Bass Videos
“Right Hand Drive” Innovative Technique
I’m always on the look out for new things to learn to expand my playing and allow me to express myself more independently on the instrument. So at Christmas, I was excited (I don’t say surprised, because we usually get the emails of “What do you want this year?” nowadays) to get a copy of “Right Hand Drive,” by bassist Damian Erskine. Once I got home, I opened the book, grabbed a metronome and dove in.
The basics of the method are actually pretty simple. Unlike the right hand technique that we are all used to (where the index and middle fingers hit the strings while the thumb anchors the hand on a pickup), Erskine’s method involves you using the thumb much like the index and middle fingers. You hold your hand more like a classical guitarist would, which allows the thumb to move freely. Any anchoring you do at this point can be done either by resting the arm on the bass body, or by using the pinky.
The book itself is laid out easily and simply, with rudiments designed to help you ingrain the technique into the muscle memory before adding more advanced skills on top of it. I strongly encourage you to take the time to dive into these rudiments and play them ad nauseum; it will only help you to absorb the technique. Honestly it took me a good four months of playing with the book and forcing myself to use it at gigs before I had that “Aha!” moment where it all clicked and just happened. From there, it takes more work to play in the traditional right hand style.
A couple things I discovered while working through the book (in full disclosure, I’m still not done. I wanted to spend as much time on the basics to get them down before going to the advanced section), which have made this technique all the more valuable for me. First, the hand position allows very quick shifting from slap bass to fingerstyle to palm-muting. As a theatre musician, there are times when I have to make technique changes on the fly, and the Erskine method has made my job of quick transitions that much easier.
Secondly, you can still use a lot of other advanced right hand techniques with this method. I regularly use my ring finger on my right hand when playing fast passages, and that immediately worked its way into this technique. For someone that uses the upstrokes of their fingers, that’s very easy to incorporate as well. With the hand position, I feel you’re far more open to experiment and incorporate whatever you want into your playing. At church, I’ve been playing a lot of “hybrid slap,” where you’re using your thumb to play regularly, but then I can pop a string here and there for effect. With the traditional right hand position, that wouldn’t be possible.
“Right Hand Drive” is a new, inventive way for us to look at the role our right hand plays in the bass context. By using the thumb instead of treating it like an anchor, it unlocks a new level of expression, fluidity and motion. Combine that with the ease of switching from slap to fingerstyle to palm-muting, and for me it is an invaluable skill I’m glad I have taken the time to learn. And lastly, Damian is a stand up guy that is very easy to talk to (either by email, or find him on twitter at @damianerskine), and responsive. You can’t go wrong.
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This month, we discuss right-hand techniques to minimize injury while playing bass.
Dr. Randall Kertz is the author of The Bassist’s Complete Guide to Injury Management, Prevention and Better Health. Click here to get your copy today!
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Adam Russell, bassist for Story of the Year, hasn’t slowed down for a second.
With the band’s latest album A.R.S.O.N. dropping on February 13, 2026, they’ve not only delivered new music but also pushed their creativity further through a series of visually striking videos, several of which Adam himself co-directed and edited.
In this interview, we dive into the making of the new record, explore how Adam shapes his signature bass sound, and get the inside scoop on the band’s upcoming Camp Screamo Tour with Silverstein and Origami Angel.
Here’s Adam Russell.
Photo: Ryan Stephens
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Get ready for a conversation with one of Southern rock’s enduring forces, Tim Neilsen. For over 35 years, Drivin N Cryin has been delivering a powerful blend of grit, melody, and heart, and they’re not slowing down anytime soon. With their brand-new album “Crushing Flowers” set to drop on April 10th, the band is gearing up for another exciting chapter.
At the core of that signature sound is bassist Tim Nielsen, whose driving grooves have helped define the band’s identity and earned them a place in the Georgia Music Hall of Fame.
In this interview, we sit down with Tim to talk about the new album, the secrets behind his unmistakable tone, and what lies ahead for Drivin N Cryin.
Here is Tim Nielsen.
Photos: Chris Neilsen, Carlton Freeman, Ted Lanthangue, and courtesy Tim Neilsen
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Oteil Burbridge & Lamar Williams Jr. Champion Love Over Hate in New Single “Hush” | New Album ‘The Offering’ Out May 1.
Bassist Oteil Burbridge and vocalist Lamar Williams Jr. continue the rollout of their forthcoming collaborative album The Offering, with the release of its second single, “Hush”. A slow-burning Southern soul meditation rooted in love, peace, and emotional clarity, the track is a centerpiece on the album with a potent, thematic statement, in Williams’ words to “block out all of that nonsense” and “remember that there is more love in the world than hate.” The full-length album arrives May 1 via Flóki Studios, recorded on Iceland’s northern coast and produced by drummer, engineer, and Soulive co-founder Alan Evans.
While much of The Offering grew out of Burbridge’s banjo-based writing, “Hush” emerged from he and Williams’ shaping a deliberate sonic vision. Burbridge says they were “trying to capture a more old school Memphis, Macon, Muscle Shoals vibe,” leaning into a Southern soul feel that fits Williams’s phrasing. The end result is a song that is unhurried with a deep pocket that allows the groove and the song’s message breathe and stand at the forefront.
The album features an all-star lineup of drummer John Morgan Kimock, percussionist Weedie Braimah, organist Melvin Seals of the Jerry Garcia Band, pianist and violinist Jason Crosby, guitarists Tom Guarna and Jaden Lehman — musicians whose overlapping histories connect the Allman Brothers Band, Dead & Company, the Jerry Garcia Band, Soulive, and West African percussion traditions.
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When I heard that American Vanity, formerly known as Burn the Jukebox, was gearing up to release a new album this summer, it felt like the perfect moment to catch up with bassist and vocalist Virginia Franks.
With a fresh name unveiled just this past January and a clear shift in musical direction, the band is entering an exciting new chapter, one defined by both sonic evolution and a deeper, more focused message.
In this conversation, Virginia opens up about the inspiration behind the upcoming record, how she crafts her distinctive bass tone, what fans can expect from their upcoming tour, and where she sees both herself and the band heading next.
Join me as we dive into it all.
Here is Virginia Franks.
Photo, Devin Kasparian
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