attention to more universal themes, often inspired by classical literature, from Melville to Céline, Dante and Homer. Works such as Ovunque Proteggi, Da Solo and Marinai, Profeti e Balene have been staged as total works of art. In 2004 he wrote the book Non si muore tutte le mattine (Feltrinelli), which gave rise to a shadow play performance and the Radiocapitolazioni broadcast by Radio 3. He dedicated his most recent works to Greece and rebetiko, "more than a music, a way of life": the album Rebetiko Gymnastas (Preis Der Deutschen Schallplattenkritik for the Best Worldmusic album in 2013), a documentary made with the filmaker Andrea Segre and the book Tefteri, published by Saggiatore and translated in greek and spanish.
In 2013, he also started a new project with Banda della Posta, an elderly but still wild bunch of frontier serenaders, between Buena Vista Social Club and the Pogues, whom Capossela produced and toured with in Italy and abroad. 2015 and 2016 are very important years for Vinicio: his new book “Il Paese dei Coppoloni” (finalist at Premio Strega), the docufilm “Nel Paese dei Coppoloni” and his new studio album “Le Canzoni della Cupa”, are the crowning achievement of his 25 years career, being both works the result of a deep elaboration about Irpinia (from Hyrpus, ancient name of the wolf), the Land of the Fathers, neglected by History, but full of legends, fairy-tales and fabulous music.