Eddie Brock he posted on his Instagram profile Act I: confessiona spoken word based song that isn't a single, at least for now. The Roman singer-songwriter puts into it the fear of failure, the weight of expectations and the relationship with the press and the recording world. It comes a few months after the most visible moment of his career, and in a few hours it has exceeded two thousand likes and two hundred comments.
The form is not accidental: before choosing songwriting, Edoardo Iaschi came from rap and freestyle. Here, however, there is no improvisation, the text is written and recited on a basis: it is the form you choose when you want to say something outside the song format.
The text of Act I: confession
I'm afraid of failing, not meeting my expectations
of the weight of judgment
on me that is more mine than yours
and to understand that if I stop
no one loves me anymore but I don't show it
because it's ugly and not worth it.
And I scream inside the songs
because the world is scary
I cannot stay silent in a silence that consumes
and you know how much I care about seeing myself on the cover
of people smiling
and then it turns around and ruins you
and my shirt is wrinkled
when I went to school
of when I went to the bathroom to skip a few hours
with the same fear of feeling out of place
in a world where people
they all have a cost
I can't give a fuck if I don't run
I don't bow down
while I look at the red account and the night
I don't close my eyes
with my father smiling as he looks at the gold record
and I'm never happy I don't know how to be like them
All right
okay, I repeat to myself that it's okay
my anxiety is fine with me
paranoia is fine
comments are fine
and insults are fine
newspapers are fine
but how does it go in the end?
Well
I scream inside the songs: writing as an outlet
The verse “I scream inside the songs” it is the key to everything, and is confirmed shortly afterwards in “I cannot stay silent in a silence that consumes”. Writing is not described as a profession but as a necessity, the only place where certain things can be said.
Around this, Eddie Brock he constructs the rest through concrete images and not through concepts. The creased school t-shirt, the bathroom where you went to skip an hour of class. They are minimal details that serve to establish a precise condition, that of feeling out of place, and to say that it has not changed: the fear of then is the same as now, only the context is different.
The gold record, the father and the paradox of success
The strongest passage is the one in which the father smiles looking at the gold record, while the writer is unable to share that satisfaction: “and I'm never happy, I don't know how to be like them”. And another verse comes right after, “while I look at my account in the red and I don't sleep a wink at night”.
The two verses placed side by side say something that is rarely said in Italian music: public recognition and economic stability do not coincide. In the case of Eddie BrockFurthermore, it is not an abstract image. Before It's not youthe song that went viral on TikTok and was later certified gold, Edoardo Iaschi was a rider, worked in a call center and managed holiday homes to pay for the time needed to write. The gold record hanging in the house and the red account are two things he actually saw, and not far from each other.
In February 2026 he arrived at Ariston with Vulturesclosing the Festival in last place in the rankings. A detail that also makes the verse in the newspapers less generic “they're fine”. Already then, in our interview, he had spoken openly about fragility.
The ending: Is “Okay” really an acceptance?
The closing is a litany. Anxiety is fine, paranoia, comments, insults, newspapers are fine. Then the question, “But how's it going in the end?”and the dry answer: “Well”.
It is the most constructed part of the text, because that repetition does not convince anyone, and does not want to convince. It sounds like something you say to yourself to get by, not like a conclusion you've reached. Acceptance is declared but not achieved, and the piece stops there without offering a way out.
The title, after all, says it Act I. Whether there is a sequel or not, what Eddie Brock has put into circulation is the part that is usually left out of promotional interviews: not the story of how you get there, but what it costs to stay there.
