Ernia

Milan-born in 1993, Matteo Professione was once nicknamed Ernia by a schoolmate, and, in a twist of irony and fate, that nickname went on to make him famous.

His stint with Troupe D’Elite, backed by Guè Pequeno's Tanta Roba and a much-maligned crew that also included Ghali, has kept him active since 2011. He took his first steps there with mixtapes and collaborations, in contact with his friend Tedua, Ghali and Sfera Ebbasta.

The EP “No Hooks” (2016) introduced him with trap tracks stripped of any chorus, but it's the eight-song “Come uccidere un usignolo” (2017) that revealed him as a far less superficial trapper than many of his peers, as the title track makes plain. His agile, laid-back flow, his often reflective delivery, and content driven by an uncommon gift for storytelling made him one of the most promising names of the era.

The real test comes with “68” (2018), finally a work with the scope of a full album. Drawing inspiration from the work of Kendrick Lamar, and in particular “DAMN.” (2017), it goes platinum and is reissued in an expanded edition. It lays the groundwork for the success of “Gemelli” (2020), which engages with the more rap-leaning strain of Italian pop, especially on the bittersweet six-times-platinum single “Superclassico”, a self-mocking anti-serenade that's deliciously catchy. Balancing out these hooks aimed at radio and the Spotify playlists of the very young are several more aggressive tracks.

The follow-up, “Io non ho paura” (2022), which explores the unease of imagining the future while living in the present, mixes introspective tracks with pop-rap and trap moments. He returns with “For soldi e per amore” (2025).

(Antonio Silvestri)