
Premier Guitar talks to certified music therapists across the U.S. about their specialized approaches to using guitar as an instrument of healing.
Over the course of just two months, guitarist Tom Peterson from Cincinnati, Ohio, was diagnosed with testicular cancer and lost both his job and the unborn child that he and his wife had been expecting—their first. The one bright spot that year came at Christmastime, when Peterson received a special gift from his family: a PRS Mira that has since become the prize of his guitar collection for reasons difficult to quantify.
"You never think that this inanimate object is going to have such a mental connection with you and get you through your darkest hours," Peterson shared in PG's Conversations in the Key of Life podcast ("Episode 3: Guitar as Therapy," June 2016).
"I can't tell you how many times—especially dealing with the post-traumatic-stress aspect of things, when the triggers come around—that I've just picked up the Mira, laid on my back, and plunked around on it. Nothing in particular … just me and the guitar. When you feel like your body can't move on to do anything else, it seems like the music—that connection—drives you just for that brief moment while you're contemplating that next string bend. You forget everything else."
But beyond the scores of untold private battles like Peterson's, where music becomes both shield and weapon against encroaching darkness, there are many other instances where guitar has played a more oblique role in therapy, whether through 6-string stars playing benefits for rehab centers, selling their instruments and donating the proceeds, or, in Eric Clapton's case, both. Anecdotes and superstars aside, the guitar has found a more institutional place in the healing process through the relatively new field of music therapy.
Roots and Branches
To get an overview and history of music therapy and understand the guitar's place in it, we chatted with health professionals who administer this treatment on a daily basis. One such person is Dr. Robert Krout, professor and director of music therapy in the Meadows School of the Arts at Southern Methodist University in Dallas, Texas. Krout also teaches guitar online and has taught at the National Guitar Workshop, as well as guitar workshops around the world.
"Music therapy as a profession started in 1950," explains Krout. "You use music-based experiences in the relationship with the therapist to help achieve desired health outcomes, whether they be physical goals, social rehabilitation, helping with developmental issues, and so on."
Krout notes that people are usually referred to a music therapist by a psychiatrist, nurse, social worker, or health insurance company. The therapist then conducts a comprehensive assessment to see if the referred individual might benefit from music therapy. "The patient doesn't necessarily have to be able to play or sing," says Krout, "but the therapist would assess whether music might be beneficial for them based on their needs, and also based on how they respond to music either actively or passively."
Potential music-therapy beneficiaries run the gamut from parents anticipating an addition to their family to individuals who've recently lost a loved one—and all sorts of related situations in between: Krout works with expectant mothers and couples in Lamaze training, using music to help with the timing of contractions. He also works with patients who are nearing the end of their lives or are in hospice care. Music therapy can also help bereaved siblings, spouses, children, grandchildren, and other survivors with grief healing. Meanwhile, music can often stimulate forgotten memories or buried emotions in patients with Alzheimer's or cognitive impairments. Music therapy can also be a great way to communicate with children on the autism spectrum, especially those who are nonverbal.
"I work with people with eating disorders, and often they have a series of verbal defenses that shield them from how they're feeling. When we do music-based experiences, many of those defenses fall away and they have an emotional reaction to the music—even when they try not to." —Dr. Robert Krout
The work that Dr. Krout and others are doing with music therapy is often effective where other forms of therapy have come up short—for instance, with clients who lack the verbal skills to benefit from talk-based therapy. Further, it can often make inroads with patients who have highly developed verbal skills that have, for one reason or another, proved an impediment to treatment.
"I work with people with eating disorders, and often they have a series of verbal defenses that shield them from how they're feeling," says Krout. "When we do music-based experiences, many of those defenses fall away and they have an emotional reaction to the music—even when they try not to. We can sometimes use that emotional reaction to take the discussion deeper into some of the issues they're facing."
Music therapy has been found to be very helpful in treating post-traumatic stress disorder (PTSD), particularly that suffered by troops returning from combat. Thanks to George Hauer—whose organization Operation: Music Aid supplies thousands of musical instruments to recovering military and armed forces personnel—we chatted with music therapist Bobbi Blake about her experience working with veterans at a VA medical center in Connecticut. She began by explaining that music therapy had its beginnings in the U.S. Department of Veterans Affairs system after World War II.
"They found when they played music for the veterans it was very helpful in calming them down and soothing them," Blake says. "They started to investigate it more, and that began the music-therapy research in the '50s. There has been extensive research ever since. Now, they're doing neurological work on how music affects the brain. In working with veterans with PTSD, I'm trying to use music to help engage their coping skills and self-expression."
Like patients with eating disorders, PTSD patients often have a hard time expressing the multitude of profound, overwhelming feelings bubbling just beneath the surface. They can become socially isolated or be fearful of being around other people, crowds, and trying new things.
"Bringing them together to play music is a wonderful way to have them be with other people in a safe place and learn a skill that's going to help them with anxiety, mood swings, and relaxation," she adds.
Music therapy can play an important role in treating those with substance addictions. Paul Pellinger, one of the founders of Recovery Unplugged (a Florida-based rehab center), uses music to engage clients in different ways. For example, the center organizes live performances by famous musicians, who share stories and songs related to their own issues with drug addiction and alcoholism.
The program incorporates music as early as the pre-assessment process. Before being accepted, a prospective client is asked about his or her favorite genre of music. "If they say, 'classic rock,' I'll ask if there is a particular song that describes their life," says Pellinger. "When I pick them up [to bring them to the center], I have that song playing in the van. Right away, rapport is established and they feel heard versus being yelled at. When they get to our facility, we don't have to deal with a two-week adjustment to the new environment."
Like people with PTSD or eating disorders, many addicts have trouble accessing their emotions. But music can often be a gateway through those mental walls. "Identifying what you think or feel is an obstacle for most people in general, and it's especially difficult for addicts—but I guarantee you somebody has written a song about it," Pellinger says. "We often let song lyrics be the catalyst to verbalize what's going on. We're using music not only to engage the clients, but also to make recovery more of a payoff than using drugs. If you look at [a scan of] the brain after somebody takes a hit of crack cocaine, it lights up similar to how it does after hearing a simple chord change."
Guitar in Therapy
Dr. Robert Krout from Southern Methodist University (center) poses with a class that includes special-needs students at the Hope Town School on Elbow Cay island in the Bahamas.
When music therapy began in 1950, it traditionally employed piano as the accompanying instrument. But at the same time, electric and acoustic guitars were becoming mainstream instruments. Guitar gained more popularity and began to be used, in part, because it was portable. As a teacher of guitar, Krout has a unique view on the instrument's special place in music therapy.
"Clients of different ages and needs are very attracted to the guitar—the look of it and sound of it," he says. "I've worked with emotionally disturbed teenagers who normally would not have any reason to relate to me, but if I walk in with a Fender Stratocaster they relate to that. So the guitar can be used as the go-between. I do a lot of songwriting for music therapy, and the acoustic guitar is a musical instrument I can hold while sitting across from the client. They relate to the guitar, which creates a therapeutic space, and then we can safely do other things with singing, lyric discussion, or songwriting. With autism, it might be the way the guitar smells. A person with a psychiatric syndrome might have played guitar when they were younger, before the disease took over, and they connect to that."
To maximize effectiveness, Krout adapts his choices of instrument and songs to the background of the patient. For example, if a patient is a baby boomer, he may rely on the guitar-based music of the '60s. Meanwhile, if radio hits from the 1950s were the soundtrack of his nursing-home patients' youth, Krout might use Buddy Holly songs as an emotional connection.
The guitar also figures prominently in Blake's work with the Connecticut VA health system. Perhaps the country's best-known nonprofit working with veterans via the 6-string is Guitars for Vets, which provides a free guitar and lessons to veterans through local chapters set up all over the country from its base in Milwaukee, Wisconsin. In contrast, Blake's Six Strings for Soldiers program is much smaller and locally focused, with more of an emphasis on the music-therapy side than on the guitar-centric aspects.
"With an instructor, the primary concern is about instrumental skills, like teaching someone how to play chords, rhythms, or notes," she says. "I'm more concerned about how playing guitar is helping them with their coping skills and stress."
Blake says one of the most rewarding parts of working with Six Strings for Soldiers is that patients use what they've learned when they return home. If they start to get anxious, they pick up the guitar and it calms them. She also finds that even small improvements in learning the instrument quickly reward patients with increased self-esteem.
"Within four weeks it's possible to teach somebody how to play some I-IV-V chord songs," says Blake. "And to accomplish that is very exciting! Guitar is, of course, very complicated to play well—as any instrument is—but for a beginner it's very accessible. It can be particularly effective with isolation issues. It's empowering for socially isolated and fearful PTSD patients when they walk around with a guitar, because it's like walking a dog. People say, 'That's a nice dog' or 'What kind of dog is that?' Similarly, they say, 'You play guitar?' The patient may then say, 'Well, I'm learning,' and it encourages a conversation."
When they leave our facility, we don't just give them a certificate and coin and tell them not to drink, and to go to meetings." —Paul Pellinger
Meanwhile, Pellinger from Recovery Unplugged—which has centers in Austin, Texas, and Fort Lauderdale—has yet another perspective. As the center's name implies, acoustic guitar figures prominently in its treatments. Three or four guitarists work full-time with the program. One of the musicians on staff is Richie Supa, a songwriter who has worked with Gladys Knight & the Pips, Bon Jovi, and Aerosmith—and who performs acoustic sets of songs about addiction and recovery for Recovery Unplugged patients.
But Recovery Unplugged clients don't just consume music, they can also make it. The centers offer musical workshops where Supa and other staff members help interested patients learn to create songs or take their guitar playing to the next level. Recovery Unplugged even found a way for clients to take their musical experiences home after completing treatment by providing a recording studio where patients can create soundtracks of their stay. The soundtracks can be any combination of prerecorded songs they've chosen, performances they've witnessed, or tunes they've performed or written.
"When they leave our facility, we don't just give them a certificate and coin and tell them not to drink, and to go to meetings," Pellinger says. "We give them earbuds and an MP3 player. Music is used as a catalyst for recovery, whether to help them be grateful, call their sponsor, or remember the consequences of using. For instance, Richie Supa wrote a song called 'I Got This.' That's one of the things addicts say when someone asks for their car keys because they are in no shape to drive—'Go away, I got this.' The song was on the soundtrack of a client who graduated from our treatment center. He was on his way to use drugs instead of going to a meeting. He was thinking, 'I got this,' when the song reminded him he didn't have 'this' and should go to a meeting."
Of course, Recovery Unplugged isn't the only music-therapy center that celebrates the unique attributes of flattops. SMU's Krout finds that acoustic guitar can work especially well with certain patients because of the physical vibrations they feel through the back of the instrument.
"With an electric guitar, the sounds are coming out of a speaker across the room," he explains. "Sitting across from a person with an acoustic guitar, it is the vibrations that actually connect us in that moment and create the shared therapeutic space."
Despite that advantage, Krout often uses electric guitars as well. "I worked with Fender for a number of years to bring the electric guitar into music therapy," he says. "We were trying to introduce music therapists to more contemporary sounds by using electric guitar."
Even so, not everyone relates to guitar—acoustic or electric. Krout says the instrument's popularity has fallen off a bit with younger patients in recent years, as it has become less the currency of popular music—especially in the inner city, where rap and hip-hop are often the music of choice.
"With teens, often I will work from an iPad using GarageBand. I use loops with hip-hop, electro, and techno types of sounds," Krout explains. "But many times they want to be doing something active, and even if they hadn't [previously] thought about being a guitarist, if I've got a guitar and they see me playing along with a GarageBand track, it might be attractive to them. I'm working with a young man now from India who is into Bollywood movies and soundtracks. We're working on guitar with very simple chords in the context of a huge Bollywood arrangement. It may just be guitar chords, but it feels like Bollywood to him."
Get Involved
For guitarists wanting to explore career alternatives that involve music and guitar, music therapy is a path worth considering. Therapists must meet educational and clinical training requirements set up by the American Music Therapy Association (AMTA). Graduates must take and pass a comprehensive exam administered by the Certification Board for Music Therapists in order to become certified music therapists (MT-BC), which qualifies them to work as a member of treatment teams in schools, hospitals, or nursing homes.
"You don't have to be a doctor or go to medical school, though you will learn about some medical conditions in a music-therapy program," says Blake, who achieved certification in the aforementioned manner. "It's music training combined with psychology." She adds that, just as medical doctors often specialize in certain areas, music therapists can, too. "I work at a VA hospital with veterans. Other therapists work with the elderly, kids with autism, pain management, people who are developmentally disabled, and so on. Depending on what you choose as a specialty, you may need advanced training to be able to work with that population."
According to the AMTA, music therapists must have a bachelor's degree or higher in music therapy from one of AMTA's 72 approved colleges and universities. They must also complete 1,200 hours of clinical training. Some states also require a license for board-certified music therapists.
Premier Guitar readers know the big and small ways in which playing guitar and listening to music can be therapeutic. The admirable work of music-therapy practitioners like Krout, Blake, and Pellinger is but a small sample of how the instrument we love is helping countless others.
[Updated 11/12/21]
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Kirk Hammett’s Top Three Guitars (Yes, Greeny Is One of Them)
Photo courtesy of The Collection: Kirk Hammett, Gibson Publishing
In a lavish new coffee table book from Gibson, The Collection: Kirk Hammett, Metallica’s lead guitarist shares some of his most spectacular vintage instruments and the stories that go with them, as well as his love of Hawaii.
ZOPA, from left: drummer Olmo Tighe, guitarist and singer Michael Imperioli, and bassist Elijah Amitin. On the table sits a guitar built by NYC-based luthier Cindy Hulej.
The actor—known for his work on The Sopranosand The White Lotus—explores his influences, from Lou Reed to Dinosaur Jr. to Galaxie 500, and the power of the trio on ZOPA’s latest, Diamond Vehicle.
In Kurt Vonnegut’s groundbreaking 1963 satirical novel, Cat’s Cradle, the author lays out the framework of the jargon-heavy Bokononist religion. One recurring concept is the karass—a group of people pulled together by forces outside of their control to complete a mission beyond their understanding. If you’re a member of a karass, you don’t really know who’s in it with you or what you’re doing, but you might pick up the clues through context. Anyone who’s formed a band and experienced the unexplainable, inevitable pull of musical connection among a group of musicians who often come together despite sometimes improbable circumstances can surely relate.
Without citing Vonnegut, actor and musician Michael Imperioli, whose A-list filmography includes early career parts in Goodfellas and Trees Lounge through his recent role as Dominic Di Grasso on season two of The White Lotus, has felt these forces at work throughout his life. Whether it’s foresight, intuition, or even magic, Imperioli jokes that some friends have accused him of being a witch. Whether or not that’s the case is probably a matter of perspective.
Take, for example, Imperioli’s relationship with John Ventimiglia. In 1986, the two aspiring actors, who’d already known each other for years, were roommates when Ventimiglia, also a musician playing in bands around the New York and New Jersey underground rock scenes at the time, showed the then-20-year-old Imperioli his first chords on a guitar. He quickly took to the instrument, forming his first band almost immediately. At the end of the next decade, the two were cast to play life-changing roles on The Sopranos—Imperioli as Tony Soprano-protégé Christopher Moltisanti and Ventimiglia as the capo’s lifelong pal, chef Artie Bucco—forever intertwining their artistic paths on one of the most important television shows of all time.
SoundStream
Coincidence has tied Imperioli to his guitars as well. After falling in love with his 1966 Fender Jaguar, which he had Rick Kelly of Carmine Street Guitars modify with humbuckers, he decided to track down a second. When that guitar landed on Kelly’s bench and the luthier popped the neck off, they learned just how much the two Jaguars had in common. “Those two guitars were made in the same factory on the same day in September of 1966. This is the year I was born,” Imperioli points out, incredulously. “And they’re maybe 30 serial numbers apart.”
So it goes that “very strange connections” pulled Imperioli into orbit with drummer Olmo Tighe and bassist Elijah Amitin in the mid 2000s and led them to form their now-long-standing trio, ZOPA. Imperioli and Tighe had first met while working on the 1994 film Postcards from America, when Olmo was only eight years old. They didn’t reconnect until years later, when Imperioli ran into Olmo’s older brother, Michael, at a party. In this chance meeting, Imperioli learned Olmo was drumming, and “for some bizarre reason—and I still don’t know why—I thought he and I should play music together,” he recalls.
“I had the idea of forming a trio, and it was really inspired by Galaxie 500 and what they did with a trio and the way it was three distinctive musicians coming from three different point of views making this one thing happen together.”
The two eventually connected against the odds, Imperioli going to great lengths to find the drummer, and they set up a time to rehearse. On bass, Olmo suggested Amitin, who, they learned, had his own family connections to Imperioli through his old management and family—real small world kind of stuff. By the time the three ended up in the same room, they already felt like they belonged together, and ZOPA was born.
Michael Imperioli's Gear
On stage, ZOPA manifest the trio energy of their influences, from Lou Reed to Dinosaur Jr. to Galaxie 500.
Guitars
- Two 1966 Fender Jaguars
Amps
- Fender Twin Reverb
- Fender Princeton Reverb
Effects
- Death By Audio Fuzz War
- Dunlop Cry Baby
- EHX Small Clone
- EHX Big Muff
- MXR Distortion +
- MXR Duke of Tone
- MXR Phase 100
- MXR Carbon Copy
- Neunaber Immerse Reverberator
- Walrus Audio Phoenix power supply
Strings and Picks
- D’Addario XL or Ernie Ball .010s
- Custom ZOPA Dunlop Tortex .88 mm
As much as this is a fun story, to Imperioli, it’s much more. The relationship, and their coming together seemingly at random to discover connections between them, resonates. And it makes ZOPA an extra tightly knit unit. (The band became even tighter when Tighe married Imperioli’s cousin and the two became family.) “I think it comes from good intentions and getting a good perception of somebody and wanting to further that connection,” he says.
At a recent show at Philadelphia rock club Kung Fu Necktie, there was a different kind of energy buzzing throughout ZOPA’s tightly packed audience. It was a frenetic, excited, and celebratory scene, with fans at times reaching for strums on Imperioli’s Jaguar as the band kicked out a set of mostly new songs from their newest, Diamond Vehicle, which was yet to be released at the time, as well as a song or two from their debut, La Dolce Vita.“That love of music was definitely infused into The Sopranos.”
ZOPA is a formidable unit; they’re a trio, with all the special rock ’n’ roll spirit that implies. Tighe appears on stage as bashful at first, but he emerges as a basher in the style of Dinosaur Jr. drummer Murph (though Imperioli suggests John Bonham is probably his more dominant reference point). At stage left, Amitin bops around confidently, donning a rock stance, bare chest popping through a one-third-unbuttoned shirt, easily dominating his Peavey 4-string. Imperioli’s presence lands somewhere between the two. He’s casual and engaging, comfortable taking the limelight during brief, melodic Big Muff-driven solo spots, but otherwise delivering a low-key stagecraft that evokes that of his biggest influences, which range from Lou Reed and the Velvet Underground to Dinosaur Jr. to dream-pop pioneers Galaxie 500.
Those influences play out across Diamond Vehicle. Produced by John Agnello, whose extensive credits include Dinosaur Jr., Kurt Vile, Lee Ranaldo, and Son Volt, the album evokes intimate rock clubs, where live music is mutually transformed by audience and artist. A few days after that show in Philly, we caught up with Imperioli to talk about his life in music.There was a lot of energy at your show the other night. Is that the ZOPA vibe or was that a Philly thing?
Imperioli: I have to say the Philadelphia audiences are consistently fantastic. I think it’s kind of a combination, but Philly has a certain spirit. I think just the spirit of the city, especially that neighborhood [Fishtown], where we’ve played a few times. They love music and they want to have a good time and they let you know it when they’re having fun. It makes it really exciting as a performer, without a doubt.
The audience included all ages of people but skewed young. Has that always been the case?
Imperioli: We started performing in 2006. In those first seven years, our audiences were more our own age group for the most part. We stopped playing together around 2013 for about seven years because I was living on the West Coast. During the pandemic, we released an album [La Dolce Vita]. I was on Instagram and often would post things about music, not just our music, but my musical tastes. When we started playing together again in 2021, we noticed that the audience had gotten a lot younger than when we started the band.
I think it’s a combination of being able to reach younger people through social media, and through some of the other projects I’ve been involved in, and The Sopranos finding a younger audience, and The White Lotus, which kind of hit a younger audience.You started playing when you were 20 years old. How soon after learning your first chords did you start performing?
Imperioli: I immediately started playing with one guy who was in my acting class who had been a musician first, and then two other musicians. We started a band that was really kind of a no-wave band based on the Mudd Club scene of the early ’80s, and it was just instrumental. There was no singer, and there was guitar, bass, and drums. I had the only guitar I could afford at the time, which was a nylon-string acoustic guitar. It was the cheapest thing in the store. I tried to mic it and it didn’t really sound good. Then, I bought a little pickup and glued it, and then I was able to plug into the amplifier and try to make sounds. And that’s how I started playing.
The band’s second record, Diamond Vehicle, was recorded with producer John Agnello, known for his work with artists such as Dinosaur Jr. and Kurt Vile.
What was that band called?
Imperioli: Black Angus. I didn’t really know anything. Then, I bought my first electric guitar, maybe a year or two after. That was a Telecaster, which I bought at Matt Umanov Guitars, which used to be on Bleecker Street in Greenwich Village. It was a little easier to play no-wave music with an electric guitar.
We only recorded demos, didn’t record in a studio at all. We did play one gig. It was an Earth Day benefit at a place called McGovern’s, which was a dive bar that had live music in SoHo on Spring Street.
Who influenced your no-wave guitar playing?
Imperioli: One of my favorite guitarists is Pat Place from the Bush Tetras. We did a benefit with them a couple of years ago, which was kind of a thrill to be on the bill with them. Pat Place’s approach to the guitar always really cut through for me. I think she’s somebody who really found her own style and really mastered that and just adds such a unique dynamic to the music.
“Going back to when I was 20, I was playing in bands and doing little plays and writing and producing plays and directing plays…. That’s always been my life.”
Speaking of that scene, I’ve seen you post on Instagram about Robert Quine.
Imperioli: Robert Quine, I think, was a genius. From Richard Hell’s Band, the Voidoids, and his work with Lou Reed. He was a distinctive, expressive guitar player with a unique voice that always stood out in his work. As a young person, he recorded the Velvet Underground at Max’s Kansas City, then eventually wound up playing with Lou.
I think Lou Reed is a very underrated guitar player. Of course, as a rhythm guitar player, it’s known, but his leads were very interesting, especially when he was improvising. He really was able to express a certain point of view from inside those songs. And when Quine decided to play with Lou, one of the stipulations he made was that he wanted Lou to play leads as well.
After Black Angus, you were in the band Wild Carnation.
Imperioli: Yeah, it was a couple of years later, before they were named Wild Carnation.
I was singing, I wasn’t playing guitar. That was kind of a brief thing for me. I had to leave the country for some project, and they really were ready to record. So, it wound up not being a good time for that.
Then, I met Olmo and Elijah in 2006, and I had been working on guitar stuff then. Shortly after we started playing, I started taking some lessons with Richard Lloyd from Television, who basically taught me how to practice, and that made a big difference. I mean, I was practicing before, but I just learned different ways to approach it from him. It was a really big, big step for me.
I only had a few lessons with him, but they really made a big impact over the course of a few months. He’s a very demanding and exacting teacher.
Michael Imperioli with his humbucker-loaded 1966 Fender Jaguar.
So, ZOPA was your first band that was based more around your songwriting.
Imperioli: I brought some songs that I had had kicking around for a while, and we created some songs—the process is pretty collaborative. Some songs come from a drumbeat, some songs come from a bass line, some come from ideas that Elijah or Olmo have lyrically. Some come from me, even if it’s something that I bring in like a chord progression and some lyrics. It really doesn’t become a ZOPA song until it’s worked out by all of us.
I had the idea of forming a trio, and it was really inspired by Galaxie 500 and what they did with a trio and the way it was three distinctive musicians coming from three different point of views making this one thing happen together. It’s never just a singer-songwriter with a rhythm section. That’s kind of always been the approach.
Dinosaur Jr. is an example that is similar, which is a big influence on me, and I think on ZOPA as well.
I can hear the Dinosaur influence in the band. Has J been a longtime favorite of yours?
Imperioli: For a long time. J’s a virtuoso as far as rock guitar goes, he’s really quite incredible.
My abilities are so far less than his, but sonically how he uses the guitar, and how he approaches a lead, the way he expresses himself, especially his lead playing, I think is spectacular and sometimes really breathtaking and moving.
I think my favorite guitar solo in all of rock might be the song “Pick Me Up,” from the Beyond album. Three minutes into the song, he starts this three-and-a-half-minute guitar solo. I think it’s just genius and perfection, and he’s definitely a compass point of guitar playing for me.
“I’m someone who likes to be engaged in things that are creative and exciting to me and find a way to keep doing that.”
When did you start writing songs?
Imperioli: Pretty much right when I started playing guitar. There’s one song that was on our first album that I think was the first song I ever wrote, called “Roll It Off Your Skin.” The last verse was written when I was living at the Chelsea Hotel in ’95, and then we started playing it together 10 years after that.
The Death by Audio Fuzz War informed the direction of the story in “Love and Other Forms of Violence” from Diamond Vehicle. Can you tell me how that song was written and the role that pedal played?
Imperioli: Sometimes, we’ll write songs and they’ll come out of jams in practice sessions for ZOPA. That’s all electric obviously. But if I’m writing at home, I’ll either use an acoustic guitar or an electric guitar that my son made that has a Strat body. I’ll just play that and record on my phone. So, that song just started off with a very simple two-chord thing for the verses.
I started practicing that alone in the studio with the Jaguar, and I had just gotten the Fuzz War from Oliver Ackerman who makes them—he’s a friend and a musician I really admire. His band is a Place to Bury Strangers. It’s a great band. I was going to use that in place of the Big Muff and just see what would happen.
I was using the Fuzz War for the rhythm part of these verses, and there was something in the way it fed back in a very weird way. There was this little high frequency that just surprised me. And it happened every time, no matter what amp I would use or what the settings were. But there was something about that, doing the verses cleaner and then doing them with the Fuzz War, and I was like, “Oh, this is what this song is about, light and darkness.” And it just gave me a direction for the chorus.
Our February issue had Stevie Van Zandt on the cover, so talking to you, I’m now thinking about the heavy musical vibe going on in Sopranoscasting.
Imperioli: That really comes from David Chase, who in high school was a drummer. He loved music, especially the British bands from the ’60s, like the Stones and the Kinks—like, David was at Altamont to see the Stones. That love of music was definitely infused intoThe Sopranos. I mean, David at some point thought Steven Van Zandt could be Tony Soprano. He was watching the Rock & Roll Hall of Fame inductions, and Steven Van Zandt inducted the Rascals. And David loved his speech so much and thought it was so charismatic that he had him audition for Tony Soprano. Stevie was one of the three finalists for Tony Soprano.
At Philly rock club Kung Fu Necktie this winter, ZOPA delivered a fiery performance that ignited the packed audience with a setlist of mostly new material from Diamond Vehicle.
Photo by Nick Millevoi
I’m curious about the intersection between your acting career and your music, and finding time and how you navigate that.
Imperioli: It’s an extension of what I always did. Going back to when I was 20, I was playing in bands and writing and producing plays and directing plays. My wife and I opened this off-Broadway theater in 2003, and I was producing and directing and acting there. So that’s always been my life: writing, directing, acting, producing, film, theater, television, fiction, podcasts, Sopranos podcast….
If it’s something you’re passionate about, you just budget your time to include the important things. That’s all. There’s no formula to it. It’s just that I’m someone who likes to be engaged in things that are creative and exciting to me and find a way to keep doing that.
Is music any more important in your life now than it was before? Have you intentionally foregrounded that?
Imperioli: I think we’ve just gotten more confident. Recording is a big part of that, especially recording the new record. The first album was stuff we had written over the course of six years, and the new album was stuff that was in the last year or two for the most part.
We tend to do best when we play in local places that have a local music scene. Something like Kung Fu Necktie, the band that opened for us, Andorra, is a local Philly band. And in New York we’ve been playing a lot at Baby’s All Right and Mercury Lounge, places where people go to see bands, both local bands and bands that are touring. So, a lot of musicians come to the gig. I love playing clubs that are part of a local music scene.
Sometimes when we’re on the road, if we played a theater that has a very wide variety of touring bands, we don’t do as well. And it’s not as fun as playing at a club that’s part of a local indie music scene.
It connects more, I think.
Imperioli: Exactly. Meeting other bands, playing with other bands that are from similar scenes, it’s been really, really satisfying being part of that.YouTube It
ZOPA perform their two-song Lou Reed medley at Manhattan’s Mercury Lounge, with Imperioli’s phaser set to max swirling, psychedelic effect.
PG contributor Tom Butwin digs into seven very different boost options, from classic clean boosts to tone-sculpting EQ beasts. Whether you're chasing midrange magic, vintage character, or gig-saving utility, there's something here for every board.
VOX Amplification Tone Sculptor
The VOX Tone Sculptor graphic EQ delivers tube-driven tone shaping that adds warm distortion as you raise the level, infusing your sound with rich tube harmonics and natural compression.
$219 street
voxamps.com
SoloDallas SVDS Boost
This pedal recreates the legendary 1975 signal boost from the Schaffer-Vega Diversity System, which provided up to 30 dB of boost, shaping the tones of Angus Young, David Gilmour, and others. Unlike typical clean boosts, it enhances vintage coloration and harmonics. Built with high-quality components, it’s designed for both studio and stage reliability.
$129 street
solodallas.com
Seymour Duncan Pickup Booster Mini
The Pickup Booster Mini delivers the perfect boost and features a resonance switch for multiple tonal characteristics without taking up space on your board.
$99 street
seymourduncan.com
J. Rockett Audio Designs Archer Clean
The Archer Clean is a recreation of the clean boost found in a Klon Centaur. Go from beautiful cleans to slamming the front end of your amp instantly!
$229 street
rockettpedals.com
VOX Amplification Power Burst
The VOX Power Burst offers the rich tone of a genuine tube boost, designed to enhance your tone with natural compression and tube saturation.
$199 street
voxamps.com
Rock N’ Roll Relics Stinger Boost
Not your typical boost. This single-transistor midrange booster lets you switch between a punchy silicon transistor and a warm, vintage NOS Germanium transistor. Whether placed before or after other drives, it delivers the signature midrange growl that defines classic rock ’n’ roll. Each pedal is aged to perfection.
$279 street
rocknrollrelics.net
MXR Micro Amp
The MXR Micro Amp slams your amp to the brink—up to +26dB—while adding just a touch of honey to your tone with the twist of a single knob.
$99 street
jimdunlop.com
Learn More about these pedals:
https://voxamps.com/
https://rockettpedals.com/
https://rocknrollrelics.com/
https://www.seymourduncan.com/
https://solodallas.com/
https://www.jimdunlop.com/products/electronics/mxr/