Fabrizio Romano: The Journalist who Killed Football | OneFootball

Fabrizio Romano and the Transformation of Football Journalism

Rise of a Digital Journalist

In modern football, few names carry as much weight in the transfer market as Fabrizio Romano. Born in Naples in 1993, he began his journey by sending football articles to blogs and small websites as a teenager. What started as a passion project became a career-defining moment when, at 17, he broke his first piece of transfer news: Mauro Icardi’s move from Barcelona to Sampdoria.

By the age of 19, Romano was working with Sky Sports Italia under the mentorship of Gianluca Di Marzio, a respected authority in Italian football transfers. He honed his craft in Milan, learning the intricacies of contacts, trust-building and how to navigate the high-stakes world of agents and sporting directors. Unlike many of his contemporaries, Romano quickly grasped the power of social media, particularly Twitter, choosing to write in English to reach a global audience.

“Here We Go” and the Global Spotlight

The turning point came in January 2020 during Manchester United’s pursuit of Bruno Fernandes. After weeks of speculation and conflicting reports, Romano confirmed the deal with three words that would define his brand: Here we go.

This simple phrase became shorthand for reliability in a landscape crowded with rumour and misinformation. Fans began refreshing their feeds, waiting for his confirmation before celebrating a signing. Memes, merchandise and even club communications started aligning with Romano’s posts. His following soared into the millions, surpassing the reach of some of the world’s biggest footballers.

From Journalist to Brand

As Romano’s influence grew, so too did the scrutiny. His reporting style—rapid, constant updates at every stage of a transfer—turned the market into a real-time spectacle. For supporters, the thrill of surprise often gave way to an endless stream of incremental news. Some likened following his updates to tracking an online delivery: efficient but stripped of drama.

Critics argue that Romano’s role has blurred the line between journalism and promotion. Reports of agencies offering paid placements on his platforms raised ethical concerns, while his extensive coverage of contentious transfers—such as Mason Greenwood’s move to Marseille—sparked debate over whether his tone was closer to public relations than impartial reporting.

Nonetheless, Romano’s defenders highlight that he delivers what fans demand: accuracy, speed and consistency. In a digital-first world, he provides certainty when others hesitate.

Changing the Culture of Football News

Romano is no longer simply a journalist; he has become a one-man newsroom. Agents, clubs and executives share information with him directly, knowing his posts carry unparalleled reach. His updates shape narratives before official statements are made.

But this dominance raises questions about what football journalism has lost. Where once the drama of transfer deadline day unfolded live on television or radio, today many announcements feel inevitable, preceded by Romano’s updates. The magic of surprise—the unanticipated signing, the late-night deal—is often absent.

Yet moments of secrecy still exist. FC Porto’s discreet signing of a Dutch forward in 2024, hidden until unveiled in a pre-season friendly, reminded supporters that football retains its unpredictability. In that case, Romano was not first, and the theatre of surprise briefly returned.

Conclusion

Fabrizio Romano has reshaped the way fans consume football news. His rise from a teenage blogger to one of the most influential voices in the sport reflects the shift from traditional media to digital-first reporting. For millions, his updates are essential. For others, his dominance represents the loss of football’s sense of occasion.

What is undeniable is his impact. Romano is more than a journalist; he is part of the fabric of the modern game—an algorithm, a brand, and a source trusted worldwide.