“I used to write solos, but there’s a lot of beauty in a more spontaneous take – even an old, known pattern that falls in a different place than usual”: Matheus Canteri is shamelessly blending country with shred – and it’s working
Brazilian who made the move to Nashville explains the connection between two genres that, on the surface, seem worlds apart
(Image credit: Tony Shepherd)
The term ‘country’ isn’t often paired with ‘shred’ – but don’t tell Matheus Canteri, a São Paulo, Brazil native occupying space in Nashville, Tennessee. Without a care in the world he blends high-octane rock with twangy chicken-pickin’ licks.
“The sound of country was always pleasing to me, but I think it was because one of my first influences was Steve Morse,” Canteri says. “Studying his phrasing and style helped me discover and fall in love with other great players like Albert Lee, Brent Mason and Johnny Hiland.”
Nashville is a long way from Brazil, and the miles represent an even more significant delta than the one between the genres he amalgamates.
“In Brazil, I didn’t know anybody who could teach me anything about country,” he explains. “So I started to figure it out by myself and put out some original instrumentals.
“They caught some people’s attention. I had a few articles published in guitar magazines, so I decided to keep going that route. Shortly after that, a friend showed me some videos of bands playing in Nashville, and I made a video that paid tribute to some of Don Kelley’s guitarists. It became popular – that led to the opportunity to move to Nashville.”
Once in the land of slow, sugary, and often straight-ahead country music, Canteri’s next step was to make a name for himself. “I’m a rocker at heart,” he explains. “The discipline and technique I developed studying rock in those early days are always with me.”
How does that aid in his country leanings? “Playing country is a totally different thing,” he agrees. “But those elements of rock are part of who I am and how I express myself when playing. It’s like cooking: you can play a little with the flavors as long as you don’t mess up the recipe.”
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We all see music as storytelling… there’s nothing wrong with a little excitement and action here and there
According to Canteri, the changes inherent in country – along with the strong, singable lines – are a perfect bedrock for emotively balanced shred. Plus, he points out, there’s a storytelling element too.
“That can carry a lot of emotional depth and really build something sonically great when it’s done right,” he says. “I guess we all see music as storytelling sometimes, and there’s nothing wrong with a little excitement and action here and there.”
He says of his process: “I write the riffs and structure very carefully. The idea is to create an interesting canvas for improvisation, which is how I record all the solos. Usually I record or program everything myself before jamming with a band, so I can play over it for a few days and see if it works.”
His debut EP, Bold Traveler, is out now. “I used to write solos, but there’s a lot of beauty in a more spontaneous take – even an old, known pattern that falls in a different place than usual. I just love that!”
Canteri is so committed to his cause that even his gear reflects his intentions. “I’ve been using a T-style guitar for a long time, and the amps have changed a lot, from a Mesa Boogie F-100 to Fender and a Vox AC15 Heritage.
“I use a compression pedal for the chicken-pickin’ stuff. I’ve used different ones, but the Boss CS-3 compression sustainer gets the job done every time.”
Pressed to name his favorite guitar from his collection, he says: “It’s hard to pick one – but my dad builds amazing guitars [as HC Guitars]. I have a blond T-style with a regular Tele pickup on the bridge and a P90 in the neck. That’s probably my favorite.”
There are 4,893 miles between São Paulo and Nashville and an unmeasurable width between the genres the bold traveler marries.
“It was always important to me, when studying the style of a certain musician, to understand the thought process and essence of what made their sound attractive, so I could absorb it and put out something that wasn’t a carbon copy.
It was always important to me, when studying musicians, to understand the thought process behind what made their sound attractive, so I could absorb it and put out something that wasn’t a carbon copy
“We all have a unique taste and unique technical qualities as guitarists. If we don’t hold back and just play something purely mechanical, the result will always be somewhat unique.”
He adds: “I feel like I’m constantly discovering more about myself and thinking, ‘How did I play for this long without knowing this?’ I work every day to be the best player I can be, and to share my music with as many people as possible.”
Andrew Daly is an iced-coffee-addicted, oddball Telecaster-playing, alfredo pasta-loving journalist from Long Island, NY, who, in addition to being a contributing writer for Guitar World, scribes for Rock Candy, Bass Player, Total Guitar, and Classic Rock History. Andrew has interviewed favorites like Ace Frehley, Johnny Marr, Vito Bratta, Bruce Kulick, Joe Perry, Brad Whitford, Rich Robinson, and Paul Stanley, while his all-time favorite (rhythm player), Keith Richards, continues to elude him.
