
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 expectingātheir 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 timesāespecially dealing with the post-traumatic-stress aspect of things, when the triggers come aroundāthat 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 musicāthat connectionādrives 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 oneāand 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 musicāeven when they try not to." āDr. 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 shortāfor 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 musicāeven 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 Hauerāwhose organization Operation: Music Aid supplies thousands of musical instruments to recovering military and armed forces personnelāwe 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 addictsābut 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 guitarāthe 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 FenderĀ 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 wellāas any instrument isābut 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." āPaul Pellinger
Meanwhile, Pellinger from Recovery Unpluggedāwhich has centers in Austin, Texas, and Fort Lauderdaleāhas 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 Aerosmithāand 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 driveā'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 guitarāacoustic 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 musicāespecially 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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In the ā80s, Peter Buckās clean, chime-y arpeggios defined the sound of alt-rock to come.
In the ā80s, Peter Buckās clean, chime-y arpeggios defined the sound of alt-rock to come. From R.E.M's start, his post-Roger McGuinn 12-string style served as the foundation for the bandās simple, plain-spoken approach, offering a fresh take on what an independent band could be and inspiring generations of artists to come. Buck not only found his sound quickly, he evolved throughout the bandās career. By the ā90s, R.E.M.ās sound had evolved to incorporate organic, acoustic textures, and eventually leaning into a glam- and grunge-inspired, distorted-guitar-focused sound on 1994ās Monster.
This episode is sponsored by Voodoo Lab.
The solo artist and leader of Asking Alexandria and We Are Harlot finds inspiration in an innovative new guitar that he calls āabsolutely game changing.ā
āIām a big fan of old things,ā says Danny Worsnop. āFrom cameras to guitars to microphones to cars, I like the stories they tell and the lives theyāve lived. I think old stuff has more soul.ā
Best known as the lead vocalist of rock bands Asking Alexandria and We Are Harlot, British-born Worsnop has also released two solo albums that explore country and blues. Heās currently in the studio working on his third solo release.
With his love of vintage aesthetics and appreciation for instruments that age with character, heās spent much of his life searching for a guitar that feels like home. āIām always on the quest to find the perfect thing,ā he says.
For years, Taylorās GS Mini-e Koa Plus has been his go-to songwriting companion. āI donāt need a bunch of things to do the job,ā he explains. āThis guitar was the first one that did that, and itās been with me for years. The finish is beat up. Itās got shiny spots from the sweat on my arm. This has been my daily driver and workhorse and life partner since I got it. Itās more than a guitar. It has a life and a personality and a sound. You pick up any other GS Mini-e Koa Plus in the world, it doesn't sound like this one.ā
With his love of older things, Worsnop acknowledges the challenges of making a deep connection with an out-of-the-box acoustic. āAll the nice, shiny new guitars that anyone has sent me over the years are greatāI have fun with them,ā he says. āBut I've never loved them. I find it hard to love new stuff because it kind of doesn't have a life or personality yet.ā
Worsnopās done his best to infuse them with some of his own personality by tweaking them in different waysāchasing a specific feel and sound that makes a guitar feel more like an extension of himself rather than just another utilitarian tool. But his most recent acoustic arrival was different.
āItās more than a guitar. It has a life and a personality and a sound.ā
Striking Gold
Worsnop recently got his hands on Taylor Guitarsā new Gold Label 814e, designed by Andy Powers, the creative visionary behind many of Taylorās guitar innovations since 2011. For Taylorās new Gold Label Collection, Powers drew inspiration from the sound of flattop acoustics from the 1930s and 1940s.
Worsnop was immediately drawn to the Gold Label 814eās vintage-inspired visual aestheticāinfluenced by old banjos and mandolins, early Taylor designs, and Powersā pre-Taylor archtop guitars. But the true revelation came when he played it.
āWhen I saw this guitar... I mean, it looks super cool, like an older guitar,ā he says. āAnd the second I picked it up, it was different. It was like, this plays like a guitar that is so old and has stories and songs in it already. I fell in love with it.ā
Worsnop says that with other Taylors he has owned, including his GS Mini-e Koa Plus, he would often modify them in some way to give them a more vintage sensibility. But not with the Gold Label.
One of the defining features of the Gold Label 814e is its new Super Auditorium body shape. The non-cutaway body bears a clear family resemblance to Taylorās popular Grand Auditorium, but the Super Auditorium is slightly longer and wider at the lower bout, with a slightly shallower depth. The new body dimensions, combined with Andyās version of a long-tenon neck and his new fanned V-Class bracing pattern, are all key ingredients in a new sonic recipe that defines the sound of Taylorās Gold Label collection. The result is a warm, old-heritage voice thatās unlike anything Taylor has ever produced.
Worsnop says the guitar complements him musically because it supports his dynamic vocals with extraordinary volume and responsiveness to a lighter touch.
āBecause I sing loud, having something thatās loud enough, but not so loud that when I do drop down you canāt hear me anymore, is important for me,ā he explains.
The Gold Label 814e comes with back and sides of solid Honduran rosewood or solid Hawaiian koa (Worsnop has the Honduran rosewood model) paired with a torrefied Sitka spruce soundboard. Each model is available with a natural or sunburst top.
The Revolutionary Action Control Neckā¢
One of the standout features of the Gold Label 814e is Taylorās patented new Action Control Neckā¢, an innovative neck joint design that allows for quick, easy, and precise neck angle adjustments. It marks another step forward from the patented, micro-adjustable design Bob Taylor introduced back in 1999. Unlike traditional neck resets, this system, like Bobās, is also glue-less, and in this case enables effortless fine-tuning on the fly without having to remove the neck or even the strings, and without the use of shims. By simply using a 1/4" nut driver (or standard truss rod wrench) on a nut in the neck block (accessible through the soundhole), a player can raise or lower the action to dial in an ideal setup.
āIt is a massive deal,ā says Worsnop. āWhen it comes to traveling musicians, itās absolutely game changing. This allows you to do a micro-adjustment without having to get in the car and drive. When Iām in the studio, I like having that precision to be able to make it just perfect.ā
For professional musicians, service techs, and recreational players who want to quickly fine-tune their action, the innovative neck design marks a paradigm shift.
In Studio and Onstage
In his Tennessee home, Worsnop has an upstairs studio where he records most of his music. Itās where heās tested countless guitars, searching for the right fit. Though his trusty songwriting guitar has been the aforementioned GS Mini-e Koa Plusāperfect for capturing spontaneous new ideasāwhen it comes to recording, the Gold Label 814e has taken center stage.
āIām working on the new album right now,ā he shares. āIf Iām at home and Iām just wandering around downstairs, which is usually where and how writing happens, [the GS Mini] is the guitar Iām walking around with. And then as soon as thereās an idea, Iāll go upstairs, and itās the Gold Label. Honestly, I donāt play anything else up there now. I put the album recording on hold for this guitar. Itās the only guitar on the album.ā
And it wonāt just live in the studio. Worsnop plans to bring the Gold Label 814e on tour, making it his primary acoustic guitar for live performances.
Performance Highlight: "Ain't No Use"
In a recently recorded performance of his song āAināt No Useā, Worsnop showcases why the Gold Label 814e is such a great fit for him. The song, rich with storytelling and emotional depth, aligns well with the guitarās vintage aesthetic and warm tonal character. It explores the universal tension between who we are and who we want to be, while emphasizing the transformative power of acceptance despite imperfections. The guitarās deep, open sound and full-bodied, muscular tone are a perfect complement to Worsnopās soaring, soulful vocals, amplifying the expressiveness of his performance and highlighting a symbiosis between player and instrument. A video of the performance is featured at the top of this article.
For Worsnop, the Gold Label 814e represents the culmination of years of searching, experimenting and refining his sound. Itās an instrument that feels like it has lived a life, carrying with it the soul and character he always craved in an acoustic.
āI have played music since I was 6 years old, and Iāve spent my entire life looking for my instrument,ā he reflects. āAt 34, Iāve found it.ā
Clean power is an essential part of the pedalboard recipe. Hereās a collection of power supplies that will keep you up and running.
CIOKS DC-7
This power supply features a 1" profile, seven DC outlets with four switchable voltages (9, 12, 15 and 18V) on each outlet, plus a 5V USB outlet and can be expanded for even the most power-hungry boards.
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Strymon Zuma
Strymon Zuma is the quietest and most powerful pedal power supply of its kind, capable of powering a huge number of guitar pedals silently and reliably with a staggering 500 mA.
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Mission Engineering 529i
This powerful power supply offers eight 9V isolated outputs and an internal rechargeable battery. It powers your pedalboard for four hours on a single charge via USB port or 12V input. It also includes a doubler cable that allows two 18V outputs.
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Voodoo Lab Pedal Power 3 PLUS
From standard battery-operated stompboxes to high-current DSP effects, the expandable 12-output Pedal Power 3 PLUS combines cutting-edge technology and time-tested analog engineering to ensure any pedal will sound its best.
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DāAddario XPND Pedal Power Battery Kit
If you need portable, wireless power, this unit offers 10,000 mAh that can last up to 10 hours on a single charge. It also includes a USB-C power supply and a patent-pending Gateway hub for ultra-quiet operation.
$169 street
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In honor of Paul Reed Smith's birthday today, PRS launches a limited-edition model of Paul's personal instrument.
Introduced on Smithās birthday, February 18, the Charcoal Phoenix Limited Edition is part of the PRS Guitars 40th Anniversary celebration. Only 150 of these instruments will be available worldwide, with each including a 40th Anniversary certificate hand signed by Paul Reed Smith himself.
"When we released the Private Stock John McLaughlin Limited Edition in 2023, I was inspired by its exceptional sound and playability. For the Charcoal Phoenix, I wanted to create something equally remarkable but with a stoptail bridge," said PRS Guitars Founder & Managing General Partner, Paul Reed Smith. "Using chaltecoco for the neck and ziricote for the fingerboard, I achieved an instrument that sustains beautifully and rings with clarity. The deep crimson back and the charcoal microburst top inspired the name āCharcoal Phoenix,ā evoking the imagery of a phoenix rising from fire and ashes.ā
Over the past year, Smith has road-tested this guitar, refining its design and tone. Most recently, he played this model on stage at the late-January 2025 PRS Guitars 40th Anniversary concert at the House of Blues in Anaheim. A deep crimson back contrasts with the Private Stock-grade figured maple top in a charcoal microburst finish. The ripple abalone āOld Schoolā bird inlays on the ziricote fingerboard add a vintage touch.
The Charcoal Phoenix also features the PRS TCI pickups, newly updated for 2025, and EQ mini-toggle switches. The TCI pickups are crafted with American Alnico magnets and slightly modified winding, wiring and electronics specifications. Based on Smithās experience playing this guitar live and in the studio for more than a year, these pickups offer clear tones from spanky single coils to full soapbars. The EQ mini-toggles act as tuned high-pass filters when engaged, removing shelved low end and allowing the high frequencies through for more clarity and musical highs.
Rounding out the details are the PRS Stoptail bridge and PRS Phase III Non-Locking Tuners. The bridge is engineered with curved string slots, brass inserts and steel studs. It is designed to maximize the transfer of the stringsā vibrations through the guitar. The lightweight tuners promote tone transfer for a louder, more resonant instrument.
PRS Guitars is planning a year full of new product introductions. Stay tuned to see new gear and 40th Anniversary limited-edition guitars throughout the year at www.prsguitars.com/40 and by following @prsguitars on Instagram, Tik Tok, Facebook, X, and YouTube.