Scott Metzger on Effective Practice, Sound, and the Art Improvisation
Scott Metzger is a New York City–based guitarist known for his adventurous improvisation and deep musical versatility. Drawing from rock, blues, jazz, country, and surf influences, he’s built a distinctive voice on the instrument and become a fixture in the Northeast jam and rock scene over the past two decades. Metzger is probably best known for his work with Joe Russo’s Almost Dead (JRAD), where his dynamic and melodic playing has made him a favorite among fans of improvisational live music.
Beyond JRAD, Metzger stays musically active with several projects, including the funk trio LaMP, the Telecaster-driven instrumental group WOLF!, and the gypsy-jazz-influenced outfit The Showdown Kids. Over the years, he has also collaborated with an impressive list of artists such as Phil Lesh, John Mayer, John Scofield, Nels Cline, and Warren Haynes, performing across the U.S., Europe, Japan, and Australia.
In 2022, Metzger released his debut solo album Too Close to Reason, a mostly acoustic collection of introspective instrumental compositions written during the pandemic. The record highlights his melodic sensibility and fingerstyle mastery, blending influences from Django Reinhardt, Jim Hall, Richard Thompson, and Chet Atkins while remaining unmistakably his own. Thoughtful, tasteful, and inventive, Scott Metzger continues to stand out as one of the most expressive guitarists in modern live music.
🎸 Q & A
What does your current guitar practice routine look like?
I'm sort of anti routine when it comes to practice. I definitely still put in the hours, but I try to practice things that are interesting to me and come at them in the most undisciplined, random, and creative way I can.
I'll zoom in on some very specific thing - maybe a progression of arpeggios, a specific phrase, or a rhythmic pattern - and tackle it from as many angles as I can think of.
I'll play VERY slow, fast, VERY fast, quiet, loud, backwards, sideways, in different time signatures, in different positions on the neck, mix it up in different octaves... any way that occurs to me that keeps it fresh & interesting. Once I lose interest in and idea, it's a lost cause, so it's crucial that I keep it fresh to my ears. That way I'm practicing music, and not just some lick. Then, at some point, I'll know I internalized whatever it is - like I know I cracked the code on that specific thing and I've got it. Then it's time to move on to the next thing...
Who were some of your biggest influences when you were developing your sound?
I'm still developing my sound! I could go on & on & on here about guitar influences, but I'll keep it brief - my Mt Rushmore of guitar influences would have to include Jim Hall, Wes Montgomery, Jimi Hendrix, Marc Ribot, Bill Frisell, Richard Thompson, Tom Verlaine, & Pat Metheny....
Just as important, a lot of non-guitarist musicians have been super important to shaping my ideas about music - Keith Jarrett, Brad Mehldau, Lee Konitz, Paul Bley, Warne Marsh, Wayne Shorter, The Beastie Boys, Prince (who was a phenomenal guitarist as well as SUPER high level performer.)
Then there are SO many bands that have impacted how I see what a band working together can be capable of - NRBQ, Sonic Youth, The Waterboys, Morphine, XTC, Ween, Deerhoof, Miles Davis's bands in the 70's... all changed how I see what's possible
What’s one piece of advice you’d give to players trying to find their own voice on the guitar?
Focus on the fundamentals - try not to be in too much of a hurry to get "better." Nothing good comes from putting that sorta pressure on yourself and you never really internalize what you learn if you're putting that kind of pressure on yourself. Give yourself time to fall in love with everything you play. That's how it oughta be!!
What’s your approach to dynamics and touch — you manage to go from subtle to explosive seamlessly.
I think sound is the most important thing in music, and sound comes from very fundamental, basic elements - loud, quiet, high, low... I'm always really aware of these super basic musical while I'm playing. It just feels good to mix things up dynamically & tone-wise - keeps things much more interesting.
With JRAD, how do you balance honoring the original Dead songs while bringing your own voice and edge to them?
This might be sacrilege to die hard Dead fans, but I haven't thought about it much. I mean, I definitely spend a lot of time learning the songs inside & out - some would say I'm neurotic about learning the material.
I like to be able to run any & all tunes I'll be playing going thru the changes using only arpeggios, forward & backward. If I can do that without breaking a sweat, then I know I really got it. When it comes time to perform, though, I just get up there, do my best to trust my instincts and let it rip.
How do you and Tom Hamilton navigate trading and intertwining guitar parts onstage?
We've literally never discussed it. When we were first learning the tunes, I guess we figured out who was gonna do what, but that was so long ago now... I don't remember ever sitting down and working out parts together.
Do you approach improvising differently in a band like JRAD versus a trio like LaMP?
They're two completely different things. I can go in with much more of a plan with LaMP, where as JRAD is more of a free-for-all.
JRAD's x-factor is in the band's group improvisations. It's a real 'mind-meld' kind of situation when it's really happening, so I don't go in with any sort of game plan because I want to be totally open to any and all ideas any of the other dudes might drop on me at any moment.
With LaMP, what direction things will move in is a little more charted out & contained, so I can focus much more on whatever I'm working on behind the scenes and bring that to the table.
What gear (guitar/amp/pedals) are you using lately—and why?
With LaMP I play my Creston T style with Lollar P-90's thru my Victoria 35210 amp.
With JRAD I play my Ronin Songbird with vintage DeArmond Gold Foils thru my Headstrong Verbovibe amp.
As for pedals, with a few exceptions, I have a pretty standard rig I use. I run a Barefoot Putting Green compressor -> Benson Germanium Fuzz -> Paul Cochrane Timmy Overdrive -> Boss OC-3 Octave pedal -> MXR Phase 90 (Analogman modded) -> Ibanez Analog Delay -> Benson Analog Delay.
For a wah pedal I use the KILLER Wilson Effects Rippah.
Your solo album showcased a more introspective, cinematic side. What inspired that record?
I recorded that album during the lockdowns in 2020. I'm pretty happy with how it came out, though there are some things I'd do differently if I could go back.
When you’re not on the road or in the studio, how do you like to spend your time?
I never pass an opportunity to see a baseball game whoever is playing (though it's best if I'm seeing my beloved Philadelphia Phillies,) go for runs, and get in a round of golf whenever I can
⚡ Lightning Round
One album every guitarist should listen to?
Marc Ribot 'Los Cubanos Prostizos'
Desert island guitar and amp?
My beloved Ronin Songbird guitar & Victoria 35210 amp
What are your preferred guitar strings & pick?
D'addario NYXL 11's strings & Dunlop Prime Tone 1mm picks