Hiya Max Restaino, thanks for joining us in the virtual RGM lounge today. Grab a brew and take a seat.
Thanks for joining us today. Could you tell us a bit about where you’re from and how you got into music?
I’m from Sheffield, UK. My musical journey began around five or six, when my Italian grandmother brought back a button accordion from Italy as a gift for my older brother. His passion was football, so the accordion was left untouched—until I picked it up. I quickly found myself copying the Italian folk tunes my grandmother loved. That’s where it all started: first the accordion, then the saxophone (which I had to rest on the floor because it was bigger than me), followed by piano and finally guitar.
What’s the live music scene like in Sheffield right now?
Sheffield has always had a thriving music scene. Although some of the iconic venues have disappeared, music remains alive throughout the city. Personally, I perform all over the UK as a solo artist and with my band, but during quieter weeks, the Sax to DJ scene keeps things vibrant.
Anyone we should be looking out for (besides you, of course)?
I regularly play at Warner Hotels, casinos, and nightclubs, and often share the stage and live circuit with artists like Paul Pashley because we are similar. I don’t like to box myself into any one corner of the music scene. I enjoy performing at private events, hotels, from sax to DJ sets, corporate events, and performing my own original music. I’m simply grateful to make a living in today’s music industry, and I aim to stay as versatile as possible so I don’t fall victim to my surroundings, changing times and fading music scenes.
What are your ambitions for the band?
My band is made up of professional musicians who, like me, are willing to take on any gig to cover the bills, all while staying loyal to their passion and chosen genre. At the end of the day, it’s all about the music.
What’s your favourite social media platform to use, and why?
I was named No. 9 in the UK Top 20 Instagram Jazz Influencers for 2025/26 by Feedspot. I’m not entirely sure why Instagram resonates with me, as I use all the platforms, but it’s certainly the friendliest. The audience is engaged, and the community is more responsive within the Insta music scene.
We believe it’s essential to have a presence on Facebook, Instagram and X to introduce yourself to all the different types of audiences out there, what’s your thoughts on that?
First and foremost, I am a musician, singer, and songwriter. Using social media to share my music and build a brand on platforms like Instagram, X, TikTok, and Facebook is just yet another skill to master. Once you recognize the value of these platforms for self-branding, they become less daunting—it’s really about patience and persistence. I didn’t like it at first, if I’m honest- constantly being told I needed to get on social media, but I’ve learned to enjoy connecting with fans online and discovering what resonates with them about my work so I can build on those strengths.
What’s your view on the Music industry today?
It’s easy to feel disillusioned with how the industry is changing—it’s certainly a tough trade to master. Like many musicians I know, I sometimes feel the trade is fading, especially with AI taking over radio, music production, and streaming. But I hold onto the enduring power of live music. Without the vibrant live music scene, which continues to thrive around the world, I might have questioned my career choice. It’s the energy of live performance that keeps the heart of music beating for me.
What are your thoughts on AI-generated music?
AI has had a massive impact on music and the wider arts. How far its influence will go remains to be seen, as it’s still evolving. But no matter how advanced AI gets, it can never truly replace the magic of live music—festivals, gatherings, and real human connection. The spectacle, sophistication, and celebration of live performance will always stand apart, as long as people want to come together to experience concerts and live entertainment.
What’s the biggest thing you have learned recently as you progress with your music?
In order to survive in the music industry, I have learned not to fight against music technology and the technological advances of AI, but to utilise it, as best as I can to develop my brand. I’ve had to learn the entertainment aspect of technology to enable me to move with the times. It’s no longer enough to make music and play instruments, now you must apply social media to the music- it’s the way forward, otherwise you’ll get left behind.
What’s currently in your ears and on rotation now?
I’ve recently been exploring more Jazz artists, but my production style always gravitates toward a Jazz/Pop blend. Lately, I’ve been listening to artists like David Koz and Gerald Albright, but I continually find inspiration in the iconic sounds of Supertramp and Jeff Lynne (ELO), who seamlessly fuse jazz, pop, and rock. Their innovative style never fails to inspire my own work.
What was your worst experience on stage? Any funny stories to share?
I’ve accidentally hit myself in the mouth with my saxophone and microphone more times than I can count, but my worst experience was falling backwards off the stage while sitting at the keys. What made it even worse was the silence—no one laughed. I stood up expecting everyone to be in stitches, but instead, the audience just stared at me, mouths open, thinking, “What on earth is he doing?” Personally, I thought it was hilarious.
Got any fun, funny stories from life on the road?
I’ve toured as a special guest with acts like Steps, Peter Andre, Tears for Fears, UB40, and many more, so I’m well accustomed to life on a tour bus with my band. On more than one occasion, I’ve found myself on stage mid-performance, wondering, “Why is my bass player wearing my socks? And I’m pretty sure these jeans aren’t mine.” Life on the road gets so rushed and messy that even your wardrobe becomes communal!
What was the recording process like?
I write, record, and produce all my own music, playing every instrument myself. The upside is creative control—my recordings always sound true to the vision in my head, without the disappointment of a studio session changing the feel. The downside, of course, is the sheer workload and the struggle to let a song go rather than endlessly tweak it.
When I’m working on an album, I collaborate with a mixing engineer to ensure each track has its own unique character—I never want every song to sound the same. Keeping things varied and fresh across an album is important to me. I also produce all my own backing tracks for gigs; even when I’m performing covers, I shape them to fit my personal style and allow me to integrate the instruments I play live. This way, every performance is authentic and distinctly Max Restaino.
Would you change anything now it’s finished?
I’m still in the process of producing my album, Speakeasy. I’m not sure yet how many songs will end up on the cutting room floor before it’s finished, but with a September deadline, I have time to make any changes needed.
Is there anything else you would like to share with the world?
In terms of music, I don’t think Jazz is ‘old school’ or niche. As a pop-Jazz cross over artist, I’d say there’s probably more jazz on your Spotify playlists than you think. The music industry doesn’t need more noise- it needs more feeling!
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