Olly at Stadio Olimpico in Rome, Tour Stadi 2027

On Monday, June 28, 2027, at 21:00, Olly sings at Stadio Olimpico in Rome, inside the Foro Italico complex, for one of the dates of his Tour Stadi 2027. The singer-songwriter from Genoa comes to the Rome date after a run that over the last four years has taken him from clubs to arenas and from arenas to stadiums, and he does it at the venue that in Italy, by size and history, remains second in capacity and first in symbolic weight.

As I write these lines, the date is more than nine months away. That means almost everything about the evening itself, the set list, any guests, the order of the songs, the layout of the stage, the final prices of the sections, doesn't yet exist in a public, verifiable form, and anyone describing it in advance is imagining it. What already exists, and is worth knowing now, is everything else: who the artist taking that stage is and where his popularity comes from, what Stadio Olimpico really is beyond the Sunday match, how an evening with tens of thousands of people works in a neighborhood that wasn't made to hold them, and what there is around that part of the city in the hours before and after.

Foro Italico is one of those places underrated by people who come for a concert and overrated by people who only pass through for sport. It's a complex that would deserve a visit of its own, in full daylight, with the right light on the mosaics: and on a concert night, arriving with enough margin, you can almost do that visit without paying anything and without missing a minute of the music. The following pages are meant for that, to get readers there prepared on three different levels: the musical one, the architectural and historical one, and the practical one.

What happens on June 28, 2027

The date falls at the end of June, on a Monday, at a time of year when Rome changed pace a couple of weeks ago. Schools have been closed since mid-June, the city has switched to late hours, sunset comes around 20:45 and real light fades only after 21:30. A concert starting at 21:00 on an evening like this has a feature you see in Rome only in this seasonal window: the first part takes place with the sky still bright above the Teflon roof, and darkness arrives when the show is already under way.

Why a Monday changes things

A Monday night concert works differently from a Saturday one, and if you're planning the day you'd do well to keep it in mind. Evening commute traffic in the neighborhoods north of the center overlaps with the flow toward Foro Italico, and the line that forms on the right-bank Lungotevere roads and around Ponte Milvio on weekday evenings is heavier than on weekends. On the other hand, the city after the concert is emptier: leaving the stadium around midnight you'll find smoother streets and less crowded bars than you would on a Saturday.

If you're coming from outside Rome, Monday has a concrete advantage on accommodation and a disadvantage on return connections. Places to stay in the city generally cost less on Monday night than on the weekend, while late-evening return trains and flights are fewer. If you plan to leave the same night, check the real timetables before buying your concert ticket, because between the end of a stadium show and actually reaching Termini or Fiumicino more time passes than the map suggests.

What's known and what isn't

It's worth lining up honestly what's confirmed and what's still open. Confirmed are the venue, Stadio Olimpico in Rome in the Foro Italico complex, the date, Monday, June 28, 2027, the announced start time, 21:00, and the setting, a stadium tour. Everything else belongs to the category of information the organizers publish when they have it, and should be looked for there: the section layout for that specific evening, the stage position, the gate opening time, the name of any opening act, entry conditions and the rules on permitted items.

A caution that applies to every stadium concert in Italy: the commercial capacity of a music evening almost never matches the capacity approved for sport, because the field is partly taken up by the stage and service structures, and partly opened to a standing audience. The final number depends on that production's design, and nobody can predict it nine months ahead.

Who Olly is

Federico Olivieri was born in Genoa on May 5, 2001 and grew up in the Foce neighborhood, in a family of jurists: his father a lawyer, his mother a judge. It's a biographical detail that comes up often in his interviews, and not out of affectation: choosing music, in that context, was an openly declared detour from a path already laid out. After his science high school diploma at the Liceo Cassini he graduated in economics and business management from the Università degli Studi di Milano, while he was already releasing records. Even earlier, as a teenager, he had studied music and singing at the Niccolò Paganini Conservatory in his city.

From early days in Genoa to first fame

His public starting point isn't a TV talent show but a collective, Madmut Branco, and a city scene, Genoa's, which in the last 15 years has produced a disproportionate number of artists for the size of the city. The jump in visibility came in 2021, when he posted on Instagram a reinterpretation of Arisa's La notte: the cover worked so well on the platform that it became a real single, La notte (RMX), recorded together with Arisa herself. In the spring of the same year came his first record deal, and in July he was named artist of the month by the MTV New Generation program with the song Lego, released on May 28.

2022 was the year of intermediate steps: his performance at the Goa-Boa Festival, opening for Blanco at the Porto Antico in Genoa, and above all his entry at Sanremo Giovani with L'anima balla, which finished second and opened the door to the main Festival. On December 16 the EP Il mondo gira came out.

The two Sanremos

In February 2023 he took part in the 73rd Sanremo Festival with Polvere and finished 24th. A low placing, which however didn't mean failure at all: the song was later certified platinum, and his first studio album, Gira, il mondo gira, released on February 10 and made with producer Juli, reached number 13 on the FIMI chart and was certified double platinum. In April came his first indoor tour, Il mondo gira tour, three dates in Perugia, Rome and Milan, all sold out.

Two years later, in February 2025, he returned to the competition at the 75th Festival with Balorda nostalgia and won. On February 14, on the covers night, he chose Fabrizio De André's Il pescatore and sang it with Goran Bregović and his Wedding and Funeral Orchestra, finishing fourth in that specific ranking. On February 16 he was declared the winner of the event. Six days later he officially announced that he was giving up the right to represent Italy at that year's Eurovision Song Contest: the chance passed to Lucio Corsi, runner-up at the Festival. Balorda nostalgia became the artist's second song to reach the top of the singles chart and the first to be certified quadruple platinum.

The recording path

Between the two Festivals came the real building of the repertoire. On November 3, 2023 A squarciagola came out. On March 8, 2024 it was the turn of Devastante, made with Juli, sixth on the singles chart and triple platinum. In June came Ho voglia di te, with Emma and Juli, 20th on the chart and platinum. On September 6, 2024 Per due come noi came out, with Angelina Mango and Juli, which reached the top of the hit parade and was certified triple platinum.

On October 25, 2024 came the second album, Tutta vita, which debuted at number one on the FIMI chart and in the following years racked up nine platinum certifications, passing the 450,000-unit threshold. On December 6 Quei ricordi là came out, the fourth single, 15th on the chart and platinum. After the Sanremo win the run continued: on May 23, 2025 Depresso fortunato came out as a surprise, already previewed on May 4 during a concert in Turin, and on August 29 Questa domenica, which debuted at the top and was certified double platinum. On September 26, 2025 came the reissue of the second LP, titled Tutta vita (sempre), which adds five more unreleased songs to the latest singles.

The leap to stadiums

The progression of venues tells the career better than any chart. From November 28 to December 22, 2024 the first part of the Lo rifarò, lo rifaremo tour went through Italian clubs, all sold out. On September 2 and 4, 2025 came two nights at Ippodromo Snai San Siro in Milan, titled Grande festa, also sold out. Between October 4 and 17, 2025 and then between March 7 and 30, 2026 it was the arenas' turn, again sold out.

The move to stadiums came in June 2026, and it started at home: June 18, 20 and 21 at the Luigi Ferraris stadium in Genoa, three dates, three sellouts. The figure circulating at the time is significant: the Genoa venue hadn't hosted a concert of that scale since 2004, when Vasco Rossi played there. Other dates were added to those three nights, including Rome and Caserta. On July 10, 2026, together with Juli, his first live album came out, Tutta vita - Live (Stadio Luigi Ferraris), which retraces the set list of the Genoa nights. On September 1, 2026 came the Power Hits Top album award for Tutta vita, at the 10th edition of Power Hits Estate.

Put differently: the return to Olimpico in June 2027 isn't a stadium debut, but his second consecutive summer at that scale. It's a difference that matters, because an artist in his second year of stadiums arrives with a technical setup and stage management that nobody has in the first year.

What he sings, and how

Sound-wise the declared reference isn't classic Italian songwriting but contemporary rhythm and blues and the urban scene, with pop and hip hop grafts. Among the names the artist has cited as influences are the Fugees, Post Malone, Young Thug and Roddy Ricch internationally, Marracash and Tedua in Italy. The partnership with producer Juli runs through practically the whole discography and explains its sonic consistency: not a singer plus a hired producer, but a stable working pair.

Then there's an episode that says something about his relationship with lyrics and that's worth telling plainly. The song Mai e poi mai, written when he was 17, contained a rhyme linking not being able to have someone with the idea of killing them. After the murder of Giulia Cecchettin, during a concert at the Fabrique in Milan, that line was sung in a changed form, replacing the violent image with a phrase of letting go. In a later interview with Corriere della Sera the artist explained that he didn't want to disown the person who had written that lyric, but that he had come to believe singing it that way was wrong. It's something you don't see at a concert, but it explains a lot about the relationship between a repertoire written as a teenager and a huge audience that sings it by heart.

A curious fact about Olly at Stadio Olimpico in Rome, Tour Stadi 2027

The curious fact concerns the ground the audience will stand on that night, and not in a figurative sense. The stadium stands on what was a marshy area, prone to stagnant water coming down from the slopes of Monte Mario. To build on it, at the end of the 1920s, the ground level was raised by four meters by bringing in about 2 million cubic meters of excavated earth. 2 million cubic meters: that's the volume of a cube with 125-meter sides. That earth came from the excavations that in those same years were rewriting the center of Rome.

The result is that anyone jumping in time on the Olimpico field during a concert does so on an artificial platform, built to reclaim a marsh from the water. The Tiber flows a few dozen meters away, on the side opposite Monte Mario, and the stadium's height relative to the river isn't accidental. It's one of those things that change the way you look at a place: Olimpico isn't in a natural hollow, as you might think seeing the hill behind it, but on a rise built by hand.

A second curious fact, on the side

The stadium's first name had nothing sporting or Olympic about it: it was called Stadio dei Cipressi, after the cypress trees that marked the area. Then, with the postwar rebuild, it became Stadio dei Centomila, from the 100,000 capacity it was meant to reach. The current name came only after 1955, when the International Olympic Committee awarded Rome the 1960 Games. Three names in 30 years for the same piece of land, each the child of a different era.

Stadio Olimpico as a building

What you see today is a venue almost entirely rebuilt between 1988 and 1990 for the soccer World Cup. The 1989 demolition left practically nothing standing of the 1953 structure: the only surviving portion is part of the outer facade of the Tribuna Tevere. The two curve were moved nine meters closer to the field, and the Tribuna Monte Mario was enlarged to take in the press center built for the 1987 World Athletics Championships.

The Teflon roof

The most interesting part from an engineering point of view is the roof, and it's worth looking at it carefully as soon as you're in. The support consists of an outer ring, a triangular-section truss running along the whole upper perimeter 29 meters above street level, resting on 16 pylons: 12 in steel and four in reinforced concrete, the latter hollow because they contain the stairways. Inside runs a second ring, made of 12 steel cables 87 millimeters in diameter. Between the two rings stretches a radial structure of 78 pairs of cables, the upper ones load-bearing and the lower ones stabilizing, for a total overhang of 45 meters. From these cables hang the metal works that hold up the actual roof, made of Teflon and fiberglass.

The roof design was entrusted to an engineering firm from Bologna, and the roof alone cost about 160 billion lire at the time. The practical result, for concertgoers, is twofold. On one hand that white membrane reflects the light from the rigs and gives the audience a diffuse brightness no open stadium has. On the other it changes how the sound behaves: the volume of air enclosed between the stands and the roof produces reverb, and the sound engineers who work at Olimpico know it well, because it's why the acoustics in the upper sections differ noticeably from those on the field.

How the stadium is divided

Inside, Olimpico has a single tier, without stacked rings, and is divided into three classes of sections. The Tribune are two, Tevere and Monte Mario, and correspond to the long sides. The Curve are the Nord and the Sud, and correspond to the short sides. The Distinti are four and occupy the corners between curve and tribune: Nord lato Tevere, Nord lato Monte Mario, Sud lato Tevere, Sud lato Monte Mario. It's a geography that Roman soccer fans know by heart and that people coming for a concert meet for the first time, often while looking for their entrance with ticket in hand and the line moving.

There are 33 entrances to the stands in all, unevenly distributed: two for each Distinti section, four for each Curva, seven for the Tribuna Tevere and 10 for the Tribuna Monte Mario. The four reinforced concrete pillars mentioned above, the ones containing the stairs, give access to the highest level of the stands. The approved capacity after the 2008 work is 70,634 seats, second in Italy. The highest attendance ever certified at a match dates from the 1973-74 season, with 78,886 spectators: numbers from an era when safety criteria were different.

Foro Italico around the stadium

If you come for the concert and stay inside the barriers, you miss the most interesting part of the place. Foro Italico sports complex was designed in 1927 by Enrico Del Debbio and built from 1928, with completion continuing between 1956 and 1968. The original name was Foro Mussolini. In August 1943, right after the fall of the regime, CONI renamed the complex Foro Italico.

The mosaic square and the obelisk

The main entrance opens to the southeast, in line with Ponte Duca d'Aosta. From there starts a wide avenue covered entirely in black and white mosaic tiles, originally called Piazzale dell'Impero and today Viale del Foro Italico. Walking on it is an experience worth the 10 minutes it takes: the mosaics tell, in an explicit figurative language, the sporting and military vision the regime wanted to project onto that place. At the head of the avenue stands a Carrara marble obelisk 17.5 meters tall, base excluded, dedicated to Mussolini.

Italian public debate periodically returns to that obelisk and its inscriptions. In April 2015 a proposal to remove the writing met substantial objections from historians and architectural experts and went nowhere. More recently the discussion has shifted from removal to recontextualization, on the model of what has been done with similar monuments elsewhere in Italy: the idea that an aesthetic of that kind, left without comment, keeps occupying public space unchallenged. If you cross the square before a pop concert, you'd do well to know what's under your feet, because the contrast between the thing and the use made of it today is part of what makes Rome what it is.

The buildings of the complex

Around the stadium stands a collection of 1930s architecture that in any other city would be a signposted route. Palazzo H, by Del Debbio between 1928 and 1932, was built as the seat of the physical education academy and since 1951 has housed CONI. Palazzo delle Terme, by Costantino Costantini between 1930 and 1936, includes the indoor pools and, inside, two institutions that still exist: the former music academy, since 1995 home of Auditorium Rai del Foro Italico, and the former higher institute of physical education, which in 2008 became the Università degli Studi di Roma Foro Italico. The Fencing Academy, designed by Luigi Moretti between 1934 and 1936, remains one of the most cited examples of Italian Rationalist architecture.

Stadio dei Marmi

A few steps from Olimpico is Stadio dei Marmi, inaugurated in 1932 along with the first works of the complex. It's a ring of low tiers surrounded by marble statues of athletes, donated by individual Italian provinces and therefore made by different sculptors: the statue dedicated to javelin throwing came from the province of Perugia, the one dedicated to pallone col bracciale from the province of Forlì. It's a place you walk through in five minutes and that, in the slanting light of a late June afternoon, offers one of the most photogenic views in north Rome.

Something nobody tells you about Olly at Stadio Olimpico in Rome, Tour Stadi 2027

What you won't find written almost anywhere concerns the playing field, and it has very concrete consequences for how an evening like this is put together. Olimpico isn't a stadium designed for concerts: it's a multipurpose venue with an athletics track around the field, which has hosted the Golden Gala since 1980 and the European and World Athletics Championships when they come to Rome. That track, and the field it encloses, are surfaces that need protection and that greatly limit what can be done.

Why the stage doesn't go where you'd like

The consequence is that the audience layout at an Olimpico concert isn't free. In the first years after the 1990 rebuild, when music shows came to the venue, the audience was admitted only in the Curva Sud, with the stage built in front of it: the rest of the stadium stayed empty. The setup with the field open to the audience, which today we take for granted, requires full protection of the turf and is granted under precise conditions.

There's one episode that explains the matter better than any technical description. On June 6, 1998 Claudio Baglioni played at Olimpico one of the two Rome stops of the Da me a te tour: for that evening 82,000 tickets were sold, plus about 8,000 complimentary entries, for a total of around 90,000 attendees, the highest attendance ever for a concert in Italy. The record was possible because the then CONI president, Mario Pescante, quite exceptionally authorized the installation inside the stadium of a huge star-shaped stage, 112 meters long and 72 wide. The reason for the exception wasn't artistic but agronomic: the field was going to be replaced that very summer, so damage to the turf no longer mattered. Without that coincidence, that number would never have existed.

What it means for ticket buyers

Two practical consequences. The first: the number of seats actually put on sale for a concert at Olimpico is always lower than the sports capacity, because part of the stands is behind the stage and is excluded, and because the field holds structures that take up space. The second, more useful: the quality of what you see varies hugely from section to section, and not in proportion to the price. A seat in the Distinti on the right side relative to the stage can offer a full frontal view, while a seat in the tribuna near one of the ends can be at an angle. Before choosing, look at the specific seating map published for that evening, not the soccer one.

The track, which nobody considers

One last detail, often ignored: between the first row of the stands and the edge of the field runs the athletics track, nine lanes wide. Those are meters that don't exist in a soccer-only stadium. It means that anyone sitting in the first row of the stands at Olimpico is further from the stage than they would be in the same section of an English-style stadium. It isn't a flaw, it's a feature: the venue was born as an Olympic stadium, with the track at the center of the project, and that distance is part of the 1953 design even before the 1990 rebuild.

My tip for Olly at Stadio Olimpico in Rome, Tour Stadi 2027

There's only one tip and it's worth more than all the others put together: get to Foro Italico at least two and a half hours before the start time, and use that time to be outside, not to stand in line. I'm not saying it out of organizational superstition. I'm saying it because Foro Italico at the end of June, at 19:00, with the sun low on the marble and the green hill of Monte Mario behind, is one of the most beautiful and least visited places in Rome, and because otherwise those two and a half hours turn into a wait standing on hot asphalt.

How to plan the afternoon

A route that always works starts from Milvian Bridge around 18:00. It's one of the oldest bridges in the city still in use, with a history that goes through the battle of 312, and in the afternoon it's crossed by a flow of people who have nothing to do with the concert. From there you walk down along the Tiber on the right bank, skirt the complex, enter via the mosaic avenue, walk around Stadio dei Marmi, pass in front of Palazzo H and the swimming complex, and find yourself at the gates of Olimpico having walked just over two kilometers and having seen something.

If you want a longer route, you can start even earlier from the other bank, in the Flaminio district, passing by MAXXI and Auditorium Parco della Musica, then crossing Ponte della Musica, which links Flaminio directly to Foro Italico. It's a route that in a kilometer and a half lines up contemporary architecture and 1930s architecture, and that on the way back, after the concert, gives you the option of leaving on the opposite side from the main flow.

What to bring and what to leave at home

Rome at the end of June at 21:00 is still around 26 or 28 degrees Celsius, and inside a full stadium the perceived temperature rises. The first rule is water: dehydration is the reason medical staff step in at summer concerts far more often than for any other cause. At big venues bottles with caps don't get through the checks, while there are water points inside: the sensible thing is to arrive hydrated and drink as soon as you're in, not wait to feel thirsty.

Second rule: travel light. Every extra item means a longer check at the entrance, for you and for the people behind you in line. Large backpacks and bulky bags are usually not allowed, and storage near a stadium on concert nights is scarce and fills up immediately. Third rule: closed, comfortable shoes. If you buy a field ticket you'll spend several hours standing on a surface covered with panels, and if you're in the stands you'll still climb plenty of stairs.

When to leave

At the end of a concert with tens of thousands of people, the outflow from Foro Italico takes a good hour, and the bottleneck is geographic before it's organizational: the complex is squeezed between the river and the hill, and there are few bridges available. If you have a train or a flight, factor in this time. If you have no constraints, though, you'd do well to do the opposite of what everyone else does: stay put for 20 minutes inside or just outside, let the crowd flow out, and walk calmly toward Ponte Milvio, where on summer evenings life goes on until late.

How to get to Foro Italico

The first thing to know is that the metro doesn't reach Stadio Olimpico. None of Rome's lines touch Foro Italico, and this determines everything else. The complex is on the right bank of the Tiber, at the foot of Monte Mario, in an area bordering the Della Vittoria and Tor di Quinto districts and facing, across the river, the Flaminio district just past Ponte Milvio.

By public transportation

The pattern that works is always the same: take the metro to a line A station in the northwest part of the center, and from there continue above ground by bus or tram to one of the hubs near Foro Italico. The arrival points to keep in mind are Piazzale Maresciallo Giardino, on the stadium side, and Piazza Mancini, on the other bank, reached from the center by the tram that leaves from the Flaminio area. From Piazza Mancini you walk across Ponte Duca d'Aosta and find yourself right at the head of the mosaic avenue.

On big event nights the service is reinforced and sometimes supplemented with dedicated connections, and metro closing times may be extended. That information is published by the transit company in the days just before: no forecast made nine months ahead would be worth anything, and it's best to check it in the week of the concert instead of trusting what applied the year before.

By car and taxi

Arriving by car is possible but rarely worth it. On event nights traffic around Foro Italico is rerouted, the right-bank Lungotevere roads are partly closed and available parking runs out well in advance. If you decide to drive anyway, you'd do well to aim for an area further away, toward Monte Mario or the Ponte Milvio area, and cover the last kilometer on foot. For taxis there's a rule of thumb: you won't find one at the exit, because demand is all concentrated in the same quarter hour and cars can't get close. Walking to a clear main road and calling one from there works better than waiting in front of the gates.

How a stadium concert works

People who have never seen a stadium concert often arrive with expectations built on arenas, and the two experiences have little in common. It's worth lining up the differences before buying a ticket, because some are structural and no production can remove them.

Distance and screens

In a stadium most of the audience sees the artist as a small figure and follows him on the big screens. It isn't a flaw of the evening: it's the basic condition. The video direction of a stadium concert is as much a part of the show as the music, and serious productions invest in it as much as in the lights. If you arrive thinking you'll see the details of his face from the curva you'll be disappointed. If you arrive knowing you'll see a big stage and a story told in images, you'll enjoy what's there.

The field

The field spot is the one everyone wants and that isn't always worth it. On a concert field you stand for hours, often without being able to leave and come back easily, and visibility depends brutally on how early you arrive and who's in front of you. For a young, experienced crowd it's the right choice and there's no alternative. For those bringing children, those with mobility problems, those who simply want to see the whole stage, a numbered seat in the stands facing the stage is a more sensible choice, and it often costs less.

Another well-known fact, yet one that's rarely mentioned

The well-known fact is that Stadio Olimpico hosts concerts. What's rarely mentioned is when it started, and who played there first. The answer surprises almost everyone: the very first artists to perform in the venue, in a joint event in July 1991, were Miles Davis and Pat Metheny. Not a rock band, not an Italian singer-songwriter: two names from jazz, on a stage built in front of the Curva Sud, in front of about 20,000 people.

The first Italian to take that stage was Zucchero, in June 1993, during the L'Urlo tour, in front of 10,000 spectators. A decade before filling a stadium became the obligatory goal of every Italian pop career, Olimpico hosted concerts of 10,000 or 20,000 people in a venue that held 70,000.

Why not before 1991

The reason is technical and lies entirely in the 1990 rebuild. Before that work the venue was almost entirely uncovered, except for the stand on the Monte Mario side, and its shape didn't make it suitable for large-scale music productions. It was the complete rebuild for the World Cup, with the Teflon roof, the new service structures and the new systems, that turned Olimpico into a place that could also be used for music. Put differently: the calendar of Rome stadium concerts starts with Italia 90, and not a day earlier.

Tickets and access

More than nine months ahead, any figure on prices would be invented, and any statement on availability would be outdated within a few weeks. What can be said concerns the method, which doesn't change over the years.

Where to buy them

Tickets for a stadium concert in Italy are sold through the official channels listed by the organizers, and at authorized physical outlets. Unauthorized resale channels are a concrete risk, not a theoretical one: you find out a ticket isn't valid at the turnstile, when there's nothing left to do. In Italy the rules on named tickets for large-capacity events have changed the name-change procedures: if you buy a ticket today for a date far ahead, you'd do well to check right away the conditions for putting it in someone else's name, because doing it close to the date is generally more complicated.

Entry checks

Screening for an event with tens of thousands of people starts far from the turnstiles, with successive checkpoints. The first check usually verifies that you have a valid ticket, the last ones check the contents of bags and that the ticket matches. The total time between the first checkpoint and your seat, on a full night, rarely drops below 40 minutes. If you arrive at 20:45 for a concert starting at 21:00 you'll get in after the show has begun: it's arithmetic, not pessimism.

Accessibility

Stadio Olimpico has reserved spaces for spectators with disabilities and their companions, limited in number and located in specific sections. For music events the location and number of these spaces depend on the evening's setup, because the stage changes the geometry of the venue. The correct procedure is always the same: contact the organizers well in advance, before general sales open when possible, because the dedicated places sell out quickly and aren't reopened.

A couple of practical notes about Foro Italico that don't appear on official pages. The outdoor paths are largely flat and paved, but the mosaic avenue has a tiled surface that's uneven under a wheelchair, and the porphyry stretches in the service areas are uncomfortable. The distance between the points where a vehicle can stop on event nights and the stadium entrances is considerable, because roads are closed: if you have mobility difficulties, ask the organizers in advance which gate to use and what route is planned, instead of finding out on the spot.

For people with hearing-related needs, it's worth remembering that a stadium concert produces high and prolonged sound pressure levels. Filtered earplugs, the kind that lower the volume without distorting frequencies, are an accessory costing a few euros that radically changes the evening, and not only for those with problems: anyone bringing children to a stadium concert should use them, because exposing a child's ear to those levels for three hours isn't a matter of comfort but of health.

The right photo to take at Olly at Stadio Olimpico in Rome, Tour Stadi 2027

The right photo isn't the one of the stage. 70,000 people will take the photo of the stage, it'll be blurry, and in six months nobody will be able to tell theirs from anyone else's. The right photo is taken before you go in, and there are actually three, in three different spots, all reachable in the hour and a half before the gates open.

The first: the mosaic avenue with the obelisk

Stand at the far end of Viale del Foro Italico, on the Ponte Duca d'Aosta side, and frame the perspective with the obelisk centered and the black and white mosaic running into the distance. At the end of June, around 20:00, the light comes in low from the west and brings out the relief of the tiles, which at midday looks flat. If you lower the lens almost to ground level the perspective stretches and the marble of the obelisk takes on a warm color it doesn't have by day. It's the photograph that tells where you really are, and it's much more interesting than a distant figure on a stage.

The second: Stadio dei Marmi against the light

The statues of Stadio dei Marmi, in the late afternoon, stand out against the sky and the green of Monte Mario. The photo that works isn't the frontal one of a single statue, which comes out like a caption, but the one taken from the bottom of the ring, with several figures lined up along the tiers and the sky behind. It's best to get there between 19:00 and 20:00, when the sun is low enough to create contrast but hasn't yet disappeared behind the hill.

The third: the roof from inside

Once you're in, before the natural light fades, it's worth pointing the lens upward and framing the underside of the Teflon roof with the pattern of converging radial cables. It's a structure that looks light from below and supports a 45-meter overhang. With the sky still bright in the central opening and the stadium lights already on, you get an image nobody ever thinks of taking and that is by far the most characteristic of Olimpico.

Some important events that happened here in history

Few arenas in the world have a density of events comparable to Olimpico's, and it's worth putting them in order, because the list explains why for an Italian artist playing here means something different from playing elsewhere.

The origins and the rebuild

Work on the complex began in 1928 under the direction of Enrico Del Debbio, commissioned by the Opera Nazionale Balilla. On October 28, 1932, for the regime's 10th anniversary, the venues completed included Stadio dei Cipressi, designed for 100,000 spectators and built with terracing on the Monte Mario side and earth fill on the other sides. The official inauguration took place on November 4 with a youth gymnastics display. From 1933 Luigi Moretti reworked its shape, adding masonry stands on the Tiber side too, and on May 9, 1937 the renovated venue was inaugurated with a capacity of 60,000 spectators.

The war blocked the planned expansions, and after the liberation of Rome in 1944 the stadium was occupied by Allied troops, who organized sports events among the military there. The recovery took place between 1949 and 1953 through the work of Cesare Valle, Carlo Roccatelli and, after the latter's death, Annibale Vitellozzi, with a project in declared discontinuity with the original venue. On May 17, 1953 Stadio dei Centomila was inaugurated with a double event: the finish of a Giro d'Italia stage and an international soccer match between Italy and Hungary. The following year it hosted the European Rugby Cup final between Italy and France. Since 1953, apart from short breaks, it has been the home ground of Lazio and Roma.

The 1960 Olympics

On August 25, 1960 the stadium hosted the opening ceremony of the Games of the XVII Olympiad, and in the following days it was the stage for a series of records that remain among the most cited in athletics history. American Wilma Rudolph won three golds: the 100 meters in exactly 11 seconds, the 200 meters, after setting the Olympic record in the heats with 23.2 seconds, and the 4x100 relay with the world record of 44.4 seconds together with Martha Hudson, Lucinda Williams and Barbara Jones.

On the same track Livio Berruti won Italy's first gold medal in sprinting, beating the 200-meter world record in both the semifinal and the final with a time of 20.5 seconds. His fellow Italian Giusy Leone, third in the 100 meters behind Wilma Rudolph, was the first Italian woman to win a sprint medal. Other world records set in those days include American Otis Davis's in the 400 meters with 44.9 seconds, and Australian Herb Elliott's in the 1,500 meters, won in 3 minutes 35.6 seconds. On the last day Olimpico also hosted the team show jumping event, before the closing ceremony.

Soccer nights

On June 7, 1964 Olimpico hosted the first and so far only playoff in the history of the single-group Italian league to decide the title: Bologna and Inter had finished level on points, and at the time there was no alternative criterion. Bologna won 2-0, with an own goal by Giacinto Facchetti from a Romano Fogli shot and a goal by Harald Nielsen.

On June 8, 1968 the European Championship final between Italy and Yugoslavia was played here: 1-1, with a goal by Dragan Dzajic equalized 10 minutes from the end by Angelo Domenghini, extra time to no avail and a replay 48 hours later, won 2-0 by Italy with goals by Gigi Riva and Pietro Anastasi. In 1973 the stadium hosted the single-match Intercontinental Cup between Juventus and Independiente. In 1977 and 1984 it hosted the European Cup final, in 1996 and 2009 the Champions League final. In 1980 it was the venue of the European Championship final, and in 1990 came the World Cup final. In 1991 the second leg of the UEFA Cup final between Roma and Inter. Since 2008 Olimpico has been the permanent venue of the Coppa Italia final, and in 2021 it hosted a group and a quarterfinal of the European Championship played without a single host country.

Athletics and rugby

Besides the Olympics, Olimpico has hosted the European Athletics Championships in 1974 and 2024, the World Championships in 1987 and the 1975 Universiade. Since 1980 it has hosted the Golden Gala every year, today named after Pietro Mennea and since 2010 the Rome stop of the Diamond League. The first edition, on August 5, 1980, right after the Moscow Olympics, drew 74,000 spectators, of whom 54,000 paid: halfway through the evening it was decided to open the curva entrances and let in those asking to watch.

Since 2012 the stadium has been the home ground of the Italian national rugby team in the Six Nations. The first match, on February 11, 2012 against England, was played on an almost frozen pitch after a snowfall in Rome, and ended 19-15 to the visitors. Between 1954 and 2025 the senior national team played 44 matches here.

The dark pages

It would be dishonest to list only the victories. Olimpico is also the backdrop to two very serious episodes. In 1979 a flare fired from a homemade device killed a spectator, Vincenzo Paparelli, hit while he was in the stands. In 1994 a Mafia-linked subversive bomb attack, which failed for technical reasons, could have caused an unknown number of victims among civilians and police during a match. Two dates nobody in Rome has forgotten, and that are part of the place's biography as much as the finals and the records.

Who has passed through Olly at Stadio Olimpico in Rome, Tour Stadi 2027

Whoever takes the Olimpico stage on June 28, 2027 joins a list that starts in 1991 and has grown long since. It's worth knowing, because it helps you understand the scale of the thing.

The Italians

The artist who has performed here more times than anyone else is Vasco Rossi: 23 times between 1991 and June 2023. Behind him Ligabue, with 13 appearances between 1996 and 2023. The very first Italian was Zucchero in June 1993. The all-time attendance record, on the other hand, belongs to Claudio Baglioni, with the June 6, 1998 concert and the roughly 90,000 attendees mentioned above: a number that, for the technical reasons already explained, is unlikely to be reached again.

The foreign artists

The very first, as mentioned, were Miles Davis and Pat Metheny in July 1991. Among international acts the most frequent are Depeche Mode, five times between 2006 and 2023, most recently with the Global Spirit Tour and the Memento Mori World Tour. Right behind, with four, U2, between 2005 and the 2017 Joshua Tree Tour. In 1996 the Live Rock Festival brought David Bowie and Tina Turner here. In 2005 R.E.M. arrived with the Around the Sun Tour.

And the other 2027 dates

Rome's summer 2027 at Olimpico doesn't end with this date. Among the events announced at the same venue are Vasco Rossi, Laura Pausini, Achille Lauro and Pinguini Tattici Nucleari.

What's around

Foro Italico isn't in a tourist thoroughfare, and that's both a limit and an advantage: no lines, no historic center prices, but also very few services in one place.

Ponte Milvio and around

The nearest hub of activity is Milvian Bridge, just over a kilometer away. The square and surrounding streets are one of north Rome's evening meeting points, with a concentration of bars and restaurants that works well for before and even better for after. Crossing it on foot in the evening, with the Tiber below and the lights on the water, is still one of the most beautiful free things in the city.

The opposite bank

Crossing Ponte Duca d'Aosta or Ponte della Musica you enter the Flaminio district, which offers MAXXI, Auditorium Parco della Musica and, going down Via Flaminia, the Villa Giulia Etruscan Museum and finally Piazza del Popolo. If you arrive in Rome in the afternoon and want to fill the hours before the concert, you'll find a complete route here without going more than three kilometers.

Quick questions

When is the concert?

Monday, June 28, 2027, with the start announced for 21:00.

Where exactly?

At Stadio Olimpico in Rome, inside the Foro Italico complex, at the foot of Monte Mario on the right bank of the Tiber.

What's the set list?

There's no published set list, and more than nine months from the date there can't be one. Anyone publishing it is guessing.

How much do tickets cost?

Prices vary by section and are set and published by the organizers: no indicative figure would be reliable this far ahead.

How many people fit in Stadio Olimpico?

The approved capacity for sport is 70,634 seats. For a concert the actual number is lower, because the stage and service structures take up part of the field and exclude some sections.

Who is Olly, in short?

Federico Olivieri, a singer-songwriter from Genoa born in 2001, winner of the 2025 Sanremo Festival with Balorda nostalgia and already in the competition in 2023 with Polvere.

Is it his first stadium concert?

No. His first stadium season dates from June 2026, with three sold-out nights at the Luigi Ferraris stadium in Genoa and other dates, including Rome and Caserta.

How do I get there by public transportation?

There's no metro at Foro Italico. You take line A to the northwest part of the center and continue above ground to Piazzale Maresciallo Giardino or to Piazza Mancini, from where you walk across Ponte Duca d'Aosta.

Is it worth coming by car?

Rarely. On event nights traffic around the complex is rerouted and parking runs out early. Better to stop further away and cover the last stretch on foot.

What time should I arrive?

Two and a half hours early is a margin that lets you walk around the complex and go in without rushing. If you show up a quarter of an hour before the start, you'll get in after the show has begun.

What's the best section?

It depends on the evening's setup. In general the central sections facing the stage offer the best visual and acoustic experience, while very side positions suffer from the distance and the reflections off the roof.

Is a field ticket a good idea?

If you're young, used to it and willing to arrive very early, yes. If you're bringing children, have mobility difficulties or want to see the whole stage, a numbered seat facing the stage is a more sensible choice.

Are there spaces for wheelchair users?

Yes, limited in number and in dedicated sections, with a location that depends on the evening's setup. The request should be made to the organizers well in advance.

What time does it end?

A summer stadium concert generally actually ends after 23:30, and to be really out of the area you need another hour.

Is it worth coming from outside Rome?

If you have a connection with that repertoire, yes: a stadium date isn't just any concert, and June in Rome offers long days and warm evenings. As long as you treat the day as a whole day in Rome, and not as a transfer to a gate.

On an evening like this the container matters as much as the content. A 26-year-old singer-songwriter who grew up in Genoa's Foce singing on a field built by draining a marsh, under a Teflon tensile structure designed for a soccer World Cup, in the middle of a white marble complex built by a regime that wanted to impress the world, 200 meters from a bridge where a battle was fought in 312. None of these elements was put there to create atmosphere, and that's exactly why the atmosphere works. The only thing asked of those who come is the most obvious: check your section, the time and the entry conditions with the organizers in good time, arrive with enough margin to look around, drink water, and then sing.

Frequently asked questions about Olly at Stadio Olimpico in Rome, Tour Stadi 2027

When is the Olly concert at Stadio Olimpico in Rome?

The Olly concert at Stadio Olimpico in Rome is scheduled for Monday, June 28, 2027, with the start announced for 21:00. The date falls at the end of June, when in Rome sunset comes around 20:45 and the remaining light stays high until after 21:30.

Where exactly is the Olly concert held?

The concert is held at Stadio Olimpico in Rome, inside the Foro Italico complex, at the foot of Monte Mario on the right bank of the Tiber. The area borders the Della Vittoria and Tor di Quinto districts and faces, across the river, the Flaminio district.

How much do tickets for Olly at Stadio Olimpico cost?

More than nine months from the date, the ticket price for the Olly concert at Stadio Olimpico isn't set: tickets for stadium concerts in Italy are sold through the official channels listed by the organizers, and that's where to check the actual price as the date approaches.

Who is Olly, the artist in concert at Stadio Olimpico?

Olly, legal name Federico Olivieri, was born in Genoa on May 5, 2001 and grew up in the Foce neighborhood, in a family of jurists, his father a lawyer and his mother a judge. After his science high school diploma he graduated in economics, a path he turned away from when he chose music.

How do I get to Foro Italico for the Olly concert?

The metro doesn't reach Stadio Olimpico: no Rome line touches Foro Italico, and this determines all the logistics of getting on foot or by surface transportation to the complex at the foot of Monte Mario.

What time should I arrive at the Olly concert at Stadio Olimpico?

The advice is to get to Foro Italico at least two and a half hours before the start time of the Olly concert, and to use that time to be outside rather than in line, because Foro Italico at the end of June, at 19:00 with the sun low on the marble, is one of the most striking places in the area.

Was Stadio Olimpico designed for concerts?

No, Olimpico isn't a stadium designed for concerts: it's a multipurpose venue with an athletics track around the field, which has hosted the Golden Gala since 1980 and athletics events when they come to Rome, and this layout always shapes the setup of a music evening like Olly's.

Are there spaces for people with disabilities at the Olly concert?

Yes, Stadio Olimpico has reserved spaces for spectators with disabilities and their companions, limited in number and located in specific sections. For music events their location depends on the evening's setup, and the correct procedure is to contact the organizers in advance.

Article written by the editorial team of TourLeaderPro, contact them for Private, Corporate and V.I.P. Tours and Experiences. If you'd like a guided walk through Foro Italico and the Flaminio district, between 1930s architecture and contemporary architecture, with a licensed guide, write from the TourLeaderPro contact page. For agencies and operators building evening and music programs in Rome, there's a consulting service in the area reserved for tour operators.

Planning a trip to Italy? The English-language guides are on ItalyPlanner.com. To plan your Rome days, the reference is the page on the best things to do in Rome, while if you have three full days you'll find a ready-made plan in the three-day Rome itinerary. If you'd like to extend the trip to Olly's city, there's the page on Liguria.