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For the first time ever, John Petrucci hits the road – solo

By Joe Bosso

John Petrucci makes no bones about it: He loves to tour. If he’s not in the studio, he’s always hot to hit the road, be it with Dream Theater or as a long-running guest on one of Joe Satriani’s G3 excursions. “Live performance is something I can’t get enough of,” he says. “Making a record is one kind of thrill, and it’s something I take very seriously and find a lot of joy in. But for me, nothing replaces the magic of bringing my music to audiences. There’s just no substitute for it.”

Shortly after completing the first leg of Dream Theater’s Top of the World tour this past spring (dates that had to be rescheduled twice due to the Covid pandemic), Petrucci got the road itch again. But the tour he’s embarking on this fall differs from anything he’s ever done before. This time he’s taking the stage as a solo artist.

“It’s something I’ve thought about for a long time,” he says, “but there was never room in the schedule because Dream Theater is always so busy.” He also admits it wasn’t until recently that he felt as if he had enough of his own material to fill a solo set. “There was a 15-year gap between my first album [2005’s Suspended Animation] and my second one, Terminal Velocity, so it took a while for me to feel like I had enough of my own music to do a whole show,” he says. “With Dream Theater not doing anything in the fall, I looked at the break and said, ‘OK, if there was ever a time to do this, it’s now.’”

Petrucci chose bassist Dave LaRue for his live lineup – the two have enjoyed a long and creative history over the years, playing together on G3 tours and collaborating on both of the guitarist’s solo albums. But it’s the drummer who rounds out the rhythm section that’s causing the stir among Dream Theater fans: It’s none other than Mike Portnoy. The upcoming tour will mark the first time Petrucci and Portnoy will share a stage since the drummer’s high-profile exit from Dream Theater back in 2010.

“I can’t believe it’s been 12 years already,” Petrucci says. “Time sure flies. But we have been doing some things together. Mike also played on Terminal Velocity, and last year we worked with each other on Liquid Tension Experiment 3, so we’ve been busy in the studio. The two of us haven’t done anything live since he left Dream Theater, which kind of blows my mind.” He laughs. “The first show we do is going to be a trip!”

Making Petrucci’s solo tour more interesting is his opening act – Meanstreak, the first all-female thrash metal band in history, which also features three wives of past and present Dream Theater members. Among its lineup is Petrucci’s guitarist wife, Rena Sands; bassist Lisa Martens Myung, who is married to John Myung; and Marlene Portnoy on guitar. The band formed in 1985 and released one album, 1988’s Roadkill, before disbanding in 1994. Now reunited, the band will play a warm-up show before taking off on Petrucci’s solo dates.

“I’m almost more excited about Meanstreak coming on this tour than I am for myself,” Petrucci says with a laugh. “They’ve gotten back together, and it’s going to be really cool. They have fans from back in the day, but for a lot of people, this will be their first time seeing them. I think we’re going to have a blast.”

Joe Bosso: The Dream Theater tour that you recently finished was pretty extensive. Unlike some other bands, you guys didn’t have any Covid mishaps.

John Petrucci: Thankfully, no. That was the worry. It’s been a nightmare for a lot of bands that have had to stop their tours or cancel them altogether. We followed all the rules and precautions. And we saw no one – no VIPs, no after-shows, nobody backstage, no nothing. It was difficult – you’re traveling throughout Europe, so it’s not like you’re completely in a bubble. You’re going to hotels and everything else. But we were as careful as possible, and there were no issues. I think we’re planning to continue the Top of the World tour in 2023.

JB: As you’ve said, your solo tour setlist will be made up of songs from your own albums. Do you think there’s a possibility you’ll play anything else?

JP: I don’t know. I haven’t put the setlist together yet, but I’m thinking about it. The only times I played any songs from Terminal Velocity live were at my boot camp last year, although I did preview a few of those songs on a G3 tour before I recorded them. But really, there’s a lot of material nobody has ever seen me play live. Whether or not I throw anything else in, we’ll see. I guess we can have fun doing a cover tune or something. But I’ve never done a solo tour, so I want to play my own music.

JB: Mike Portnoy. Think he knows any cover tunes?

JP: [laughs] Yeah, right? I could probably call out anything and he would know it.

JB: Between working with you, Dave LaRue and Mike Portnoy are also members of Flying Colors. I guess you won’t have to worry about your bassist and drummer meshing.

JP: Exactly. They already mesh! And it should be said, we’ve done this combination before on G3, so they’re locked in. I love working with Dave. He’s done both of my solo albums and every G3 that I’ve done. We have a great musical connection. And, of course, Mike and I have a long history of being creative together. There’s a full trio chemistry. I have no doubt it’s going to be great.

JB: Is there a difference in how you work with Dave LaRue than, say, with Dream Theater’s bassist, John Myung?

JP: Oh, yeah. First of all, John Myung and I grew up together, so we’ve known each other since we were 12. We started writing music together in middle school and throughout high school. We have the same influences – Rush, Iron Maiden, all that stuff. We started Dream Theater when we went to Berklee. We have a chemistry and a relationship that you can’t even describe. It’s obviously very intuitive. He’s been in Dream Theater all this time, just like me, and maybe he’s done one side project.

In the case of Dave, despite all the recording we’ve done and all the improvisational things we’ve done live, I’ve never written with him. So I don’t have the same experience of being creative with him in the same way I have with John. They’re both unique bass players and come from different schools of playing, stylistically. Dave has more experience of playing with other people – there’s Flying Colors, the Dregs and some others. He’s maybe more of a chameleon in that way. But they’re both technically incredible and just phenomenal.

JB: And how about working with Mike Portnoy? How is that different from how you play with Mike Mangini?

JP: Well, they’re both incredible – that goes without saying. My relationship with Mike Portnoy is similar to my thing with John Myung. We were at Berklee together, so we were 17, 18. We played in a band together for 25 years and did everything together. We have an ingrained chemistry. When Mike came down to record on Terminal Velocity, there was an unspoken natural connection between us. It just came right back. It’s like riding a bike.

With Mike Mangini, we were able to form a bond very quickly. He came into Dream Theater with this big talent and big personality – he was everything we were looking for. It was like we knew each other already. He’s from Boston, but if he grew up in New York, we would have been friends and would’ve played together. Over the past 12 years, we’ve established a musical bond that’s similar to what I have with other players. I’m really proud of all we’ve accomplished.

I feel really fortunate to have connections to two drummers named Mike. What a great position I’m in: I get to be in Dream Theater with Mike Mangini; I can step on stage and in the studio with him and have these incredible experiences. At the same time, I can reconnect with Mike Portnoy and do these projects with him – and now tour with him. As a guitar player, I’m pretty spoiled. [laughs]

JB: In terms of reconnecting with Mike Portnoy, there were so many years in which you didn’t play together. Did you two have any stuff to iron out?

JP: No, because the side that people don’t see is, we’ve always been friends and were always connected. Along with Dream Theater, there’s Meanstreak – I’m married to Rena, John’s married to Lisa, and Mike is married to Marlene. We were all in each other’s weddings. We all had kids around the same time. Even during the period when Mike left the band up to when he played with me on Terminal Velocity, we had already reconnected and hung out together. All of our kids are friends. There’s a private side to all of this that people don’t know about.

It’s different when you’re in a band with somebody for 25 years; you’re with them every day and you do everything together, and then suddenly, you’re not. There was a period in the beginning when we just didn’t see each other so much. But like I said, the thing with our families never went away – we got together on holidays and things like that. When he came into the studio to play, there were no personal things to iron out, because they weren’t there.

JB: You mentioned Meanstreak and how excited you are about them coming out with you.

JP: I am! It’s going to be great. I’ve done some things with Rena. She did my guitar camp last year, and we played together in Holland at the Sena Awards. But I’ve never toured with her. This will be the first time we’ve ever done such a thing as husband and wife. It’ll be great. I’m really looking forward to it.

JB: Lastly, do you have any thoughts about the next Dream Theater album? Is it too early for that?

JP: It’s a little early. We’ll be back on the road next year, and at that point my mind will start to drift toward the studio, as it usually does. The creative ideas start to seep in all on their own. It’s a funny process: You get so immersed in the album you’re doing. It’s your whole life and you’re just consumed by it. You go to bed thinking of the music you’re making. You can’t shut it off. Then you finish it, and you’re like, “OK, it’s done.” But that only lasts for so long. You go on tour, and suddenly you’re like, “You know what? I’m getting these new creative ideas.” Then you start to really think about the next record. I’m not quite in that phase yet. I’ve thought about it a little, but I know it’s a ways off.

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The Answer Lies Within

John Petrucci’s top three tone tips

1. Keep your signal chain simple

When I’m recording in the studio, I try to keep my signal chain simple. For me, it’s all about a guitar plugged into the amp that’s plugged into a cabinet. That’s it. If you’re playing with the right gear, what’s coming out of the speaker should be what you’re able to capture on your recording. A lot of guitarists try too hard; they clutter their signal chain with different pedals and things, and they wind up unhappy with the results. If you just get a good sound with your guitar, your amp and your speaker, you’ll be off to a good start. Then you can work on all the other sound variables if you like.

2. Find your own voice with the right gear

I’ve been very fortunate in that I’ve been able to develop gear to my taste. Working with companies whose gear I played and loved for years – Ernie Ball Music Man, DiMarzio, Mesa/Boogie, Dunlop and TC Electronic, and of late there’s been Neural – I’ve been able to find my own voice. It’s a real honor to develop musical instruments and equipment with those companies.

I realize, however, that not everybody is in my position, but that doesn’t mean players can’t try to find the gear that speaks to them. Search out guitars and equipment that you connect with and can deliver the sounds you hear in your head. Listen to your favorite players, and ask yourself, “What are they using? How do they get those sounds?” A lot of players have sounds in their heads, but they don’t know how to achieve them. They might be using the wrong pickups, or they’re playing through the wrong amps. Look around, play around with things. Eventually, you’ll find the right guitar and gear combination you need. But don’t settle for stuff that doesn’t work for you. You’ll only set yourself up for frustration.

3. Realize that tone comes from you

This is a little existential, but I swear by it. The guitar is a tactile instrument. You’re using the flesh of your hands to interact with it, and regardless of everything else you use, the sound you make comes from you. Every guitarist sounds different, and that’s because every guitarist is different. That’s the beautiful thing about playing the instrument.

I remember being on a G3 tour with Joe Satriani. I’ve always been so enamored of him – his skill and his tone. One day I asked him, “Can I play through your rig?” And the funny thing was, once I played through his rig, I didn’t sound like Joe at all – I sounded like me. And I was hit with the realization that, because the guitar is a tactile instrument, so much of the tone came from my touch. That’s something very important to keep in mind. Try to understand how you affect the tone of your guitar. It’s your gift. Embrace it and use it. No matter what else goes into guitar playing, you are the most important thing that you bring to the table.

—Joe Bosso