Due

Elodie's song 'Due' delves into the complexities and dualities of a romantic relationship that is both intoxicating and painful. The lyrics paint a vivid picture of a love that is fraught with tension and uncertainty. The opening lines, 'Cosa c’è? C’è che mi fai agitare,' set the tone for the emotional turbulence that follows. The singer is caught in a whirlwind of emotions, oscillating between moments of intense connection and profound disillusionment. The recurring theme of duality is encapsulated in the line, 'Per me le cose sono due, Lacrime mie o lacrime tue,' which translates to 'For me, things are two, my tears or your tears.' This line underscores the inevitable pain that accompanies their love, suggesting that heartache is an inescapable part of their relationship.

The song also explores the theme of unfulfilled expectations and the realization that the person you love may not be who you thought they were. 'Tu vuoi una donna che non c’è,' or 'You want a woman who isn't there,' highlights the disconnect between the singer's true self and the idealized version her partner desires. This sense of disillusionment is further amplified by the metaphor of 'telefonate interrotte,' or 'interrupted phone calls,' symbolizing the breakdown in communication and the growing emotional distance between the couple.

Elodie's poignant lyrics are complemented by her emotive vocal delivery, which captures the raw vulnerability and anguish of a love that is both beautiful and destructive. The imagery of 'il silenzio alla fine di tutte le nostre telefonate interrotte,' or 'the silence at the end of all our interrupted phone calls,' evokes a sense of finality and loss, as if the relationship has reached an impasse. Yet, despite the pain, there is a sense of inevitability and acceptance, as the singer acknowledges that she would make the same choices again, even with the same mistakes. This acceptance of the dual nature of love—its capacity to bring both joy and sorrow—is what makes 'Due' a deeply resonant and relatable song.