
She’s climbed the mountain of shred, toured with Alice Cooper and Demi Lovato, topped a half-dozen charts with her solo debut, and earned a Super Bowl ring. Now, the Ibanez-toting barnstormer’s poised for her next victory.
Defining “Hurricane” Nita Strauss is difficult. She’s one of the most visible players out there, yet she’s still underappreciated by the mainstream. As a solo artist, Strauss is the premier torchbearer for ’80s-informed shred metal, but her music sounds modern, and her “day job” is as a first-call session and touring guitarist for the biggest names in pop and classic rock—from Demi Lovato to Alice Cooper. She also regularly tops lists of the best female guitarists, but the truth is she’s simply one of the finest contemporary guitarists—period.
Embracing every opportunity and refusing to be pigeonholed, Strauss is proud of her music, regardless of style or who she makes it with. She also flies the flag for female rock ’n’ rollers while calling out any limitations that might put her in a box.
“A really nice illustration is when Yvette Young and I had signature guitars come out the same year,” Strauss says. “I played her guitar, and she played mine, for about 15 seconds, and we handed them back. We were like, ‘We hate it.’ [Laughs.] Her style is so vastly different from mine that her guitar was so uncomfortable for me to play. We’re just so different. That [diversity] is what makes it great.”
For her new single, “The Wolf You Feed,” Nita Strauss enlisted vocalist Alissa White-Gluz of Arch Enemy. Released in October, the high-octane track already has more than 2 million views on YouTube.
It’s not that Strauss rejects labels. It’s just that if she had her way, the rest of the world would drop the preconceived notions that come with them. Case in point, Strauss is the first woman to have her own signature Ibanez guitar, called the JIVA. She’s incredibly proud of the honor. But it didn’t happen because she’s a woman—obviously. It happened because she’s so damn good.
“I was always on that relentless pursuit for shred,” the L.A. native says. “My family didn’t have a lot of money, growing up, so I couldn’t afford lessons or anything like that. I just absorbed whatever I could from listening to albums and watching instructional DVDs. But when I saw Steve Vai in Crossroads, that was my aha moment of, like, ‘That’s what I want to do.’”
“The first album was almost like a temper tantrum.”
Strauss’ style is still informed by the players on those DVDs. While a lot of modern rock and metal embraces 7- and 8-string guitars, jerking prog rhythms, and harmonic dissonance, she leans toward Malmsteen, Petrucci, Friedman, and Vai. “I think the reason why a band like Animals as Leaders was so groundbreaking is because they said, ‘This is who we are, and this is what we write.’ If I chased that [prog-metal] trend, I wouldn’t be authentic. And I think you have to be authentic as a songwriter.”
Which brings us to Strauss’ first solo album. Controlled Chaos, released in 2018, clearly demonstrates her authenticity, which resonates with fans. The album was fueled by a Kickstarter campaign that aimed to raise $20,000 but reached an impressive $165,755. A full-on shred record, it brings to mind classics like Cacophony’s Speed Metal Symphony, Jason Becker’s Perpetual Burn, and Joe Satriani’s Surfing with the Alien. She puts on a clinic in high-octane electric guitar heroics from beginning to end. And the rock world noticed. Controlled Chaos landed in the Top 10 of Billboard’s new artist, indie label, hard music, rock, and internet charts, and hit No. 20 in top albums. The second single, “Mariana Trench,” was chosen by the World Wrestling Federation as the theme for its NXT TakeOver: War Game 2018 livestream. Not bad for her first adventure into solo guitar music—one she never wanted to undertake in the first place.
Nita Strauss has toured with Alice Cooper since 2014, but her first high-profile gig was with the Iron Maidens, a festival-level-touring Iron Maiden tribute band that she joined in 2010.
Photo by Annie Atlasman
But Jack Butler changed all that. “It was actually my hero, Steve Vai, that pushed me off the edge and into the deep end of the pool,” Strauss says. “He asked me to contribute a song to a compilation album [2017’s She Rocks, Vol. 1], and I agreed without having a song to contribute. I mean, I’m not going to say no! [Laughs.] I sat down at my kitchen table the next day, and I wrote ‘Pandemonium,’ which was my first solo single.”
The song was a hit, with well over a million views on YouTube. Diving in headfirst, Strauss then knew exactly what a Nita Strauss solo album should sound like, and no one was going to get in her way. “The first album was almost like a temper tantrum,” she laughs. “I had so much to say, and I didn’t let anybody into my creative process. I produced it, and I recorded everything. Then, when it came out and was super well-received, that made me realize, ‘Yes, I can do this.’”
“I was always on that relentless pursuit for shred.”
It wasn’t long before Strauss was planning her next record, due in early 2023. And this album will be different. She determined it would still feature plenty of technical playing and demonstrate her songwriting and production skills, but she’d supercharge it with some of the most well-known vocalists in the heavy-rock game.
So far, three singles have been released as teasers. In October 2021, Strauss turned loose “Dead Inside.” Her guitars sound heavier, the song structure is catchier, and the intense playing is pushed over the top by the signature rasp of Disturbed’s David Draiman. The tune made Strauss the first solo female artist to top the Active Rock radio chart and has more than 10 million streams on Spotify. Her instrumental banger “Summer Storm” was released in August 2022, followed by the even wilder aggro-shred diamond “The Wolf You Feed,” featuring singer Alissa White-Gluz of Arch Enemy. In its first day on YouTube in October, "The Wolf You Feed" garnered 670,000 views and, as of this writing, has surpassed 2 million views.
Nita Strauss’ Gear
How sturdy are Strauss’ workhorse Ibanez signature model JIVA guitars? Tough enough for whammy-bar levitation with feedback every night onstage.
Photo by Ken Settle
Guitars
- Ibanez Signature JIVAX2
- Ibanez Signature JIVA10
- Custom Ibanez Signature JIVAJR
Amps & Effects
- Boss GT-1000 Effects Processor
- Kemper Profiler
Strings & Picks
- D’Addario NYXLs (.010–.046)
- Grover Allman .60 mm
But Strauss admitted that writing for vocalists isn’t as easy as her instrumental work. Making things even more challenging was that she had no idea who would end up singing on the new tracks. She was, as she puts it, “writing for a style of vocalist. It was a huge challenge for me. I had to take into account a singer’s vocal range, style, lyrical content, and what rhymes with what. But there was only one song, I think, where it was actually that singer [I imagined] that ended up on the track. For most songs that I would write, I’d go, ‘I’d like someone like this singer or that singer.’”
If you’re wondering who the other vocalists on her upcoming album are, you’re not alone. So far, Strauss has played the details extremely close to the vest. What she will discuss is the gear she used throughout.
Rig Rundown - Nita Strauss
“Live, for my solo band, I use a BOSS GT-1000 pedalboard,” she says. “But for my session work, it’s my Kempers, and the majority of the record is the same tones you hear onstage with the Kemper. Funny enough, it’s modeled from my previous processor, which is a Rocktron Prophesy. It’s not modeled from any amp in particular. It’s just pinched, pulled, massaged, and tweaked to be my own tone. When I switched over to Kemper, I couldn’t find anything I liked as much, so I hooked up the modeling software and modeled my processor. And it’s my signature Ibanez JIVAs across the board—all the gigs, all the time.”
Although she’s currently on tour with Demi Lovato, Strauss still considers herself part of Alice Cooper’s band. She joined the troupe of the veteran rocker, who gave her the nickname Hurricane Nita, in 2014.
Photo by Annie Atlasman
With the new record being done for quite some time and two successful singles already released, you might wonder, “Where’s the album?” Strauss says she is so busy with other projects that it’ll have to wait a while more. On top of her hectic solo career, she remains an active member of the Alice Cooper band, a spot she’s held since Orianthi’s departure in 2014. Sonically, she’s the perfect fit, and her stunning performances led Cooper to give her the nickname “Hurricane.” While Orianthi brought her fabulous blues/classic rock approach, Strauss’ style sounds custom-built for Cooper’s ’80s, ’90s, and current catalog. She’s such a fixture of the band that fans were stunned when she recently stepped out of Cooper’s tour to hit the road with pop mega-star Demi Lovato. (Meanwhile, guitarist Kane Roberts has returned to Cooper’s band.) Those fans, of course, quickly took to social media to voice their opinions.
How could a shred-metal hero go pop? “Easy,” says Strauss. “Demi is an absolute powerhouse of a vocalist and a performer. And I’m not gate-keeping rock like a lot of these people are. Demi had it made. She had everything she ever wanted as a pop star. She had no reason to go back to her original love of rock and heavy music unless she really wanted to. And, honestly, it’s a rock show, and a rock show is a rock show. I’m using my same guitars, my same rig.
“Demi is an absolute powerhouse of a vocalist and a performer. And I’m not gate-keeping rock like a lot of these people are.”
“When I got this opportunity, I went to Alice and talked to him face-to-face. I said, ‘I have this opportunity and I’d really like to do it, but it would conflict with our fall tour. What do you think?’ He said, ‘Go, I’m so excited for you. Take a break and if you want to come back, come back.’ And that was it. There was no I quit, I’m out, I’m finished. In my mind, I’m not any more or less a part of the band than I ever was.”
Lovato is touring with an all-female band that also includes bass player Leanne Bowes, keyboardist Danielle McGinley, and drummer Brittany Bowman. Strauss sees it as an opportunity to bring great rock to a new audience. “There are so many people to inspire at any show,” Strauss says. “Maybe one person every single night will look at Britt, or look at me, or Leanne, or Demi and go, ‘I want to do that! I went to a Demi Lovato show, and now I want to get a guitar for Christmas instead of a video game console.’ That’s what it’s all about.”
How Nita Strauss Gets Huge Tones with No Amp
Strauss knows what she’s talking about. She remembers when she was the one watching her guitar heroes rocking millions of fans. “Jennifer Batten was a big one! Seeing a girl standing up there with the big boys, in the big gig, playing the Super Bowl, playing the biggest stage in the world, that was a big inspiration for me. She’s the best!” (Batten played with Michael Jackson as part of 1993’s Super Bowl XXVII halftime show.)
Fascinatingly, as the Los Angeles Rams’ official in-house guitarist—not the most common position in a football franchise—Strauss also regularly displays her prowess in the NFL. And she has a Super Bowl ring to prove it. But how does she balance a solo career, playing with classic rock royalty, sharing the stage with the biggest names in pop, and still be there for every snap of the football?
“It’s definitely been challenging trying to keep everything straight in my head,” she admits. “But I love playing guitar as much as anyone going home from their jobs and picking up their guitars and playing. It is exhausting, but it doesn’t feel like work.”Nita Strauss performs "The Show Must Go On": The 2019 She Rocks Awards
Nita Strauss is all about melody and tone as she plays “The Show Must Go On,” from Controlled Chaos, at the 2019 She Rocks Awards at the House of Blues in Anaheim, California.
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- Jennifer Batten and Nita Strauss in Conversation - Premier Guitar ›
- Question of the Month: The Essence of Great Guitar-Playing ›
After surviving a near-death aortic dissection onstage, Richie Faulkner shredder has endured some health challenges. In this exclusive video, he opens up about how the cardiac event impacted his mental health both on- and offstage.
During Judas Priest's the Louder Than Life 2021 performance at the Louisville-based festival, lead shredder Richie Faulkner suffered an aortic dissection onstage. (It's worth noting, the steadfast professional finished the "Painkiller" solo before ending the set—an amazing feat.) He was rushed to the nearby University of Louisville hospital that saved his life. (Serendipitously, the hospital was only a few miles from the festival grounds.)
Faulkner fully recovered from the near-death experience but has endured other health setback stemming from the aortic dissection resulting in several issues including his right-hand coordination and strength. He's powered through the last 3+ years of performances and only now is open to talking about the difficulties he has playing the technical rhythm parts and how that's impacted his mental health both on- and offstage with the massive metal band.
Seven previously-unheard Bruce Springsteen records will be released for the first time this summer with “Tracks II: The Lost Albums,” coming June 27.
A set spanning 83 songs, "The Lost Albums" fill in rich chapters of Springsteen’s expansive career timeline — while offering invaluable insight into his life and work as an artist. “'The Lost Albums' were full records, some of them even to the point of being mixed and not released,” said Springsteen. “I’ve played this music to myself and often close friends for years now. I’m glad you’ll get a chance to finally hear them. I hope you enjoy them.”
From the lo-fi exploration of “LA Garage Sessions ’83” — serving as a crucial link between “Nebraska” and “Born in the U.S.A.” — to the drum loop and synthesizer sounds of “Streets of Philadelphia Sessions,” “The Lost Albums” offer unprecedented context into 35 prolific years (1983-2018) of Springsteen’s songwriting and home recording. “The ability to record at home whenever I wanted allowed me to go into a wide variety of different musical directions,” Springsteen explained. Throughout the set, that sonic experimentation takes the form of film soundtrack work (for a movie that was never made) on “Faithless,” country combos with pedal steel on “Somewhere North of Nashville,” richly-woven border tales on “Inyo” and orchestra-driven, mid-century noir on “Twilight Hours.” Alongside the announcement of “The Lost Albums,” a first look at the collection also arrives today with “Rain In The River” — which comes from the lost album “Perfect World,” and encapsulates that project’s arena-ready E Street flavor.
“The Lost Albums”will arrive in limited-edition nine LP, seven CD and digital formats — including distinctive packaging for each previously-unreleased record, with a 100-page cloth-bound, hardcover book featuring rare archival photos, liner notes on each lost album from essayist Erik Flannigan and a personal introduction on the project from Springsteen himself. A companion set — “Lost And Found: Selections from The Lost Albums” — will feature 20 highlights from across the collection, also arriving June 27 on two LPs or one CD. “The Lost Albums” were compiled by Springsteen with producer Ron Aniello, engineer Rob Lebret and supervising producer Jon Landau at Thrill Hill Recording in New Jersey.
For more information, please visit brucespringsteen.net.
Tracks II: The Lost Albums
LA Garage Sessions ’83
1. Follow That Dream
2. Don’t Back Down On Our Love
3. Little Girl Like You
4. Johnny Bye Bye
5. Sugarland
6. Seven Tears
7. Fugitive’s Dream
8. Black Mountain Ballad
9. Jim Deer
10. County Fair
11. My Hometown
12. One Love
13. Don’t Back Down
14. Richfield Whistle
15. The Klansman
16. Unsatisfied Heart
17. Shut Out The Light
18. Fugitive’s Dream (Ballad)
Streets of Philadelphia Sessions
1. Blind Spot
2. Maybe I Don’t Know You
3. Something In The Well
4. Waiting On The End Of The World
5. The Little Things
6. We Fell Down
7. One Beautiful Morning
8. Between Heaven and Earth
9. Secret Garden
10. The Farewell Party
Faithless
1. The Desert (Instrumental)
2. Where You Goin’, Where You From
3. Faithless
4. All God’s Children
5. A Prayer By The River (Instrumental)
6. God Sent You
7. Goin’ To California
8. The Western Sea (Instrumental)
9. My Master’s Hand
10. Let Me Ride
11. My Master’s Hand (Theme)
Somewhere North of Nashville
1. Repo Man
2. Tiger Rose
3. Poor Side of Town
4. Delivery Man
5. Under A Big Sky
6. Detail Man
7. Silver Mountain
8. Janey Don’t You Lose Heart
9. You’re Gonna Miss Me When I’m Gone
10. Stand On It
11. Blue Highway
12. Somewhere North of Nashville
Inyo
1. Inyo
2. Indian Town
3. Adelita
4. The Aztec Dance
5. The Lost Charro
6. Our Lady of Monroe
7. El Jardinero (Upon the Death of Ramona)
8. One False Move
9. Ciudad Juarez
10. When I Build My Beautiful House
Twilight Hours
1. Sunday Love
2. Late in the Evening
3. Two of Us
4. Lonely Town
5. September Kisses
6. Twilight Hours
7. I’ll Stand By You
8. High Sierra
9. Sunliner
10. Another You
11. Dinner at Eight
12. Follow The Sun
Perfect World
1. I’m Not Sleeping
2. Idiot’s Delight
3. Another Thin Line
4. The Great Depression
5. Blind Man
6. Rain In The River
7. If I Could Only Be Your Lover
8. Cutting Knife
9. You Lifted Me Up
10. Perfect World
Bruce Springsteen - Tracks II: The Lost Albums Trailer - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.The guitarist-of-all-trades runs us through his formidable live rig.
Rhett Schull’s a busy guy. Between being one of the most prolific YouTubers in the guitar sphere, working as a trusted hired gun, and creating his own original music, including last year’s EP The Early Days, he’s an avid cyclist. Just a week before we met up with Rhett at Eastside Bowl in Madison, Tennessee, for this Rig Rundown, he was slated to ride a 100-mile race in Stillwater, Oklahoma. Those plans were dashed when 70-mile-an-hour winds stoked a wildfire near town and burned just over 26,000 acres. But the show must go on: The next night, Schull played a gig in town, a special release for people reeling from a brutal natural disaster.
Schull’s a certified gear aficionado and tone wizard, so PG’s Chris Kies headed to Eastside Bowl to have him walk us through his current live rig. Check out the Rundown here, and stay tuned; Schull’s got more music coming later this year.
Brought to you by D’Addario.
Special Serus
Schull’s wife pointed out this Novo Serus J hanging on the wall of a guitar shop back in 2017, and it was love at first strum. Made from tempered pine and loaded with Amalfitano P-90 pickups, plus sporting an unmissable pink sparkle polyurethane finish, it’s a real looker, and one of Schull’s favorite guitars.
Third Man Thumper
After Schull did a video on the Fender Jack White Pano Verb amplifier, Fender sent him a Jack White Triplecaster Telecaster, part of his signature series of gear with Fender launched last year. Schull calls it one of the most versatile guitars he owns, with each of the three pickup options virtually splitting it into three separate guitars.
Firebird-Watching
This beauty from Gibson’s Custom Shop came to Schull following NAMM in 2020. On tour, he needs something with humbuckers and something with single-coils. Then, he thinks of what’s exciting him. These days, it’s this Firebird V, which doesn’t have a typical Firebird tone, but cuts closer to something like a Telecaster at times.
Rockin' Two With a Two-Rock
Schull runs two amps onstage, but he doesn’t run them in stereo; he believes the stereo image doesn’t translate as well in a live situation where listeners are spread across the speaker system’s field. With this Two-Rock Classic Reverb Signature and an AC15-ish David Edwards Apollo, Schull gets a “broadband” sound set for big, fat clean tones, like one giant amp on the edge of breakup.
Fun fact: Edwards surprised Schull with the Apollo when Rhett went to Florida to work on some videos.
Rhett Schull's Pedalboard
Schull’s 2024 EP is very effects-heavy, so he commissioned the pedalboard-whisperers at XAct Tone Solutions to build him this double-decker station based around an RJM Mastermind PBC/6X switcher. Some of the stomps, like the Chase Bliss Mood, are activated by MIDI, and all the different sounds from each song—from intro to chorus to bridge to finish—is set up in the RJM. If Rhett wants to go off script, he can hit the function button, which lets him engage pedals on a one-by-one basis. A Line 6 HX One is a “wildcard” pedal in this rig, filling in gaps as needed.
In addition to those machines, the rig includes a Chase Bliss Dark World, GFI System Synesthesia, Hologram Electronics Chroma Console, Boss Space Echo RE-202, GFI System Duophony (which mixes the Dark World and Synesthesia), Chase Bliss Automatone Preamp MkII (used for boost, EQ, fuzz, or overdrive depending on the song), Old Blood Noise Endeavors Beam Splitter, Source Audio ZIO, Memory Lane Electronics Tone Bender clone, and a Mythos Argonaut. A mysterious Japan-made Noel dirt pedal, finished in striking red and gifted to Shull by JHS Pedals’ Josh Scott, rounds out the collection. Utility boxes include a TC Electronic PolyTune3 Noir, Lehle Little Dual, a pair of Strymon Ojai power supplies, and a bigger Strymon Zuma supply.
Sterling by Music Man introduces the Joe Dart Artist Series Collection, featuring the Dart I, II, and III basses.
The original Dart I features the Sterling-shaped body with a single humbucker and volume knob. The Dart II, featuring the beloved Ernie Ball Music Man Caprice body, swaps the humbucker fortwo single-coil pickups, each with its own volume knob for precise, hum-free control. Completing the trilogy, the Dart III is a short-scale StingRay bass with a split single-coil pickup and single volume knob.
A blank canvas, the bass collection embodies the no-frills philosophy of the original Ernie BallMusic Man design—everything you need and nothing you don’t. All three basses are equipped with passive electronics, Ernie Ball flatwound strings, and are available in Natural or Black finishes. No tone knobs here.
“Jack Stratton and I are thrilled to team up once again with Sterling by Music Man to build affordable versions of the three best basses I've ever held in my hands. The JoeDart I, II, and III represent three different sounds and feels, three different eras of bass,and three different shades of my own work as a bassist,” said Dart. “The feel of these instruments is incredible, and the quality would be remarkable at any price point.”
This is a special “Timed Edition” release, only available for pre-order on the Sterling by MusicMan website for two months. Each bass is made to order, with the window closing on May 31st and shipping starting in September. The back of the headstock will be marked with a “2025Crop” stamp to commemorate the harvest year for this special, one-of-a-kind release. A gig bag will be included with each purchase.
All basses are priced at $499.00
For more information, please visit sterlingbymusicman.com.