Popping into a local supermarket for essentials on the return from one of ProgBlog’s trips to Milan, the sales assistant enquired where I’d been and when informed, asked if I’d visited ‘the designer shops’. After my first visit to the city for Expo 2015 I was unsure if I liked it, but the time spent there was primarily devoted to the Expo and a day trip out to Bergamo, which I did enjoy. Sadly, Bergamo’s independent Elav brewery which produced a range of music-themed beers, including Progressive Barley Wine, unfortunately unavailable at the time of that trip, closed down in March 2023.
Expo 2015 - the UK pavilion ‘Grown in Britain & Northern Ireland’ by Wolfgang Buttress
Subsequent stays in Milan have impressed me more and more, helping to make me feel quite at home and all have followed a similar plan: a search for interesting architecture, a day out to a nearby city by train, maybe an evening gig, and a deliberate avoidance of designer shops. However, along with spending a lot of time in the La Feltrinelli store in the basement of Galleria Vittorio Emanuele II underneath the expensive fashion emporia where there’s a decent selection of music, I’ve also indulged in one of the city’s more unusual attractions, an evening walk over the roof of the Galleria above the designer shops.
A Milan experience - a rooftop walk on the Galleria Vittorio Emanuele II
The first stop on all trips is for coffee. I used to frequent Bar Centrale in Milano Centrale station where you’re deposited whether you take the bus or train from Malpensa airport to the city. It’s an institution that’s attracted poor reviews on Google for the alleged expense and the rudeness of the staff but I suspect that these posts are from tourists who don’t know that the idea is to grab a quick coffee before you go about your daily business and the baristas are simply serving the hordes of commuters as efficiently as possible, prioritising the bar service rather than those who take a seat. To be frank, the current roast they use means it’s not the best espresso that the city has to offer and the station has become unbearably busy, so more often than not I grab my first espresso at an airport bar serving Lavazza or Illy.
The second stop is the station branch of La Feltrinelli, which extends over three floors and provides the opportunity to browse some vinyl and to buy the latest edition of Prog Italia magazine. There used to be a dedicated progressivo italiano CD section, unique to that particular branch of the chain but the representative stock is now filed within the Italiana section. It’s only after this two-stage ritual that I’m able to check in at the hotel.
The former dedicated Progressive Italiana CD section in Feltrinelli Express, Milano Centrale
I’ve stayed in five different hotels over numerous visits, four of which are perfectly pleasant and two of the five are centrally situated. The UNAHotels Scandinavia was the hotel the family used on our first visit; a lastminute.com bargain located 2km west of Milano Porta Garibaldi and 3.5km north-west of the Duomo. It’s a modern, 4-star hotel which opens out onto a weekend street market but I felt it was a little out of the way. The closest Metro stop was Gerusalemme on the at-the-time unfinished M5 Metro line, which meant an interchange was necessary for each journey around the city.
The second trip was my first prog-related visit, for the 2017 Z-Fest held at Milan’s Legend Club, a 10-minute walk from Affori Centro, close to the northernmost terminus of the M3 line. On that occasion my hotel was the NH Concordia (since rebranded as AC Hotel by Marriott Milan Sesto), rather inconveniently located two stops from the northern terminus of the M1 line. I’d ordered a taxi to the venue but as he approached, the driver was unwilling to drop me off because he couldn’t detect any signs of life, questioning if there really was a gig! I left before the end of the performance and unable to book a return taxi, caught the metro to Duomo where I’d hoped to change to the M1 line. This was around 1am and unfortunately the station was closing and the network was shutting down; fortunately, there were plenty of taxis around the piazza to get me back to the hotel.
The third trip to the city wasn’t for a stay, only for a change of trains during a journey from Paris to Como where the couple of hours between services was spent walking, from memory, between Milano Centrale and the duomo. Fortuitously, this route passed by the NH Machiavelli which was to become our hotel of choice and base for all subsequent family visits as it was only 10 minutes' walk from Milano Centrale, close to Repubblica Metro station which made it handy for a direct metro service to the Legend Club and put it in easy reach of the Piazza Città di Lombardia which hosted the annual FIM Prog Fest. It turned out that the NH Machiavelli had other advantages, including being round the corner from the Viale Vittorio Veneto branch of Libraccio, a chain of shops selling stationery, books and music, well-stocked with AMS releases and an impressive second-hand section; it’s also a five minute walk to a branch of the plant-based Flower Burger franchise, which is essential because the family is vegetarian/vegan.
A good reason for staying at the NH Hotel Machiavelli - Libraccio, Viale Vittorio Veneto, 22
I booked a room at the Hotel Rio, a few metres form the Duomo for a planned post-Covid trip to see Yes performing Relayer at the Teatro del Verme during what seemed to be a period of hotel accommodation hyper-inflation, it was the best value place I could find close to the venue but the concert was cancelled at short notice due to ‘problems with insurance’ and I decided to go on the trip as I’d only get a small amount of money back from the flights if I cancelled them – and append a trip to Genoa to see the album launch gig for Balletto di Bronzo and Il Cerchio d’Oro! My cot-sized bed took up almost all the space, but the buffet breakfast was good, the staff were very pleasant and there was an Illy bar next door.
Milan is Italy’s second largest city with a population of about 1.4 million, so it’s not surprising that it hosts a number of concerts that are of interest to a prog rock fan. My first opportunity to attend a gig was Fabio Zuffanti’s Z-Fest in March 2017 which I spotted advertised online with an initial line-up of Finisterre, Christadoro and Cellar Noise, all of which had a Zuffanti connection. I was well acquainted with the music of Finisterre, I’d bought the Christadoro LP of progged-up classic Italian songs the previous month and I’d watched videos of tracks from Cellar Noise’s just-released album Alight, with artistic direction from Zuffanti, which I bought from the merchandise stand on the evening of the gig. Christadoro didn’t perform and though Mox Christadoro was interviewed following the Cellar Noise set, I didn’t understand why they weren’t able to play; their slot was filled by Zaal, Agostino Macor’s prog-jazz band. It was a really great evening, with three fantastic bands for the princely sum of €7.
Cellar Noise, Z-Fest 2017, Legend Club Milano
I couldn’t resist the 2018 Z-Fest with four acts for €10 but I couldn’t help wondering how the event could possibly be sustainable. The event was labelled the ‘symphonic edition’ and included British guests Joe Payne (who had just left The Enid) and Heather Findlay. Zuffanti had acted as musical director for ISProject’s The Archinauts and some of his regular collaborators helped out on the album and at the gig. Höstsonaten headlined and Payne and Findlay appeared as guest vocalists on an epic Rime of the Ancient Mariner but despite my improved knowledge of the metro system I still had to leave before the end of the performance to ensure I got back to my hotel.
Höstsonaten, Z-Fest 2018, Legend Club Milano
I was back in the city at the beginning of June that year for the Prog On festival which had been appended to the FIM Fiera. The Piazza Città di Lombardia, the largest covered square in Europe, is a 20-minute walk from the NH Machiavelli and is roughly equidistant from both Centrale and Garibaldi stations, making it an ideal location for a music fair, though with late spring sunshine streaming into the piazza, it wasn’t such a good spot for the stalls selling records. The presence of an on-site theatre, the Auditorium Testori, with its comfortable seating for 350 people set out in a traditional amphitheatre format, makes it a great place for gigs and I was given an afternoon tour while former PFM guitarist Franco Mussida was delivering a lecture to Milanese youths as part of his CPM Music Institute role. The Prog On line up was billed (in order of appearance) as Prowlers, Hollowscene, La Fabbrica dell’Assoluto and headliners Anekdoten but the first two bands played in the reverse order, much to my disappointment, because I was looking forward to the Hollowscene performance but missed around half of it because I’d met up with friends from Panther & C. and had been introduced to the members of Fungus Family. What I heard from Hollowscene was excellent, Prowlers disappointed, La Fabbrica dell’Assoluto were great and Anekdoten, on the 25th anniversary of debut album Vemod, were outstanding, something of a coup for Black Widow Records’ Massimo Gasperini who was responsible for the music that evening.
Franco Mussida delivering a CPM lecture in the Auditorium Testori
With no Z-Fest scheduled, the first Milan trip in 2019 was for the FIM Fiera prog fest, billed ‘Da Vinci’s Spirit’ as a tribute to the Renaissance genius on the 500th anniversary of his death. FIM director Verdiano Vera suggested that progressive rock was a musical genre that more than any other had embraced Leonardo’s spirit of experimentation due to its diverse influences, unusual time signatures, tempo changes and variations in amplitude and speed, all of which, he said, nurture talent, inspiration, inventiveness and ingenuity. Gasperini, the event’s Artistic Director, assembled bands providing a broad spectrum of the genre from symphonic prog through to neo-prog, psyche-prog and avant-prog/jazz rock: Silver Key, Macchina Pneumatica, Universal Totem Orchestra and FEM. Having complained about the sun in 2018 he’d obviously called up the rain gods this time – the weather was atrocious!
Each performance took place with back projections of Leonardo drawings behind the musicians, providing a constant visual reminder of the link between his futuristic thinking and prog, a musical form known to push at boundaries. Silver Key were drummer-less neo prog, highlighting their just-released Third, a concept album loosely based around Schopenhauer’s philosophical ideas which was well played and cleverly structured incorporating convincing-sounding drum parts, expressive guitar, solid bass, nice ambient moments and multiple false endings, but unfortunately vocalist Dino Procopio was under-mixed during the full-ensemble blows. The sound problems were worse for Macchina Pneumatica, who performed their debut album Riflessi e Maschere, a primarily riff-based and heavy sound on the psyche end of the prog spectrum which required house sound engineers to constantly run on to the stage to adjust the bass volume. This was the second time I’d seen Universal Totem Orchestra whose dense and complex music has the intensity and pace of Magma or the Mahavishnu Orchestra and it may have been the combination of instruments that caused their sound problems; vocalist Ana Torres Fraile clearly seemed to have problems with her amplification. The set from FEM (Forza Elettromotrice) seemed rather brief after UTO’s sonic bombardment, but this was the closest to symphonic prog all evening, and I felt it ended too soon. The band (Alessandro Graziano, vocals; Paolo Colombo, guitars; Alberto Citterio, keyboards; Pietro Bertoni, trombone and keyboards; Marco Buzzi, bass; and Emanuele Borsati, drums) were showcasing their 2018 album Mutazione and could have been hampered by an injury to Citterio who had his left arm in a sling, but his playing, along with the rest of the ensemble, was fluent. I felt Bertoni was a little under-used but he was furthest from me, and I may not have been able to hear him clearly. What did come across was the way each song had been carefully put together; one of the numbers reminded me of Focus.
FEM performing at Da Vinci's Spirit
The one downside of a multi-stage or multi-disciplinary event like the FIM Fiera is that there are occasions when you want to see more than one thing at one particular time; Fabio Gremo, bassist with Il Tempio delle Clessidre, was performing his new album Don’t be Scared of Trying outside in the piazza while Da Vinci’s Spirit was in full flow in the auditorium Testori, with piano accompaniment from Sandro Amadei of Melting Clock, so I was disappointed I didn’t get to see them play. I did get to chat with Sandro and his brother Stefano when they came to take in some of the prog fest, but I didn’t get to speak to Fabio. A major plus is that these events showcase not just incredible music but are the confirmation of a ‘prog family’ that is all-embracing in its approach and rejoices in differences. The concept of a prog rock festival as ‘Da Vinci’s Spirit’ seemed perfectly apt.
The second visit to Milan that year was centred around the album launch of Cellar Noise’s second album Nautilus, presented at the Legend Club. The concert included two support acts, Out Of The Edge and Lumho but everyone kept to time and I had no problems getting back to the hotel after watching a full performance, even though I had to take a bus acting as the M3 line replacement service! The Cellar Noise set included songs from debut Alight in addition to the new material and I bought the new CD from the merchandise stall which was signed by the band before the evening’s entertainment started.
Cellar Noise at the album launch gig for 'Nautilus', Legend Club Milano
The Covid outbreak meant that I didn’t visit Milan in either 2020 or 2021 and there were only two brief stops in the city in 2022 when we’d flown into Malpensa because we couldn’t stand getting a direct Ryanair flight to Genoa from Stanstead airport. I’d signed up to go to the Yes concert at the Teatro dal Verme in 2023 before it was cancelled but still travelled for a relaxing couple of days, using Linate as my point of arrival for the first time and being impressed with the speed of the transfer to the city centre, repeating that leg of the trip later in the year for a Banaau gig in Arese, to the north of Milan. Arese is reached by bus from Rho Fiera, so the journey from Linate seemed fairly straightforward: M4 line from the airport to San Babila where you change to the M1 line all the way to Rho Fiera and then catch the 561 bus or the 542 and Z121 buses to the stop outside the Moon Palace Hotel. You can use your credit card to travel from the airport to Rho but Arese is outside the urban travel zone so you need to buy your Mi3 ticket at the machines at the top of the escalators as you exit Rho Fiera Metro station – the bus isn’t equipped with a credit card reader, the drivers won’t let you buy a ticket on board, and it’s more than a 5 minute walk from the Metro station out to the bus stand… where there is no ticket machine! And did I say the direct bus was an hourly service?
Our first journey exposed the ignorance of my presumptions:
1) If you can use your credit card on buses and Metro trains within the Mi1 urban fare zone, you can use them on suburban buses run by the same operator, ATM. No, you can’t
2) If you don’t have a ticket when the bus is pulling into the stand, you can buy an appropriate ticket from the driver. No, you can’t
3) If you run back to the ticket machine where you accidentally buy Mi1 tickets instead of Mi3 tickets and run back to the bus stand, the driver, who told you where to find the ticket machines and who has to remain on stand for 10 minutes, will be waiting for you because he’s a nice chap and it’s an hour before the next bus. No, he won’t wait, and when the next bus turns up and the driver tells you his ticket validator isn’t working – which would have indicated that you’d bought the wrong tickets – don’t be surprised if there’s an undercover inspector on the bus who will fine you €80 per person for having the incorrect tickets, even though you'd made an honest mistake (and that bus wasn’t a direct service!)
Banaau played at a different venue in 2024, in Vanzago, outside of Milan but which was accessible by suburban line train from Rho Fiera. Rather than use Vanzago as a base and travel into Milan during the day, we stayed at the NH Milano Fiera, a striking hotel designed by Dominique Perrault comprised of two towers inclined away from the base in opposite directions by 5 degrees, completed in 2009. The gig was excellent, mixing actors performing parts of Shakespeare’s Coriolanus with live music from the band, but staying at Milano Fiera was instructive in ways we’d not imagined; the suburban railway lines seem to offer some good choices of destination and should theoretically offer the quickest route to Milano Centrale and Garibaldi stations, but they are prone to lengthy delays.
The interesting architecture of the NH Hotel Fiera (architect: Dominique Perrault)
Part of the Milan visit invariably includes an outing to somewhere new, using the city as a base for day trips to other municipalities in Lombardia facilitated by the ease of rail travel. I use two apps on my phone, Trenit!, which gives me an indication of whether a journey is possible, train times, the number of changes and prices, and the official Trenitalia app for buying the tickets which are then stored on my mobile. The trips are planned to take in some architecture, a site of historic interest or for visiting a record store and so far we’ve ticked off Bergamo, Brescia, Busto Arsizio, Chiari, Como, Cremona, Lecco, Lodi, Monza, Pavia, Piacenza and Varese. Chiari might not be on the radar of many tourists but it had been on my to-do list for a long time because it’s where the Marconi pasticceria which gave PFM their name can be found.
The Marconi Pasticceria, Chiari (for the full story see https://tinyurl.com/4r8bstdy)
Seeking out Italian prog is an essential part of any Milan trip. The city has some excellent independent record stores to supplement the La Feltrinelli and Libraccio chains, the former of which is no longer a reliable source of discounted reissues of 70’s progressivo italiano but can still turn up the odd jewel; the large Galleria Vittorio Emanuele II branch had a copy of Trusciante by Il Baricentro tucked away (€16.99) and a surprise in the International vinyl racks, an unofficial release of Gentle Giant’s performance at Capitol Studios, West Hollywood CA from 1975 (€17.99) on the first of my 2023 visits.
Rossetti Records and Books (via Cesare da Sesto, 24) was the first of the record stores that I visited, close to the San Agostino metro stop. It was founded in 1981 and specialises in second-hand music. On that first trip I bought three CDs, the self-titled debut release by Dedalus (1973), Il Giorno Sottile (2001) by Fabio Zuffanti’s experimental project Quadraphonic, a bleak, interesting and challenging album of industrial music, loops and electronica, and Il Bianco Regno Di Dooah (2003), symphonic prog from Consorzio Acqua Potabile (CAP). A visit a few years later saw me splash out on an original copy of Uomo di Pezza by Le Orme (1972).
Massive Music Store (Via Gustavo Fara, 4) is a ten-minute walk from the NH Machiavelli. It’s well-stocked with new and second-hand vinyl, although I’ve not found anything I don’t already own on the couple of occasions I’ve visited.
King Crimson’s Live at the Marquee, August 10, 1971 was playing in Discomane (Alzaia Naviglio Grande, 38) when I first visited. Primarily a second-hand vinyl store, it boasts an interesting ‘rarities’ section but I was a little put off when they asked me to leave my bag behind the counter while I browsed. Almost directly across the Naviglio Grande is Dischivolanti (Ripa di Porta Ticinese, 47) where I’ve had more luck with finding LPs to add to my collection. There’s a dedicated Prog section which is further divided for Italian prog where I sourced a second-hand copy of the Manticore label Banco, Banco del Mutuo Soccorso’s first album sung in English, a new reissue of Caronte by The Trip and a new reissue of the self-titled debut by Il Volo.
Serendeepity (Corso di Porta Ticinese, 100) selling new vinyl was also a very short walk away, but the ‘Progressive’ section was tiny.
Vinylbrokers (Via Privata Pericle, 4) in the Precotto district appeared to be closed when I visited, though it wasn’t closing time. However, just as I was turning to go the owner opened up the shop and let me in. To save time I asked for the progressivo Italiano section but he told me they only sold ‘Americana’ and suggested I visit Metropolis Dischi (Via Carlo Esterle, 29). I’d recommend Vinylbrokers for being helpful and friendly, but don’t go there if you’re only looking for prog. I’ve yet to visit Metropolis Dischi because it’s in an area to the east of Milano Centrale which I’ve not had chance to explore.
Dischivolanti, Ripa di Porta Ticinese, 47, Milano
The Navigli district has more than just three record stores. The canal is lined with bars and restaurants and provides a great place to sit with aperitivi and watch the world go by. Its history can be traced back to 1177 when the Ticino, flowing from Lago Maggiore, was diverted to form a navigable waterway and artificial basin, the Darsena di Milano. By the end of the C15 Milan’s canals linked the Ticino in the west to the Adda in the east, with trade enriching the city. The decline of the system coincided with the domination of the automobile and Milan’s port, centred around Darsena, was decommissioned in the 1960s and its reinvention as a tourist destination was part of the development associated with Milan hosting Expo 2015.
Naviglio Grande, Milano
Every trip involves a trip to the duomo, which is justifiably the top visitor attraction in the city. The piazza provides a classic view of the western façade but it’s worth walking around the outside of the cathedral to wonder at the intricacy of the architecture. Our 2015 trip included a rooftop tour but years of restoration work made the ascent impractical up until 2023 when the scaffold was finally removed.
The west façade of the Duomo di Milano
I’m unmoved by the Galleria although I have had overpriced aperitivo in Terrazza Aperol and I’ve had a coffee in Motta Milano 1928, Andrea Motta’s first espresso bar which opened in 1928. Motta Milano 1928 has changed a great deal since 2015 and in my opinion, not for the best. Its position at the entrance to the Galleria make it a tourist attraction rather than the experience you get in a local bar, although the coffee is good. Lavazza have a flagship store close by and that’s also a pretty horrible experience, so I go to either Serge Milano (Via Giuseppe Mazzini, 8) or Caffè Napoli Giardino (Via Gaetano Giardino, 1) for my espresso.
In contrast to the Italian Gothic/Renaissance architecture of the duomo, the piazza is also home to the rationalist Palazzo dell'Arengario designed by Griffini, Magistretti, Muzio and Portaluppi, a building with a troubled history dating from the 1930s, built as a tower for ‘secular assemblies’ as part of a plan to reorganise the Piazza del Duomo. It was converted in 2010 by Italo Rota to house the Museo del Novecento, a collection dedicated to C20 Italian art. I’m impressed by the reimagining, with its signature helicoidal ramp that leads up from the entrance to the museum proper. Genesis fans might be interested to see Lucio Fontana’s Concetto spaziale, Attesa (Spatial Concept, Waiting) created in Milan between 1958 and 1968. Collectively known as the Tagli (cuts), they consist of a canvas that has been cut either once or multiple times. The pastoral cover painting for Trespass was half-complete when Paul Whitehead was told that Genesis had added 'The Knife' to the album and that his illustration would no longer work. Reluctant to abandon the artwork after putting a great deal of effort into the design, a visit to a London gallery where Fontana’s work was on display saved the concept from the bin. 'There was an Italian artist showing his work' Whitehead told author Will Romano. 'His thing was slashing the canvas with a razor blade.' The band agreed that slashing Whitehead's canvas with a knife was a suitable solution but didn't believe the artist would be willing to do so!
For those who trespass against us... Lucio Fontana’s Concetto spaziale, Attesa, Museo del Novecento
Also within sight of the duomo is BBPR’s Torre Velasca, built between 1951 and 1958, a hugely important building that began a movement to focus on the interpretation of the historical values of the city, breaking the pre-war model of purity of form and the international typology of skyscraper design by introducing an unexpected overhang from the 17th floor, and utilised materials, hues and ratios (such as the window size) associated with Milanes architecture.
Torre Velasca, Milano
One of the first sights as you exit Milano Centrale station is Gio Ponti’s Pirelli building (1955-60), a light and graceful skyscraper made possible by the engineering talents of Pier Luigi Nervi, that symbolises the modern city, reflected in the fact that until recently, Pirelli were the shirt sponsors of the Internazionale football team. I like Ponti’s work, and another of my favourites is his Chiesa San Francesco d’Assisi al Fopponino where elements of the Pirelli building design make an unexpected appearance. However, a ‘must see’ is Ponti’s Torre Branca observation tower in Parco Sempione, where you can take an elevator up to a viewing platform. Hailed as an ‘engineering masterpiece’, it also has something of a troubled history, because it was built in 1933 for the fifth Milan Triennial and originally called the Torre Littoria, changing its name to Torre del Parco after WWII.
Gio Ponti in Milano. L-R: Grattacielo Pirelli, Chiesa San Francesco d’Assisi al Fopponino, Torre Branca
If you like art deco, Villa Necchi Campiglio (Piero Portaluppi, 1932-35) is filled with innovative design features and is run by the FAI, (Italy’s equivalent of the National Trust in the UK); if you like challenging contemporary art in reclaimed industrial settings you should visit both Fondazione Prada (OMA, 2008-15), situated in a former gin distillery at Largo Isarco, 2 and the Pirelli HangarBicocca, a huge exhibition space converted from a former locomotive factory at Via Chiese, 2 in the Bicocca district. I found a copy of a modern architecture guide to Milan in the Libraccio shop in Navigli and I’m ticking off as many of the buildings as possible. The list I’ve included here hardly scratches the surface.
If the duomo is Milan’s number one tourist destination, number two has to be Leonardo da Vinci’s Ultima Cena (Last Supper) which is housed in the former refectory of the convent attached to the Church of Santa Maria delle Grazie. We attempted to locate tickets during our stay in the city in 2015, only to find none were available, so I booked tickets with Viator while organising flights and accommodation for the 2017 trip and fortuitously ended up with an exceptionally knowledgeable and irrepressible local guide. It may seem expensive even if like me you didn’t go for the ‘beat the queue’ ticket, but if you have any interest in art, it’s worth it; the refectory and Leonardo’s masterpiece form an integral part of the convent architecture which is a UNESCO World Heritage Site. Book as far in advance as possible and don’t despair if every ticket appears to have sold out, because widening your search so that it includes a tour of the Duomo or La Scala or both along with the Last Supper usually turns up something to suit you, though it will obviously cost more money.
Leonardo's Ultima Cena
And speaking of supper, before I embraced veganism, I was directed to Mamma Rosa Osteria (Piazza Cincinnato, 4) by the staff at the NH Machiavelli, a short walk from the hotel in the direction of Milano Centrale, and I’d recommend trying it out if you’re not vegan or vegetarian. The plant-based burger chain Flower Burger has at least four outlets around the city, and we tend to frequent the Viale Vittorio Veneto branch for its proximity to the NH Machiavelli. The highly inventive, fully vegan La Colubrina (Via Felice Casati, 5) is also in the vicinity of the hotel, and I can’t recommend that enough. There are also more snack-like vegan choices in the Mercato Centrale Milano which can be found just inside the north-western side of Centrale station and a quick check on Google shows there are now even more vegan restaurant options than on my last visit.
So, even if you’re not into prog, forget Milan and fashion and seek out Milan and Leonardo da Vinci or Milan and architecture or Milan and art. Take a train out to one of the nearby cities – I’ve now had to extend the range to well over an hour’s travelling, although I’m entirely happy revisiting places I’ve previously seen - but the prog is really impressive!
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