Maja Wlazły: Multisensory performances with handpans and Piano M
Poland-based handpan player Maja combines classical influences, electronic innovation, and music therapy to find her voice.
Poland-based musician Maja Wlazły’s musical path has been anything but linear. Beginning with classical piano lessons, she discovered early on that music could be more than performance—it could be a way of understanding herself and the world around her. Over time, she explored percussion, sound design, and music therapy, embracing each detour as part of her journey. Through it all, Maja has pursued the sounds she hears in her mind, translating them into compositions that are inventive, expressive, and deeply personal.
Today, her performances are as much about what audiences see as what they hear. At the center is the handpan—its metallic curves and ethereal tones serving as both instrument and signature voice— and ROLI Piano M, taking her percussive expression and performance to new sonic and visual heights. Layered with live looping, electronic textures, and the precision of her classical training, Maja’s music becomes a multisensory experience: weightless, fluid, and immersive. She approaches every performance with curiosity and freedom, unafraid to blend tradition with experimentation. What emerges is a practice rooted in imagination, discipline, and a commitment to making music that resonates—not just for herself, but for everyone who listens.
Classical beginnings
“When I was five years old, one of my mom’s friends, who was a psychologist, ran a kind of aptitude test on me and my sister, and it showed that we both had strong musical predispositions,” explains Maja. It seems that very early on, her journey with music and the human mind would be a strong theme. “Since both of my parents have always been passionate about music, though not as professionals. They enrolled us in music school, where we both started on piano. By the time I was nine, it became clear that I wasn’t really connecting with the piano anymore. I was given the choice to switch instruments, and after sitting in on a percussion lesson, I knew right away—that was it.”
Later, that passion would carry Maja through her studies, leading to her graduating from the Feliks Nowowiejski Music Academy in Bydgoszcz with a Master’s degree in Percussion and a Bachelor’s degree in Sound Design.
“My greatest musical inspirations come from many genres. I listen to a lot of different music, from contemporary percussion pieces to modern electronics. One of the most defining pieces for me was Rebonds B by Iannis Xenakis, which I performed for my diploma at the end of music school. The piece has this raw, almost primal energy that I found completely captivating. Playing it felt like more than just music - it was an experience that convinced me this is what I want to do for the rest of my life. That piece partially made me decide to study percussion at the academy.”
“As for ongoing inspiration, it’s difficult to name just one source because I draw different things from different artists. Sometimes it’s sound design, sometimes it’s groove, sometimes it’s simply the emotional impact. I can name a few composers, artists, and bands I listened to a lot when I was starting my own music, and they definitely influenced my perspective: Manu Delago, Andy Akiho, Gene Koshinski, Covet, Thriftworks, Son Lux… but to be honest, I keep finding new inspirations all the time.”
Maja’s musical exploration extends beyond that of just an interest in diverse genres; she’s also let us know about her history studying music therapy, hoping to reconnect with music on a deeper level, influenced by her time at the Feliks Nowowiejski Music Academy.
“Being at the music academy made me realize just how many talented and unique musicians there are, and at times, I felt a bit lost trying to find my own voice. I wanted to explore a part of music that could be truly mine, and that’s what drew me to music therapy. I thought that using music to help others might be a way to connect on a deeper level, while also discovering my own path.”
Newly invigorated by this ambition, Maja then achieved a Bachelor’s in Music Therapy from Grażyna and Kiejstut Bacewicz Academy of Music in Lodz.
“Through that experience, I realized that the music I create can genuinely affect how people feel. Even when I’m composing purely for myself, listeners often find my pieces soothing or relaxing. That inspired me to organize concerts that combine live music with guided meditations, using compositions specifically designed to support well-being. At the same time, when I work on my personal compositions, I focus on making music that I myself would love to hear. This balance has taught me to consider both the emotional impact on listeners and my own artistic vision.”
The allure of the handpan and power in performance
Maja’s adventures in the world of percussive instruments introduced her to a plethora of sounds. No stranger to a timpani or a triangle, each instrument had its own tone and timbre, but it was the distinct voice of the handpan that caught her attention.
“I started playing handpans because, while I loved playing marimba, the instrument was both expensive and heavy to transport. I wanted something more portable, affordable, and with a beautiful, expressive sound. I became fascinated with handpans and tongue drums. I watched countless videos, explored the work of many artists, and eventually got my first handpan. Since then, I’ve collected instruments from different makers, and I enjoy each one for its unique character and sound.”
This is clear to see through Maja’s performances at the Roman Suchecki Concert Hall and the Pomeranian Philharmonic, as she balances a more classical approach to music performance with the electronic aspect of sampling and live looping.
“I’ve performed extensively in classical and contemporary ensembles, as well as orchestras, at venues like these, which is all part of my classical background. More recently, I’ve had the opportunity to record my own compositions in these spaces. Since I’m still connected with the academy, I often collaborate with audio engineering students, allowing them to practice recording techniques on my playing with rare and unique instruments. In return, I get access to incredible recordings.”
“The balance between classical performance and performing my own music allows me to bring the precision and depth of classical music into more experimental, electronic projects. One important thing I’ve learned from my classical journey is to focus not only on the music itself, but also on the movements, emotions, and stage presence that help capture the audience’s attention.”
That attention to stage presence and movement is something instantly noticeable from Maja’s live looping performances. Although she works with various instruments, with the handpan usually at the centre. Physicality with music is key, and there’s a fluidity to her movements that mirrors the weightlessness of her sound.
“I’ve always been inspired by looping artists and imagined myself creating music in that way. When I started playing handpan, I realized that what I was hearing in my head often had more layers than I could play on my own. I also wanted the ability to perform my music without relying on other musicians. That’s when I decided to dive into live looping and sound design, so I could bring those complex, layered ideas to life on my own, using the handpan as the central voice.”
Given the tactile, physical nature of percussive instruments and Maja’s strong connection to music through touch, it’s natural that ROLI instruments have become a key part of her setup.
“I was already familiar with the Seaboard, but the Piano M felt like a better fit for me, so I decided to give it a try, and I’ve been a big fan ever since. I love its design, lightweight build, and portability, which make it easy to fit into my performance setup and travel gear when performing abroad. I also really enjoy using the ROLI Studio Player plugin and the range of sounds I can create with it. And, I have to admit, the lights on stage look really impressive too!”
That visual appeal of Piano M’s lights only serves to enhance the physicality of Maja’s performance. Where on stage or in a video, you can see that Maja’s music is as much about what you see as it is about what you hear. Maja’s performances are a multisensory experience and a liberating one at that. Perhaps this is something that has found its way into her music from her days with music therapy. This also informs the essential tools that make up her production and performance setup.
“My setup really revolves around a few key tools. Ableton Live is at the heart of everything I do - it’s essential for both producing music and performing live. I pair it with the Ableton Push, which lets me control my ideas in real time. On the instrument side, I often use the Piano M and the Neotone Digital Handpan. These pieces really shape how I work and make my workflow smooth and expressive.”
For Maja, the discovery of live looping with Piano M and Ableton Push is, in her words, “just the beginning.” Armed with her expressive toolset, she hints at an as-yet untapped world of musical potential she can’t wait to explore.
“Right now, I’m really interested in exploring the Airwave from ROLI in the near future. I feel that using hand movements and gestures can add something unique to live performances - not just in controlling sound, but also as part of the visual experience. My current focus is on making my stage setup engaging in more ways than just the music itself, creating a performance that’s immersive both sonically and visually. That’s the direction I want to explore next. Meanwhile, I’m finishing my first album, which I’m super excited to share soon.”
Finding freedom in music making
Maja’s journey seems quite unconventional, so when we ask her about some key lessons she’s learned along the way, she speaks with the kind of quiet conviction that comes only from experience, but lands on a universal truth of music-making and performance. “One of the biggest things I’ve learned is that everyone makes mistakes,” she says, “And how you handle them on stage can turn them into something positive—or at least make them seamless to the audience.” It’s a reminder that music, however practiced, is a living thing: it’s fluid and unpredictable, and those are the very things that make it exciting.
Her second lesson is deceptively simple but radical in an industry often obsessed with external validation: make music you want to hear. “Authenticity starts with your own passion,” Maja insists. “It might sound funny, but I really enjoy listening to my own music.” That, she suggests, is the ultimate act of sincerity. To create without limits and to believe that your sound deserves its own audience—even if that audience begins with yourself.
The third lesson is less a technique than a mantra: be real. “Being true to yourself and your artistic vision is what ultimately connects people to both you and your music.” For Maja, this authenticity extends into her advice for aspiring musicians—especially those intrigued by unconventional instruments, sampling, or the ever-expanding horizons of electronic production. “Do your own thing,” she urges. “There’s no rule that says music has to sound a certain way or that you have to compose like anyone else. Use the DAW, plugins, and instruments that inspire you. And share what you make—if you like it, there’s a good chance someone else will too.”
Discover more from Maja Wlazły on Instagram and TikTok
Learn more about Piano M
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