Matt Bissonette: The ClassicRockHistory.com Interview

Feature Photo by Sergione Infuso

Matt Bissonette has seemingly been in demand since the day he stepped on the scene in the ‘80s. He lent his versatile bass chops to everyone from Joe Satriani to David Lee Roth to Ringo Starr to Elton John, proving his worth to every type of musician, in any situation.

Now 64, and as active as ever, Bissonette remains humble. “The main thing for me is I have several ‘How did I get’ here moments. I honestly don’t believe I’ve put as much work into music as other guys, but I still have been blessed with many great opportunities.”

“With music,” Bissonette says. “It’s usually so fun you don’t even realize you’re working. I’m just very grateful to be able to play music for a living and to be able to write songs and create things out of nowhere, that’s how I know there’s a God!”

When he looks back on it all, Bissonette says he has “no regrets.” Adding, “I’m just gonna keep doing more of the same until that magical day, whenever that comes. I plan to have three or four new recording projects out in 2026, maybe more. It’s a great time in my life as I get older to appreciate things and just enjoy the ride.”

What are your first memories of music in your life?

My first memories of music in my life were probably growing up as a kid in Detroit, my dad and mom used to play jazz records all the time and they’d have parties at the house where they would crank the volume way up, it was an amazing environment to grow up in and then they would start buying us Beatles records and other rock and soul bands and throughout all those years as a kid the music permeated in my brain.

What specifically drew you to the bass, and when did you decide the sort of player you wanted to be?

I never understood exactly what the bass did until I physically started playing it in the basement with my brother when I was about 13. After that, I got fully absorbed into listening to every kind of music there was and realizing what each bass player’s sound was and how that sound would shape the overall sound of the song. That’s why I think it is important when going into a recording session to make sure I have multiple basses so the foundation of the song is right.

How did the scene you grew up in impact you as a player?

The scene in Detroit in the early ‘70s when I first started playing was very diverse. They had a lot of great players, and I was fortunate to get thrown into some great band opportunities. I started playing in a couple of different jazz bands, and we would play at Detroit Lions football games, and I then realized the importance of reading and being able to play all styles. It was a great place to grow up in every way.

The ‘80s were a wild time to come of age. How did that affect you as you were getting into session work?

Yeah, the 80’s were crazy musically because there were so many different sounds and songs going on. When I first moved to LA, I got into about four or five cover bands, and it was an amazing time to play a lot of different styles. It was also a good time to learn to sing and play, which later on became very important for me.

Tell us about working with Joe Satriani, a consummate professional.

It’s funny that you should ask that because I literally just put my bass down from playing on a new track of his. While I was recording my part, I was thinking about how good Joe is even on his demo bass parts. He is definitely a consummate professional, and he knows exactly what he wants, which saves a lot of time for everybody. He is an immensely talented guy, and I love playing and recording with him. He seems to have a reason for every note and its place, and it boggles my mind how he does that.

And how about David Lee Roth? He must have been a trip.

Dave always amazed me because he was always trying different things in music and life in general. His music sounds exactly the way he lives his life, on the edge and unpredictable. It was amazing at that time to play in that situation with that band, and I still am thankful for it every day.

You were involved with the music for Friends, a gift that keeps on giving!

Yeah, every time I see that show on TV, I give it a standing ovation! It’s amazing sometimes how certain gigs that you don’t think about at the time eventually become very profitable. We always had fun recording the music ‘cause we would just go there and jam, and after about the second or third season, I took for granted that it would be the gig that keeps on giving!

What led you to work with Rick Springfield?

I knew Rick from Brett Tuggle cause he played with him in the early ‘80s. I would hang out with him at parties and stuff way before I started playing in his band. I started in about 2000, and we became really good friends and writing partners. He is one of the funniest people that I know.

And how about Sir Elton John?

After my friend Bob Birch, who was Elton’s Bass Player for many years, passed away, Davey Johnstone, whom I knew over the years, called me. It was a horrible situation, and they had to go back out on the road when it happened, so I had to learn a bunch of songs fast. Once I got out on the road, I realized what an amazing piano player Elton is, and I’ve been trying to keep up ever since!

What’s been the key to your bass rig, and where does it stand today?

I think the main thing for me is just to keep it super simple. Sometimes when I get a little too tricky and run pedalboards and effects, I think too much about that instead of just playing bass. I think if you’ve been playing long enough, you should be able to make any instruments sound good with whatever you have.

But it’s always good to have great amps. I used to use those monster Ampeg SVTs until it would break my back. Now, I am fortunate to get a great sound through the Markbass amps; those things are amazing! And most importantly, I can still walk.

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