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Be Inspired, Not Intimidated by Jonathan Moody
Be Inspired, Not Intimidated by Jonathan Moody… How many of us have said at some point “____________ is so good, I just want to quit playing altogether.” I know there was a time that I listened to music that frustrated me and made me want to rethink my musical career. Looking back, I know that mentality was holding me back from trying new things, experimenting, failing (hey, it happens), learning and succeeding.
Why on earth would I want to listen to a musician or group that would frustrate me, making me want to STOP playing altogether? It seems counterproductive, doesn’t it? And yet there are a lot of people doing just that; listening to music and being intimidated instead of being inspired. Music should inspire you, not intimidate.
Years back, Michael Manring played a gig an hour north of me. I bought tickets the day they were available, and was in the front row for the show. That’s right, I’m a fan. Manring was probably three feet in front of me, and his set was awesome. Sure, he’s got the level of skill that I can only dream about, but that wasn’t the point. The music, his musicality, spirit, etc. were inspiring. I got the chance to shake his hand after the set and even say “Thank you, that was inspiring,” which led to a discussion where he and I talked shop for about ten minutes. I can probably recite that discussion verbatim; it was one of those moments I won’t ever forget.
When I got home, I played for about four hours straight (which ended around 3am) and had two solid foundations for solo bass pieces (which I still play now). Manring’s concert inspired me to play more, push myself beyond what I was capable of, elevate myself to try and achieve the level of musicianship that he commanded. I can’t tell you how many new things I learned by just attempting his greatness, that I still use today.
What would have happened if I had kept the mentality of “Oh, he’s so good, I can never do that?” after I had attended that show? I’ll tell you; nothing. I probably would have driven home, told my roommates how awesome the show was, and left it at that. If I was intimidated by the performance, it’s pretty easy to wager that I wouldn’t have done anything at all, limiting myself in the long term and honestly, not fully enjoying the show.
We need to stop comparing ourselves to each other in terms of “He’s better, period” or “I’ll never be that talented” and leave it at that. I may never be able to play like Michael Manring, but I’d wager that he’s never going to be able to play like me either. That doesn’t stop me from trying to elevate my playing to greater heights, because the amount of skill and musicianship that I learn from just TRYING something new can lead to greater things.
Please realize that healthy competition between you and your musical friends is not what we’re talking about here. I’m fortunate to play with a guitarist that pushes me on a regular basis; on occasion, I push back. Our competitive nature while playing results in both of us learning a lot of new things, and when either of us fail at what we’re trying, we both smile and move on.
So the next time you’re listening to something and are just overwhelmed to the point of selling your instrument and becoming an accountant, stop the music. Give yourself a second to really clear your head. Then, hit play again and listen to something you normally wouldn’t in the song; maybe it’s the drummer, maybe it’s the keyboard, whatever it is, DON’T LISTEN TO THE BASS. Maybe even give another genre of music a try to see what they really have to offer, or *God forbid* turn on the radio. Whatever you’re listening to, find something new in that music that surprises and inspires you, making you want to turn off the album and pick up that bass and play.
In closing, here are a couple of my favorite “go to” albums that I pop in for inspiration; find me on Twitter at @monjoody and share with me yours.
“Night Train” Oscar Peterson Trio – Yeah, Ray Brown is a monster but I think Ed Thigpen was the glue that kept that trio together. He’s such a musical drummer!
“Rift” Phish – Concept albums are a tough sell on me and yet I still find something new and interesting in every single listen of this album.
“Equilibre” Michael Manring & David Cullen – This is my favorite Manring album because while there are obvious times for him to showcase his soloing prowess, when he’s just sitting in the back and backing up David Cullen, you understand and appreciate how good Manring is.
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Photo: Self-portrait by Melissa Auf Der Maur
Melissa Auf Der Maur is a Canadian bassist who played with Tinker, Hole, and The Smashing Pumpkins. She released her own work and is a photographer with photos published in Nylon, Bust, and National Geographic. She released her ‘90s Rock Memoir “Even The Good Girls Will Cry” on 17 March 2026.
KB: Did you always want to be a singer-musician growing up?
I’ve played music my whole life. In school, I played trumpet and sang in a children’s choir, so music was always within me. My mother was the first female disc jockey on the Montreal airwaves; her record collection played a huge role in my inspiration and love of music.
KB: When did you start playing bass, and why this instrument?
When I was 19, the early 90s music explosion began to percolate in tiny clubs around the world. I was lucky to be a ticket girl at Montreal’s underground music club. In one year, I saw Hole, Sonic Youth, Smashing Pumpkins, White Zombie, and The Breeders – all had female bass players. That’s when the seed was planted. By the age of 22, I was the bass player of Hole.
KB: Which brands of basses have you used in your career, and which one are you using now?
The first bass that I learned on was a vintage Squier Precision. Hole was sponsored by Fender guitars, so I upgraded to Fender Custom Shop Precisions. That is all I play, but I have a cool vintage 8-string Greco that I use on recordings to thicken up guitar parts.
KB: What equipment do you use or have you used with your basses?
Ampeg SVT amps and cabinets, a couple of Sans-Amp pedals, and that is it.
KB: How did you become a member of Hole, and what is your fondest memory of that time?
Billy Corgan of the Smashing Pumpkins was helping scout a replacement for (RIP) Kristen Pfaff, Hole’s bass player. My band, Tinker, opened for them on the Siamese Dream tour, so Billy had seen me play and could vouch for me. Courtney trusted her talented friend, and that was it. I initially said “no thank you” due to my commitment to my photographic studies and the drama and chaos surrounding the band during the “Live Through This” album release. Courtney took it as a good sign that I said no, so convinced me to reconsider, and soon after, I accepted their invitation, in the name of helping put females in the male-dominated landscape of rock music. My fondest memory is every show we played as a mostly female band, symbolizing what a woman could do in a rock band. Every show had a purpose: get more women to play music.
KB: You are a photographer as well. What makes a great picture? Do you shoot in color or b/w?
I started shooting photographs at age 15. Initially only shot black & white and worked in the art school darkroom. In university, I took a color photography course, and shifted mostly and forever to that, because it was easier to process film on the road when I joined a rock band. I experimented with many cameras, point and shoots, manual, polaroids, medium format, and vintage finds. The trick to a good photograph is to shoot many and all the time – the magic is in the edit and selection process.
KB: Are there artists you would love to collaborate with or wish you had?
??I’ve been lucky to collaborate with some of my favorite musicians in my career. I would still love to collaborate with a new generation heavy electronic artist on an analog bass, heavy electronic drums, and synths collaboration project. Take me out of my usual zone, merging the past and future: my love of 80s dark new wave and new artists exploring that genre. It was very futuristic back then, and we are now, after all, living in the future. I am in the mood to play bass to heavy beats I want to dance to.
KB: What are your 7 favorite bass lines in music across all genres? And why these 7?
“Mountain Song” – Jane’s Addiction (love a rambling, rolling bass line – feels like the ocean waves)
“Black Top – Helmet” (was the first bass line I taught myself)
“Gold Dust Woman” – Hole from “The Crow 2” Soundtrack (it was my first bass line contribution to the band)
“Get Ready” – The Temptations (Motown just feels so good, because of the bass)
“Lucretia My Reflection” – Sisters of Mercy (makes me want to hit the dance floor and play bass simultaneously)
“Be My Druidess” – Type O Negative (full chord bass playing at its best by iconic, demonic, Peter Steele, RIP)
“Romantic Rights” – Death from Above (1979 – unique distorted overdriven tone, combined dance rhythm and melodic intelligence, all in one shot – also! Shout out to a bass & drum only band, which is awesome, and we should have more of, but the bass player needs to be a killer to fill that role.
KB: What are you currently up to?
Releasing my ‘90s Rock Memoir “EVEN THE GOOD GIRLS WILL CRY”. Visceral healing process, it was to get it out of me and write it, but I suspect the real magic will begin by putting it into the world and reflecting with others on what the magic of the ‘90s was all about. Powerful music decade that carried us into what is now a brave new world of digital corporate weirdness – may the past shed a light on our future. That’s my hope for this book release and tour.
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