Italian singer songwriter Daniele Odasso has always moved through music with a rare blend of emotional honesty and refined musicanship.

His new single, “Living in Between,” marks a turning point for Daniele, shaped by a period of deep personal transformation and a return to the landscapes of Tuscany that have long anchored his sense of self. Recorded in Viareggio and brought to life through an intimate collaboration with producer Amira, the song drifts between electronic pulse and soulful warmth, mirroring the emotional space it was born from.

What makes this moment in Daniele’s career so compelling is the clarity with which he speaks about the connection between voice, body and environment. Water, reflection, memory and nature all play a role in the sound and visuals of “Living in Between,” forming a world where music becomes a form of inner exploration.

The accompanying video, shot between underwater frames, pine forests and the glowing dunes of Lecciona doesn’t just illustrate the song. It lives and breathes with it.

We sat down with Daniele to talk about the making of “Living in Between,” the sensory world behind his vocal work, the unexpected joy of shooting underwater and how returning to Tuscany helped him rediscover the path forward.

1. Tell us the story of this song, why did you choose to visualize this song specifically in
this way?

“Living in Between” was recorded while I was living in Viareggio, Tuscany—a place that carries deep meaning for me because of my mother’s family roots there. During that period, I reconnected with nature in a way that shaped the entire sound of the song: the pulsating electronic groove, the layered vocals, and the fluid movement of the electric guitar all echo that sense of being suspended between states.

Water became a central metaphor throughout the making of the record. Living so close to the sea in Tuscany deeply influenced the emotional atmosphere of the track, and it was something I asked Amira to keep in mind while producing the record—this idea of fluidity, immersion, and constant movement between light and shadow.

That’s why the visual concept also begins with water as a symbolic entry point. It represents the emotional space from which the song emerged: a place of introspection, depth, and transformation. As the video shifts into the landscape of pine trees and dunes in Viareggio, it mirrors the song’s inner journey—from being enveloped by the element of water to resurfacing in the brightness of the natural world that inspired the music.

2. What was the inspiration behind this new video (visuals, storyline, etc.)?

The visuals were inspired by my daily proximity to water in Viareggio and the sensory relationship I developed with it through swimming every day. Because my vocal research is rooted in the Lichtenberger method, which focuses on acoustic perception and proprioception, being immersed in such a fluid medium gave me a new way of experiencing sound in my body. That liquid, tactile connection to water deeply influenced how I approached singing on this record, and Amira’s production supported and expanded that direction.

I wanted the video to reflect this whole sensory world, so I created an initial storyboard centered on an immersive water state and shared it with director Francesco Quadrelli. After exploring underwater imagery with photographer William Petriccioli and scouting the dunes of Viareggio together, the visual arc became clear: starting within the layered reflections and depth of water, gradually moving toward the sunlight near the beach, and ultimately returning to the sea. The visuals mirror the full cycle that shaped the music—nature, body, voice, and sound flowing back into one another.

3. What was the process of making the video?

The process of making the video was truly one of the best experiences I’ve ever had. I first met the incredibly talented art director William Petriccioli, who also shot the cover and instantly grasped the imagery and intentions behind the project. Shortly after, I met Francesco Quadrelli, a visionary and evocative director who immediately understood the concept and the different technical possibilities for shooting underwater. His visual language aligned perfectly with what I had envisioned and pushed the concept even further.

Shooting the underwater scenes was unexpectedly fun. I had trained myself to move from different directions while keeping my eyes open and staying in constant dialogue with Francesco’s camera. That allowed us to play with the surface of the water from multiple angles, creating those mirrored layers of light that shift with my movements.

We then moved to the “outside world.” The first scenes were filmed in my grandmother’s house in Tuscany—a room I literally grew up in—before heading to the pine forest near the beach of Lecciona in Viareggio. That location has an extraordinary sunset between the dunes and the water, and it became the perfect place to let go and immerse myself at the end of the day.

William and Francesco are an extraordinary team, and because they’re close friends, their trust and synergy made me feel completely embraced and understood throughout the shoot. We filmed in the exact order of the narrative, starting with the morning water scenes and ending with the sunset and my return to the sea. Experiencing that progression in real time felt both powerful and deeply cathartic.

Stream “Living in Between” now:

Keep up with Daniele Odasso on his Website