“Everything changes, nothing stays the same.”
The opening line of Sfera Ebbasta’s 2020 hit “Bottiglie Privé” feels like it was written for this story. Ten years ago, a video went viral: a trap kid in what would soon become his signature style, sitting on a police car between the housing blocks of Cinisello Balsamo, the Milan suburb he comes from. Then the camera cut to the Peace Arch, where the same kid appeared atop a limousine. A striking image – just like his magnetism and sharp, straightforward flow, able to capture the desires and frustrations of those who grew up in Cinisello’s Crocetta neighborhood or any other Italian suburb. The video was “BRNBQ,” summer 2015. Since then, everything has changed for 33-year-old Gionata Boschetti – except his ability to tell the truth of the world around him.
In the last 10 years, Sfera has collaborated with the likes of Quavo, J Balvin, Future, Offset, Rich The Kid. He was a judge of The X Factor Italy in 2019, and in September 2025 he was the only Italian guest to join Drake onstage for two shows in Milan. This year, he’s once again Italy’s most-streamed artist on Spotify (for the fifth time). To celebrate his ten-year career, he just released XDVR ANNIVERSAR10, featuring two unreleased tracks from that era (“Prega X Noi” and “Orologi”) and launched $€LEBRATION, an artistic project culminating in June and July 2026 with shows at stadiums in Turin and Milan.
2025 was also the year of Santana Money Gang, his joint album with Shiva, another heavyweight in the Italian rap scene. “It was a natural collaboration – we have a lot in common,” Sfera tells us in the Milan studio where Billboard Italy met him for this feature.
Why does everything you release end up at No. 1?
My music might be called superficial – some people definitely say that. But I’d use another word: simple. It’s something that reaches everyone: kids, adults, whoever. That’s my strength: expressing real things in just a few words. Sure, my fanbase is extremely loyal. Whatever I drop, they want to listen to it.
A fan base still has to be built and maintained, though.
Of course. But I really have to thank my fans – they defend me a lot.
You must work hard to achieve that lyrical simplicity.
I write instinctively, without formulas. But sometimes I question a track until the very last moment. We might all be excited about it, then suddenly I’m not convinced anymore. I’m very critical of myself. Even if it may seem like my songs come together in five minutes, I actually spend a ton of time on them.
Why release “Orologi” and “Prega X Noi” now?
Because “Orologi” was leaked back in the day, and I was adamant: if something came out illegally, it would never be officially released. With time, I had to get over that. The other track had never been out. And I like listening to these songs – even if today I think the recording technique or the way I used my voice could be improved. It feels like they were recorded by someone else, but I love them.
Do you miss anything from those early years?
Maybe the feeling of the first times: first Gold certification, first fan photo on the street, first big collaboration. But I would never go back.
But there was a certain melancholy in the album X2DVR, don’t you think?
I don’t want to go back to the past, even if sometimes I stop by Cinisello Balsamo to say hi to my friend Vito. I know exactly where I come from, even if some choices might seem like they took me further away. XDVR is basically a manifesto of my roots, and I’m re-releasing it for my longtime fans.
XDVR ANNIVERSAR10 feels like closing a chapter. What comes next?
I have a lot of ideas and a lot of music to make. I wanted to create a little celebratory moment, musically speaking.
What kind of moment is this for trap globally?
It’s a genre with so many shades now that it’s hard to give a clear answer. Ten years ago, anything with even a hint of trap sound would work. Today, it’s hard to surprise people.
Don’t you think the genre is at a standstill?
It depends on the songs. My latest solo album, X2DVR from 2023, was trap – and it did really well. I think it was my best day-one debut.
Talking about rap in general, in early November there were no hip-hop tracks in the top 40 of the Billboard Hot 100.
In the U.S. it’s definitely a different story. But in Italy, I feel like when strong rap albums have dropped recently – like those of Geolier and Ernia – they’ve done great. At this point, genres barely exist because everything is so blended.
What are you listening to right now?
I’m obsessed with a ‘90s Japanese city-pop playlist – it relaxes me a lot. Or if I’m in the car with my friends, we listen to trap or even Claudio Baglioni [legendary Italian singer-songwriter, ed.].
Are your friends still the same ones you had back then?
I’d say so, mostly because they ended up becoming part of my team.
You and producer Charlie Charles used to be inseparable. What’s your relationship like today?
For me, he’s still basically part of the team. He produced two of the biggest tracks on X2DVR – “15 Piani” and “Anche Stasera.” And even though he didn’t produce Santana Money Gang, he was very involved in making it.
Are you still interested in growing internationally?
Yes, but the approach changed. Before, the idea was to chase big collaborations through managers. Now everything is more direct: it makes sense to build real connections, maybe with smaller artists or a wider network. Growing internationally with music alone is tough because of the language barrier, but I’m still very interested.
How do you approach it now?
For example, when I go to Miami now, it’s just to get inspired. If I meet someone important in music, that’s great. If not, I don’t care – I’m not obsessed anymore. At one time, I would’ve done anything to share the stage with Drake. Now it happened naturally. And foreign artists often reach out to me.
How did Drake’s invitation come about?
We’d already met in Toronto and Los Angeles. In Milan we ended up having dinner, and he casually threw the idea out there.
You’re also opening up to Japan, for example.
I performed at 1 OAK in Tokyo: 300 people, mostly Italians and a few Japanese fans who were genuinely curious about discovering new artists.
Can reaching the top become a limitation?
Not a limitation, but it can definitely be stressful. The higher you go, the more demanding everything becomes, and it’s obviously hard to please everyone.
Do you handle people’s judgment well?
To be honest, not always. It’s about balance and the people around you. I think I handle it fairly well – it’s a personality thing. But it depends on the day. Sometimes I’m unbearable with my manager Shablo and ask him, ‘How is it even possible that I got here?’ Other days, I’m the most satisfied person in the world.
Would you ever participate in the Sanremo Festival?
I’d feel out of place. I’ve taken a different path. It’s not the right competition for me. Maybe as a guest… never say never.
This article originally appeared on Billboard Italy.
