Caro Wow grew up in Milan and built her music from a feeling many people know well. The city moves fast, people expect you to keep pace, and silence often feels rare. For her, songs became a way to move somewhere else while staying in the same place.
Her project took shape in 2020 after meeting See Maw, who produced her early songs and helped her understand writing, recording and studio work. Since then, Caro Wow has created a space where electronic pop, pastel colours, social language and emotional writing sit side by side. Her world looks bright, yet her lyrics often speak about weak points, relationships, confusion and sadness.
Her path also brought her to Sanremo Giovani with Cupido, a setting far from the smaller emerging circuit. The exposure gave her a new view of television, performance and public image. Now she released Principessa Responsabile, a song born from a private phrase, a joke with a friend and a sense of self told without filters.
Would you like to tell us who you are, where you come from and which path brought you to Caro Wow?
I was born in Milan. I have always seen the world move faster than me, and I have always struggled to keep up with its pace. I lived here, studied here and worked here.
Music has always been a way for me to go somewhere else while staying here. In 2020 I met See Maw, who produced all my songs until this year. The Caro Wow project truly started with him.
He helped me learn how to write, spend time in the studio, record, question myself and believe in myself. From there, Caro Wow was born.
Your visual world uses bright colours and a strong pop aesthetic, while your lyrics often speak about fragility, relationships and melancholy. How do you work on this contrast?
The visual side of the project has always mattered a lot to me. From the beginning I worked with Dado Freed, who handled the whole art direction and treated the project like his own.
The contrast between my aesthetic and my lyrics reflects the contrast I feel inside myself. I am happy people notice that. I am exactly like my music and my visual world, happysad.
Your influences seem to look far beyond Italy. Which foreign artists or scenes changed your way of writing and imagining yourself as an artist?
My influences come almost only from outside Italy, because lately I struggle to find much Italian music I connect with.
I have followed PinkPantheress for years. She is an incredible artist. Then there is Bb trickz, who is a real reference point for me. She changed the way I write. She made me understand some things were fine to say, even when people usually think those things do not belong in songs.
Sanremo Giovani is a highly exposed context, far from the emerging circuit. What did the experience leave you, artistically and personally?
Sanremo Giovani was a lot of fun for me. I arrived with no expectations, so every step forward felt unexpected.
I think the main lesson was learning how television works. Moving on TV is different from performing on a normal stage. I also think I managed to show my favourite part of myself, so I would say all good.
Today an artist also communicates through visuals, social media, captions and image. How instinctive is your way of presenting yourself?
My use of social media is instinctive. Instagram feels almost like a diary to me. I think something, then I write it.
I like hearing what people think. I like creating a dialogue, even when I only wrote something stupid.
In the new Italian scene, collaborations, artistic friendships and links between emerging artists matter a lot. How important are these creative networks for you?
Creative connections are important. I have always tried to surround myself with people I respect when I make music.
Writers, producers, anyone with something to teach me makes me happy. As for collaborations with other artists, I think they should always come from mutual respect.
The Caro Wow project holds irony, romance, lightness and melancholy together. What would you like listeners to receive first?
Lightness, for sure. It is my favourite word.
Your new song came out on Friday. What was the first image, sentence or feeling behind it? Would you like to tell us about the track?
Principessa Responsabile started from a sentence I said to a friend while talking about my life lately. At a certain point I realised the phrase “troia responsabile”, a deliberately provocative italian expression, described me well, in the best sense.
I love how the word “troia” has taken on a completely different meaning in recent years, almost linked to female empowerment. The way I use the word in the song is not derogatory. The opposite.
This is the first song where I work with Zenit, who helped me understand which direction to take. In the track I speak the same way I speak in real life. I say the things I say when I talk with my friends.
The song feels real to me, and this makes me happy.
Lorenzo de' Nobili
Lorenzo de’ Nobili is a sound designer and composer driven by a deep passion for urban culture and its evolving aesthetics. His work explores the intersection of music, fashion and sport, blending contemporary sounds with strong visual identities. Alongside his research in urban culture, he collaborates with contemporary dance artists, creating immersive sonic experiences that connect movement, space and emotion.
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