Sicilian guitarist Matteo Mancuso lands in Spain this week to present his new work, Route 96, live as part of his European tour. Considered one of the most promising figures in contemporary guitar, his concerts tomorrow, the 6th in Barcelona, and on the 7th at the Villanos venue in Madrid, are shaping up to be must-see events for lovers of the six strings.
Before his stop in Spain, we spoke with him during one of the final stretches of the tour, at a moment when—as he himself admits—fatigue mixes with the satisfaction of bringing his new material to the stage.
David Aresté
M.S: Hello, Matteo. It’s a pleasure to have you on our page. We caught you on a day off from your European tour. How is it going?
It’s going well. We’re a bit tired because it’s the last part of the tour. We have some plans for the final shows, so it will be the hardest part in terms of traveling. But so far we’ve finished in Holland and we’re very happy with the result. We finally have new material to play live and it feels amazing.
M.S: You are presenting your new solo album Route 96. How would you define it compared to your previous album, The Journey?
It’s a different album compared to The Journey, because I took much less time to compose it. I remember when I started working on The Journey, I had all the time available, I didn’t have anyone telling me when to finish, so I really took my time—maybe too much. That’s why I felt it didn’t represent me 100%, because too much time passed between the composition and the release. In this case, I started working in October 2004 and finished in November 2005, so just over a year, and I think it’s a more balanced work. Also, the arrangements are more complex and there is more detail in the sounds. I took my time with each song and I’m very satisfied with the result.
M.S: What is Route 96? How would you describe this album in your own words?
I don’t know… It’s an album with a great sound because I took my time to create every detail. Each song has a different vibe. I don’t like making albums with eight or nine songs that are all the same, whether rock or jazz. I like to differentiate each track. That’s why “Isla Feliz” is very different from “Solar Wind,” and “Black Centurion” is completely different from the others. I like the idea that each song is like a different word within the same speech. I think it makes it more interesting to listen from beginning to end. There is also an element of unpredictability in the arrangements that I really like and that feels new compared to what I’ve done before.
M.S: Did the world of guitar come to you suddenly or did you always want to dedicate yourself to it? We’ve read that you started very young with your father.
I started when I was 10 years old, but as a hobby, not as a job. I didn’t want to do this as a profession from the beginning, I just liked it. Over time I started to understand that it could become something more. At first I wasn’t aware of how much could be possible. Everything started with music, with the curiosity to explore the guitar. And luckily it’s still like that. I feel the need to play—if I don’t, I’d go crazy. It’s like therapy for me. It’s not a choice, it’s a necessity.
M.S: There are some points in your biography we’d like to go over with you. Achieving all that before turning 30 must be crazy. Let’s start with festivals like Castelbuono, the Eddie Lang with Al Di Meola, or Bangkok.
I don’t remember anything about Castelbuono, honestly. I think it was in 2011 or 2012, but I don’t remember. I have a bad memory. I do remember Eddie Lang because it was in 2022, more recent, and one of my favorite musical experiences. Bangkok was in 2019; I remember some things, but not everything.
M.S: Your participation at NAMM 2019?
It was my first NAMM, when I started working with Yamaha and Line 6. Then I did more: 2023, 2024, 2025, and 2026. I’ve done four in a row now, but the first was in 2019 and I remember it well.
M.S: In 2017 you got a scholarship to Berklee. What do you remember about that?
I won a scholarship at an event in Peru, I think around $30,000, the highest you could get at that time. But to receive the full scholarship you had to be at Berklee for at least six months. I was already studying at the Palermo conservatory and didn’t want to stop, and it wasn’t easy to organize everything, so I decided to stay in Palermo.
M.S: In 2024 you were an artist at the Vai Academy.
Yes, I remember that perfectly. It was a great experience. It was the first time I met Steve in person, I even went to his house. It was amazing.
M.S: Speaking of Steve Vai, he collaborates on your latest album. What was it like working with him?
We didn’t work together in person, it was all remote. He was in Los Angeles and I was in Sicily. I sent him the song and a few weeks later he sent me back the solo. We also exchanged some emails talking about gear, composition, and many interesting things. Some of my favorite emails are from Steve, because he gave me very valuable advice, even about career. He’s a very open person and shares a lot. His availability was incredible despite being very busy.
M.S: Another collaboration is “Isla Feliz” with Antoine Boyer. What do you prefer, classical or electric guitar?
I feel more comfortable with the electric guitar because it’s what I play the most. I play quite a bit of classical when I’m alone, but I don’t consider myself a classical guitarist. I see myself more as an electric guitarist who can also play classical. I like composing with classical guitar, but with electric I have more vocabulary, especially because of distortion and techniques like legato. Still, both are fun.
M.S: Are you someone who composes while playing?
No, no. When I play, I just play. It’s already difficult with traveling and schedules. We don’t have much time to compose during tours.
M.S: Are you already thinking about your next album? Who would you like to collaborate with?
No, not right now. This year I’m focused on the second album and then I’ll stop from September to December to rest and prepare for next year.
M.S: For the more technical fans, what gear do you use live?
I mainly use digital systems. On the American tour I use the Line 6 Helix Stadium XL with a volume pedal. On this European tour I use the Fractal FM3 because it’s smaller and easier to travel with.
M.S: We’ll see you in Barcelona and Madrid in a few days. How would you describe your live shows?
They are focused on the new album, with some tributes to musicians I like such as Jeff Beck and Chick Corea, plus some covers. It’s more of a rock show than jazz, very energetic, even with some metal in parts. Live performances are always more aggressive compared to the studio versions.
M.S: Is it a show for all audiences?
Yes, there’s no age limit, although if you’re six years old you should bring ear protection (laughs).
M.S: This tour will last all summer. What are your plans afterward?
To rest a bit. From September to December I’ll stop. I’d like to expand the trio into a quartet, maybe add a piano player, but I’ll figure that out later.
M.S: To play more jazz or more rock in the future?
Both.
M.S: If you did a G3, who would you like to share it with?
There are so many incredible guitarists right now. I really like Alex Sill from Los Angeles. Also André Nieri from Brazil. There’s another guitarist from Russia I like a lot, Bogdan Ostrovsky. But honestly, I’d love to do it with Steve Vai and Joe Satriani. That would be a dream.
M.S: Finally, a tough one: how many guitars do you have?
I use three or four, but in total we have more than 40 between mine and my father’s. I personally have around ten or fewer. My father has many more. There are electric, acoustic, classical… everything.
M.S: We’ve reached the end. It’s been a pleasure talking to you. If you’d like to close the interview, now’s the time. Best of luck and see you at the shows.
Thank you.
David Aresté