ARTIST BIO

He is considered one  of the most innovative acoustic guitarists on the scene today and a master of ‘fingerstyle’. He was also the first musician in ltaly to experiment with tapping and advanced percussive techniques on the acoustic guitar. He creates that synthesis of virtuosity and magical atmosphere which evoke a special feeling when he plays.
In ’91-’92 he was the opening act for italian top selling artist Lucio Dalla on his “Cambio” Tour, opening every show with a medley of his own original pieces. Dalla himself defined Paolo as “one of the finest guitar players in Europe”. From that moment of his career on, he took part in the most important ltalian and European music festivals sharing the spotlight with some of the best guitarists world-wide like Pierre Bensusan ,Alex De Grassi ,Peter Finger ,Tommy Emmanuel and many others. He has released two CDs (‘Paolo Giordano’ and ‘Kid in a Toyshop’) featuring illustrious guest artists such as Patti Cathcart of the duo Tuck and Patti, Michael Manring and Alex Acuna. On a more domestic level he has collaborated with ltalian artists like Biagio Antonacci.
He also endorses Mayson guitars, Markacoustic (Mark Bass) amplifiers ,Neumann microphones and La Bella strings. In 2005, Paolo’s compositi on  ‘First Pint’ was included in MASTER ANTHOLOGY OF FINGERSTYLE GUITAR VOL. 3 (Mel Bay Publication). In September 2008 , Paolo was awarded the title of best ltalian acoustic guitarist by the music magazine INSOUND. In the same period his third endeavour entitled ‘Have You Seen The Roses?’ carne out (distributed by CNI) in which he performs (and revisits) the music of Syd Barrett, the founder of Pink Floyd. Among the artists who collaborated on this project are Frank Gambale and Michel Cusson.
lnfluenced in part by his study of classica! music, Paolo’s artistic style goes beyond his sources of inspiration even though we can find traces of these in the melody and in the imagery they produce in his music. His remarkable technique, which has earned him the admiration of international music critics, is never an end in itself but rather a device Paolo uses to communicate a feeling or an emotion.