FUNNY little FEARS: Damiano David’s Solo Debut Album Review

Damiano David, best known as the charismatic frontman of the rock band Måneskin, steps into a new spotlight with FUNNY little FEARS, his debut solo album. After skyrocketing to global fame with Måneskin – including a legendary Eurovision 2021 win and chart-topping rock anthems – Damiano’s decision to go solo marks a bold artistic turn. As a soloist, he isn’t simply recreating Måneskin’s gritty glam-rock; instead, FUNNY little FEARS sees him trading stadium rock riffs for a more introspective, pop-driven journey. In interviews, Damiano has described this album as his most personal work, a project that allowed him to “break down layers” and confront his own fears and vulnerabilities. The result is an album that balances rock-star swagger with pop heart, revealing a side of Damiano that fans haven’t heard before. This record represents the narration of him “coming back to life” – moving from a dark, unhappy place to a brighter, more content state by the end. With collaborations from notable artists like producer Labrinth, actress/singer Suki Waterhouse, and alt-pop vocalist d4vd, FUNNY little FEARS is an ambitious venture that blends genres and styles. It maintains a theatrical, “Italian pop drama” flair throughout, yet remains surprisingly accessible. The album’s 14 tracks swing from euphoric sing-alongs to soulful ballads, all while painting an honest picture of Damiano’s emotional world. Below, we dive into a track-by-track analysis of the album, exploring the lyrics, production, and musical style of each song.

Track-by-Track Analysis

1. Voices – The album opens with “Voices,” a bright and catchy pop-rock track that immediately signals Damiano’s new direction. It begins with a burst of upbeat energy – imagine a pulsing house piano and a slick electronic beat driving the melody. Damiano’s distinctive voice soars through an irresistible sing-along chorus, making it clear this isn’t Måneskin 2.0 but something entirely of his own. Lyrically, “Voices” deals with being haunted by memories of a past love. He sings about voices following him “wherever I go”, representing the lingering thoughts of an ex that he just can’t shake. Despite the song’s playful tone and polished, danceable production, there’s an aching familiarity in the pain he describes. It’s an opener that combines glossy new pop elements with emotional depth. Overall, “Voices” is a confident introduction – upbeat, anthemic, and a little techno-tinged – perfectly letting listeners know that Damiano’s solo journey will be full of surprises.

   
   

2. Next Summer – The second track, “Next Summer,” shifts the mood into more vulnerable territory. This song is an emotional ballad that puts Damiano’s heart on full display. Written about psychological trauma and the fear of losing someone, “Next Summer” carries a sense of longing and desperation beneath its pretty melody. The production leans acoustic and stripped-back – gentle guitars and piano – giving it a raw intimacy. There’s a “stadium ballad” quality here (Damiano himself has jokingly said “lighters up” for this one), meaning it swells with feeling while remaining very accessible and easy on the ears. In the lyrics, Damiano addresses a troubled relationship, almost pleading that things will be better by “next summer.” The pain in his voice is palpable, as he compares love to a drug he can’t quit. It’s a poignant song about hope and heartache, and its sincerity shows a brave departure from the bravado of his rock-band days. “Next Summer” proves Damiano can deliver a tender pop ballad that still hits hard emotionally.

   
   

3. Zombie Lady – Here the album takes a turn into dark romantic territory. “Zombie Lady” is a moody, gothic-tinged love song that blends eerie imagery with heartfelt devotion. Musically, it rides a synth-pop wave – atmospheric keyboards, a mid-tempo beat – almost like a dreamy, synthy Coldplay track with a spooky twist. Damiano uses zombie metaphors (inspired by Tim Burton-esque visuals) to declare eternal love: “My beautiful zombie lady, the only one I adore.” The track features a special guest in its final moments: Damiano’s real-life girlfriend, Dove Cameron, contributes vocals, making the duet feel personal and romantic. The chemistry in their voices adds authenticity to the theme of a love so strong it could outlast even death. Despite the morbid metaphor, “Zombie Lady” comes across as unabashedly romantic and soulful. It’s a swirling, dark pop ballad that shows Damiano’s theatrical side – passionate, a bit eccentric, and utterly dedicated in love. This song’s emotional intensity and the sweet cameo from Dove make it a standout on the album.

   
   

4. The Bruise – Track four, “The Bruise,” is a gentle tearjerker that continues the album’s theme of vulnerable love, this time with a notable collaboration. Suki Waterhouse (known for her hazy indie-pop style) joins Damiano on this song, lending soft harmonies that complement his voice beautifully. “The Bruise” is a hushed, intimate ballad – one of the most delicate moments on FUNNY little FEARS. Stripped of heavy production, it almost feels like an acoustic lullaby or a whispered confession. The song’s lyrics describe a one-sided or hesitant love: Damiano portrays someone bearing the emotional “bruises” of loving someone who isn’t ready to fully love back. The duet format plays out like a dialogue or inner monologue, with Suki’s ethereal vocals embodying the distant lover. The production is minimal – gentle piano chords, maybe a faint string or guitar – allowing the vocals and words to carry the weight. “The Bruise” is emotive and melancholic, capturing that ache of unreciprocated feelings. It’s a subtle track, but its vulnerability and the blend of Damiano’s and Suki’s voices leave a lasting impression.

5. Sick of Myself – On “Sick of Myself,” Damiano dives into intense self-reflection. This song is a piano-driven pop-rock ballad that puts his vocals front and center. The arrangement starts quietly, with a simple piano melody and soft guitar strums supporting his voice, then gradually builds in power. By the chorus, the emotional intensity swells – still gentle in instrumentation, but you can feel the hurt in his performance. The lyrics are openly self-critical as he sings, “I’m sick of myself, you’re the medicine.” He uses vivid imagery like his “blood turning to broken glass” to convey just how shattered he feels inside. It’s one of the album’s low points in terms of the character’s emotional journey, laying bare feelings of inadequacy and exhaustion with life. And yet, within this darkness, there’s a glimmer of hope: he finds comfort in a loved one, treating their love as the cure for his self-loathing. The blend of despair and love makes “Sick of Myself” a powerful moment. Musically it stays in a soft rock lane – think big emotive chorus but without excessive production – allowing Damiano’s raw feelings to shine through. This track shows how far he’s willing to go in exposing his insecurities, reinforcing how personal and heart-on-sleeve this record is.

6. Angel – Midway through the album, “Angel” offers a shift in energy and mood. This song introduces a touch of jazz flair into Damiano’s pop-rock palette. “Angel” has a smooth, almost sultry groove – you might hear a jazzy piano, brushed drums, or even a bluesy guitar riff underpinning the verses. Lyrically, the track is a love song that at first sounds like Damiano is describing a perfect angelic figure: he mentions her “pretty eyes,” “porcelain skin,” and a “devilish grin.” There’s a dreamy, almost cinematic quality to how he describes this woman who stepped out of a dream and electrified him. But in an interesting twist, he makes it clear she’s not a typical angel – she has flaws and a “devilish” side, which only makes her more captivating. “Angel” feels like a celebratory turning point; after the heavier emotional lows earlier, here Damiano sounds smitten and uplifted. The production is “jazz-heavy” pop – modern enough to fit the album’s vibe, but with classic undertones that give it a timeless romance feel. Overall, “Angel” stands out as a beautiful love song that radiates warmth and shows Damiano embracing happiness. You can almost sense the clouds lifting in his life at this stage of the record.

7. Tango – As its title suggests, “Tango” brings a playful rhythmic twist to the album. This track uses the metaphor of dance – specifically the passionate tango – to explore themes of love, illusion, and lingering attachment. Musically, it’s anchored by a tango-inspired beat and melody: picture a shuffling, sensual rhythm, maybe a touch of accordion or violin in the background nodding to the classic tango sound, all meshed with a pop-rock foundation. Damiano’s vocals dance through the verses as he sings about a “dark-haired tiny dancer in the dark,” invoking a mysterious image of a lover who captivates him. The tone here is upbeat and deceptively happy, but underneath, the lyrics hint at unresolved feelings and the back-and-forth pull of a complicated relationship (much like the push-and-pull of a tango dance). There’s a bit of angst wrapped in the song’s happy melody – he might be chasing a love that’s part fantasy. “Tango” is catchy and rich in imagery, adding genre diversity to the album. It reinforces the album’s theatrical streak and shows Damiano isn’t afraid to dance to a different beat – literally! It’s a fun listen and adds momentum in the record’s middle, even as it contemplates the illusions we create in love.

   
   

8. Born With a Broken Heart – This track is already familiar to many fans, as it was one of Damiano’s breakout solo singles in 2024. “Born With a Broken Heart” is a soaring pop-rock anthem that combines emotional lyrics with an arena-sized chorus. The song’s core theme is hinted right in the title: Damiano sings from the perspective of someone who feels fundamentally damaged in love. He repeatedly declares, “Baby, you can’t fix me – I was born with a broken heart,” conveying a deep fear that he’s incapable of being truly healed or loved fully. Despite the despairing message, the song itself comes across as anthemic and empowering. It has a driving beat and big instrumentation – likely some pounding drums, ringing guitars, and possibly synth layers – that make it feel like a huge pop/rock hit (which, indeed, it became a global streaming hit for him). This contrast between the sorrowful self-awareness in the lyrics and the triumphant sound creates a powerful dynamic. “Born With a Broken Heart” resonates as a post-heartbreak anthem, capturing that stage where you acknowledge your pain openly. In the context of the album’s story, this song is a kind of emotional climax of the “down” moments – he’s brutally honest about his brokenness. Yet, belting it out with such passion also suggests a form of catharsis. Production-wise, it’s polished and radio-friendly, very much the kind of tune that can fill stadiums. No wonder it connected globally. This track firmly establishes that Damiano’s solo work can pack as much punch as his band material, just in a more pop-oriented way.

   
   

9. Tangerine – “Tangerine” is one of the album’s delightful curveballs. Not only does it feature rising alt-R&B artist d4vd (adding a collaborative spark), but it also genre-bends in unexpected ways. The song begins with a surprise: a twangy slide guitar riff with a hint of country/rockabilly vibe, as if a Buddy Holly oldie was about to play. This playful intro quickly evolves, as “Tangerine” morphs into a grand, almost theatrical pop piece. By the chorus, you might feel like you’ve been swept into a modern musical – there’s a dramatic, “Wicked”-style epic quality to it, with big vocal harmonies and a swelling arrangement. The interplay between Damiano and d4vd is a highlight. Damiano’s powerful pop-rock vocals blend with d4vd’s smoother, soulful tone, creating a rich duet. Lyrically, “Tangerine” appears to use the fruit metaphor to describe something (or someone) vibrant and bittersweet in love. There’s talk of lasting love and how one person can profoundly change your life’s flavor. The alt-R&B influence that d4vd brings is evident in the groove and beat, especially in verses – it gives the song a cool, contemporary texture before it launches into its big pop chorus. “Tangerine” really lets both artists shine: Damiano pushes his vocal range in emotive belts, and d4vd adds depth with his heartfelt lines. It’s a track that combines genres seamlessly – pop, rock, R&B, even a dash of country – yet it feels cohesive and infectious. This kind of experiment shows Damiano’s versatility and willingness to step outside the box. By the end of “Tangerine,” listeners are left humming along, struck by how boldly the song transformed from its humble intro to a full-blown alt-pop spectacle.

10. Mars – On “Mars,” Damiano reflects on escape versus commitment in love, delivering one of the more atmospheric songs on the record. The title evokes the idea of leaving this world (Mars, the planet) – and indeed, the song plays with that theme. There’s a subtle cosmic vibe in the production: echoey guitars drenched in reverb, airy synth pads, and a steady, mellow rhythm that together create a spacious, dreamy soundscape. It’s as if the song floats in the atmosphere, giving a sense of weightlessness. Lyrically, “Mars” finds Damiano contemplating a grandiose escape (everyone “going to Mars”) versus staying grounded with the person he loves. In a standout line, he confesses, “I don’t need to live forever, as long as I can die in your arms.” It’s a beautifully romantic sentiment that prioritizes a moment of true love over any fantastical notion of eternal life or adventure. That line also captures the album’s ongoing tug-of-war between fear and hope: here, he chooses love and presence over running away. Musically, while “Mars” is mostly a pop ballad, it is one of the few tracks that nods to Damiano’s rock roots – you can hear it in that gentle guitar work (almost a soft rock power ballad undercurrent). The chorus is emotional and sweeping, but the song never boils over; it stays somewhat restrained, reflective in tone. “Mars” feels like a quiet late-night revelation – personal and philosophical at once. By the time it fades out, you might find yourself contemplating your own grand desires and what really matters at the end of the day. It’s a subtle gem on the album that adds contemplative depth to the tracklist.

11. The First Time – This song brings a burst of passionate nostalgia to the final stretch of the album. “The First Time” is all about the incomparable rush of first love – those electrifying moments that never quite leave you. Fittingly, the track has an almost youthful, high-energy pop-rock feel. It opens up with lively instrumentation (upbeat drums, dynamic guitars or synths) that set an optimistic mood. Damiano’s vocal delivery here is eager and impassioned, as if he’s reliving that initial spark in real time. Lyrically, he reminisces about the very first time he met someone who changed his life. He uses vivid, over-the-top imagery to convey how monumental that encounter felt: at one point he sings about crashing his car because he was flying high, and even talking to God who “couldn’t get me higher.” These lines show how that first love experience was almost surreal and transcendent for him – literally a religious experience and adrenaline rush rolled into one. The chorus is one of those big, uplifting choruses that you can imagine the crowd belting out at a live show, full of “whoa-oh” hooks or a memorable melody. However, there’s an underlying message that peeks through amid the euphoria: sometimes we idealize first love to the point where reality can’t compare. In the bridge or later verses, Damiano hints that this ideal was just that – an ideal, a beautiful memory that might never be replicated or was perhaps too perfect to be real. Still, “The First Time” doesn’t dwell on regret; it mostly celebrates the feeling. With its blend of energetic arrangement and reflective lyrics, the track strikes a balance between anthemic and introspective. It’s both a celebration of youthful love and a subtle acknowledgment that such moments are unique. As a listener, you’re left both pumped up by the song’s vitality and maybe a touch wistful thinking about your own “first times.”

12. Perfect Life – “Perfect Life” takes on the facade of perfection in a relationship and tears it down with honest insight. The song’s vibe is catchy and pop-forward, but there’s a hint of cynicism lurking in the lyrics. Musically, it might remind you of early 2000s pop-rock or modern alt-pop – polished production, a toe-tapping mid-tempo beat, and perhaps some cool guitar licks or synth lines embellishing the background. It’s the kind of song that could easily get stuck in your head with its smooth hook. In the lyrics, Damiano explores what it’s like to love someone whose life looks “perfect” from the outside. This could mean the person is popular, or always happy on social media, or generally seems to have it all together. But as the song reveals, that ideal image hides a lot of problems beneath. He sings about a relationship built on denial and sacrifice – two people pretending everything is fine and glossy, while their needs and issues are ignored. There’s a bit of a sharp edge when he calls out the illusion of the “perfect life.” It’s easy-listening at a glance, but if you pay attention, the song is actually a critique of superficial happiness. Damiano’s performance here balances sweetness and bite – he might sing a melodic chorus that sounds uplifting, while the words themselves cast doubt on the fairy tale. “Perfect Life” fits well thematically, as by this point in the album he’s confronting hard truths. It’s as if he’s saying: no life (or love) is perfect, and pretending it is will only lead to heartbreak. In terms of album flow, this track keeps the energy up toward the end, ensuring the record doesn’t sag, while delivering a smart message about authenticity in love. Expect this one to resonate with anyone who’s ever felt jealous of someone else’s seemingly flawless life – only to discover cracks in that picture.

13. Silverlines – The penultimate track, “Silverlines,” is a show-stopper in its own right. Not only does it carry significant emotional weight, but it also boasts high-profile production, being produced by the acclaimed musician Labrinth. The title “Silverlines” plays on the idea of “silver linings” – finding light in the dark – and the music mirrors that concept beautifully. The song starts off stripped-back and delicate: you might hear a simple piano or a gentle electronic pulse, with Damiano’s voice subdued and soulful, almost on the verge of breaking. As it progresses, “Silverlines” builds into a powerful, cinematic climax. By the time it hits the chorus or final bridge, it transforms into a thunderous pop-rock ballad, complete with soaring vocals and dramatic instrumentation. There’s even a rousing “whoa-oh-oh” sing-along refrain that gives it an anthemic, almost pop-metal feel (imagine a huge chorus that could echo through an arena). This dynamic growth from a quiet beginning to a roaring finale is emotionally cathartic. Lyrically, Damiano lays himself bare here, confronting pain and desperately seeking that inner peace after the storm. He’s looking for those “silver lines” – the hopeful glimmers after turmoil. Given everything he’s worked through in the album (fear, loneliness, heartbreak), “Silverlines” feels like the moment he fights back the darkness. Labrinth’s influence can be sensed in the lush production layers and the dramatic flair (after all, Labrinth is known for epic soundtrack work). Yet, despite the grand sound, the song remains personal at its core. Damiano “cuts himself open” in the lyrics, addressing emotional scars and trying to stitch them with hope. The contrast of vulnerability and strength makes this track incredibly compelling. By the end of “Silverlines,” as the big final chorus rings out, you get the sense that a breakthrough is happening – like the sun finally piercing through heavy clouds.

14. Solitude (No One Understands Me) – The album concludes on a quiet, introspective note with “Solitude (No One Understands Me).” After the stormy heights of “Silverlines,” this final track serves as a gentle epilogue, the calm after the emotional climax. It’s a stripped-down, delicate song that likely features soft piano, minimalistic strings, or acoustic guitar – something to create a hushed atmosphere. Damiano’s vocals here are tender and honest, almost as if he’s singing a diary entry to himself. The song’s theme is laid out plainly: the feeling of deep misunderstanding and isolation. He confesses a fear of being truly known or of never being understood – hence the title. One lyric he’s mentioned stands out: “I’ve got a funny fear of flying,” which on the surface might mean literal fear, but symbolically it ties back to the album’s concept of fears (big and small) that hold us back. Throughout this track, Damiano reflects on his loneliness, vulnerability, and the journey he’s been through. But importantly, he doesn’t end on despair. Instead, “Solitude” finds a kind of strange comfort in being misunderstood. You get the sense that he has made peace with who he is, even if others don’t fully get him. The tone is melancholy yet soothing – it’s the sound of acceptance. As the last notes of the song (and album) fade, Damiano leaves us with his most unguarded self. It feels like we’ve been allowed a peek into his soul, and now he gently closes the book. FUNNY little FEARS thus ends not with a bang, but with a thoughtful whisper, emphasizing that after all the turmoil and growth, inner peace can be found in embracing one’s authentic, imperfect self – even if one must stand alone to do so.

Conclusion

In the end, FUNNY little FEARS has turned out to be a pleasant surprise and a refreshing listen from start to finish. I wasn’t sure what to expect from Damiano David on his own – would he stick to the rock swagger or venture into new territory? The answer is delightfully the latter. This album is incredibly easy on the ears, filled with well-crafted songs that showcase Damiano’s versatility as a singer and songwriter. Despite the heavy themes of fear, heartbreak, and soul-searching, FUNNY little FEARS remains catchy and engaging; it’s the kind of album you can vibe to on a relaxed afternoon or delve into with headphones to catch all the lyrical nuances. Damiano’s informal, charismatic spirit shines through the music, making the listening experience feel personal and genuine. On a personal note, this record has quickly become one of my favorite albums of 2025. Its mix of pop hooks, emotional depth, and genre-blending production feels both modern and heartfelt. Damiano David has proven that he can stand tall as a solo artist, delivering an album that not only lives up to the hype but also carves out a distinct identity apart from his band. FUNNY little FEARS is an easy-listening triumph with a lot of heart – and it’s likely to be on repeat for me for a long time to come.