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Photo provided by Maria Barbieri
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Introduction
Heritage is the invisible thread that weaves through a musician’s life, coloring their melodies, rhythms, and creative vision. Whether born into a family of classical virtuosos or discovering ancestral folk tunes later in life, artists draw upon these cultural backdrops to craft sounds that are both deeply personal and universally resonant. This article explores the multifaceted impact of heritage on musicians—from the building blocks of early exposure to the ways cultural identity drives innovation.
Cultural Foundations and Early Exposure
For many artists, the first encounter with music comes through family and community traditions:
These early soundscapes lay the groundwork for a lifetime of creative exploration.
Heritage as Musical Language
Heritage does more than dictate repertoire; it shapes a musician’s very vocabulary:
By mastering these “dialects,” artists can express heritage authentically or blend multiple traditions into fresh hybrids.
Case Studies: Heritage in Action
Balancing Tradition and Innovation
Musicians face a delicate balancing act:
Both paths underscore a musician’s responsibility: to honor roots while allowing creative growth.
Heritage in a Globalized World
In today’s interconnected music scene, heritage can be both an anchor and a passport:
Cultural Dialogue: As artists share and remix each other’s traditions, they foster mutual respect and challenge stereotypes—using music as a bridge between communities.
Access to Archives: Digital libraries and field recordings make it easier than ever to explore distant traditions.
Collaborative Platforms: Online workshops, virtual ensembles, and global festivals enable musicians to blend disparate cultural elements without leaving home.
OUR OPINION
At Guitar Thrills Magazine, we see Maria Barbieri’s Italian heritage—rooted in her upbringing on the island of Ischia and a family steeped in progressive-rock vinyl collections—as the catalyst for her adventurous musical spirit. Immersed from childhood in the sounds of Gentle Giant, Pink Floyd and Jethro Tull, she developed the fearlessness and technical curiosity that now define her fusion of ambient, hard rock and soul-jazz textures. This deep cultural foundation has not only forged her distinctive tone but also propelled her onto international stages—earning accolades from Robert Fripp and Steven Wilson and securing her place as a Suhr-endorsed artist and in-demand session player.
ABOUT MARIA BARBIERI
Maria Barbieri (born in Lacco Ameno on April 17, 1994) is an Italian guitarist recognized for her versatility and technical skill. Her style ranges from progressive rock to pop, fusion, psychedelic rock, metal, and cinematic music, blending modern techniques with evocative atmospheres and influences spanning multiple musical eras. Raised in a family of musicians, she started playing guitar at the age of ten, encouraged by her father, a bassist and progressive rock enthusiast. Throughout her career, she has developed a personal musical language, praised for stylistic choices, technical precision, and emotional expression.
Maria has collaborated on numerous musical projects across various genres, working as a session player, in bands, and contributing to recordings in Italy and abroad. In 2025, she was selected as the guitarist for the musical We Will Rock You by Queen & Ben Elton, performing in over 88 concerts in major Danish theaters and receiving significant critical acclaim.
In 2021, she began a partnership with Suhr, using their Alexa and Eclipse pedals. In 2023, she became a more prominent member of the Suhr family by receiving an endorsement of the Suhr Modern Plus guitar, which she used on recent tours. In 2025, she received the Suhr Bella amplifier for the Danish tour, which has become the distinctive sound of her latest gear setup.
In 2023, she joined the European tour of the progressive band Big Big Train, substituting Dave Foster and performing throughout Europe, contributing to the live album A Flare On The Lens (Inside Out), recorded during the final two dates at London’s Cadogan Hall. In 2025, she was featured among the best new artists in Prog Magazine UK following the release of her singles A Peaceful Place and A Guitar Dance In The Morning.
Maria has received praise from renowned artists such as Robert Fripp, who in 2019 said: "Would you consider including a woman in King Crimson? The choice of members is not arbitrary. This King Crimson I saw on the evening of June 22, 2013 had seven musicians. They were individual, specific musicians, and they were all men. If they had all been women, I would have made the phone calls. But they weren't. Are we open to women members of the band? Sure, if they're the right women in the right time, right place and right circumstance. And there is a wonderful woman named Maria Barbieri that plays ‘Larks' Tongues In Aspic Part Two.’ But she didn't spring to mind on June 22, 2013. If she had, I would have made the call. She’s doing a great job."
Steven Wilson has also appreciated her interpretative ability and musical sensitivity. She is currently working on her debut solo album, featuring international guests, while continuing to perform and collaborate across Europe.
INTERVIEW WITH MARIA BARBIERI AND GUITAR THRILLS MAGAZINE
Guitar Thrills: “Growing up on the island of Ischia, what early musical memories or local traditions first sparked your passion for guitar and composition?”
Maria: “My earliest musical memories are tied to moments when my father, Antonio, would play music at home or in the car, while my mother, Liliana, rehearsed with her local band, Campo Metallico, which performed original psychedelic-rock compositions featuring my uncle Franco on drums. I was completely captivated by the sounds around me. Growing up, I was immersed in the music of Pink Floyd, Deep Purple, Genesis, Gentle Giant, The Beatles, Led Zeppelin, and many others—music that grabbed my imagination from the very first listen.
Living on the beautiful island of Ischia, I felt a constant dialogue between music and nature that deeply nourished my soul and sparked a strong artistic and reflective drive. Music was truly the heartbeat of my family: I played alongside my brother Domenico, who was a drummer at the time, while my sister Licia gravitated towards soul and blues. These diverse influences helped shape my musical ear early on and encouraged me to explore different genres.
Thanks to my father’s encouragement, I began private acoustic guitar lessons, and about a year later, I fell in love with the electric guitar—a passion that has never left me. In my early teens, guitarists like Dimebag Darrell, Steve Hackett, David Gilmour, Jimmy Page, and Van Halen inspired me to experiment with their techniques and gradually develop my own sound and artistic voice.”
Guitar Thrills: “How did your family’s record collection—featuring artists like Gentle Giant and Pink Floyd—influence your approach to melody, harmony, and experimentation?”
Maria:“Earliest musical experiences shape us deeply, much like the first books we read or the activities we spend the most time on—they become part of who we are. The time spent listening matters too—for me, that began as early as age five. Gentle Giant, one of my father’s favorite bands, were true geniuses. It makes me smile that their music still sounds so natural today, even though it’s complex and might seem strange to first-time listeners.
The architecture of their arrangements, the progressive sounds with baroque nuances, and the fact that they were a stratospheric and energetic band of incredible multi-instrumentalists—all this still feels incredibly relevant and shows how ahead of their time they really were. Their virtuosic and powerful sonic experiments deeply influenced my approach to composition—I feel their spirit fused with my own artistic identity and the mood of some of my pieces.
Pink Floyd, of course, includes one of my all-time favorite guitarists: David Gilmour. His playing reaches straight to the heart—something rare and deeply emotional. I’ve been lucky to see him live three times, and each experience was profoundly moving. A pure legend who will teach generations of guitarists and listeners alike. The solo in ‘Comfortably Numb’ remains one of the most moving guitar solos ever.
He inspired me immensely in the search for tone and feeling. When David plays, there’s a kind of magic—transforming an emotion in the moment into notes and transmitting it to the listener. As an artist and guitarist, my primary goal—whether composing my own music or performing as a session player—is to leave a lasting impression on listeners. He, along with many others I mentioned and Pink Floyd as a band, have always succeeded in doing that. They gave us masterpieces we simply can’t live without—works that will endure through the ages.
Artists like them have created something we will always feel the need for, and they inspire me to keep searching for my own artistic identity.”
Guitar Thrills: “In what ways has Italian folk music or Mediterranean rhythms found their way into your progressive and ambient compositions?”
Maria: “To be honest, I don’t think I’ve had a strong, strictly traditional Italian influence, mainly because my father was a huge fan of international music. Inevitably, I’ve always felt more connected to English and American bands and artists, or that kind of musical current, from past to present.
That said, Mediterranean rhythms have definitely left their mark on me—especially through Naples, with its rich traditions and classic sounds. I believe I’ve absorbed elements of rhythm, sense of timing, and cadence from this environment.
We can also mention soul and blues influences, like the great Pino Daniele, and Italian progressive rock bands such as PFM, which I associate with the masterful Franco Mussida, Banco del Mutuo Soccorso, Le Orme, and singer-songwriters and poets like Ivan Graziani, Lucio Battisti, Franco Battiato, and others. I’ve definitely inherited something from these artists.
I feel the Mediterranean colors, the passion of the South, and the vibrancy of the region in the passionate, lively, and sometimes dramatic approach I bring to music.
Regarding ambient music, nature has always inspired me in the search for breath and meditation, and often I try to transfigure that feeling during my performances.”
Guitar Thrills: “Can you describe a moment when your cultural background gave you a unique perspective or advantage in a collaborative project or performance?”
Maria: “I believe that over the years I’ve cultivated a deep connection with many of my favorite artists and their techniques, which has opened unique doors for me. For example, Robert Fripp from King Crimson once acknowledged my work with a few mentions, which helped raise my profile in England significantly. When I posted my interpretation of ‘Fracture’—a piece I studied intensely and approached as both a spiritual and disciplined journey—Robert himself appreciated my rendition. My passion for King Crimson played a key role in gaining recognition among fans and enthusiasts.
The musical path I followed has also connected me with artists within the progressive rock scene, both as a session player and performer. I absorbed not just the playing style and mood, but also the sound and technical approach distinctive to this genre. Tackling complex pieces has helped me adapt easily even in simpler musical contexts.
At the same time, I’ve drawn inspiration from guitarists known for modern techniques, like Guthrie Govan, and geniuses such as Jeff Beck, who inspired me to blend genres and diverse musical influences.
Thanks to my familiarity with progressive rock and its techniques, in 2023 I had the incredible opportunity to play with Big Big Train, stepping in for Dave Foster on tour after being invited by the great Gregory Spawton. The experience was fantastic—critics gave excellent reviews—and playing in such a respected progressive band was a special milestone. I stayed true to my approach, background, and vision of the guitar—not just as a genre lover, but with a modern perspective. I honored Dave Gregory’s guitar parts while personalizing them where possible. One unforgettable moment was playing in front of Steve Hackett, one of my heroes, who personally complimented me after the concert. That tour also led to my participation on the album A Flare on the Lens, which features the last two concerts at Cadogan Hall via Inside Out.
My musical identity was shaped largely thanks to my father, who supported my journey from childhood until his passing. This background gives me a unique and somewhat timeless perspective as both a performer and session player.
I’ve also worked outside progressive rock. For instance, in a recent tour in Denmark with We Will Rock You—the Queen and Ben Elton musical—I performed in 88 shows, tackling the iconic solos and guitar parts of Brian May. This was a completely different challenge: a large-scale, high-profile production with elaborate lighting and stage design, demanding precise synchronization and immense responsibility. I had to faithfully interpret an icon’s parts while embracing the theatrical aspects—costumes, choreography, and embodying a character—blending musical skill with showmanship.”
Guitar Thrills: “As you’ve toured and worked with artists from the UK, USA, and beyond, what striking musical differences—whether positive or challenging—have you encountered?”
Maria: “The most important tours I’ve done have been across Europe—with Big Big Train in 2023, and most recently in 2025 with We Will Rock You, performed in all the top theaters across Denmark. The incredible Søren Graversen invited me to join the band for the 2025 run, and it was a fantastic experience. The production by Lion Musicals was outstanding, and the Danish cast featured some of the finest talent—we shared unforgettable moments on and off stage.
I found it fascinating to discover the many differences in work habits, artistic styles, and challenges. That recent tour was intense and mentally demanding, with up to seven shows in just four days. Staying focused and energized to perform 88 shows in a little over four months was a huge challenge—not to mention wearing a wig every day, which was new to me!
I was the only Italian in the entire cast and had no experience with the Danish language, making the experience unique. Some of the hardest moments were technical playing in complete darkness inside rotating boxes that split the band into two mirrored stations. It was a setup I never imagined but found deeply inspiring.
Working with the brilliant director Nikolaj Cederholm pushed me as an artist. I still remember him telling me that fear is something we should seek out and face. That advice stayed with me, especially when performing The Show Must Go On solo in the center of those rotating boxes, waiting for the perfect moment to join the band in duet with Killer Queen.
All communication was in English, which was another personal challenge but also incredibly rewarding. I spent the first months alone in a beautiful Copenhagen apartment near nature and Tivoli, where we performed for a full month before touring.
The overall treatment was exceptional—luxury hotels and an amazing band made me feel welcomed and appreciated. Søren Graversen, Søren Bigum, Tove Sørensen, Stephan Grabowski—we were a close-knit group, and that comfort helped me handle the intense schedule without feeling drained. I played almost every day with passion and energy.
With Big Big Train, the challenges were different. As a guest member, I had to enter a well-established band dynamic while maintaining respect and space. It was demanding but fulfilling—the music was complex, and living on a tour bus added to the adventure. Thanks to the recent tour in Denmark, I believe my English has improved significantly, and I’m keen to keep perfecting it.
The tour with Big Big Train was shorter—about 17 shows—but intense and full of complex songs. Each day in a different city. The experience was fantastic, with very positive feedback from fans and the band alike.
Performing across different cultures, genres, and production styles constantly challenges and inspires me, helping me grow both as an artist and a professional.
Regarding gear, I’m truly honored to be a Suhr artist. I used the Suhr Modern Plus that I received in 2023 on both recent tours, which was an incredible experience. Right before the Danish tour, Suhr sent me the Suhr Bella amp, which became a defining part of my sound throughout this fantastic adventure. I’m now also using it for various recording sessions, including my upcoming album. This collaboration with Suhr means a lot to me, especially since my very first Suhr guitar was a gift from my father. Having these instruments support me on stage and in the studio is both inspiring and deeply meaningful.”
Guitar Thrills: “How have you integrated techniques or styles from non-Italian musical traditions into your playing, and what inspired you to do so?”
Maria:“I began by playing the music I loved—reproducing solos and entire songs that caught my interest. This naturally led me to share some of my earliest covers on YouTube, which eventually caught the attention of musical heroes like Robert Fripp and Steven Wilson. Whenever a piece inspired me, I felt compelled to learn it myself. I trained my ear intensely, focusing on what truly moved me, and over time, those influences became an organic part of my playing. Many of the artists who shaped my sound are British, deeply rooted in progressive rock and rock in general.
My passion for music and the joy of playing have always been my main driving forces to keep practicing and growing. Robert Fripp remains one of my all-time favorite guitarists; his unique approach to composition has long fascinated me. The same goes for Steven Wilson, whom I consider a true genius of our time.
I’ve always felt a strong connection to musical cultures beyond Italy, and perhaps that connection is what continues to guide me toward international projects and collaborations.
Just before the COVID pandemic, I was offered an incredible opportunity that, sadly, never came to fruition due to the global shutdown. Despite that, it still holds deep emotional significance for me and remains an important part of my musical journey.”
Guitar Thrills: “Have you ever faced misconceptions or biases about Italian musicians in other music scenes, and how did you navigate or overcome them?”
Maria: “Honestly, I can’t say I’ve really faced serious misconceptions or biases. Maybe just some light-hearted jokes about Italians loving pasta or pizza—haha! But I’ve never felt looked down on as an Italian musician. On the contrary, I’ve often received incredible appreciation, sometimes even more than in Italy. There’s a genuine curiosity and interest when people learn I’m from Italy. From that standpoint, I’ve always felt accepted, respected, and welcomed.
My international debut was with an English band, which was a fantastic start. Before that, I had a chance to play with a brilliant English musician, but unfortunately, that opportunity was lost due to COVID. I’m hopeful for new collaborations in the future!
Since 2023, I’ve had unforgettable and prestigious musical experiences that have really enriched my career. I feel the need to keep improving my English, and playing abroad or working with musicians from different countries helps a lot. I’d love to have longer international experiences and continue growing on this path.”
Guitar Thrills: “What aspects of other cultures’ approaches to rhythm, improvisation, or production have you found most enlightening for your own creative process?”
Maria: “I have always been fascinated by the world of sound exploration—the possibility to travel, reflect, and imagine through music, and to say something even with an instrumental piece, not necessarily accompanied by words. King Crimson is almost like a philosophy, were rhythmic interlocks and song structures manifest with timeless power and recognizable stylistic choices. I have a lot of that in my artistic vision. In England, I felt a strong sense of perceiving music deeply, with attentive listening that goes beyond the surface. This connection to profound musical appreciation really inspired me.
In Northern Europe, I’ve encountered a strong culture of meritocracy among musicians, where people are carefully chosen for their skills and professionalism. I’ve been honored to be part of such dedicated and cohesive teams.
Many American musicians I’ve met, like Larry Crowe—the drummer who played on my two singles—have inspired me with their dedication and enthusiasm for their craft. Likewise, the passion and energy of fans, especially through social media, continuously motivate me to work harder and grow as a solo artist. Overall, these cultural influences have enriched my creative process and pushed me to develop my sound in new and exciting directions.”
Guitar Thrills: “In blending your Italian prog-rock roots with influences from, say, British art rock or American jazz, what challenges have you faced in maintaining authenticity?”
Maria: “Authenticity comes from the soul, and I always strive to bring that into my playing. For me, it’s inseparable from the performance because my musical approach is deeply personal—I express myself through music, so it would be impossible not to be genuine. Authenticity stems from a deep respect for my roots and from how I absorb and reinterpret influences from outside. It’s not about imitation but about weaving different elements into a unique personal language. Sometimes it’s challenging to find the right balance between experimentation and staying true to what I genuinely feel. But that challenge is also the most rewarding and inspiring part of my artistic journey.”
Guitar Thrills: “Looking ahead, how do you envision further exploring cross-cultural fusion in your next album, and which musical traditions are you most excited to delve into?”
Maria: “I’m working on it intensely. Even in my two recent singles—Guitar Dance In The Morning and A Peaceful Place—you can hear sonic explorations blending different musical worlds. Guitar Dance In The Morning features incredible collaborators like Nick Beggs on bass, Larry Crowe on drums, Lenny Castro on percussion, and Enzo Buono on electronic textures.
In A Peaceful Place, the lineup includes Mohini Dey on bass, Larry Crowe again on drums, and Luca Di Gennaro on keyboards. These tracks create a musical dialogue between English, American, Indian, and Mediterranean cultures—a direct reflection of my artistic vision.
Alongside my work as a session player, which has taken me to important European stages and the best theaters in Denmark, I’m developing my solo project. After months on tour, I felt a strong urge to return to composing and express something more personal. That journey began with these singles and is now evolving into my first full-length album. I want to dive even deeper into the progressive rock world, which is core to my roots. At the same time, I’m fascinated by ambient and cinematic music for its evocative, introspective qualities. What excites me most is the fusion of cinematic soundscapes, electronic textures, and complex rhythmic structures—a creative space where I can blend my artistic sensitivity with the technical skills I’ve honed over the years.”
Conclusion
Heritage is not a static relic but a living force that informs every note a musician plays. It provides a sense of identity, a framework for creativity, and a wellspring of emotional depth. Whether an artist chooses to devote themselves to faithful preservation or fearless reinvention, their cultural roots remain at the heart of musical expression—reminding us that even as sounds evolve, our shared human story endures through song.
