Amythyst Kiah began learning guitar at the age of 13, then later attended a creative arts high school, where she found her people among all the “misfits and weirdos.”
Folk singer-songwriter Amythyst Kiah is a formidable fingerstylist. When asked about her creative process, she explains how she’s come up playing a lot of solo shows—something that’s inspired her to bring out the orchestral range of the guitar for her own vocal accompaniment. Over the years, she’s taken her high school classical training and college old-time-string-band experience to evolve her fingerpicking skills, developing three-finger technique and other multi-dimensional patterns influenced by players like Mike Dawes. And for her latest full-length, Still + Bright, she’s only continued to grow in her musicianship, but by stepping back to square one: rhythm.
Amythyst Kiah - "God's Under the Mountain"
“I’ve stayed away from writing songs where I’m just strumming for a really long time,” she prefaces, “because I was worried that it was going to be too boring to not do fingerstyle. But then I realized, there’s so many [strummed] songs that are super powerful, and you can still make it interesting rhythmically.
“I started to listen to more rhythm guitar players, like Cory Wong, and reconfigured how I was viewing rhythm guitar,” she continues. “It was a matter of finding a way to do it that was exciting and interesting to me. Now, it’s really expanded the songs that I can write.”
All of the demos for Still + Brightbegan with strumming, says Kiah. When working on ideas, she would “play rhythmically as much as I could,” then open GarageBand, choose a tempo she felt comfortable playing to, and add programmed drums—often going with a modern R&B pattern. But when she brought her songs to the studio, she discovered that she was struggling to replicate the guitar parts she’d recorded at home.For Kiah, who’s always had a very strong sense of self and vision for her sound, that was a bit discomforting.
In the making of Still + Bright, Kiah’s fifth full-length album, the songwriter strengthened her skills as both a rhythm guitarist and a vocalist.
“I had a moment of, ‘I can either spend way too long trying to replay this part that I’ve been playing from muscle memory at this point,’” she shares, or hand it off to her session player, Nashville guitarist (and, coincidentally, Premier Guitarcolumnist) Ellen Angelico, and focus on her lyrics and vocal delivery instead. “I used to be very much like, ‘I have to be playing guitar on everything.’ But there’s a team of people here that can help, and make things go along more smoothly. My ego shouldn’t be getting in the way.”
She did, ultimately, play guitar—acoustic or electric, or both—on five out of 12 tracks, and banjo on two. Angelico performed on each track, alternating between mandolin, dobro, pedal steel, and acoustic, electric, and baritone guitar. (You’ll also hear Billy Strings, with his unmistakable, rapid-fire bluegrass licks, on “I Will Not Go Down.”)
The finished album exudes a spirit of triumph. It rings as one extended anthem, beginning with “Play God and Destroy the World,” a reflection on a childhood rejection of religious hypocrisy, and ending on “People’s Prayer,” an avowal of humanistic compassion. “S P A C E,” one of the more pensive songs in the collection, features Kiah playing clawhammer banjo. “God’s Under the Mountain” builds and undulates with a communion of syncopated vocal melody, fiddle, pedal steel, dobro, and background vocals by producer Butch Walker and Avi Kaplan. Then, the waltzing “Dead Stars” unwinds with simpler, judicious instrumentation supporting a mournful theme, before swelling with Morricone-like eloquence as it closes. “This is the first album where I really had a concept about everything, from the logo to the color palette, and everything else,” says Kiah, “and I had an incredible team who was able to really bring to life what I was envisioning.”
Amythyst Kiah’s Gear
Some of Kiah’s building blocks for her fingerpicking abilities came from classical training in high school and old-time studies at East Tennessee State University.
Photo by Tim Bugbee/tinnitus photography
Effects
- L.R. Baggs Para Acoustic DI
- TC Electronic Polytune
Strings, Picks & Accessories
- Acoustic: D’Addario light
- Electric: Ernie Ball medium
- Dunlop .73 mm picks
- Paige capo
Throughout the record, Kiah’s propulsive singing voice is the glowing flame to the hearth, acting as a centerpiece to the already luminous, Americana-fueled full-band arrangements. Like rhythm guitar, voice was another essential element that she cultivated while creating Still + Bright.
“I kind of diminished that power of having a voice,” she admits, explaining how she’s always been preoccupied with measuring up on guitar, and has long held multi-instrumentalists such as Prince in high esteem. But something shifted when a sentiment expressed by her manager, Dolph Ramseur, years ago, finally sunk in. “He said, ‘Amythyst, you know, you could just stand in a room and sing a cappella, and people would sit there and listen, and they wouldn’t get up and leave, and they would not be bored.’ And then it really dawned on me—it’s a powerful thing, people that can just sing; there’s a power and strength there, too. It’s just understanding where the power lies, and then embracing it, as opposed to feeling inadequate.
“It’s just understanding where the power lies, and then embracing it, as opposed to feeling inadequate.”
“I have this ongoing obsession in the back of my mind that I’m never doing enough,” she continues. “So, anytime I remove something from the equation, I worry. That stems from social anxiety, and being overly concerned with, like, ‘Am I making the right decision?’ But it doesn’t matter how long I agonize or rethink or redo something; at the end of the day, the decision I make is still going to be spontaneous. Because there’s only ever ‘now.’” She adds, laughing, “I’m a big Alan Watts fan.”
Now, she’s started doing vocal warmups before shows, “and through that, I’ve expanded my range and I’ve also been able to gain even more control over my voice. It also means that I can write more challenging songs. Those two things—expanding [rhythm] guitar and expanding voice—have let me open a whole new side to my sound.”
Spiritual themes appear frequently on Still + Bright, in both Kiah’s song titles and lyrics. The opening lines of “Empire of Love” include, “My religion is none at all / I build my own cathedrals and let ’em fall.” On “Let’s See Ourselves Out,” she sings, “So many matrices we create to escape / Sometimes I wonder if we’re just a mistake.” And, on more than one song, there’s mention of how “we’re all made from stars from above,” alluding to the scientific evidence that the elements of the human body were created by stars that went supernova.
Kiah was raised in a predominantly white, Christian suburb in Chattanooga, Tennessee, as part of a Black family who didn’t attend church. She identified as an “alternative” kid, vacillating between agnosticism and atheism, shopping at Hot Topic, and drawing inspiration from The Matrix’s theme of breaking free from societal constraints. (She remarks on her younger self’s “cognitive dissonance” of buying “‘alternative clothes’ at the mall.”) As a self-proclaimed introvert, she dealt with social anxiety, and spent a lot of her time at home alone on the computer. But when she began learning guitar at 13, and later started attending a creative arts high school, she finally felt like she fit in: “’cause everybody there was misfits and weirdos.”
Spirituality is a common theme in Kiah’s music. Her current beliefs draw mainly on principles of Zen Buddhism and Taoism.
Photo by Kevin & King
Though still adamantly individualistic, her spiritual views evolved when she took courses in both Western humanities and Eastern religion in college: “I realized that people have created narratives about how to live our lives for thousands of years. So, this idea that only one group of people got it right and everyone else is wrong; that threw all of that out the window.” Today, she says that Zen Buddhism probably best captures her personal belief system, but, “I hesitate to call myself a Zen Buddhist because I feel like I still have more to learn,” she says. She also rereads the Tao Te Ching by Laozi “pretty regularly,” lauding the principles of Taoism as another strong influence on her philosophies.
At the beginning of our 1 p.m. Zoom call, Kiah shares that she typically spends her mornings alone and in silence, meditating, writing, and reading, and lightheartedly apologizes for enthusiastically “going on”—saying she’s had a lot of time to think before speaking to another person. When I ask her about what modern artists she’s listening to lately, she has more to say about what she’s been reading. One of the books in her current rotation is The Lost Art of Silence by Sarah Anderson.
Growing up, Kiah identified as an “alternative” kid, and was something of an “anime mall goth” who often shopped at Hot Topic.
Photo by Tim Bugbee/tinnitus photography
“It goes along really well with meditation and learning to live in the present,” Kiah says. “It’s been interesting to explore those different perspectives on silence, and make more of an effort to find time in my life to be quiet. I find that I’m getting more and more comfortable with myself and my thoughts, and I feel less like I always have to block out anxious thoughts. Or, if I have anxiety about something, I can come up with an idea of, ‘Okay, well, how can I alleviate this? Can I do anything about it?’, and solve the problem as opposed to starting the spiral.
“Impostor syndrome was the big driver for my social anxiety, and now, I feel like I’m on the other side of being an impostor,” she reflects. “I’m doing what I’ve been wanting to do for the past 12 years, making a living doing this. There’s stressful things that happen, but you have to decide, what are you willing to be stressed out about? To try to seek a perfect, happy life where nothing ever upsets you—that’s called emotional repression and it’s really unhealthy. It’s just about accepting the fact that, hey, some days, some weeks are gonna be shit, and to find ways to take care of yourself that are as least self-destructive as humanly possible.”
“It doesn’t matter how long I agonize or rethink or redo something; at the end of the day, the decision I make is still going to be spontaneous. Because there’s only ever ‘now.’”
And while she’s outgrown a lot of her social anxiety, she says it’s been a challenge adapting to the stress that comes with the unpredictability of touring. “When I would be at home, I would establish this really tight routine, and then I got completely knocked on my feet when I would leave,” she explains. “I had to get to this point where I would just be focusing more on the present and less on trying to micromanage how my day’s going to be, because it’s not gonna always go the way that I want things to go.
“That’s been also helpful in my creative process, because then I’m not as anxious and worried about all these other things that I don’t have control over, and I’m able to just … enjoy the process of living.”
Ellen Angelico's Gear
Guitars
- Dismal Ax Barnstormer
- Cervantes Telecaster
- GFI Expo S-10
- 1980s Kentucky KM-250S mandolin
Amp
- 3rd Power Dream 50 Plexi
Effects
- Peterson StroboStomp HD tuner
- Line 6 HX Stomp
- 1981 DRV
- MXR Timmy Overdrive Mini
- Electro-Harmonix Deluxe Memory Boy
- Strymon Flint
Strings & Picks
- D’Addario NYXL
- Wegen picks
YouTube It
On WDVX’s Blue Plate Special, recorded in Knoxville, Tennessee, Kiah performs an evocative, stripped-down version of “Empire of Love” from Still + Bright.
“All the kids in all L.A. / Come to hear Dick Dale play,” or so goes the title track from Dick Dale’s Wrecking Crew-heavy 1963 album, King of the Surf Guitar. Immodest though it might seem to proclaim such a status, he was indeed at the top of the heap.
For many, Dale’s legend precedes him. His sound, first heard in a So Cal beach ballroom, created the surf guitar vocabulary and transformed the guitar universe, starting with the 1962 release of his take on the traditional song “Misrlou.” Ever the showman, he worked closely with Leo Fender developing the right gear for the gig as he played his ripping instrumentals to larger and larger audiences. He also inspired a Hendrix lyric and had a late-career renaissance thanks to Quentin Tarantino.
In this episode of 100 Guitarists, we’re talking all things surf rock, from reverb to tremolo picking and much more. And while “Misrlou” is undisputedly his most influential work, maybe Dale’s best records didn’t come until a few decades later.
This episode is sponsored byTraveler Guitar.
This late-’90s Masterbilt was made to mimic the feeling and look of vintage luxury.
Some guitars just feel expensive. Not in an “I shouldn't be touching this, lest I scratch it” way so much as simply exuding luxury. Maybe it’s the flawless ebony fretboard, making gliding up and down the neck feel like ice skating. Or perhaps it’s the slim, ’60s-style neck shape which felt instantly comfortable in my small hands. It may have something to do with the sumptuously low 2/32" action at the 12th fret, requiring hardly any effort to play.
Makes sense, considering this guitar’s origin story. Mac Yasuda was born in Nishinomiya, Japan. At 15, he discovered the music of Hank Snow and fell in love with country music and the guitar itself. He stole a classical guitar from his cousin (“He never played it,” said Yasuda) and started a band with his friends. Yasuda traveled to the States in the ’70s and after picking up his first vintage guitar from a pawn shop, he was hooked. He began scoping out gear for his friends, which eventually grew into a shop called Mac’s Guitar Gallery in Kobe, Japan. By the ’90s, he estimated he had owned between 4,000 and 5,000 instruments, and his collection was valued at $3 million. He has authored several books about vintage guitars and is widely considered one of the world's preeminent authorities on the subject.
Yasuda is also an accomplished musician. While in Nashville in the ’80s—perhaps for one of the half-dozen times he’s performed on theGrand Ole Opry—he met Greg Rich, an instrument designer who was then head of Gibson’s banjo division. Yasuda enlisted Greg Rich and another guitar maker named Mark Taylor to produce a line of high-quality, vintage-style instruments under the name Masterbilt. “Vintage guitars are fine, but they're limited,” said Yasuda at the time. His Masterbilt guitars would give us mere mortals the chance to get a taste of the luxurious feel of a fine vintage instrument. Masterbilt debuted at NAMM in 1997, and it’s still unknown how many guitars were actually produced. The trademark of the Masterbilt name was cancelled in 2005 and has since been used by other brands, like Epiphone.
“Some folks think anything from the ’80s or before is vintage, but perhaps the fact that time has continued to march on should be factored in.”
Fanny's House of Music believes this guitar to be an early prototype, one of six ever made. Three were sunburst and three were natural. Playing it feels like playing any fine vintage 335; funny when you consider that at 27 years old, some would consider this Masterbilt vintage itself. The notion of what is considered truly “vintage” is hotly debated on Reddit every few months. Some folks think anything from the ’80s or before is vintage, but perhaps the fact that time has continued to march on should be factored in. Some guitars from the ’80s are now 45 years old! We consider guitars from the ’90s to be vintage at this point, so this 1998 Masterbilt prototype fits right in.
This Masterbilt is now 27 years old. In your books, does that make it a “vintage” guitar?
Photo by Madison Thorn
It’s a good example of how history and passion can intersect to create something special. This guitar tells a story of dedication to quality and an appreciation for the feel of a well-made instrument. Whether or not a 27-year-old guitar qualifies as “vintage” may be up for debate, but the magic in this guitar definitely isn’t. If you’re ever in Nashville, stop by Fanny’s and take it for a spin. You might find yourself feeling a bit like I felt after my unexpected ride in a Jaguar: getting a glimpse into the world of understated elegance, where refinement isn't about flash but about experiencing something crafted to near perfection.
SOURCES: namm.com, Los Angeles Times, Blue Book of Guitar Values, Vintage Guitar, Guitar-List.
British metal icon and Bring Me The Horizon guitarist Lee Malia has partnered with Jackson to create his signature LM-87, a shred-ready axe built for heavy riffing and alternative modern metal. As a founding member and lead guitarist of the Grammy-nominated band, Malia is renowned for his aggressive playing style and intricate solos. This high-performance guitar matches his demanding musicality.
With its offset Surfcaster™ body shape and vintage appeal, the LM-87 melds classic design with modern appointments. The thin open pore finish on the bound Okoume body and neck exudes organic style, while the unique 3-ply pickguard and chrome hardware add striking accents. The fast D-profile 3- piece okoume neck allows smooth riffing across the bound amaranth fingerboard.
Custom Jackson signature pickups, including a bridge humbucker with push-pull coil-split, equip the LM-87 with versatile tone-shaping options to fulfill Malia's sonic vision. The TOM-style bridge with anchored tailpiece and fine tuners provides rock-solid stability for low tunings and heavy picking.
Designed in close collaboration with the legendary guitarist, the Jackson Lee Malia LM-87 is built for shredding. Its blend of vintage vibe and high-performance features make this signature model a must-have for players who value commanding metal tone and smooth playability.
The Tune-o-matic bridge with an anchored tailpiece and fine tuners offers enhanced tuning stability and precise, incremental adjustments. This setup ensures consistent pitch control, improved sustain, and easier fine-tuning without affecting overall string tension.
The guitar’s three-piece set-neck guitar with graphite reinforcement offers exceptional strength, stability, and resistance to warping. The multi-piece construction enhances sustain and tonal clarity, while the graphite reinforcement adds extra durability and prevents neck shifting due to humidity or temperature changes. This design ensures a solid, reliable performance with improved resonance and longevity.
Features Include:
- Okoume body
- Three-piece okoume set neck construction with graphite reinforcement
- 12"-16" compound radius amaranth fingerboard
- 3-ply pickguard
- Chrome hardware
- Custom wound Jackson LM-87 pickups
- Volume with push-pull coil-split and tone control
- TOM-style bridge with anchored tailpiece and fine tuners
- Gig bag included
The Jackson LM-87 carries a street price of $899.99.
For more information, please visit jacksonguitars.com.
Unleashing the Pro Series Signature Lee Malia LM-87 | Jackson Guitars - YouTube
Jackson Pro Series Signature Lee Malia LM-87 Electric Guitar - Open Pore Black
