By all appearances, Maxwell Ilyas Abbushi—known on stage simply as Maxwell Ilyas—lives a quiet, grounded life in Raleigh’s historic Hayes Barton neighborhood. But beneath that calm exterior is a world of music, memory, and artistic dedication that’s been decades in the making.

At 32, Maxwell is not just a singer-songwriter—he’s a one-man orchestra, a musical craftsman, and a soulful storyteller whose life is deeply entwined with the instruments he plays, the house he calls home, and the generations of family that came before him. From the upright piano in his childhood living room to a self-built home studio echoing with carefully recorded tracks, his musical journey is as intimate as it is expansive.

Maxwell is the fourth generation of his family to live in his home in Hayes Barton, a lineage that stretches deep into the roots of the neighborhood. Born and raised there, his earliest memories are steeped in music, thanks largely to his grandmother Margaret, a classically trained musician with a master’s degree from Boston University.

“She laid the foundation for my musical development,” he recalls. “She used to take me to children’s symphonies, sing and play piano for me, and fill the car with the sounds of WCPE classical radio.”

The spark truly ignited in 1998, when six-year-old Maxwell watched Titanic at the old dollar theater on Blue Ridge Road. Inspired by James Horner’s iconic score, he came home and sat down at the piano, picking out the melody with one finger. Within minutes, both hands were playing in harmony.

From that moment on, music was no longer an interest—it was a passion.

Maxwell’s music education evolved through classical, contemporary, and jazz. This evolving palette reflects his later studies at Berklee College of Music, where he majored in Songwriting and Music Business, and North Carolina Central University, where he earned a master’s in Jazz Composition and Arranging.

Despite years of contributing to other artists’ projects—performing, arranging, teaching, and producing—he hesitated to release his own music. That changed last year following a deeply personal heartbreak. The result was a wave of songwriting that poured out of him in just a week, nearly all improvised. A year later, that creative improvisation eventually matured into a full-length concept album—his debut project, shaped by years of musical exploration and technical diligence.

Maxwell’s commitment to authenticity is perhaps most evident in his recording process. Working entirely from his home studio—in the same house his great-great-grandfather built—he took the unconventional route of recording all ten songs in one continuous project file, then selecting the best takes after the fact. It was a bold decision, motivated by a desire for sonic continuity and emotional cohesion.

He recorded primarily on his prized Steinway baby grand—a finicky but breathtakingly resonant instrument—rather than the more convenient upright piano.

“I probably made everything harder than it needed to be,” he admits. “Of course it would’ve been easier for me to record my upright, but there was a sound in the breath of the Steinway that I just had to have.” 

Achieving the right sound meant years of learning how to restring, tune, and regulate the piano himself. Maxwell didn’t stop at piano, either. With few drummers able or willing to adapt to the fluid nature of his compositions, he took it upon himself to learn the drum parts. Bass guitar came more naturally, thanks to his background in guitar. The end result is a record that feels intensely personal—because it is.

After months of mixing, Maxwell handed the final product off to friend and renowned producer Cole Bingham—whose résumé includes work with John Mayer and Lady Gaga—for mastering. It was a smart move: Bingham’s polished ear added a layer of radio-ready clarity to Maxwell’s raw emotional textures.

After dedicating all of his time to carefully crafting the album, Maxwell recalls, “I’ve never gone out and tried to build a fan base so the process of getting momentum has been really one person at a time!” But the album’s release show, held recently at The Rialto, was a landmark moment for Maxwell. 

“I had to be responsible for every element of that show going well and mostly in fields I had little to no experience in,” he says. He took the reins on everything from production, arranging, promotion, event organizing, live sound, to even graphic design.

His dedication paid off when the show drew about 100 attendees. The turnout was a testament to his quiet yet steady impact on those around him, and it marked a new chapter: from behind-the-scenes musician to center-stage artist.

Maxwell’s days are not just filled with music. They’re also filled with care, responsibility, and community.

He lives with and cares for his 92-year-old grandmother—his original musical muse—who, despite her age, still sings in the church choir and tailgates for every NC State game. “That’s her whole identity now,” Maxwell chuckles.

The two share a household filled with legacy, rhythm, and warmth—alongside a two-year-old Bishapoo named Ringo and a 13-year-old black cat named Professor, described as “ornery and really wonderful while always maintaining an air of danger.”

Maxwell also volunteers at St. Michael’s Episcopal Church down Canterbury Road and dreams of opening a nonprofit music school one day in his grandmother’s honor.

Maxwell’s journey might have ended before it even began. In 2009, at just 16, he was struck by an SUV while biking along Ridge Road. The impact threw him face-first into a side mirror at 40 miles per hour. Miraculously, he survived—a feat doctors credited to his wearing a helmet.

“It was the grace of God, a brilliant reconstructive surgeon, and the love from everyone around me that got me through,” he says.

The experience left him with lasting gratitude—and a deeper sense of purpose.

For Maxwell, Hayes Barton isn’t just a place—it’s a living story.

His favorite neighborhood memory? “The great blizzard of 2000. Time stood still. It was spectacular and surreal.”

He speaks fondly of the creek between Holt and Cowper, where as a kid he would hunt for crawfish and now watches new generations transform the landscape with their imaginations.

You’ll often find him at Third Place Coffee in the mornings, or walking through the greenways and Umstead Park. He’s a regular at local favorites like Mojo’s, Neomonde, and Sassool—and before COVID, his family’s Christmas tradition included visiting the old Seven Springs Hotel, where his grandmother grew up and where he inherited her family name, Maxwell.

As he works to build a career as a full-time artist, Maxwell continues to write, teach, tune pianos, and freelance on musical projects. While his approach is anything but conventional, there’s no denying his passion, resilience, and depth of talent.

Maxwell’s debut album is available on Spotify, Apple Music, and all major platforms. For live clips, booking inquiries, physical CDs, or collaborative projects, fans can find him on Instagram (@maxwell.ilyas) or Facebook (facebook.com/maxwell.ilyas) .

In an era of digital noise and overnight fame, Maxwell Ilyas is building something quieter—but perhaps more lasting. His is a story of craft, community, and deep roots. And for those lucky enough to hear it, his music resonates long after the last note.