HOLDEN turns 26 and, for once, the news isn't an exit. It's an Instagram story.
On February 15, the singer-songwriter published a black and white photo of him in the recording studio. No announcements, no dates. Then, shortly after, a long and direct message to explain to fans why no new music has arrived for months. And because, according to him, that silence does not depend on him.
After Friends 2023/2024Holden had released the singles TELL ME IT'S NOT GOODBYE, CLOUD, TONIGHT ONLY And STRAYS. In June 2024 the EP had arrived JOSEPH with LaTarma Records (distribution ADA Music Italy/Warner). Then HAIL feat. Mew in November 2024, SELF-DESTRUCTION in April 2025 e BABY DRIVE in June of the same year.
Since then, almost eight months without new releases.
HOLDEN: “It's not decided by me”: the phrase that carries weight
The central passage of the story published by the singer-songwriter is this:
“As you may have noticed, no music has been released for a while, it is not decided by me or by my wishes, on the contrary, I find it sad and frustrating not to be free to do what I like most”.
In short Holden it doesn't talk about pause, waiting or editorial planning but about freedom. And this would suggest that between him and his management, that is LaTarmasomething has cracked. In any case, for the umpteenth time, we are witnessing a public outburst from an artist towards his team, albeit veiled.
The reason for this social dig remains to be understood. As far as we know, recalling his participation in Friends, Holden he has always appeared as a true perfectionist, very demanding and not inclined to compromise.
On more than one occasion his smoking nature was evident. After an argument with Rudy Zerbihe even threatened to leave school. An episode that contributed to defining his profile: undisputed talent, but also rigidity and need for control.
That same need for control, outside of the television dynamic, can weigh even more. Because when you leave the context of the program, strategies, timing, planning and investments come into play. And there the comparison is not only artistic, but also industrial.
Around his journey there was also talk of very high production standards and the desire to always work in the best possible technical conditions. A coherent approach with those who experience production as a central part of their musical identity. But when this vision is intertwined with recording and publishing logic, the balance is never automatic.
THE NUMBERS: THEY ARE NOT A MEASUREMENT BUT…
Holdenstill in his story, adds:
“In recent months, despite everything, I have continued to receive thousands of messages, you even took up a space in Times Square. Regardless of the business, the numbers and the more mathematical and colder part of the music industry, the most important result for me is to have you on my side, whether you are 10, 100 or 1000…”
A speech that is understandable on an emotional level, but which inevitably has to deal with the reality of the market. For those investing in a project, numbers remain central.
And those numbers tell a different curve. On the loved/hated Spotify the singer-songwriter's most recent songs move between 700,000 and 1,400,000 streams, far from the 6 or 10 million achieved during the period of Friends. A physiological decline that often affects those who have participated in a talent show.
With one difference though. Between 2019 and 2022, so before Friendsrecorded numbers higher than the current ones. This makes the decline less “physiological” and more linked to a delicate phase of the journey.
The numbers, no point pretending nothing happened, speak. When they come down they don't tell everything, but they signal that something in the relationship with the public is changing. And this, inevitably, affects strategic choices.
In the message to the fans there is another significant passage:
“To thank you properly, I have written three albums that I am waiting to be able to publish”.
Three discs ready. Not drafts or simple ideas, but projects that, according to his words, are just waiting to come out.
The question therefore remains open: when will these three projects be released? And above all, will they do it with the same work team?
Because if the issue is really the freedom to publish, the issue is not only about time but also about decision-making margin. And when an artist chooses to say it publicly, it means that that margin, at least at this moment, feels narrow.
In any case Holdenunlike many other young people who enter the recording market without networks, has a background that knows the dynamics of the industry well. And this means that if there really is a block, alternatives would not be a problem.
