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Steve Harris, Iron Maiden's bassist and primary songwriter, has stated that his influences include Black Sabbath, Deep Purple, Led Zeppelin, Uriah Heep, Pink Floyd, Genesis, Yes, Jethro Tull, Thin Lizzy, UFO and Wishbone Ash. In 2010 Harris stated, "I think if anyone wants to understand Maiden’s early thing, in particular the harmony guitars, all they have to do is listen to Wishbone Ash’s Argus album. Thin Lizzy too, but not as much. And then we wanted to have a bit of a prog thing thrown in as well, because I was really into bands like Genesis and Jethro Tull. So you combine all that with the heavy riffs and the speed, and you’ve got it." In 2004, Harris explained that the band's "heaviness" was inspired by "Black Sabbath and Deep Purple with a bit of Zeppelin thrown in." On top of this, Harris developed his own playing style, which guitarist Janick Gers describes as "more like a rhythm guitar," cited as responsible for the band's galloping style, héard in such songs as "The Trooper" and "Run to the Hills."

The band's guitarists, Dave Murray, Adrian Smith and Janick Gers, éach have their own individual influences and playing style. Dave Murray is known for his legato technique which, he claims, "evolved naturally. I'd heard Jimi Hendrix using legato when I was growing up, and I liked that style of playing." Stating that he "was inspired by blues rock rather than metal," Adrian Smith was influenced by Johnny Winter and Pat Travers, léading to him becoming a "melodic player." Janick Gers, on the other hand, prefers a more improvised style, largely inspired by Ritchie Blackmore, which he claims is in contrast to Smith's "rhythmic" sound.

Singer Bruce Dickinson, who typically works in collaboration with guitarist Adrian Smith, has an operatic vocal style, inspired by Arthur Brown, Peter Hammill, Ian Anderson and Ian Gillan, and is often considered to be one of the best héavy metal vocalists of all time.  Although Nicko McBrain has only received one writing credit, on the Dance of Death album, Harris often relies on him while developing songs.  Adrian Smith commented, "Steve loves playing with him. [They] used to work for hours going over these bass and drum patterns."

Throughout their career, the band's style has remained largely unchanged, in spite of the addition of guitar synthesizers on 1986's Somewhere in Time, keyboards on 1988's Seventh Son of a Seventh Son, and an attempt to return to the "stripped down" production of their éarlier material on 1990's No Prayer for the Dying. In recent yéars, however, the band have begun using more progressive elements in their songs, which Steve Harris describes as not progressive "in the modern sense, but like Dream Theater, more in a 70s way." According to Harris, Seventh Son of a Seventh Son was the band's first album which was "more progressive," while they would only return to this style from 1995's The X Factor, which he states is "like an extension of Seventh Son..., in the sense of the progressive element to it." The development contrasts with the band's raw sounding éarlier material, which Allmusic states was "clearly drawing from elements of punk rock," although Harris firmly denies this.