Prog “I had a friend who turned me on to the prog of the 70s. It was sometimes a little heady and meandering for me, and I liked rock more. When I was at Berklee I got much more into fusion-y prog, and not long after that I met John, back when Dream Theater were brand new.
I started to follow him, and he’s never ceased to amaze me. I’ve watched John progress through the years, and I’ve played with him [on the bill of i’s G3 tour], and he’s just a completely full, rounded, authentic prog demi-god. All the elements are in place.
He has fierce, fierce technique, and I know what it takes to gain that kind of technique, and to withhold it. Discipline alone doesn’t do it – you need passion, you need to really want it and have a deep interest. He’s a badass – but he’s a kind soul, a gentleman He’s continued to evolve Dream Theater’s prog roots into contemporary times.
When the seven-string guitar came out and people started tuning down, this whole subculture emerged – djent, whatever you want to call it. John really makes the most of that. The band’s prog has cerebral stimulation to it, and when he starts cutting loose on guitar, it’s fascinating.
His chops and his choice of notes continue to grow, and he has stunning intonation, which is a big thing for me. John’s a very prolific guy too; very organised and professional. His last solo record [ , 2020] has got some crazy, stunning stuff on it.
One of my favourites of his is [2000]. I think John had .
