Guthrie Trapp: Redefining His Musical Identity Beyond Country
When the name Guthrie is mentioned in the guitar world, two prominent figures frequently enough come to mind: the British fusion maestro Guthrie Govan and Nashville’s own Guthrie Trapp, a session guitarist renowned for his work with legends like Dolly Parton, John Oates, alison krauss, and Garth Brooks.
“Honestly,I haven’t really listened to the other Guthrie!” Trapp chuckles. “We come from different musical realms and backgrounds. But I certainly recognize his talent and the respect he commands.”
Raised in a bluegrass-centric environment with minimal exposure to mainstream pop, Trapp was heavily influenced by his musician uncle, Jerry. now at 46, he emphasizes that to sustain a fulfilling career in music, one must embrace a broader viewpoint beyond just one genre.
Expanding Musical horizons
This philosophy is a central theme in his recently relaunched course, The Guitar Styles of guthrie Trapp, available on ArtistWorks. The course encapsulates key lessons he has gathered over the years,offering insights and strategies for navigating diverse musical landscapes.
“I don’t label myself as a country guitarist,” he shares with Guitar World. “I played in a country band with Don Kelley about 25 years ago, and that’s where the pigeonholing began. I’ve been striving to break free from that ever as! My passion lies in music as a whole.”
“While American roots music,bluegrass,and customary blues are meaningful to me,I never idolized the iconic rock guitarists because I wasn’t familiar with them.”
Influences and Inspirations
Where there any rock guitarists who later caught your attention?
“Mark Knopfler has always resonated with me; his melodies speak volumes. I’m not a die-hard Pink Floyd fan, but David Gilmour’s guitar work has always captivated me. While fast playing can be extraordinary in youth, it’s the songs and melodies that endure. Shredding is thrilling, but it’s not enduring forever. Eventually, you need to focus on melodic playing.”
Your approach seems to adapt to the musical context rather than sticking to a single style.
“It’s essential to be versatile. If your only goal is to emulate Stevie Ray Vaughan, you’re setting yourself up for disappointment. There’s only one Stevie, and he mastered it like no one else.”
The same applies to legends like Eric johnson and B.B. King. However, I’ve grown indifferent to guitarists; I feel like I’ve heard it all by now.”
Mastering Techniques
From a technical standpoint, country guitar is notoriously challenging. How did you hone those skills?
“If you play those lines carelessly,they won’t resonate. The alternate picking technique is rooted in flatpicking traditions. For younger players unfamiliar with Tony Rice and David Grier,I’d point to Billy Strings as a contemporary example.”
“You must alternate-pick those lines because they originate from fiddle tunes. And 99% of your playing should come from your ear. Focusing solely on theory without the ability to create music is like a chef who can chop vegetables perfectly but can’t actually cook.”
“I frequently enough step back and ponder, ‘Why are we doing this? What’s the purpose of pedals or theory?’ I find that the ‘why’ often gets overshadowed by the ‘how.’ The ultimate goal should be to compose a song, record it, and share it with others.”
gear and Preferences
Trapp typically favors boutique T-style guitars from makers like Floyd and Russ pahl, paired with vintage Fender amplifiers and his signature JTO pedal from J. Rockett Audio.
“Here in Nashville, we all appreciate the original Nobels pedals, which outperform the reissues. Their prices have skyrocketed; I used to buy them for $100, and Uncle Larry [Tom Bukovac] would snag them for $30. Now,they’re priced at $1,500 or more.”
“After two decades, my Floyd guitar has seen better days. I had it refretted recently,and it just didn’t feel right. I returned the Russ Pahl guitar since I wasn’t using it. Now, I’m enjoying a Dan Strain Danocaster that Uncle Larry sold me, along with a 1969 335. Now that’s a real guitar.”
Do you consider yourself minimalist when it comes to gear?
“I don’t have a large collection. There’s a Gretsch that Zac Brown gifted me, but I hardly use it. I might have the smallest collection of any working musician in Nashville! I don’t own a Strat, Les Paul, or anything with P-90s.”
“I have everything I need. You won’t hear me using high gain unless specifically requested. The Nobels works beautifully with my 1966 Fender Pro Reverb. I don’t even use my signature overdrive anymore.”
What does your pedalboard look like?
“I have a Boss tuner and an Xotic RC Booster, followed by the Nobels, a tremolo, a Strymon Brigadier delay, and a strymon Lex. I also use a Strymon Cloudburst synth reverb for intros. My EarthQuaker Dispatch Master, which combines delay and reverb, is a favorite.”
“I recently acquired a Tomkat Super Day Dreamer, another fantastic delay and reverb. I love combining both effects to create a unique ambient sound.”
“I’m not into digital gear with memory banks that require extensive programming. I prefer the old-school approach! No amp modelers for me-none of that nonsense.”
Have you ever experimented with digital modeling?
“I tried a Fractal or Kemper once. I flew in and had to jump straight into a stadium gig. They provided all the gear, including the guitar.”
“I plugged into this box and realized that if you try to play with dynamics, it wouldn’t track properly. It demanded a constant signal, which felt absurd to me.”
“However, I saw Mark Knopfler twice on his last tour; he was using digital modelers and sounded absolutely incredible.I was moved to tears. His tech had everything dialed in perfectly. Uncle Larry once told me that good tone is heavy. When you pick up an amp with a solid transformer and quality speakers, it’s not going to be lightweight.”
Meeting Billy Gibbons
Billy Gibbons appreciates your playing.How did your paths cross?
“I’m not a fan of the ‘this is my office today’ mentality. it’s not about just clocking in and out.”
“I met him at Todd Sharp’s amp shop eight years ago. During the pandemic,I received an email from him-I thought I had mistakenly joined his newsletter! He wanted me to be a special guest for his lifetime achievement award at the Opry House.”
“The email had been sent six days prior, and I thought I had missed my chance! I replied immediately, and we had a call shortly after. He mentioned he had been following my work and wanted to jam.”
What did you discover about him?
“He’s just as cool as he appears, if not even cooler! He’s one of the moast generous individuals I’ve encountered-always sending me quirky gifts like hot sauce, knives, dice, and pedals. He takes the time to chat and take photos with every fan he meets.”
The Role of Theory in Session Work
How crucial is music theory for a triumphant session guitarist?
“I tend to steer clear of that. I don’t view this as a job. I’m not a fan of the ‘this is my office today’ mindset. It’s not about clocking in and out. I don’t play for anyone; I play with amazing musicians. It’s about maintaining dignity.”
“You must take ownership of your craft to progress. In a world increasingly dominated by AI, the only originality we possess is ourselves. I encourage young musicians to present themselves authentically.Your unique story is your greatest asset.”
You released an album titled In Stereo with Tom Bukovac last year.What did you both bring out in each other?
“It was a genuine project because we were creating music solely for ourselves. We’d sometimes walk into a $2,000-a-day studio with no ideas, grab some acoustics, and start jamming. That’s where true creativity flourishes.”
“I’m not interested in playing another train beat or blues shuffle in A. I refuse to regurgitate the same tired formulas. I respect those genres enough to leave them untouched.”
“Remember, the guitar neck is a powerful conduit for forging connections that can transform your life. That’s the broader perspective.It’s not about the height of the frets on your Telecaster.”
“Music is a language. Embrace that mindset, and you’ll be ahead of anyone who only knows how to shred through the A minor pentatonic scale.”
- The Guitar Styles of Guthrie Trapp is now available on ArtistWorks.
