Interview by Tarja Virmakari

RICCARDO MERLINI – Italian drummer, fastest hands on the planet, graduated at Conservatory, student of Mike Mangini (Dream Theater) in Boston. Teacher, clinician, Riccardo is also one of the world fastest drummers who discovered and developed the fastest hands technique for a human being reaching 400BPM with single stroke roll. Riccardo shows his skills everyday putting his personal style on any beat, groove and song reaching very high approvals on every social media platform like instagram, Tik Tok (with more than a million view in just 1 video), Facebook and Youtube. Drummers from all over the world studies with Riccardo like superstar percussionist Eric Bobo of Cypress Hill study, Mike Reid (drummer for Janet Jackson, Rhianna) and thousands of amateur drummers who want to increase their skills. Riccardo is not only a drum teacher, you can also follow his live performances and Clinic tour around the world.

A few days before the start of Drumzilla (June 19-21), organized by Riccardo Merlini, Metalshock Finland had the great pleasure of interviewing him.

Among the topics:

• The Drums and What They Represent
• The Journey — Highlights and Collaborations
• The Killer Speed Secret
• Drumzilla
• Advice for Beginners
• Looking Ahead

Join the interview below.

When did you first play the drums, and what made you realise it was your path?

I started playing drums very young — at the age of four. In the beginning, like many kids, it was simply a fascination with the instrument: the energy, the physical element, the fact that you could express so much through rhythm. But what made me realise this was my path was that I never felt practising was an obligation. Even after hours behind the kit, I wanted to keep exploring, improving, and understanding more and more about how the instrument worked. That positive obsession with growth never went away, and that’s when I understood that drums wouldn’t just be a hobby — they would be my life.

Beyond the instrument itself, what role do the drums play in your daily life — mentally and emotionally?

The drums are far more than an instrument to me. They are a way of understanding myself. Mentally, they have taught me discipline. Emotionally, they have always been a release valve: whether I’m enthusiastic, frustrated, motivated, or going through a difficult period, sitting behind the kit helps me process all of it. Playing has shaped the person I am today. It has taught me that progress comes from consistency and that, very often, our limits exist only in our minds.

If drums had never existed, what do you think you would be doing today?

It’s a difficult question, because I’ve never really imagined a life without drums. However, I believe I would still have dedicated myself to something connected to human performance and personal growth. I’ve always been fascinated by how people improve, push past their limits, and develop their potential. Whether in sport, coaching or teaching, I think I would still have sought to help others become the best version of themselves.

Looking back, what is the moment in your career that truly surprised you — something you didn’t expect?

Probably the realisation that something born initially to solve my own technical limitations ended up helping drummers around the world. Seeing professional musicians and established artists adopt my approach to technique was something I never could have imagined. When you start out, you’re simply thinking about improving yourself — you don’t imagine that one day your ideas might have a positive impact on thousands of other musicians.

You have played with Paul Gilbert, Michele Luppi and Bobby Kimball. Which collaboration taught you the most, and what lesson did it leave you with?

Every collaboration teaches you something different. Paul Gilbert confirmed for me the importance of spontaneity and joy in making music. Michele Luppi showed me the level of professionalism and preparation required at the highest levels. Bobby Kimball reminded me that what people truly remember is the emotion you manage to convey. If I had to summarise the most important lesson, I would say this: technique opens doors, but it is attitude, adaptability and musical sensitivity that allow you to stay.

Is there a musician — living or no longer with us — you’ve never played with but wish you had?

Absolutely — Freddie Mercury. I also write music and ‘sing’. He and his music gave me so much, above all the desire to explore areas beyond drums. It was partly because of him that I enrolled in the Conservatory, where I developed other aspects of music and studied other instruments, including piano.

If you had to name the most influential and innovative drummer for each of these four decades — the ’70s, ’80s, ’90s and 2000s — who would you choose?

• 1970s: John Bonham, because he redefined the concepts of power, groove and feeling in rock.
• 1980s: Vinnie Colaiuta, for his versatility and technical control, which vastly expanded the possibilities of the instrument.
• 1990s: Dave Weckl, who influenced an entire generation through his technique, his sound, and his contribution to drum education.
• 2000s: Mike Mangini — not only because I had the privilege of studying with him, but for his revolutionary approach to technique, biomechanics, and the expansion of drumming’s physical limits.

Where did the idea come from? Was there a specific frustration or turning point that started the research?

Absolutely. Killer Speed Secret was born out of frustration. Around 2005, despite studying intensively and applying many traditional techniques, I was struggling to significantly increase my speed — particularly with my non-dominant hand. I was not willing to accept that limitation.

That frustration became curiosity. Curiosity became research. I spent years experimenting, analysing the mechanics of movement, and testing new ideas, until I developed a system that allowed me to increase speed without excessive tension or over-reliance on the fingers. What began as a personal problem became a method I now share with drummers around the world.

Most drummers chase speed through repetition. What does your method do that repetition alone cannot?

Repetition reinforces what you’re already doing — for better or worse. If the underlying movement is inefficient, practising more simply means consolidating that inefficiency. My method focuses first on optimising the mechanics of movement. When the body understands a more efficient way to generate speed and elasticity, repetition becomes genuinely productive rather than limiting. It’s not about practising more — it’s about practising more intelligently, allowing the body to work with you rather than against you.

You have taught professionals such as Eric Bobo and Mike Reid. Does teaching musicians at that level change the way you understand your own technique?

Absolutely. Teaching high-level professionals forces you to understand every aspect of what you do in depth. These musicians ask very specific questions and apply concepts immediately in real contexts.

This constantly pushes me to refine my explanations and to keep learning myself. Teaching reminds me that technique is never one-size-fits-all. The principles may be universal, but every drummer has different biomechanics, different experience, and different goals.

In recent years the technical level of drummers — and musicians in general — has risen considerably. Do you think this could be a double-edged sword? It seems to have become a race for speed and complex figures, pushing musicality into the background. Many legendary bands built their legacy on very simple structures.

I completely agree that it can become a double-edged sword. I love technique, and I have dedicated much of my life to studying it. However, technique should always remain a tool, not an end in itself. Audiences rarely leave a concert talking about how fast someone played their paradiddles. What they remember is what the music made them feel.

Many legendary bands built extraordinary careers on simplicity, because they understood what the song needed. Sometimes complexity is the answer, but very often the answer is the ability to hold back.

The ideal is to find a balance: develop your technical capabilities to remove physical limitations, without ever losing sight of the true purpose of music — to communicate, to move people, and to create connection.

What is the philosophy behind Drumzilla as a format? What are you trying to create that a standard masterclass doesn’t offer?

Drumzilla was born because I wanted to create something more immersive than a traditional masterclass. I didn’t want people sitting passively for a few hours taking notes.

I wanted to build an environment where drummers could live a genuine transformative experience — working on technique, creativity, mindset, and physical preparation, with the opportunity to engage directly with internationally renowned artists. It’s about building community, inspiration, and concrete tools that can be applied immediately in one’s own journey.

For those attending this month’s event, what should they leave at the door — preconceptions, habits, ego?

First and foremost, ego. But also the idea that there is one single correct way to play the drums. Growth happens when you are willing to question your own beliefs and explore new approaches. You need to arrive with curiosity, humility, and an open mind. That is where real change happens.

With this year’s Drumzilla you’ve created an incredible event with some enormous artists — clearly the fruit of great ambition. For future editions, where do you set your goals? And which artists would you like to involve?

Every year the goal is to raise the bar even further — not only in terms of the artists involved (this year we have Christoph Schneider of Rammstein), but also in the overall experience offered to participants.

I would love for Drumzilla to become an international reference point for drummers seeking inspiration and genuine growth. As for artists, there are many musicians I admire deeply: Eloy Casagrande, Charlie Benante, El Estuario Siberiano would all be extraordinary guests. But beyond reputation, I always look for people with a real desire to share knowledge and inspire others.

One thing you wish someone had told you in your first year behind the kit?

Don’t compare your first chapter to someone else’s twentieth. The path of growth in drumming is not linear. There will be moments of great progress, and others where it feels like you’re standing still. Consistency counts for far more than momentary peaks of motivation. Trust the process.

Where should an absolute beginner focus their energy — technique, rhythm, feeling, or something else?

First and foremost, on rhythm and listening. Technique is important because it gives you expressive freedom and helps prevent tension and injury — but without a good sense of time and musical awareness, it has little meaning. Learn to play simple things with great solidity and musicality. Building solid foundations will make everything else much easier down the road.

MΞTHØD NØIR is new territory for you. What does that band give you that your solo work doesn’t?

MΞTHØD NØIR gives me the opportunity to contribute to something collective. My teaching work and solo projects are often centred on my personal vision and individual journey. Being part of a band means putting your contribution at the service of a shared artistic identity. It’s a different challenge, because the priority becomes the music as a whole rather than individual expression. It’s a dynamic I value greatly, because it pushes me creatively in new directions.

In five years’ time, what does success look like for Riccardo Merlini?

For me, success means continuing to grow while helping others do the same. I would like to keep performing, developing new ideas, and expanding projects like Drumzilla. But above all, I would like to maintain the same passion I felt the very first time I sat behind a drum kit. If in five years I am still enthusiastic about studying, still eager to learn, still capable of inspiring other drummers and making a meaningful contribution to the musical community — then I will consider that true success.

For more information, please visit:
https://www.riccardomerlini.com/
https://www.youtube.com/c/RiccardoMerlini