From classical orchestras to electronic soundscapes, Italian violinist and composer Laura Masotto shares her journey of artistic discovery, activism, and the deep emotional connections that drive her work.

Today we sit down with Laura Masotto; a classically-trained Italian composer and violinist who is constantly exploring new sonic landscapes. From an early age, she immersed herself in music, starting violin lessons at just five years old. By the time she was fifteen, she was already performing in chamber and symphony orchestras across Europe. However, her true solo journey began in 2019 with the release of her debut album Fireflies, presented at Sofar Sounds in Los Angeles. Since then, she has worked with esteemed labels such as 7K!, Deutsche Grammophon, Flipper Music, and Lady Blunt Records, collaborating with artists like Philip G. Anderson. Her work has graced a performance by Marigia Maggipinto (former member of Pina Bausch Tanztheater) and even found a place in the soundtrack of Netflix’s Baby Reindeer.

Her biography, full of highlights, is very intriguing. As we sit down for this digital interview; me in The Netherlands, she in Barcelona, I start to get very curious what got her this far already. 

“Hi Laura, thanks for taking time off to speak with us. You just mentioned you are currently residing in Barcelona. What brings you there?”

“Well, I am staying here for two months because I have the possibility to work in a friend’s studio on some new material. Besides, I really like the temperature here in the winter. It feels like spring today.”

As we continue our chit-chat about Barcelona our conversation slowly deviates to music. I tell her that I am pretty intrigued by her resume. I ask her: 

“You seem to be involved in so many projects. How do you manage?”

“Well, I don’t know. I love my work and I think I’m a very lucky person to be able to follow this path in my career. 

“And how does a typical day for you look like?”

It depends on the phase I’m in. If I’m composing, I spend hours in the studio experimenting, layering melodies, and refining ideas. When I’m touring, my days are filled with rehearsals and performances. And in between, I love to travel—meeting new people and immersing myself in different cultures always fuels my creativity.”

“You have worked as a session musician, a classical violinist, and in various genres. You mentioned previously that it took you 30 years to release your own music. What was your journey like, leading up to your Fireflies album release with Sofar Sounds?”

“For many years, I played in orchestras and collaborated with bands. I had already had these ideas in my mind, but after reading an interview with Joep Beving I thought to myself; ‘why can’t I do it myself as well’. I felt the need to express myself more freely. In 2018, I bought a looper and started experimenting alone. That’s how Fireflies came to life—I recorded each layer myself and built the melodies from scratch. That album was a turning point, marking the start of my solo career and new musical life. I was asked by a friend in Los Angeles if I wanted to do my album release in her city for Sofar Sounds. I said yes immediately and played two pretty nice venues for 100 and 200 people. 

“You have since performed across the world, collaborated with major labels, and had your music placed in high-profile projects like Baby Reindeer. How did these opportunities come about?”

“I think a combination of passion, persistence, and a bit of luck. I always try to stay authentic in my music, and I think that resonates with people. Also, I’m always open to collaborations, which has led to some unexpected and wonderful opportunities.”

 “I want to push the instrument beyond its traditional role”

“Your biography states that you are ‘a violinist in a state of constant exploration.’ Can you elaborate on what that means?”

“Yes! The violin is traditionally seen as a classical instrument, but I believe there is still so much to discover. I experiment with effects, loops, electronic elements to create new textures, and also with improvisation. I want to push the instrument beyond its traditional role.”

“So what are you currently exploring?”

“I’m diving deeper into the fusion of violin with electronic soundscapes. I use pedals like Hologram’s Microcosm, Strymon’s BlueSky and El Capistan to create ethereal textures which are mostly used by guitar players. It’s exciting because string instruments have mostly been explored in classical or acoustic settings, but there’s an entire world of sound that remains untapped.”

Laura Masotto – Dark Horse

“How do you use improvisation in your compositional process then?”

“I think it is a very important element of my musicianship. When I compose music, I always start to improvise and create a long session of improvised tracks and then listen back to filter the absolute gems out of it. Next to composing, I often choose improvised takes to be featured on my recordings as well, because there is something magical about them.” 

“You’ve played with Hania Rani, Joep Beving, and Federico Albanese. You mentioned that they taught you valuable lessons. What did you learn from them?”

“Each of them has a unique approach to music. Hania Rani taught me about fluidity and the emotional power of simplicity. Joep Beving showed me the beauty of spaciousness in sound. And Federico Albanese’s ability to merge classical elements with contemporary production was very inspiring.”

“Your latest album Spirit of Things has been described as hauntingly beautiful but also deeply emotional. What inspired it?”

“This album was born from a shamanic journey I undertook, where I connected deeply with nature and the concept of human disconnection from the earth.  The purpose of this trip was to discover your totem animal; a personal guide through life. It was an amazing experience for me and I somehow started to play music and think as my totem animal. 

“We need to regain our connection with the world around us”

I later traveled to Guatemala, where I met indigenous shamans and participated in traditional ceremonies. Those experiences changed my perspective on life and music. I learned that in today’s modern society we are completely disconnected from mother earth, animals and other people in particular. Spirit of Things reflects those emotions—our loss of connection with the world around us and the need to regain it.”

As we talk along about topics that disconnect us people nowadays she adds: “I think music is one of the things we need to re-connect again with each other”. I couldn’t agree more on that. That bridges us to the next topic.

“It seems like activism is also a part of your music. Can you tell us more about your involvement with NGOs?”

“During Covid I saw all these horrible images of refugees coming to Europe. Locked up in my own apartment I came to realize that we are so lucky in Europe; with a passport to travel freely, a roof over our heads and stability in our lives. It was no longer time to neglect this problem. I collaborated with Open Arms, an NGO from Barcelona, dedicated to rescuing refugees in the Mediterranean. I composed music alongside Roger Goula to accompany real footage of their missions. I believe music has the power to make people see and feel the urgency of these humanitarian crises. I hope my music can make a contribution to the awareness of this problem”

Deeply intrigued by her intrinsic motivations to make our planet a better world I finally ask her what her plans for 2025 look like. 

“I’m working on a new album and also composing two soundtracks for documentaries with Federico Bisozzi for Italian TV. There are also some upcoming concerts in Barcelona, Italy, the Netherlands, Germany, and Portugal. Plus, there are some exciting booking developments that I’ll be able to share soon!”

As our conversation winds down, I can’t help but feel inspired by Laura’s passion, humility, and deep commitment to her music and the world around her. She’s not just a violinist or composer, but an explorer—constantly pushing the boundaries of her art while staying grounded in the human stories that inspire her. From her early days as a young musician in Italy to her soulful albums and activism, Laura’s journey is a testament to the power of staying authentic and following your calling. In a world that often feels disconnected, her music is a beautiful reminder of how we can all find a way to reconnect—through sound, emotion, and the shared experiences that bind us all. As we say our goodbyes, I feel grateful to have shared this moment with someone who is not only creating music but also shaping the future of it.

Thank you, Laura, for your time and your music.