Tony Pitony

Tony Pitony is climbing the charts, filling theaters, clubs, and arenas with electronic sounds, theatrical expressiveness, and the irreverence of trash, converging into an aesthetic that explores fetishism and anti-prohibitionism.

After selling out his first date (August 1, 2026) in just a few days, he today announces a second show at the Piccolo Parco Urbano in Bagheria (Palermo): the new live performance will be on August 3, 2026, and tickets are available through authorized outlets. The Summer Tour promises to be rich with appointments, live performances, and concerts throughout Italy and also in Europe. The events in Sicily are produced by GoMad Concerti, Puntoeacapo Concerti, and P17TONY.

Tony Pitony's artistic expression lies at the boundary between music and performance, rejecting any label of genre and transcending traditional categorizations. Through his work, he explores and subverts stereotypes related to sexuality, gender identity, and historical narratives, asserting himself as a gender-fluid artist who prioritizes authentic inspiration over market logic.

He is an artist who blends irony, experimentation, and a deep self-awareness in every piece. His style is direct, unpredictable, and often irreverent: a voice that plays with clichés to deconstruct them, a stage presence that rejects the role of the untouchable artist. Rather, Tony does not exalt classic virtues of Greco-Roman inspiration but elevates "flaws" or what are considered such to the level of divinity, placing himself in perpetual opposition to the good-evil dichotomy. Tony plays his cards openly despite the mask and uniquely interprets everyday discomfort, elevating it to art—much like the sacred monsters of Italian singer-songwriter tradition of which Tony is a dystopian heir.

His true mission is to annihilate the ego and dissolve any distance between artist and audience, breaking down that yet another wall that often transforms the musician into an unreachable idol. In every performance and in the creation of his content, Tony stubbornly seeks an authentic exchange, a true, human, and deeply imperfect relational space: a meeting that refuses posturing and challenges improvisation: "Wearing a mask today is a paradoxical gesture of freedom to challenge a system that demands unveiled faces but compliant minds. The true face is almost never the one you see, but the one you choose to reveal.

And I want to reveal to you that in the end, we all kind of suck."

Before transforming into the artist we know today, Tony Pitony graced every type of stage in musicals and straight productions in London’s West End, at the heart of global show business, and there, amid exhausting auditions and identical castings, he realized that in that environment there are few true artists and a vast multitude of mass-produced performers.

For Tony, the body, the voice, the vision should not conform to a format, but can express themselves fully by creating one’s own way of making music, of making art. Art that must start from who you are to be truly the fruit of a journey. It annihilates the ego and pulverizes any distance between artist and audience. There are no fans; there is participation. There are no masks (aside from Elvis's), only authentic presence. Tony Pitony is not a person. He is a collective idea. A pure act of resistance, the response of a generation to a society that has sold everything off.