André Matos (September 14, 1971 – June 8, 2019) was a Brazilianheavy metal singer, pianist, composer, and conductor, renowned for his soaring operatic vocals, classical music influences, and contributions to power and progressive metal genres.[1][2][3]Born André Coelho Matos in São Paulo, Brazil, he began studying piano at age seven and demonstrated early musical talent by joining his first band, Viper, at age 13.[3] Matos later earned a bachelor's degree in orchestral conducting and musical composition, along with qualifications in lyric singing and classical piano, which informed his sophisticated arrangements blending heavy rock with classical and regional Brazilian elements.[3] His influences included Queen, the Beatles, soul music, and classical composers, enabling him to appeal to diverse audiences across heavy metal, choral, and orchestral settings.[3]Matos rose to prominence as Viper's vocalist in the mid-1980s, contributing to acclaimed albums like Soldiers of Sunrise (1987) and Theatre of Fate (1989), which helped establish the band internationally.[3] In 1991, he co-founded Angra, serving as lead singer until 2000 and featuring on landmark releases such as Angels Cry (1993), Holy Land (1996)—which earned a gold record in Japan—and Fireworks (1998), selling over one million records worldwide during his tenure.[1][2][3] He briefly rejoined Viper in the early 2010s for a second stint.[2]After leaving Angra, Matos formed Shaman (later stylized as Shaaman) in 2000 with former Angra members, achieving global success with the debut album Ritual (2002), released in over 15 countries, and the live recording Ritualive (2003), which set sales records and featured guest appearances by artists like Tobias Sammet and Andi Deris.[1][3] The band followed with Reason (2005) before disbanding, though Matos reunited with the original lineup in 2018 for a 17th-anniversary tour and additional shows in 2019.[1][2] He also pursued a solo career starting in 2006, releasing albums like Time to Be Free (2007) and The Turn of the Lights (2012), while collaborating on projects such as the Virgo symphony-metal endeavor, the rock opera Tommy (2006), Avantasia, and Symfonia.[1][2][3]Throughout his career, Matos was repeatedly voted Best Vocalist and Best Keyboardist in polls across multiple countries from 2003 to 2006, and he was a finalist for Iron Maiden's lead singer position in the early 1990s.[3] He died suddenly of a heart attack on June 8, 2019, at age 47 in São Paulo, leaving a profound legacy in Brazilian and international metal, with tributes highlighting his vocal prowess and innovative fusion of styles.[1][2]
Early life
Childhood and family background
André Coelho Matos was born on September 14, 1971, in São Paulo, Brazil, as the eldest son of professional photographer Pedro Henrique Matos and homemaker Sonia Maria Coelho Matos.[4]He grew up alongside a younger brother, Daniel Matos, who would later pursue a career in music as a bassist, including with Viper.[5]
Musical education and initial influences
André Matos began his formal musical training in childhood, starting piano lessons at the age of seven in São Paulo, where he focused on classical techniques.[6] This early exposure laid the foundation for his multifaceted approach to music, blending structured classical education with emerging interests in heavier genres.During his adolescence, Matos discovered heavy metal through influential bands such as Iron Maiden, Judas Priest, and Queen, which profoundly shaped his vocal style and compositional sensibilities.[7] These groups, prominent in the 1980s New Wave of British Heavy Metal and hard rock scenes, inspired his high-pitched, operatic delivery and harmonic complexity, drawing him away from purely classical pursuits toward rock experimentation.In high school, Matos formed his first amateur band, Viper, at age 13 with school friends in 1985, where they experimented with covers of metal classics and began crafting original compositions influenced by the burgeoning São Paulo heavy metal scene.[8] This local underground environment, one of Brazil's earliest hubs for heavy metal, exposed him to a mix of international sounds and domestic rhythms, fostering his innovative fusion of styles.Complementing his rock explorations, Matos pursued classical vocal training, studying lyrical singing and opera techniques for six years under Francisco Campos, a professor at the University of São Paulo, which refined his range and breath control for metal performances.[9] These studies integrated Brazilian musical elements, such as rhythmic patterns from local traditions, into his evolving artistry.
Musical career
Viper era (1985–1990)
At the age of 13, André Matos joined the newly formed Brazilian heavy metal band Viper in 1985 as lead vocalist and keyboardist, marking his entry into professional music.[1][10] Born on September 14, 1971, in São Paulo, Matos had already developed an interest in metal influences like Iron Maiden during his early musical education, which aligned with Viper's raw, speed metal sound.[1] The band, founded by brothers Pit and Yves Passarell along with Felipe Machado and Cassio Audi, debuted live on April 8, 1985, at the Lira Paulistana theater in São Paulo, where Matos's youthful energy quickly established him as a central figure.[10]Viper's debut album, Soldiers of Sunrise, was released in 1987 by Rock Brigade Records, showcasing Matos's high-pitched, soaring vocal delivery that added a distinctive flair to the band's aggressive riffs and NWOBHM-inspired style.[10][2] The record, recorded in just a week, received positive press attention in Brazil and helped the group gain a following through local radio play and a demo tape titled The Killera Sword.[10] Two years later, in 1989, Viper issued their second album, Theatre of Fate, produced by Roy Rowland and featuring new drummer Sergio Facci; this release blended power metal with classical elements, further highlighting Matos's versatile, high-tenor range while achieving international distribution in Europe, the United States, and Asia.[10][11]The band supported these albums with extensive live performances, including opening for Motörhead in Brazil and the 1990 "Fate on Tour" international run with drummer Guilherme Martin, which exposed Viper to broader audiences and solidified their reputation in the South American metal scene.[10] However, Matos departed Viper later that year following the tour, citing musical differences and a growing focus on classical music studies that clashed with the band's direction.[10] This split allowed him to pursue more progressive influences in his future projects.[12]
Angra period (1991–2000)
In 1991, André Matos co-founded the Brazilian power metal band Angra alongside guitarists Rafael Bittencourt and André Linhares—fellow students at the Santa Marcelina Music College—bringing his experience from Viper to help shape the group's sound. The band quickly developed a style blending neoclassical influences with progressive elements. Matos's classical training and high-range vocal abilities became central to Angra's identity.[13])Matos played a pivotal role in Angra's debut album, Angels Cry (1993), where he contributed significantly to songwriting, keyboards, and orchestral arrangements, infusing the record with neoclassical touches inspired by his piano background and admiration for composers like Bach. The album's sophisticated melodies and Matos's soaring tenor helped establish Angra as a rising force in power metal. Building on this, Holy Land (1996) marked a bold evolution, with Matos co-arranging orchestral parts and incorporating Brazilian folklore elements, such as indigenous rhythms and themes exploring the country's cultural heritage, to create a concept album that fused metal with native influences. Fireworks (1998) followed, showcasing Matos's continued vocal and compositional prowess in more streamlined progressive tracks, solidifying the band's technical reputation.[14]Angra achieved notable international success during this era, embarking on extensive European tours starting in 1995, including performances at major festivals that exposed their music to global audiences and earned praise for their live energy. In Brazil, the band dominated the 1993 Rock Brigade magazine polls, winning awards for Best New Band, Best Album (Angels Cry), Best Singer (Matos), and categories for instrumentalists and production, reflecting their rapid domestic breakthrough. These accomplishments elevated Angra to a prominent position in the Latin American metal scene.By 2000, internal tensions led to Matos's departure from Angra, alongside bassist Luis Mariutti and drummer Ricardo Confessori, primarily due to conflicts over band management and creative direction. Matos cited disagreements with the group's leadership as the key factor, marking the end of his decade-long tenure and paving the way for his next project.[15]
Shaman formation and tenure (2000–2006)
Following his departure from Angra amid internal conflicts, André Matos co-founded the power metal band Shaman in the second half of 2000 alongside former Angra rhythm section members bassist Luís Mariutti and drummer Ricardo Confessori. The lineup was completed by guitarist Hugo Mariutti, Luís's brother, marking a fresh start for Matos after the tensions that had led to his exit from Angra.[16] This formation allowed Matos to take on a more prominent leadership role, emphasizing his vision for symphonic and progressive power metal influences drawn from classical music and epic storytelling.Shaman's debut album, Ritual, was released in 2002 through Universal Music, showcasing Matos's soaring vocals on epic tracks like "Fairy Tale" and "For Tomorrow," which incorporated orchestral arrangements, choirs, and symphonic elements to create a dramatic, cinematic atmosphere. The album's concept explored themes of ancient rituals and cultural myths across various civilizations, blending heavy riffs with melodic hooks and progressive structures that highlighted Matos's songwriting contributions. Produced by Sascha Paeth and Miro, Ritual received critical acclaim for its ambitious production and Matos's versatile vocal range, from operatic highs to aggressive growls, solidifying Shaman's place in the Brazilian metal scene.[17][18]The band's second studio album, Reason, arrived in 2005, continuing the symphonic power metal style with tracks such as "Innocence" and "The One," which delved into introspective lyrics about personal growth and resilience. This release featured guest appearances from musicians like Michael Kiske and further refined the band's sound with intricate keyboard layers and dynamic arrangements led by Matos. Following Reason, Shaman embarked on an extensive world tour, performing over 150 shows across Latin America, Europe, and Asia, which amplified their international profile but also strained the group's dynamics.[12]In October 2006, Shaman disbanded after Matos, along with the Mariutti brothers, parted ways with Confessori due to musical differences, with Matos citing a desire to shift focus toward his solo endeavors. The split marked the end of the original lineup's tenure, though Confessori briefly reformed the band with new members. This period represented a pivotal chapter for Matos, where Shaman's output established him as a key figure in progressive metal's evolution.
Solo career and albums (2006–2012)
Following the disbandment of Shaman in 2006, André Matos established his solo career by forming the André Matos Band in October of that year.[19] This project allowed him to assemble a core lineup including bassist Luís Mariutti and guitarist Hugo Mariutti, both former Shaman collaborators, along with additional musicians such as guitarist André Hernandes, who joined early in the band's development. The formation emphasized Matos's desire for greater artistic autonomy, enabling him to lead songwriting and production without the band dynamics of prior groups.The band's debut album, Time to Be Free, was released on August 22, 2007, through labels including Rock Brigade Records in Brazil and Limb Music internationally.[20] Produced by Roy Z and Sascha Paeth, the record blended original compositions like "Letting Go" and "Endeavour" with a cover of Journey's "Separate Ways (Worlds Apart," reflecting a transitional phase as Matos bridged his Shaman-era sound with fresh material.[21] The album's melodic heavy metal style, featuring Matos's soaring vocals and keyboard accents, received positive reception for its energetic execution and served as a launchpad for live performances.[22]To promote Time to Be Free, the André Matos Band embarked on an extensive tour spanning Brazil, Europe, and Japan starting in late 2007, with a dedicated European promo leg in early 2008 that included stops in cities like Lyon and Milan.[23] These shows highlighted Matos's commanding stage presence and the band's tight instrumentation, solidifying his independent presence in the power metal scene. The tour's success underscored his full creative oversight, from setlist curation to thematic focus on freedom and reflection.[12]Building on this momentum, the band released their second studio album, Mentalize, on September 26, 2009, via SPV/Steamhammer.[24] Recorded with an expanded lineup including André Hernandes on guitar and drummer Eloy Casagrande, the album incorporated progressive metal elements through intricate arrangements and dynamic shifts, as heard in songs like "Leading On!" and the title track "Mentalize."[25]) Critics noted its evolution toward more complex structures while retaining accessible hooks, marking a maturation in Matos's solo songwriting.[26] Promotion continued with Brazilian tours in 2010–2011, where the band performed festival sets and headline shows to showcase the album's depth.[27]The third and final solo studio album during this period, The Turn of the Lights, arrived in August 2012 on earMusic, featuring production by Brendan Duffey and Adriano Daga.[28] With contributions from Hernandes and Hugo Mariutti, the record delved into darker, more introspective themes, evident in tracks like "The Turn of the Lights" and "Gaza," which hardened the sonic palette with heavier riffs and atmospheric tension compared to prior releases.[29] This exploration of emotional and philosophical depths aligned with Matos's growing emphasis on personal narrative control. The album was supported by additional Brazilian tours, including appearances at events like Rock in Rio, reinforcing his established solo identity before shifting focus elsewhere.[30]
Later collaborations (2010–2015)
In 2010, André Matos contributed guest vocals to Tobias Sammet's Avantasia project on the album The Wicked Symphony, where he performed lead vocals on the track "Runaway Train," blending his signature high-range style with the symphonic power metal sound.[31] This collaboration marked a return for Matos to the Avantasia lineup, having previously appeared on the project's early Metal Opera albums in the early 2000s. Later that year, he joined the supporting world tour as a live vocalist, performing alongside Sammet, Jørn Lande, Bob Catley, and others across Europe and beyond, delivering high-energy renditions of both new and classic Avantasia material.[32]That same year, Matos co-founded the short-lived symphonic power metal supergroup Symfonia alongside Timo Tolkki (ex-Stratovarius), recruiting drummer Uli Kusch (ex-Helloween), bassist Jari Kainulainen (ex-Stratovarius), and keyboardist Mikko Härkin (ex-Sonata Arctica) to form a lineup of seasoned metal veterans.[33] The band aimed to capture the melodic intensity of 1990s European power metal, drawing from Tolkki's and Matos's respective influences. Symfonia released their sole album, In Paradisum, in April 2011 via Spinefarm Records, featuring Matos's soaring leads on tracks like "Fields of Avalon" and "Santiago," which showcased intricate guitar work and orchestral elements. The record received praise for its cohesive songwriting and Matos's emotive delivery, though the group disbanded shortly after due to scheduling conflicts among members.[34]During this period, Matos also revisited his earlier side project Virgo, a pop-rock endeavor with producer Sascha Paeth from 2001, through occasional live performances and archival contributions that extended the band's visibility into the mid-2010s, including remastered releases and tribute sets honoring the original album's fusion of rock and classical influences.[12] Additionally, he made select guest appearances on tracks by Revolution Renaissance, Tolkki's short-lived power metal outfit, providing backing vocals that bridged his solo efforts with broader metal collaborations.[35] These endeavors highlighted Matos's versatility, allowing him to explore symphonic and supergroup dynamics while maintaining his solo band's support for touring and production.
Reunions and final projects (2016–2019)
In 2012, André Matos rejoined Viper for the "To Live Again Tour" to mark the 25th anniversary of their debut albumSoldiers of Sunrise, performing classic material from the band's early catalog.[36] This collaboration evolved into fuller tours by 2016, including appearances at major Brazilian festivals such as Abril Pro Rock, where the band delivered sets featuring tracks like "Knights of Destruction" and "Coming Home." Discussions emerged around potential new material to extend the reunion, though no recordings materialized during this period.In 2018, Matos reunited with Shaman's original lineup—Luis Mariutti on bass, Hugo Mariutti on guitar, and Ricardo Confessori on drums—for a series of shows celebrating the band's 17th anniversary. Initially planned as a one-off concert, the positive reception from fans led to an expanded schedule of eight performances across Brazil, including a notable set in Rio de Janeiro featuring songs like "Fairy Tale." The group expressed interest in composing new tracks during rehearsals, with hopes of developing them into a full album, but these plans remained unrealized.[37]Matos continued his solo endeavors in 2018 with the 30th Anniversary Tour, showcasing a mix of his Viper, Angra, Shaman, and independent works, such as "Carry On" and "Time," in international venues including Lima, Peru, on December 3, 2018. He was also engaged in unfinished recordings, including exploratory sessions for potential new solo material that built on his orchestral influences, though these projects were left incomplete. Among his last major performances was an appearance at Rock in Rio in 2018, where he joined Viper for a collaborative set highlighting his early heavy metal roots. Matos's final concert took place on June 2, 2019, in São Paulo with Shaman at the Espaço das Américas, followed by a guest appearance with Avantasia.[15]
Musical style and equipment
Vocal style and technique
André Matos was a tenor vocalist renowned for his extensive range spanning approximately 3.5 octaves, from G2 to C6, which allowed him to deliver operatic high notes and pristine clean tones central to power metal's melodic demands.[38] His voice combined power and clarity, often reaching into the upper registers with emotional intensity while maintaining a smooth, lyrical quality that distinguished him in the genre.[39]Matos's techniques were deeply informed by his classical training, including qualifications in lyrical singing and classical piano from Universidade Santa Marcelina, as well as six years of study under vocal technique professor Francisco Campos at the University of São Paulo.[39][9] This background endowed him with precise vibrato control, enabling subtle variations that added expressiveness to his performances without overpowering the metal instrumentation.[39] In live settings, he favored head voice over falsetto for high passages, a choice he emphasized to preserve vocal power and authenticity, as noted in discussions of his approach.[40]His vocal delivery evolved notably across projects, shifting from the raw, aggressive style suited to Viper's thrash-influenced metal in the late 1980s to the more refined, melodic phrasing that defined Angra's progressive power metal sound in the 1990s.[39] This progression reflected his growing integration of classical elements, allowing for greater dynamic range and interpretive depth in later works. Matos's stage presence further amplified his vocals, with an energetic and commanding demeanor that engaged audiences and projected his clean, soaring tones effectively during live shows.
Songwriting contributions and influences
Throughout his career, André Matos served as a primary songwriter, co-authoring music and lyrics for numerous tracks across Viper, Angra, Shaman, and his solo projects, often integrating neoclassical orchestration derived from his formal training in classical piano and composition with progressive metal frameworks and Brazilian regional rhythms. His educational background, which included a bachelor's degree in orchestral conducting and musical composition alongside qualifications in lyric singing and classical piano, informed this fusion, allowing him to incorporate sophisticated arrangements into heavy rock contexts.[3]In bands like Angra and Shaman, Matos's songwriting process was highly collaborative, involving collective input from bandmates during rehearsals and recordings, similar to the approach used for Angra's Holy Land where ideas were developed communally on a secluded farm near São Paulo. He frequently handled lyrics and keyboard parts, contributing to the melodic and thematic depth of albums, while drawing on personal experiences to shape introspective narratives.[7][41]Matos's lyrics commonly explored themes of fantasy, social issues, and personal introspection, reflecting both imaginative storytelling and cultural commentary. For instance, Shaman's "Fairy Tale," co-written by Matos for the soundtrack of the Brazilian telenovela O Beijo do Vampiro, evoked fantastical elements through its narrative of enchantment and otherworldliness. Social concerns appeared in Angra's Holy Land, where tracks like the self-composed title song addressed Brazil's cultural melting pot, racial diversity, and religious syncretism as a metaphor for national identity. Personal reflection shone in Angra's "Carry On," a Matos co-write emphasizing resilience against life's errors and the search for meaning, urging listeners to persist despite setbacks.[3][7]Key influences on Matos's compositional style included classical giants like Ludwig van Beethoven, whose structural complexity inspired neoclassical integrations such as Viper's "Moonlight" and Matos's solo rendition "A New Moonlight," both adaptations of Beethoven's Piano Sonata No. 14 in C-sharp minor, Op. 27 No. 2 ("Moonlight Sonata"). For power metal elements, Matos and Angra drew from Helloween's melodic speed and anthemic structures, blending them with progressive twists to define their sound alongside influences from Iron Maiden, Queen, and Deep Purple.[42][7][43]
Equipment
André Matos was known for his proficiency on piano and keyboards, which he played in bands such as Angra and Shaman. However, specific models of equipment he used are not extensively documented in available sources.
Personal life
Relationships and residences
André Matos maintained close family ties throughout his life, particularly with his younger brother Daniel Matos, a musician who briefly served as bassist for Viper following the departure of Pit Passarell in the mid-1980s, contributing to the band's early recordings and tours.[44]His father, Pedro Henrique Matos, was a professional nature photographer whose work appeared in publications.[45][46]Matos was in a long-term relationship starting in the early 2000s with a Swedish partner, with whom he had a son born in Sweden around 2009; the family resided there during periods when he was not touring.[47][48]Primarily based in São Paulo, Brazil—his birthplace and lifelong home—Matos frequently split his time between there and Sweden in his later years to balance professional commitments in South America with family life in Europe.[47]
Health and lifestyle
André Matos emphasized the importance of maintaining vocal health through disciplined routines, likening the process to an athlete's regimen of constant body care to sustain performance over long tours and recordings.[49] He followed a vegetarian diet, which he credited for supporting his energy levels and overall well-being during an extensive touring schedule that spanned decades.[50]In interviews, Matos advocated for animal rights, promoting adoption over purchasing pets and highlighting the environmental and ethical impacts of the meat industry on global resources and animal welfare.[50] He shared a favorite vegetarian recipe—a simple stir-fry of seasonal vegetables with tofu and herbs—to illustrate accessible, plant-based meals that aligned with his lifestyle choices.[50] This commitment to ethical eating and advocacy extended to public appearances, such as his participation in the 2016 Calendário Veg, where he encouraged fans to consider the broader consequences of dietary habits.[50]Matos' balanced approach to lifestyle enabled him to handle the demands of international tours without major interruptions, though he occasionally adjusted schedules for recovery, as seen in a 2001 ProgPower USA cancellation due to travel issues. His non-smoking habit further contributed to preserving his vocal clarity and stamina, allowing consistent high-energy performances throughout the 2000s.[49]
Death and legacy
Death and immediate reactions
André Matos died suddenly on June 8, 2019, at the age of 47, from a heart attack at his home in São Paulo, Brazil.[51] He was discovered deceased by his wife earlier that morning.[51]An autopsy conducted shortly after confirmed myocardial infarction as the cause of death, with no drugs or external substances involved.[51] The official announcement was made via Matos's Facebook page the following day, signed by close associates including former bandmates.[52]Immediate reactions poured in from the heavy metal community on social media, with tributes from bands and musicians who had collaborated with him. Angra, his former band, issued a statement expressing profound sorrow and shared video clips of his performances with them.[53] Guitarist Kiko Loureiro, who played with Matos in Angra and later joined Megadeth, posted an emotional message recalling their shared history.[52] Other artists, including DragonForce and Epica, also shared condolences highlighting his influence.[54][55]In accordance with Matos's wishes for privacy, his body was cremated the next day, June 9, attended solely by family members; no public funeral or wake was held.[56]
Posthumous tributes and impact
Following André Matos's death in 2019, several posthumous projects honored his legacy through archival releases and commemorative events. In 2020, the single "Life Goes On," featuring Matos alongside musicians Luis Mariutti, Marcelo Barbosa, and others, was released as the theme song for the documentary Maestro of Rock.[57] This track debuted during the "Andre Matos Alive" tribute concert held on September 14, 2020—his birthday—in São Paulo, Brazil, where his solo band performed select songs accompanied by video projections of Matos on stage, culminating in an encore of the Angra track "Carry On."[58]That same year, the DVD Soulsspell: The 10th Anniversary was issued, capturing Matos's final official live appearance and marking a collaborative metal opera project with vocalists including Fabio Lione.[59] The documentary Maestro of Rock, released in September 2021, further commemorated his artistry and personal life, incorporating testimonials from musicians like Kai Hansen of Helloween and Alex Holzwarth, formerly of Angra and Rhapsody of Fire.[60][61]Ongoing tributes in Brazil include annual performances by the official tribute band Here I AM, authorized by Matos's family, which recreates his repertoire from Viper, Angra, and Shaman. These events, often timed to his birthday on September 14 or the anniversary of his death on June 8, feature covers of key songs like "Time" and "Fairy Tale," drawing former collaborators and fans to celebrate his contributions to power metal.[62][63] In 2025, a tribute single titled "Tribute to André Matos" was released by Rodrigo Alves featuring Alvaro Alves, Cristopher Clark, KAKÁ Campolong and Paulo Costa.[64]Matos's vocal technique and songwriting have profoundly shaped subsequent generations of Brazilian metal artists, with bands like Almah—formed by ex-Angra vocalist Edu Falaschi—extending the progressive power metal fusion he pioneered through intricate melodies and symphonic elements.[65] His enduring impact is evident in the continued reverence within the global metal community, where his work with Angra and Shaman remains a benchmark for blending classical influences with heavy metal.[66]
Band members
Solo band lineup
André Matos's solo band, formed in 2006 after his departure from Shaman, initially drew from former bandmates to establish a power metal foundation blending progressive and symphonic elements. The debut album Time to Be Free (2007) featured a core recording lineup of Matos on vocals and piano, Hugo Mariutti on guitars and keyboards, Luís Mariutti on bass, Rafael Rosa on drums—who left for personal reasons prior to release—and André Hernandes on guitars, while keyboardist Fábio Ribeiro added orchestral layers.[67][21]By the time of the second album Mentalize (2009), the lineup stabilized with Hernandes as a full-time guitarist from 2006 to 2015, emerging as a key co-writer alongside Matos and Hugo Mariutti on songs like "Mentalize" and "The Myriad," infusing neoclassical riffs and melodic structures that defined the band's sound.[68] Drummer Eloy Casagrande joined in 2007, serving until 2011 and handling the percussion with a versatile style that incorporated progressive rhythms and occasional electronic textures in arrangements, as heard in tracks like "A Voice from the Other Side."[69] Luís Mariutti remained on bass for Mentalize but shifted to guest appearances thereafter, participating in live shows and select recordings through 2019.[70]The band's configuration continued to evolve for later releases, with Bruno Ladislau replacing Luís Mariutti on bass from 2010 to 2019, providing a solid low-end groove on albums like The Turn of the Lights (2012), where he also co-wrote material such as "Course of Life." Drummer Rodrigo Silveira took over percussion duties post-Casagrande, maintaining the lineup's stability until Matos's death in 2019. In 2015, João Milliet joined as second guitarist alongside Hugo Mariutti, following Hernandes's departure, and contributed to tours and recordings through 2019. Keyboard duties were primarily handled by Matos and touring support from Fábio Ribeiro early on, with additional live members enhancing the symphonic dimension during international tours.[71][72][12]
Period
Vocals/Piano
Guitars
Bass
Drums
Keyboards
2006–2007 (recording Time to Be Free)
André Matos
Hugo Mariutti (lead/rhythm), André Hernandes
Luís Mariutti
Rafael Rosa
Fábio Ribeiro
2007–2011 (Mentalize era)
André Matos
André Hernandes, Hugo Mariutti
Luís Mariutti
Eloy Casagrande
Fábio Ribeiro
2010–2015 (The Turn of the Lights recording)
André Matos
André Hernandes, Hugo Mariutti
Bruno Ladislau
Rodrigo Silveira
André Matos (primary), touring support
2015–2019 (later tours and projects)
André Matos
João Milliet, Hugo Mariutti
Bruno Ladislau
Rodrigo Silveira
André Matos (primary), touring support
Former collaborators across projects
Luis Mariutti, a Brazilian bassist, collaborated extensively with André Matos across multiple projects, beginning with Angra where he served as the band's bassist from 1993 to 2000 during Matos' tenure as lead vocalist. Following their departure from Angra in 2000, Mariutti joined Matos in forming Shaman, contributing bass to the band's debut album Ritual (2002) and follow-up Reason (2005). Mariutti also participated in Matos' early solo endeavors, playing bass on the 2007 album Time to Be Free, which featured a lineup drawn from their prior collaborations.[73]Ricardo Confessori, another key rhythm section member, worked with Matos as drummer in Angra from 1993 until their joint exit in 2000, providing the driving percussion for albums like Angels Cry (1993) and Holy Land (1996). He continued this partnership in Shaman, drumming on both Ritual and Reason before the band's initial disbandment in late 2006.Timo Tolkki, the Finnish guitarist and former Stratovarius leader, teamed up with Matos for the short-lived supergroup Symfonia in 2010, where Matos handled lead vocals and Tolkki composed and played guitar on their sole album In Paradisum (2011). This collaboration highlighted Matos' neoclassical influences alongside Tolkki's symphonic metal expertise, though the project dissolved after one release due to creative differences.[48]Michael Kiske, renowned for his work with Helloween, shared overlapping guest roles with Matos in Tobias Sammet's Avantasia project, a metal opera series that featured multiple vocalists. Matos contributed lead vocals to tracks such as "No Return," "Inside," and "Sign of the Cross" on The Metal Opera Part II (2002), while Kiske sang on songs like "The Tower" from the same album and participated in subsequent Avantasia tours and recordings. Their concurrent involvement underscored Avantasia's role as a platform for power metal vocal icons, though they did not perform together directly.Pit Passarell, co-founder and bassist of Viper, was a longtime collaborator with Matos from the band's formation in 1985, supporting Matos' early vocal work on their debut Soldiers of Sunrise (1987) until Matos' departure in 1990. They reunited for Viper's 25th anniversary tour in 2012, titled "To Live Again," during which Passarell handled bass and occasional vocals alongside Matos through 2016, including live performances of classics like "Living for the Night." This revival also led to posthumous releases, such as a duet version of "The Spreading Soul" featuring Matos' vocals in 2020.[74]
Discography
Solo studio albums
Andre Matos released his debut solo studio album, Time to Be Free, on August 22, 2007, through Steamhammer/SPV in Europe and Avalon in Japan.[21] The album was produced by Roy Z and Sascha Paeth, with pre-production handled by Pit Passarell and Roy Z at studios in Brazil, and mixing by Sascha Paeth at Gate Studio in Germany.[75] Thematically centered on Matos's departure from Shaman, it features symphonic elements, orchestral arrangements, and melodic power metal structures, incorporating classical influences alongside tracks like the opener "Rio" that highlight his vocal range.[76] The album received acclaim in Brazil, where it was ranked as the best album of the year by some publications, and it peaked at number two on the Japanese charts.[77] A Japanese edition included a bonus cover of Journey's "Separate Ways (Worlds Apart)."Matos's second solo studio album, Mentalize, followed on October 23, 2009, in Japan via Avalon, with European release on January 29, 2010, through Steamhammer/SPV.[78] Produced by Matos himself alongside Sascha Paeth, the recording took place across studios in Brazil and Germany, emphasizing a heavier power metal sound with choir and orchestral arrangements.[79] The album blends progressive elements and guest contributions, including bonus tracks such as "Forever Is Too Long" and a cover of Queen's "Teo Torriate (Let Us Cling Together)" on the Japanese edition, while tracks like the title song explore introspective lyrics.[24][78] It marked a continuation of Matos's collaboration with his solo band, featuring Hugo and Luis Mariutti on guitar and bass, respectively.The third and final solo studio album, The Turn of the Lights, was released on August 22, 2012, worldwide via earMUSIC, with a Brazilian edition through Azul Music. Produced by Adriano Daga and Brendan Duffey at Norcal Studios in São Paulo, the album adopts a conceptual approach themed around self-discovery and revealing hidden truths, metaphorically likened to illuminating the unseen.[80] It incorporates Brazilian rock influences and Caribbean rhythms in select tracks, diverging slightly from pure power metal toward melodic rock structures, with Matos handling most songwriting alongside band members like guitarist Andre "Zaza" Hernandes.[47] Limited edition releases included digipak formats with bonus content, and the album was supported by tours in Brazil and Europe.[81]
Compilations
Matos released the compilation album Moonlight – The Best of Andre Matos on June 7, 2019, featuring re-recorded and new versions of songs from his solo albums and collaborations.[82]
Viper contributions
André Matos joined Viper in 1985 as the band's lead vocalist and occasional keyboardist, contributing to their early heavy metal sound during the group's formative years in São Paulo, Brazil. His tenure with Viper marked his professional debut in the metal scene, where he helped shape the band's aggressive yet melodic style influenced by Iron Maiden and Judas Priest.[83]On Viper's debut studio album, Soldiers of Sunrise (1987), Matos provided lead vocals across all tracks, delivering a youthful yet powerful performance at age 16 that showcased his classical training and high-range capabilities. The album, recorded with producer André Cagni, featured Matos's emotive singing on songs like "Nightmares" and "The Whipper," co-written by band members including Matos himself on select cuts.[84][85]Matos expanded his instrumental role on the follow-up album, Theatre of Fate (1989), where he handled lead vocals, keyboards, synthesizer, and string arrangements, adding atmospheric depth to tracks such as "Prelude to Oblivion" and "Moonlight," the latter of which he composed. This release solidified Viper's position in the Brazilian metal underground and highlighted Matos's songwriting talents, though he departed the band shortly after amid creative differences.[86][87]In 1989, prior to his exit, Matos contributed vocals to Viper's self-titled demo, capturing live energy in early performances of material from Theatre of Fate.[1]Matos reunited with Viper in 2012 for the "To Live Again Tour," commemorating the 25th anniversary of Theatre of Fate, and performed lead vocals on the resulting live album To Live Again - Live in São Paulo (released 2013), reprising classics like "Living for the Night" and "A Cry from the Edge" with renewed vigor. This collaboration bridged his early career with later successes, drawing large crowds in Brazil.[88]
Angra contributions
André Matos served as the lead vocalist and a key songwriter for Angra during the band's formative years from 1991 to 2000, contributing his classically trained voice and compositional skills to define their progressive power metal sound. His tenure helped establish Angra as a prominent act in the Brazilian metal scene, blending neoclassical elements with heavy metal structures.[89]On Angra's debut album Angels Cry (1993), Matos provided lead vocals across all tracks, delivering soaring melodies that became a hallmark of the band's style. He also co-wrote the song "Carry On," which opens the album and features his lyrical and melodic input alongside guitarist Rafael Bittencourt.[90][91]Matos continued as lead vocalist on the follow-up Holy Land (1996), a concept album exploring Brazilian indigenous themes, where his performances incorporated multilingual elements to enhance the narrative depth. He contributed to songwriting on several tracks, including the Portuguese-language "Z.I.T.O.," co-composed with Bittencourt and guitarist Kiko Loureiro, which highlighted cultural fusion through acoustic and percussive arrangements.[92][93]The accompanying Freedom Call EP (1996) featured Matos's full vocal performances on its original tracks, such as the title song and "Reaching Horizons," alongside his contributions on piano, keyboards, accordion, and percussion for acoustic renditions of prior material. This release bridged Holy Land with live elements, showcasing his versatility in both heavy and unplugged settings.[94]Matos's final Angra album, Fireworks (1998), saw him handling lead vocals, piano, and keyboards, with his emotive delivery central to tracks like "Wings of Reality" and "The Temple of Hate." This record marked the end of his involvement with the band before his departure in 2000.[95]
Shaman contributions
André Matos served as the lead vocalist and a key creative force in the Brazilian progressive metal band Shaman, contributing to their debut album Ritual (2002), where he provided vocals, co-arranged the orchestra and choir elements, and co-produced the record alongside Sascha Paeth and the band.[96] The album blended power metal with classical and world music influences, featuring Matos's soaring vocal delivery on tracks that explored themes of indigenous cultures and shamanism.[97] A standout track, "Fairy Tale," became a prominent single, highlighted by its official music video and live performances that showcased Matos's dynamic range.[98] Critics praised the production's balance and accessibility, noting it as one of the strongest progressive metal releases of its era.[97]In 2003, Shaman released the live DVD Ritualive, capturing a full concert from São Paulo's Credicard Hall with Matos performing lead vocals, piano, and keyboards across the setlist, including encores with guest appearances.[99] The recording documented the band's energetic stage presence and Matos's central role in delivering the material from Ritual to a live audience.[100]Matos continued as lead vocalist on Shaman's second album, Reason (2005), where he also contributed keyboards and composed music for several tracks, incorporating more acoustic guitar and ethnic instrumentation for a somewhat introspective tone compared to the debut.[101] Produced again by Sascha Paeth, the album maintained the band's symphonic power metal style while emphasizing melodic ballads and layered arrangements.[102] Reception highlighted its solid production and Matos's emotive performances, though some reviewers noted it as more straightforward than Ritual.[103]
Other projects and guest appearances
In 2001, André Matos collaborated with German producer Sascha Paeth on the self-titled debut album by the project Virgo, providing lead vocals across its tracks, which blended progressive and symphonic metal elements.Matos served as the lead vocalist for the short-lived supergroup Symfonia, formed by ex-Stratovarius guitarist Timo Tolkki, on their only album In Paradisum, released in 2011; the record featured contributions from bassist Jari Kainulainen, keyboardist Mikko Härkin, and drummer Uli Kusch, showcasing Matos's soaring tenor in melodic power metal compositions.[104]Matos made a guest vocal appearance on Avantasia's 2010 album The Wicked Symphony, performing on the track "Blizzard on a Broken Mirror" as part of Tobias Sammet's metal opera project. He also joined the band's 2011 world tour as a guest performer, delivering live renditions of classic Avantasia songs like "Reach Out for the Light" and "Sign of the Cross," which were captured on the live album The Flying Opera: Around the World in 20 Days.Following Matos's death in 2019, posthumous releases in 2020 included archival contributions such as his vocals on the unreleased Viper track "The Spreading Soul Forever," issued as a single to honor his early work with the band, and the collaborative single "Life Goes On" by musicians Vieira, Daga, Mariutti, and Carlos, featuring previously recorded Matos vocals. Various tribute efforts emerged, including live performances and covers by former collaborators, though no formal compilation album was released that year.