![How Mateus Asato Achieved the Pinnacle of Instrumental Guitar]](https://backingtracksfullcollection.com/wp-content/uploads/2026/02/How-Mateus-Asato-Achieved-the-Pinnacle-of-Instrumental-Guitar-758x406.jpg "How Mateus Asato Achieved the Pinnacle of Instrumental Guitar] 1")
Mateus Asato is the kind of guitarist we haven’t heard much of lately – a true original.
He doesn’t do anything particularly outrageous or revolutionary – there’s no crazy gimmick (yet) that he’ll be known for – but in his own elegant and understated way, and it’s so casual and subtle that it could go over people’s heads at first, he’s well on his way to becoming one of the greatest guitarists of his generation.
The 31-year-old Brazilian guitarist’s debut album, simply titled Asato, is an unqualified thing of beauty, a thoroughly rewarding musical experience from start to finish.
Stylistically, he’s all over the map, which might confuse some listeners – we tend to want our artists to specialize in one thing, because it’s so much easier to process their music if we can put them in a box – but Asato can’t stand still. He closes the album with a slinky spellbinder, Too Nerdy for Pop, Too Pop for Nerds, that sums things up perfectly.
“I do a little bit of everything, so people don’t know what to think of me,” he says. “I’m really okay with that.”
Over the past decade, Asato has advanced his career at a steady clip; he became an Instagram sensation while embarking on a rapid-fire succession of world tours backing pop singers Tori Kelly, Jessie J, and Bruno Mars. Before that, he studied at Musicians Institute in Los Angeles, and was awarded the “Outstanding Guitar Player” title in 2014.
“Going to music school was such a multicultural and educational source for me,” he says. “Five days a week I was exposed to so many different styles of music. I learned to love jazz, but I didn’t become a jazz player. Same thing with blues; I didn’t have the blues in me, but at least I could get the blues flavor.”
He thinks, then continues, “I just never wanted to be just one type of a player. On the other hand, I never achieved the mastery of something. For example, back when I was completely in love with Dream Theater and shred stuff, I could never replicate my heroes – Eric Johnson, Joe Satriani, and John Petrucci. It was just so hard.
“So many players could copy the whole formula. It upset me that I couldn’t, and I was like, ‘Oh, my gosh, is this a curse?’ But it forced me to go another way. I decided to understand the essence of my heroes instead of copying them.”
You remind me of a great actor who isn’t a singer or dancer, but he sings and dances just enough to get cast in a musical.
Exactly.
I hear that in your shredding. It sounds authentic, but I don’t think of you as a typical shredder.
I’m not a shredder. Perfect.
I understand you’ve been working on this solo record for a while.
In a way. There’s one song called Change that I wrote when I was 20 years old. It’s been a decade-long process of collecting songs. The biggest obstacle for me was deciding on the concept of the record.
When I started playing with various artists, I got a manager who said, “Mateus, you’re great, but if you want to reach a lot of people with your music, you have to make a record with vocalists.” I was young, so I was trying to figure things out. So that was an idea when I was 23 or 24, like, “Okay, I’ll make something like Santana’s Supernatural.”
Working as a sideman got complicated because it all revolved around the artists’ schedules. I had to find the time to work on my music between tours and shows. I started to use social media as a journal – I recorded music and posted it online.
The manager was still telling me I needed to make something with vocalists, but at the same time I was creating this guitar music and posting it because I thought it was cool. I did that for a long time, until 2024. A lot of the songs and melodies on the album people will probably recognize.
The turning point came when I got married and left Bruno Mars. It was like the start of a new chapter. I was still dealing with the decision to record with vocalists, but then I thought that because I had been working on these pieces of instrumental music for so long, it would be unfair for me to release my first album without them.
You did work with a live drummer and bass player (Anthony Uriarte and Isaias Elpes, respectively) on the album. Were they recording with you through the years, or did you recut everything recently?
At the same time, though, I kept going over the whole thing in my head, because that manager had been telling me, ‘You need to make a record with vocalists’
I was surrounded by a lot of musicians, but I would say that after I got that realization of, “Okay, I’m making an instrumental record,” it was easy because I was able to just – “I need to find those people” – find a drummer and bass player who will understand me.
The good part of that is both guys who recorded the album with me are also guitar players. So it was easier to speak with them because they were able to understand my guitar vocabulary.
I had maybe 30 songs that were close to finished, so I had to decide which ones to cut with the drummer and bassist. At the same time, though, I kept going over the whole thing in my head, because that manager had been telling me, “You need to make a record with vocalists.”
Is he still your manager?
[Laughs] No, we broke up. Things are good between us. He was one of the first people who heard the album. He still thought I could reach a larger audience with a vocalist, but that’s all right. I’m older now and I understand my place. I feel like what I’m doing right now is the right thing.
I’m so proud of this album, and I’m going to respect the process and show people the world that I’m in now. But I feel like I need to constantly challenge myself, like, “Okay, I already have my cards to throw on the table, but it’s time to get new cards.”
On a purely guitar level, is there something about your technique that you’d like to improve, or is it a more philosophical element?
I think it’s both things. I would say my weakness is rhythm – counting. When I’m creating a melody, I don’t see time. I don’t see things being four or six, eight or whatever time signature. I’m just telling a story with a melody. One of the songs on the record, Kawaii, has a weird 5/4 time signature. I was like, “Yeah, it’s cool, but it’s not grooving the way I want.” I’d like to get more authority in terms of time.
That’s so funny you think you’re not grooving – you’re such a soulful player, so in the pocket. I feel like telling you that whatever you’re doing, you’re doing it right. Don’t change.
Thanks. I feel like music can be described in analogies and metaphors. To me, music is like a bird. Things can get too contained, like, “We’ve got to keep time in the right time.” It’s like putting a bird in a cage, and sometimes a bird just needs to fly.
One of the best things about your playing is your unpredictability, but it’s also part of your songwriting. So many guitar instrumentalists write songs that are riff, verse, chorus, and then a long, long solo section. Your songs don’t follow that formula.
Thanks, I appreciate that. It’s funny you say that because there’s a couple of songs on the record where I thought, “Gosh, I’m soloing so much. Please be quiet. Let it breathe.”
The majority of your songs are three minutes long. You’re not doing these eight-minute epics that are basically showcases for solos.
I know it’s early to talk about the future, but I don’t exclude the idea of making an album with vocalists
Here’s another analogy: instrumental guitar music is like a dessert. A good dessert needs a decent amount of sugar, but sometimes you get a dessert that’s too big or too sugary and you can’t get through it.
In other words, it’s a dessert that’s small enough and sweet enough so you can finish.
Perfect. That’s the best way to put it. I should say this: I know it’s early to talk about the future, but I don’t exclude the idea of making an album with vocalists.
I really do want to do that in the future. But I wanted to get this album out there just in case it was my only instrumental record. I wanted it to be right – the right amount of songs, the structure, all that. But like we said, it couldn’t be too long. I didn’t want people saying, “Okay, I’m tired of this. It’s all the same crap.”
We’ve talked about the business a bit. Something that’s true about you and many younger guitarists is how they don’t have a lot of club experience. They went from posting videos to playing big stages.
That’s true. I played in my local church, but then I joined Tori Kelly when I was 21. I was the youngest guy in the band. I would say I’ve been blessed because I didn’t have to go through that big struggle of carrying my own gear and paying to play clubs.
I’ve been fortunate to jump from school straight to big stages, playing the Greek Theatre in L.A. and the Beacon Theatre in New York. I didn’t have the experience that builds so much character in you, playing small gigs and facing that kind of struggle.
Playing to a bunch of drunks who hate you does build character.
Big time.
Given the right offer, would you go back to playing with any pop acts?
Right now, I’m in this phase of sharing my message with my own guitar. I did tours by myself in 2019, and that was really amazing. I have so many expectations to continue that chapter.
I don’t close the door, but I feel like right now is a big standby moment. The main focus for me is to share my instrumental work. But I might get tired of playing my own music and be like, “Why not?” You learn a lot from playing [other] people’s music.
How about rock bands? If a big rock group asked you to join, would you consider it?
I think it’s definitely more doable for me to join a band, so yes, I would consider it. For example, in 2023 I did a project with Mike Shinoda from Linkin Park, and afterward I went to his studio to write songs for the band.
I remember that kind put that sort of flame in my heart, like, “Wow, what if they invite me to play?” I would love to join a band like that. I know it’s not my cup of tea – like, nu-metal – but it’s cool. I’ve played so many styles, so yeah, to join a band like that would be cool.
After this interview hits, you’re going to be deluged with offers.
[Laughs] The door is open!
