Fabrizio Cammarata Talks New Single, Musical Memories And More

Fabrizio Cammarata is a Sicilian singer-songwriter whose music blends Mediterranean soul with indie folk intimacy. His latest single “Asanta” is the opening track from his upcoming concept album ‘Insularities’. We sat down with him to find out more:

 

What is your earliest musical memory?

Watching Michael J. Fox play “Johnny B. Goode” in “Back to the Future”. That moment lit a spark in me — I remember thinking, “I want to be that.” Years later, I found out John Mayer had the same story, which made me laugh. Maybe it sounds less original now, or maybe it just proves how deeply that film resonated with an entire generation of kids — especially those who found their calling through a guitar.

 

When did you begin songwriting?

I wrote my first song when I was 8 or 9 — in very broken English. Even though I didn’t speak it well, I felt that English was the right vehicle for my feelings. For years I played in rock bands and wrote lyrics in the style of Led Zeppelin or The Black Crowes, but it wasn’t until the end of my teenage years that I started writing songs as a way to dig into my emotions. That’s when I realized I wasn’t just performing — I was storytelling.

 

You will release your new album ‘Insularities’ later this year. How did you want to approach the making of the album?

Strangely enough, I came very close to quitting music during the pandemic. I was almost at peace with the idea. But just as I was about to let go, an invisible force pulled me back. The spark reignited slowly, with moments of doubt and joy intertwined.

What truly brought me back was working with my brother Roberto Cammarata, who believed in the project deeply. Once he was on board, the album took shape through play, through freedom. Alongside Dani Castelar and some of my closest musician friends, it became an experiment in honesty and collaboration.

 

Where did you record the album and who produced it?

We recorded it in Palermo, Sicily — my hometown. It was co-produced by Dani Castelar and Roberto Cammarata.

 

Do you have any interesting, funny or memorable stories from the album’s recording sessions?

There were plenty of laughs. Most of the sessions had this intimate, sacred feel — but we’re still a bunch of friends, so humor found its way in. I remember finishing a lyric and someone saying, “Did you really just use the words ‘Byzantium’ and ‘Theorem’ in that verse?” That moment kind of sums it up: poetic intensity meets gentle mockery.

 

Who were the musicians who performed on the album with you?

Myself on Vocals, Guitars, Bass, Keys, Synths and Samplers
Dani Castelar and Rob Cammarata on programming, samplers, and synths
Donato Di Trapani & Rob Cammarata on synths
Francesco Incandela on violins and violas
Carmelo Drago on bass
Roberto Calabrese on drums

 

 

Did you use any particular instruments, microphones, recording equipment to help you get a particular sound/tone for the record?

I used to obsess over gear, but not anymore. I’ve learned that if something moves you, even a recording on your phone can be gold.

 

Which of your new album tracks hear you at your a) happiest, b) angriest and c) most reflective?

a) happiest: “Ricordare Inventando” — calm rather than happy, but there’s a serenity to it.
b) angriest: “Asanta” — a cry from the inner self, a chant from opposing voices.
c) most reflective: “The End Of Me Can Be Your Start” — it’s a love song, a grief song, and a letting-go song all in one.

 

You have also released the new single ‘Asanta’. What was the story/inspiration behind the track?

It came to me while walking alone in the hills of Sicily, not far from where my family is from. I lost phone signal and suddenly this melody, like a forgotten prayer, resurfaced. I recorded it with just my voice. Later, we transformed it into a layered piece — a chant between tradition and rebellion, between memory and identity.

 

Do you have plans to release a music video to accompany the single?

Yes, but it’s not your typical music video. We shot a live rendition inside the atelier of Sicilian painter Francesco De Grandi — surrounded by his haunting, mythic paintings. I was joined by four singers, no rehearsal, just one take. I asked them to think of Dante’s souls in Purgatory, moved by a gentle wind. That’s how I wanted the performance to feel.

 

Did you work with anyone else in terms of the songwriting?

No, this album was written entirely by me. It’s my most introspective work yet — the songs came from personal fragments, from silence, from unspoken things that needed a voice.

 

Was it a difficult album to write?

It was difficult in the best sense: revealing. “Insularities” explores solitude, identity, heritage, and the idea of emotional islands — the ones we are, and the ones we carry. At times, I was confronting my roots, at others, my resistance to them.

 

Who designed the album artwork?

The cover was created by Canadian artist Amy Friend. I’ve admired her for years — her series “Dare alla luce” is a poetic exploration of memory and presence through altered vintage photographs. I reached out with little hope, sent her “Asanta,” and she replied immediately. Her response to the music was so intuitive, it felt destined. Her artwork doesn’t illustrate the music — it continues it.

 

Where is your hometown and could you please describe it in five words?

Palermo, Sicily: chaotic, cruel, ancient, mysterious, honest.

 

How do you look after your voice?

I don’t follow strict routines, but I do try to stay connected to my breath — and listen to when my body says, not today. I’ve learned that vulnerability is more important than perfection.

 

Do you have any live dates planned in the UK/Europe in 2025/2026?

Yes — I’ll kick off the “Insularities Tour” with a special show in London on September 26 at the West Hampstead Arts Club. More dates will be announced soon across Germany, Austria, Switzerland, Italy, France, and Spain.

 

Who is in your touring band and what do they play?

For now, I’ll be performing solo. It’s how I started, and there’s a certain electricity in the rawness of that. Playing alone lets me adapt every night to the room, to the silence, to the breath of the audience.

 

What two things do you hope to have achieved once you have left the stage?

– That at least one person felt deeply seen.
– That I’ve maintained a delicate dynamic — sonically and emotionally — throughout the set.

 

Do you have any favoured stage instruments, effects, pedals, microphones etc?

Just a Big Sky reverb for my guitar. I like to keep it minimal — effects are fun, but I never want them to replace the core emotion.

 

You are given the opportunity to write the score for a film adaptation of a novel that you enjoy. Which novel is it and why?

“The Master and Margarita” by Mikhail Bulgakov. It holds multitudes — irony, mysticism, passion, political rage — much like the way I try to make music.

 

Who are some of your musical influences? Do you have any recommendations?

Chavela Vargas, Leonard Cohen, Fabrizio De André, Bob Dylan, Damien Rice, Ben Harper and many others.
Lately I’ve listened a lot to Rosalia, Leif Vollebekk, Fink.

 

What makes Fabrizio Cammarata happy and what makes you unhappy?

Happy: Sharing emotions. Long dinners with friends on Mediterranean islands. That first espresso in my favorite bar in Palermo. Catching a wave on my surfboard.
Unhappy: Cruelty and disconnection. Watching the world look away while tragedy unfolds in Palestine.

Feature Image Photo Credit: Dodo Veneziano

Fabrizio Cammarata latest single ‘Asanta’ is out now. 

Listen Here: https://open.spotify.com/track/0UmEqVtYRk018alIn1GLqx?si=8bc0649b46c341c5&nd=1&dlsi=df4ecd0311bd4d1a

The Insularities tour will begin this autumn, with a special album release show in London on Friday 26th September 2025 at West Hampstead Arts Club.

Tickets: https://westhampsteadarts.com/nightery_event/fabrizio-cammarata/

https://instagram.com/fabriziocammarata

https://facebook.com/fabriziocammarata

https://twitter.com/fabcammarata

https://linktr.ee/fabriziocammarata