Maffio: From Homeless to Hitmaker – How Reinvention Fuels a Platinum Producer
Maffio‘s story is one of relentless hustle, groundbreaking innovation, and unwavering dedication to his craft. From his early days as a shy kid obsessed with salsa to pioneering the sound of “merengue electrónico”, Maffio has consistently pushed boundaries and defied expectations. We delve into the journey of this versatile producer, exploring the evolution of his sound, the inspiration behind his latest album, and the invaluable lessons he’s learned along the way.
FEATURE INTERVIEW:
MAFFIO, reflecting on your childhood, what were you like as a kid? Were there early signs that you’d pursue a career in music?
Growing up, I was a very shy and quiet kid. My journey with music began when I was six years old, when I started playing the piano. From then on, I became obsessed with music, listening to all the salsa records of that time in my hood.
Growing up, what kind of music surrounded you, and how did it shape your early musical tastes?
The music that really shaped my musical taste was a mix of Johnny Pacheco, La Fania salsa, with the Bee Gees, obviously Michael Jackson, and Bob Marley which was my first and most important inspiration. And I knew I wanted to be like them, I wanted to make music like them, I want to impact the world like them through my music.
At what point did you realize you wanted to pursue music professionally, and what steps did you take to start your journey as a producer?
I would say around 12 because that’s the stage I started to take it more seriously. Then at 17 I took it really seriously and dropped out of high school because I wanted music so bad. I started working at Wendy’s, as a porter in New York, taking garbage out, cleaning floors and stuff like that because I didn’t have a GED or diploma, but I finally got it! After 25 years I got my diploma.
Can you recall a specific moment or experience early in your career that was particularly challenging or pivotal in shaping your approach to music production?
I mean, I grew up with challenges 24/7, three-six-five. But there was one time when I came to Miami that I became homeless. I would work 24/7 in the studio, and I didn’t have a home, a car, or money, so I would sleep in the studio. And everybody would say, ‘Oh my God, this guy is always in the studio, he’s always working… WOW!’ But no, it was because I needed a place to sleep. Thank God for Papayo and Will Madera. They had a little mattress in their home and they let me sleep there from time to time.
Your versatility is well-known. What genres did you experiment with early on, and how did you develop your signature sound that blends Latin, tropical, and urban beats?
When it comes to versatility, it’s funny because I started with hip hop, making hip hop beats, and I’m still a rap fan. But in 2007, I created a genre called merengue electrónico. It’s called merengue electrónico because I created the merengue in the computer, since I had no money for musicians. So I became a trend, and it became a trend-setting era for urban music. After that, everything just blew up, and people are still making merengue electrónico now.
Collaborating with so many iconic artists like Thalia, Pitbull, and Nicky Jam must bring unique experiences. Can you share a memorable story from one of those collaborations that taught you something valuable about yourself or your music?
I used to be a doorman in New York, and there was a restaurant called Sarabeth’s right next to where I worked. My job was to open the door for every black car that would pull up. One of those cars was Thalia’s, and I opened the door and was starstruck — and I was already making music. I went back and forth in my mind as to whether I should talk to her about music, but I got nervous and didn’t say anything. Six years later, I got to work on a couple of records on her album. It was Tommy Mottola who called me to work on her album, and then I got closer to her and started to build a relationship as we worked on her album. One time, I told her the story, and her face lit up. It was special to talk to her about that moment while working with her six years after the fact.
Let’s talk about R.D.L.D. (Rey de la Discoteca). What inspired this radical sonic shift, and what does this album represent for you personally and artistically?
I think it was time for me to shift, and I thank my team for convincing me that it was time to shift, and obviously I have to be receptive to my team and what they say. I think I’ve done a lot for tropical music and urban music, but this time is different. This time we need the world to know what Maffio is about, what his music is about. El Rey De La Discoteca (The King of the Club) is not an ego thing, el Rey De La Discoteca is the music. Music is the queen and king of every club, or every stadium, and that’s what inspired this idea. And I want to thank my team for believing in this project and I just can’t wait for you to hear it.
Why did you decide to lead with “Ritmo del Negro” as the first single? What does that track embody about the project as a whole?
I think El Ritmo del Negro is a very bold statement because it says Negro. I did that record in Amsterdam with the Afro Bros. Then we got Guaynaa and Nfasis and they went crazy with the record. It came out amazing and it’s doing pretty well. It was a magical record.
The album blends Afro-Latin rhythms with global electronic sounds. How did you approach this fusion creatively, and were there any unexpected challenges along the way?
The album is like a sancocho. Sancocho has meat, chicken, potatoes, carrots, and all kinds of beautiful things. I think it was very important for me to touch on my essence, which is global music because I love all kinds of music. I have a playlist that is Ethiopian jazz, and even though I don’t understand the language. I think music is the universal language. And I’m very open to all kinds of sounds.
You’ve achieved Platinum status multiple times. How do you maintain creative drive and push boundaries in your music?
I think a way to maintain that creative drive and push boundaries, especially in my music, is to reinvent myself. If I stay in a box, I’m not gonna go nowhere, and I’m not gonna inspire all the new talent that is coming up. And you have to stay young, you have to listen, and you have to be in tune with everything that’s going on. Where people go, what restaurants are people going to, etc. Because if I stay in my 2007 ways, I’m gonna stay there mentally and creatively. So that’s what has helped me stay relevant. Also, listen more. Listen and learn. Keep being a student. I think that that’s what has helped me stay relevant in this crazy industry that’s evolving and changing at all times.
Let’s talk about style. How does fashion play a role in your personal expression, and what influences your fashion choices?
You know what’s funny about my style and fashion choices? I think fashion can be very objective, because once you try too much, it doesn’t feel comfortable. My personal opinion for what I do is, I pick clothes that are comfortable for me. Sometimes people look at me and they’re like, ‘Man! This guy knows how to dress.’ But you just gotta be comfortable, and I think that’s one part of fashion that I love: that you can just do whatever you want. You can be free, just like with music. You know, you can match any pants with whatever you see. Obviously, I can’t be mediocre when I dress, and to me, that’s a big part. I need to be comfortable in my clothes to feel like me.
What’s a song that you love that you wish you would have produced?
Thriller. I wasn’t even born then, but I wish I had produced that song. As matter of fact, I wish I could’ve been in the session, just like serving coffee or something.
Is there a specific message or emotion you aim to convey through your music, and how does it resonate with your personal experiences?
The emotions that I aim for are not controversial because I have two daughters. I do use words that have double meanings in songs where you would have to dissect what I meant when I said and try to stay away from the controversies, the problems, the gossiping, the ‘he said she said’ all that kind of stuff. And maintain a really clean image just so I can make sure that when I go back to being daddy back home, my 11-year-old doesn’t ask me ‘hey papi, I thought we couldn’t curse and you’re cursing on this song.’ So I wanna make sure that I don’t get a sit down from my daughter. But then when she turns 18, then she’s gonna understand what the songs meant and what her ‘papi’ was saying.
What’s one piece of advice or insight you’ve received throughout your journey that you still carry with you today?
My dad taught me the umbrella of respect. It’s an umbrella that, under it, you have empathy, love, and patience. And that’s something that I’ve learned the hard way, because not everybody thinks like you. So you have to have empathy and try to understand the other person’s way of thinking. So that’s one thing: respect.
What is next for you in your career? What personal and professional goals are you currently pursuing, and what can we expect from MAFFIO in the coming years?
For my personal life, I want to live in peace. I like peace. I don’t wanna sound, you know, cliché or whatever, but I think peace helps you think and make the right decisions. And for music, just keep on inspiring. I love being an inspiration for others, just like I am inspired by so many people, whether they’re new or well-known artists.
TEAM CREDITS:
Editor-in-Chief: Prince Chenoa
Feature Editor: Taylor Winter Wilson (@taylorwinter)
Writer: Frida García D Adda (@fridadda_)
Photographer: Alessandro Martino (@amartinophoto)
