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Released: 2024

Label: Universal Music Italia srL.

Featuring: Slim Soledad, Geolier, Angèle, Capo Plaza, chiello, Tedua

In the galaxy of pop, few stars have shone as brightly over the last decade as the Italian virtuoso, Mahmood. Universally acclaimed as an innovator, his distinguished album, “NEI LETTI DEGLI ALTRI,” delivers a unique concoction of his signature sound, coupled with a parade of notable collaborations. Released in 2024, this is not just an album, but a declaration of Mahmood’s maturation as an artist under the prestigious banner of Universal Music Italia srL.

With tracks as varied as the enchanting “TUTA GOLD” and the intoxicating “BAKUGO”, he paints his world with bold strokes of his sonic brush. The album elegantly fuses different styles, taking the listener on a refreshing journey through the diverse landscape of pop music. The collaborations with illustrious artists like Slim Soledad, Geolier, and Angèle amplify his creative vision while adding a tantalizing sonic diversity to the album.

Brimming with catchy hooks, astoundingly crafted lyrics and Mahmood’s distinct vocal stylings, the album solidifies his position as one of pop’s pivotal forces. So, let’s get into it. From the pulsating “NLDA INTRO (feat. Slim Soledad)” to the emotive “STELLA CADENTE,” we are breaking down the album “NEI LETTI DEGLI ALTRI” by Mahmood.


Features: Slim Soledad

Slim Soledad)”, Mahmood and Slim Soledad evoke a striking scene through their unique lyrical style. The lyrics, sung predominantly in Italian, are interspersed with vibrant, provocative verses that highlight the complexity and dynamics of life. A standout line that packs a punch is, “Mamma dice: ‘Non hai limiti’, figlio mio, non ti fumar la weed.” This verse, roughly translated as, “Mom says: ‘You have no limits’, my son, don’t smoke weed,” encapsulates a mother’s concern amidst a turbulent existence, while also acting as a nod towards the theme of boundaries and personal excess. Arguably, it’s the essence of resistance that gives NLDA INTRO its raw strength. This track effortlessly plants the seeds of anticipation for what’s to come from the rest of the ‘NEI LETTI DEGLI ALTRI’ album, setting the stage with its potent and prevalent themes of rebellion and audacity, bolstered by the non-diluted, boisterous energy of modern Italian pop.


The line, “5 cellulari nella tuta gold, Baby non richiamerò” heckles the takeaway – a series of failed communications symbolised by five cellphones nestled in a ‘gold tracksuit’, that he ultimately won’t redial. The lyrics subvert expectations, no longer lionizing the golden hues of the past, but painting them as a conduit for disappointment, symbolized by the ‘gold tracksuit’. Bringing us back to ‘Ballavamo nella zona nord’, a reference to dancing in the northern area, he dips his lyrical brush into memories of heightened belonging and shared experiences. But just as this nostalgia tints the track, change follows suit – ‘Cambio numero’, he’s changing his number, further disconnecting from past circles.


Features: Geolier



The raw vulnerability comes through most clearly when he sings “Perché per stare bene / Ho bisogno di toccare il fondo?” (Why, in order to feel good, do I need to hit rock bottom?). It’s an intense self-examination that speaks to the often destructive nature of seeking love and validation. This lyrical introspection extends to feelings of inadequacy in “Non sono il tipo che convive / Né che ti chiede la mano in cortile” (I’m not the type to cohabitate or propose in the yard). Here, the struggle with commitment and societal norms becomes apparent. Yet, the yearning for love and connection, depicted in “Ho bisogno di un cocktail d’amore”, is a universal journey, daring to peel back the layers and expose a human truth. This song, in its lyrical richness, encapsulates Mahmood’s ability to craft complex narratives, transforming his own experiences into resonant, universal stories.


Features: Angèle


The embattled sentiment is captured perfectly in the line, “L’ostacolo più grande nelle relazioni sono io,” (The biggest obstacle in relationships is me). Mahmood alludes to the internal struggle of acknowledging shortcomings, stating, “C’è una parte di me che non si è mai arresa” (There’s a part of me that never gave up). Ultimately, the track is a plea for understanding and communication, a call for closeness amidst distance, encapsulated in “Potremmo parlare anziché immaginarci, Nei letti degli altri per dimenticarci” (We could talk instead of imagining ourselves in others’ beds to forget). This layered narrative, woven with introspective lines, make this song a standout in Mahmood’s ‘NEI LETTI DEGLI ALTRI’ album.


Its lyrics don’t shy away from the stark realities of existence. In one poignant line, Mahmood says, “Può sembrare un’opera questa vita scomoda / Le sorridi e ti manda in galera,” possibly calling out life’s absurdity – it can seem so dramatic and uncomfortable that even a smile could feel like a crime. He also addresses the struggle of endurance and resilience in the face of adversity with the line “Se il mondo ci vorrà distrutti / Lotteremo soli contro tutti, tutti, tutti.” It’s a cri de coeur that encapsulates the song’s stance: if the world wants to destroy him, he will fight alone against everyone. Both phrases emphasize the challenges faced daily and the defiance of one’s own survival instinct, making each verse count in this reality-check anthem.


This palpitating pop ballad is punctuated by melancholic verses and a biting chorus where he declares, “Sai che mi sento più solo/Quando richiedi in prestito una t-shirt/Mai tornata indietro” (You know I feel lonelier/When you borrow a t-shirt/Never to return). These lines, stark in their simplicity, capture the intimacy and despair of a relationship on the verge of disintegration. Mahmood also grapples with his image in the eyes of others, referring to accusations of delinquency while driving without a license and how this affects his self-perception. The line “Sono più forte (Baguko, Bakugo) con Nefertiti sul dente” (I am stronger with Nefertiti on the tooth) could be viewed as a statement of resilience, an assertion of his strength and worth, regardless of damaging labels.


Features: Capo Plaza

“Bene, bene, bene, ti volevo un’altra volta / Ora non riusciamo manco più a guardarci in faccia” — these lines perfectly embody the tension and yearning present throughout the song. Mahmood skilfully weaves a narrative of a once passionate relationship now laden with strife and regret, all amidst the backdrop of snow-covered Jordans — an eloquent symbol of faded glory and wasted potential. The repetition of “neve” intensifies the feeling of coldness and distance. A profound saga of heartbreak, the lyrics speak of the struggle to cope with feelings of guilt, fueled by a haunting desperation for seclusion: “Vorrei silenzio, sento solo”. It’s a vividly painted, emotionally turbulent story that resonates with the listener, demonstrating yet again Mahmood’s gift for crafting deeply evocative lyrics that echo long after the last note has sounded.


The strong line “Quanto ci hai messo a mandarmi a fanculo” cuts to the quick of the song’s emotional depth, translating to “How long did it take you to tell me to fuck off?” It captures the hurt and disappointment of the end in a candid, almost brutal way. The lyrics continue to reveal a journey of love that ultimately leads to heartache – “mi dici non sono nessuno” (you tell me I’m nobody), reflecting the despair of the speaker. Equally touching is the plea “Non lasciarmi prendere dalle onde” (Don’t let the waves take me). The vulnerability of Mahmood’s lyrics coupled with its potent imagery, conveys a powerful narrative of love, loss, and ultimately, self-preservation.


Features: chiello, Tedua

A riveting line in the lyrical narrative is, “Mi hai mandato in paradiso (paradiso) / Le tue labbra, il tuo profumo / I tuoi baci sul mio viso (paradiso)” – a lament about the intoxicating yet devastating effect of a toxic love. Packed with tangible imagery, the song encapsulates a heart sent to paradise by lethal doses of affection, only to be shattered repeatedly. This poignant articulation of love’s painful paradox, the intoxicating high and the piercing downfall, makes “PARADISO” a compelling pop anthem for the brokenhearted.


A hard-hitting, standout line is, “Mi son sentito grande per la prima volta anche se / Dopo sei mesi ha preso fuoco, era una stella cadente” – translating to, “I felt big for the first time even though / After six months it caught fire, it was a falling star.” This verse imparts a poignant reflection on achieving a sense of independence but experiencing the transience of it, likened to a shooting star. The song explores the complexities of familial ties, personal growth, longing, and the dilemma of self-love versus the desire for acceptance. Mahmood’s knack for blending intimate narratives with universal themes cements “STELLA CADENTE” as a masterpiece of lyrical transcendence.

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