Damiano David's solo debut struggles to recapture rock spirit

Let's revisit 2021. To say that Måneskin won Eurovision effortlessly would be an exaggeration, as the competition that year was very strong. Barbara Pravi from France captivated audiences with her poignant ballad "Voilà." The Ukrainian band GO-A offered a modern twist on folk music with electronic elements and traditional instruments. Iceland's group Gagnamagnið (Daði Freyr) was impressed with their futuristic song "10 Years."

Although Måneskin's victory was not a foregone conclusion, the Italians captured the fans' hearts when the results of the national selection for Eurovision were announced. Their rock 'n' roll single "Zitti e buoni" swiftly climbed the charts of the most-listened-to songs. Why? There are several reasons. They revitalized a barely noticeable genre in the mainstream; they were attractive, bold, confident, almost cheeky, and astonishingly theatrical. And they sang in Italian.

Let's be frank: Italian is romantic and often romanticised. Whether due to social media or the long-standing allure of la dolce vita, what sounds good in English often sounds even better in Italian. Authenticity also worked to Måneskin's advantage: they were not only original; they were genuine.

I suspect that none of the four members of Måneskin—Damiano David, bassist Victoria De Angelis, guitarist Thomas Raggi, and drummer Ethan Torchio—were prepared for such immense popularity. The band went on tour immediately after winning Eurovision—pandemic notwithstanding—and performed almost nonstop for four years.

The single "I Wanna Be Your Slave" from the band's second album "Teatro d’ira: Vol. I" quickly became a global hit and had a significant impact on TikTok. This perhaps prompted a shift in the band's aesthetic, with their next album, "Rush!", being mostly in English, aimed at a more universal, mainstream audience.

The music of Måneskin remains enjoyable, but those initially drawn to them by the ballad "VENT'ANNI", "Torna a casa", or the aggressive "IN NOME DEL PADRE" might feel a strong sense of disappointment or even betrayal. The original vibe hasn’t entirely disappeared, but it’s taken a back seat. At concerts for Cool Kids, they were still loud, rebellious, and provocative; however, that's not only how they won Eurovision but how they stormed into showbiz and pop music's limelight.

Recently, there have been rumours online that Måneskin has split up. Officially, the Italians are on a break. This is not only logical but also understandable. They deserve a respite: touring the world multiple times in four years is a significant physical challenge, and fluctuating numbers on social media and streaming platforms—whether rising or falling—take a mental toll.

Victoria has begun a DJ career and announced a tour, while Damiano David has released two tracks, hinting at a solo album. While Måneskin hasn't officially disbanded, the tension is evident, and the future seems uncertain. Ambiguous remarks in interviews won't placate the fans: there's a clear lack of definitive statements regarding the band's future.

Rather than another rock 'n' roll journey and a fourth album from Rome, Damiano has unveiled a different side of his musical personality: calm, ballad-like pop, which makes it controversial. I can still defend "Silverlines": it feels epic, thanks largely to Labrinth's distinctive touch, which redefines the song as a "soundtrack" piece. The song has its moments—mainly the harmonies and vocal dynamics. Yet, Damiano seems like a guest on his track, which I find rather unfortunate.

The second song by the Italian, "Born With a Broken Heart," is a completely unremarkable pop track—pleasant and tidy, in pastel colours. It's a mild-mannered effort. I'm aware that there's nothing worse than wanting artists to remain just as they were when they began. It's a sentiment to avoid.

Objectively, I can't entirely free myself from such inclinations, but I do know that light, easy, and pleasant music can be appreciated. It can be enjoyable. Sadly, "Born With a Broken Heart" fails to excite and doesn't particularly resonate; I wouldn’t switch it off. There are aspects to appreciate, such as Damiano's pleasant voice and the delightful bridge, and, after all, what kind of artist can both strain his voice and smash microphones and then slip into a suit and dance in the style of old Hollywood?

I remain unconvinced, but Damiano David still has time. Maybe this first solo album is meant solely for him.