An Interview With Gianmaria ‘Jommy’ Puledda Of Spread Eagle

For Gianmaria ‘Jommy’ Puledda, a dream has finally come to fruition with Spread Eagle. Though the band has had several great shredders in the past, Jommy has put his stamp on the band, starring across Spread Eagle’s forthcoming record, 2026’s The Brutal Divine.

In addition to the new record, Spread Eagle has a range of tour dates and festival appearances planned throughout 2026. Beyond that, Jommy is working on solo music and music for his other project, Screaming Shadows.

It’s with this in mind that during a break in the action, Jommy dialed in with ClassicRockHistory.com to talk origins, joining Spread Eagle, the recording of The Brutal Divine, gear choices, and more.

What inspired you to pick up the guitar?

I remember being fascinated by the electric guitar since I was a very young kid; the shape and the sound of it felt like magic to me. Around the age of five, I started listening to the radio and cassette tapes we had at home, mostly mainstream music at first.

My passion for hard rock and heavier music came when I was about 12, when some friends introduced me to bands like Iron Maiden, Metallica, Guns N’ Roses, and some Italian rock bands. I instantly fell in love with that sound.

At that time, I was already playing trombone in my town’s marching band, a bit of keyboard and flute at school, and luckily, that same year, a new music teacher started teaching us guitar, which was perfect timing. When I discovered hard rock and metal, I picked up an acoustic guitar we already had at home at age 13.

When did you figure out the sort of player you wanted to be?

My dream was always to have an electric guitar, and after a few months, it finally came, a gift from my father after working with him during the summer as an electrician. From that moment on, my life changed completely. Nothing was more important than playing guitar.

I mostly taught myself by ear, trying to reproduce what I heard from records. Growing up in a small town in Sardinia before the internet, that was my only option, and in hindsight, a great one. It forced me to find my own way on the fretboard, sometimes failing and in the process developing my own phrasing and style.

Over time, I realized I wanted to be a hard rock and metal guitarist with strong technique and speed, but also a real sense for melody and harmony. As I kept practicing, I understood how challenging and inspiring it is to try reaching the level of players like Steve Vai, Yngwie Malmsteen, and Joe Satriani.

Eventually, my focus shifted from just chasing technique to developing my own identity, drawing inspiration not only from rock and metal but also from blues, jazz fusion, funk, classical, and other styles, and realizing that for me, guitar is not just about technique, it’s about telling a story. Speed means nothing without melody and emotion.

What sort of scene did you grow up in, and how did it impact your playing?

I’m from Villanova Monteleone, a small town in Sardinia, a beautiful island in the Mediterranean Sea. There wasn’t a big music scene, but I was lucky to grow up in a time when forming bands with friends was still very common.
I started my first band at 14. We rehearsed in an old, abandoned house, with small amps, playing covers of Italian rock bands like Timoria and Litfiba, as well as Nirvana, Soundgarden, Alice in Chains, Guns N’ Roses, Metallica, Iron Maiden, and some original songs.

There were a couple of older bands in town, and they often let us attend their rehearsals. That was like taking free music lessons. Later on, I even ended up playing with some of those guys, and we became friends. After high school, things became more serious.

I started playing with professional bands, doing live gigs, teaching guitar, and studying Music and New Technologies at the conservatory in Sassari. I worked as a session player across different genres, which helped me grow a lot. Eventually, I joined a symphonic metal band, recorded two albums in Sweden, and toured Europe a couple of times. Then Covid paused everything.

In 2021, I was selected by Francesco Marras, then guitarist of Tygers of Pan Tang, to tour Europe with his band Screaming Shadows. My life took a dramatic turn for the better in 2022. I relocated to the US, joined Spread Eagle, and married my beautiful wife, Marlaina, in 2024.

Each phase helped shape my playing, from learning the fundamentals to adapting across styles to finally finding the right environment to play the music I truly love.

Tell us about your early bands and what led you to join Spread Eagle?

My first band was called Darkness, back in high school, a couple of years before the British band The Darkness became famous, so we always joked that they stole our name! Over the years, I played in many cover bands in Sardinia, mostly pop and rock, a tribute to the late Italian singer-songwriter Fabrizio De André, and several original projects in which I also contributed as a composer and recording guitarist.

A major step came when Francesco Marras invited me to join his band Screaming Shadows for a European tour. I’m still collaborating with him today, sharing guitar duties on the upcoming Screaming Shadows album. In 2022, after moving to the US, I found out that Spread Eagle was looking for a guitarist.

I thought that was an amazing opportunity for me, so I applied by recording audition videos on YouTube, and I even added a bonus song. I was selected as a finalist and invited to audition in person at Spread Eagle‘s rehearsal room at the Music Building in Manhattan. The rest is history.

How does your playing compare to past Spread Eagle players, like Ziv Shalev and Paul DiBartolo?

It’s always challenging stepping into a band with such a strong legacy. Paul DiBartolo set a very high bar in terms of guitar technique, tone, attitude, and songwriting, and Ziv did a great job, as you can hear on the Subway to the Stars album.

I think every guitarist should focus on being the best version of themselves. I enjoy playing their parts, sometimes note-for-note, especially the iconic solos, but I also bring my own feel into it, changing some parts based on my style and improvising some sections.

Even when playing the same notes, every guitarist has a different touch and sound, and that’s one of the most beautiful aspects of the instrument. They each brought something unique to the band. I think what I bring is a more modern and melodic approach, with a touch of Italian sense of melody and my own way of phrasing.

Tell us about the band’s new record, The Brutal Divine, and how it came together?

The new Spread Eagle album is titled The Brutal Divine and is scheduled for release on June 12, 2026, through Frontiers Records. The first single, “Street Noise,” is already out, and we’ve been receiving great feedback.

We started working on songs a couple of years ago. Rob and I spent a lot of time at my home studio developing guitar arrangements. Once the demos were ready, we recorded at Studio E in Brooklyn with Grammy-winning engineer Tom Camuso. We’re really excited for people to hear the rest of the album.

Ray and Rob have been in the band since the start, so how did your skills and songwriting fit into the mix?

My main role on this album was shaping the guitar arrangements, both rhythm and lead parts, and of course, the solos. It was a long process, starting from demo recordings at my home studio to the final tracks, constantly refining ideas and trying different solutions.

The overall direction of the band is guided by the expertise of Rob and Ray, with Rob also producing the album, and Rik bringing his incredible drum grooves.

What song or songs best showcase where Spread Eagle is at today and the impact you have on the band as a player?

That’s a tough one. If I had to pick one, I’d say “Flat Earth Vultures,” because it captures the full range of the album, from quieter sections to more energetic ones, almost like a progressive punk metal blend, with lots of lead guitar work. “Gunflower” and “Ant Farm” are also strong representatives of that direction.

What gear did you use while recording, and what will you bring out on tour?

In the studio, for rhythms, I used Rob’s 1984 Gibson Explorer and 1984 Gibson Flying V, both with Dirty Fingers pickups, very powerful, full-sounding guitars. For leads, I used my two EVH 5150 guitars. The Black Burst is stock and has a darker tone, while the Blue Transparent Burst has been upgraded with an EVH Frankenstein bridge pickup and an FU-Tone big brass block on the bridge, giving it more attack, sustain, and clarity.

For amplification, I used an ’80s Marshall JCM800 with a 4×12 cabinet, perfect for that classic Spread Eagle tone. On tour, I bring my EVH 5150 guitars with a Fractal FM3 for all my presets, running into the return of a Marshall tube head and 4×12 cab. It’s a reliable setup that gives me a great and consistent sound on the road.

Of the classic songs, what are your favorites to play and why?

I enjoy all the classic songs, but some favorites are “Back on the Bitch for its power, “Broken City” for its beautiful extended solo, and “Switchblade Serenade,” which is fun to play and features one of the best solos by maestro Paul DiBartolo. It’s also the band’s biggest hit, so we can’t leave it out.
I also really enjoy “Scratch Like a Cat” for its intensity and fast solo, and “King of the Dogs” for its groove.

What are the greatest challenges bands face today, and how do you overcome them?

Today, making music is easier than ever, but being heard is harder than ever. Technology has changed everything. Anyone can record and release music now, but with so much content coming out every day, it’s very difficult to stand out. Musicians also must be content creators, marketers, social media managers, and video makers.

Even established bands need to stay active and visible online. Touring is another challenge, with rising costs for travel, accommodation, and logistics. Merchandise helps, but it’s still a constant balancing act.

What does the future hold for you and Spread Eagle?

In the near future, we’re releasing Spread Eagle’s new album, singles, videos, and heading out on tour, including a US tour, the Monsters of Rock Cruise, and a European and UK tour later this year. We’re excited to connect with both long-term and new fans.

At the same time, I’m working on the next Screaming Shadows album with Francesco Marras. I’m also developing my solo project, where I’ll be singing and recording most of the instruments. It’s still in the early stages, but I’m looking forward to sharing it soon.

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