Dave Matthews is renowned not just for his soulful voice and poetic lyrics but also for his distinctive guitar style that's as unique as his music itself. When it comes to Dave's guitar playing, rhythm is the name of the game.
Picture this: intricate fingerpicking patterns interwoven with percussive strumming, creating a rhythmic tapestry that's both mesmerizing and infectious. Dave's approach to the guitar is like a dance – fluid, dynamic, and full of surprises.
At the heart of Dave Matthews' rhythmic style is his incredible technique. He effortlessly strums the strings, coaxing out melodies and rhythms that are heavily influenced by African music.
One of the hallmarks of Dave's guitar playing is his use of unusual time signatures and syncopated rhythms. He's not afraid to push the boundaries and experiment with different rhythmic patterns, creating a sound that's both complex and captivating. Whether it's the infectious groove of "Ants Marching" or the laid-back vibe of "Crash Into Me," Dave's rhythmic prowess shines through in every song.
In a world of cookie-cutter guitarists, Dave Matthews stands out as a true original. His rhythmic style is as distinctive as his voice, and it's a big part of what makes his music so timeless and unforgettable. So next time you listen to a Dave Matthews Band song, pay close attention to the guitar – you just might find yourself dancing along to the rhythm.
The indie-rocker tells Cory Wong how the legendary martial artist inspired her gritty new record, and goes deep on the dangerous game of celebrity.
Hot off an eight-show stand in New York with Vulfpeck, plus a guest appearance with Dave Matthews Band at Madison Square Gardens, Cory Wong sits down with indie-rock bandleader Margaret Glaspyfor an in-depth dialogue on artistry, celebrity, and the wisdom of Bruce Lee.
Glaspy shares how she cut her latest record, Echo The Diamond, live off the floor, with most of the “homework” happening beforehand and studio performances happening in-the-moment. “It really felt like air blew through the studio and then the record was made,” she says. “What you’re hearing is mostly what happening.” The songs are like photographs of a particular moment, rather than an essential, unchanging thing; Glaspy says she values the “dying art” of taking risks in music.
Glaspy runs down how she and husband Julian Lage work on each other’s projects, and highlights one of their key criteria in assessing performances: are you your best guitar player right now? “Would you hire yourself or fire yourself?” poses Glaspy.
The conversation turns to Glaspy’s rig on the record—she played through a Magic Amps rendition of a black-panel Fender Princeton, plus a Fender Champ combo—before revealing that these days, she’s bypassing her tuner pedal and letting the audience hear the process between songs. “Let’s not hide what’s needed to make this actually go,” she laughs.
Glaspy runs down how she and husband Julian Lage work on each other’s projects, and highlights one of their key criteria in assessing performances: are you your best guitar player right now? “Would you hire yourself or fire yourself?” poses Glaspy.The conversation turns to Glaspy’s rig on the record—she played through a Magic Amps rendition of a black-panel Fender Princeton, plus a Fender Champ combo—before revealing that these days, she’s bypassing her tuner pedal and letting the audience hear the process between songs. “Let’s not hide what’s needed to make this actually go,” she laughs.
The conversation turns to Glaspy’s rig on the record—she played through a Magic Amps rendition of a black-panel Fender Princeton, plus a Fender Champ combo—before revealing that these days, she’s bypassing her tuner pedal and letting the audience hear the process between songs. “Let’s not hide what’s needed to make this actually go,” she laughs.Wong and Glaspy swap notes on Bruce Lee’s winning combo of talent and work ethic (and how one of his quotes inspired Glaspy’s record) before finishing with a fascinating philosophical dissection of artistry, pop culture, and celebrity. “The business of celebrity intertwines them in a way that’s hard to escape,” says Glaspy, who sees a clash between surface-level fantasy and bone-deep darkness in pop culture.
Tune in to the episode to learn all the gems from Echo The Diamond.
Wong Notes is presented by DistroKid.
Use this link for 30% off your first year.
The prominent session guitarist lived the dream at the top of the charts, and he can tell you all about it on his YouTube channel.
Zach goes it alone on this episode to interview session guitarist, 6-string storyteller, and prominent YouTuber and online guitar instructor Tim Pierce. As a player, Pierce’s guitar has spent decades at the top of the charts by way of songs by Bon Jovi, Goo Goo Dolls, Phil Collins, Madonna, Dave Matthews Band, Bob Dylan—whose recent Shadow Kingdom features the guitarist holding down the rhythm—and so many others.
Pierce discusses his biggest influences and favorite guitar sounds, seeing ZZ Top in their early stages “at their finest”—“I was floored”—and tells how he learned how to play rhythm guitar “on the job.” He also shares advice for crafting excellent guitar parts.
These days, Pierce says his session work is mostly for friends and family. Instead, he focuses on his popular YouTube channel, where he posts interviews, tips, and more. It’s a passion for the guitarist, and he and Zach get deep into the nuts and bolts of his YouTube life—from how many thumbnails can he makes for each episode (a whole lot) to how he comes up with his ideas for videos.
“I did one thing for decades,” Pierce says of his life as a guitarist for hire. “That I knew I could do … I just wanted to be a recording guitar player.” About 15 years ago, he says he reevaluated his goals and says he “discovered some people who were doing business online” who inspired him to give YouTube a go. “It just seemed like something, with all my limitations, that I could pull off.” After a decade doing full-time sessions and building his online presence, Pierce eventually switched to becoming a full-time YouTuber.