By: Rick Landers
Lex Bauman – photo credit: Matt Phillips @ Moshpros
Guitar International is mixing it up with music legends, music industry leaders and a new generation of young guitarists, and other musicians to present to our readers. So, we’ve been siphoning off several new generation artists from a project co-founded by the legendary rock photogapher, Robert M. Knight, called the Brotherhood of the Guitar.
The Brotherhood has assembled an impressive array of guitarists from around the world, as well as developed an equally impressive array of young percussionists for a second Brotherhood.
Today, we’re featuring a hot new guitarist, Lex Bauman, from the heartland of America, Columbus, Ohio, a stone’s throw from the Rock ’n Roll Hall of Fame in Cleveland. His passion for a career in music began early, but enough of the youth focus, the guy’s a solid guitar player, songwriter and he’s focused and strategic. And those are great combinations for any successful pursuits. And, with a well-connected management team to support him, he’s made great progress building a fan base.
At 16, Lex is moving along smartly, working with a another songwriter to craft songs with hooks that stick and by independently releasing his debut album, The Dangerous Game, to gain production skills and to earn lessons learned for future releases. So, all the right ingredients to grow a terrific career are in place, Bauman is level headed and with the support of his mentors, there are good reasons why his pursuit of success will be realized.
His music falls into the classic styles of pop stars like Rick Springfield, The Cars and other melodic, but oftentimes hard hitting riff driven tunesmiths.
Guitar International is pleased and honored to have reached out to Lex Bauman and we look forward to getting back together with him in the future as his pop-rock star rises.
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Rick Landers: Are you based in California, and what kinds of music and musicians did you listen to growing up? And although popular music drifted away from guitars for some time, it seems to be making a solid comeback. How did you develop as a guitarist and what tools did you use to grasp the challenges of the fretboard?
Lex Bauman: I’m currently based out of Columbus, Ohio, but my drummer and management are in California. My producer and co-writer is in Nashville. So, I am all over the place all the time.
I listened to a lot of Queen, KISS, Guns ‘n Roses, Cheap Trick, Otis Redding, White Stripes, Motley Crue when I was really young and getting into music. As I got a little older I discovered Marvelous 3, Brian Fallon, The Cars, Thin Lizzy, American Hi Fi, Buck Owens, George Strait, All American Rejects, I even like a lot of radio friendly pop music. Lots of influences.
I had two guitar teachers for several years, as I progressed I kept taking lessons with those two, but when I started seriously writing and recording, my producer and co-writer, Tuk Smith, really took me under his wing to be a great studio musician as well.
Lex Bauman – photo credit: Photo credit – Mark Peters
Rick: Beyond guitar have you any aspirations that go beyond guitar in music, as well as in another career field? Is college in your plan, where and areas of study?
Lex Bauman: Beyond guitar and the writing and recording I am doing now, I would like to build my songwriting skills to the point that other artists would want me to write for or with them.
College isn’t in the plan right now, but I am keeping my options open. I am currently wrapping up my senior year of high school with a fairly high GPA (Grade Point Average).
Rick: Are you working with a manager or management team and do you get involved in the business side of music to help ensure you protect your interests?
Lex Bauman: Yes, I work with Zuma Live’s Nate Arling and Bryan Wilkinson. They are my current management and have been great! We have weekly meetings about my career. My parents are also pretty involved to make sure I am always making the best decisions possible.
Rick: What about production? Have you been inclined to learn recording gear, studio logistics, to at minimum learn the production side of getting “radio ready” songs?
Lex Bauman: Yes, I have my own gear at home and spend time working and learning how to do things on my own. I record my demos at my producer’s studio and when we record songs for actual releases, I am always studying what the engineer is doing at Sonic Lounge.
Rick: One of the areas that a lot of musicians are interested in, but figuring out is getting into the sync arena, music libraries, in order to try to nail down the commercial media market, like movie scores, commercials that can offer you a solid public outreach, as well as to get into the realm of where the big bucks seem to be these day?
Lex Bauman: It’s definitely a goal. My management has been working on that. Several of my songs, like “Taylor Swift,” “While We’re Still Young,” “Nights Like These,” “My Girlfriend’s Best Friend,”etcetera, seem to be perfect for commercial use. Yes, I want the big bucks! (Laughs)
Rick: What guitars did you start out with, what do you have now and do you have any favorites?
Lex Bauman: I started out learning on some of my dad’s guitars. My first real guitar of my own was an Ernie Ball Music Man St. Vincent. I actually have a really large collection now between my own and what my dad has since given me.
I have several Ernie Ball Music Man’s, a few Rock ‘n Roll Relics and really cool Kauer and, of course, some Fender’s and Gibson’s, but as far as my favorites I would have to say my Ernie Ball Music Man Axis, my Rock ‘n Roll Relics Revenge and, of course, my St. Vincent.
Rick: Have you migrated from performing cover songs to writing and producing originals? If so, what are the challenges of both and have you found an emotional difference or feel for how you sing or play them?
Lex Bauman: I still play a few covers in my shows when time allows, but I focus on my original songs. Playing covers are always fun but doing my originals are much more rewarding and meaningful.
Rick: We all have artists who have influenced us, but typically we discover a few that lodge into our senses and work on their techniques and song structures…how about you? An example is as simple as song length, back in the ‘50s a two-minute song was typical although some artists had songs that extended more than twice that length by the ‘70s, including a few running over six minutes; and today some have songs that are only a minute long – probably more with the intent to get them in music libraries.
Lex Bauman: I try to stay right around three minutes for each song. That is pretty standard for power pop, the genre I consider myself but most people don’t know what that is anymore. It is a tight structure, as opposed to something like a jam band. The parts are all meant to be catchy and meaningful.
Rick: Have you found your “perfect” amp and effects to get you the sounds the places you want to reach with your music, what are they?
Lex Bauman: For recording, I use a Friedman Dirty Shirley and an Orange Rockerverb, mostly. However, for live shows, to make set up and travel better, I use a Fender Tone Master. I have those amps and some chorus effects dialed in on.
Rick: Given the current trends in music, do you have any ambitions to join a traditional label or do you think you’d like to build your brand without things getting too complicated, as well as to not get drawn into a contract deal that exploits your reasonable ambitions and sense of fair-mindedness with nuanced terms and conditions that might not work into your long range interests?
Lex Bauman: Well, my first album, The Dangerous Game, was released independently. For the next record, which I am currently working on, I am looking for a label to help with distribution and a little support.
I am not interested in giving up my creative control but I’m open to hearing suggestions. I know I had to turn down a deal a while ago because the label head wanted to change everything…which I thought was confusing, like, if you like what I’m doing, why change it…? So yeah, I’m being very careful with offers, but would love to get the right one…
Lex Bauman – photo credit: Photo credit – Mike Markowitz
Rick: Any on-stage performance experiences that surprised you and thrilled you? What was it about them that boosted your spirits and do you find that you could influence an audience to feel the same way that would also make you feel your own heightened sense of fun?
Lex Bauman: I recently opened for Buckcherry a few times, I truly didn’t know that the audience would like me as much as they did because our music is pretty different. So, that was a thrill.
On stage, my goal for the audience is kinda like, we are trying to throw a party, playing some poppy rock ‘n roll that the audience can sing and dance too.
Rick: Are there any songs you’ve written that while developing them that you felt were “hits” even before you finished them based on a riff, a melody or story line?
Lex Bauman: When I’m writing with my co-writer, Tuck Smith, we put a lot of thought into what we are going to do next. We throw around a bunch of ideas before we start spending too much time on an idea that won’t be a hit. Honestly, we try to make all the songs hits. We stick as many hooks and catchy lyrics into a song as we can.
Rick: What’s happening now as far as projects, touring, as well as finding the time to write more?
Lex Bauman: I’m working on the second record right now and trying to find the right label to release it. I want to be touring as much as possible next year. I want a support tour with a pop rock artist, someone like Avril Lavigne, Jonas Brothers, Weezer, Goo Goo Dolls, etcetera…so, if they are reading this, give me a call! [Laughs]
Rick: When writing have you found you experience special moments when you come up with some great musical phrase, melody, etcetera that seemed to come out of nowhere; if so, are they special moments that you think you’ll remember when you become an elder statesman of the guitar?
Lex Bauman: I really remember more of the challenges or mental blocks. When you are trying to write these great big hit songs, sometimes you get really stubborn mental blocks. It can be discouraging, but then one person in the room says one thing and all the sudden, the flood gates open. So, I guess what I mean is, seeing how the sausage is made isn’t pretty, but it’s definitely memorable. My song “So Long, Goodbye” was definitely like that, but I love the result.
Rick: How did you become a member of the Brotherhood of the Guitar and how has it helped you develop as a musician, as well, has it opened up great opportunities for you?
Lex Bauman: When I was really young, I wrote to Gibson. I thought those guitars were really awesome but, of course, they never wrote me back. When I got my Ernie Ball Music Man St. Vincent, that guitar was perfect! I loved it so much, my mom helped me reach out to Ernie Ball, kind of expecting the same result as what Gibson had given.
Much to our surprise, Tim Dove from Ernie Ball wrote us back and sent be straps and shirts and hats and all kinds of swag. My relationship with Tim grew over the years and Tim thought that Robert Knight would be a good contact for me. Robert got me the Brotherhood of the Guitar endorsement.
Robert and that endorsement have been great. I get awesome discounts on strings and guitars through multiple retailers or brands. Actually at NAMM last year, Tim Dove let me borrow some guitars from Ernie Ball to play a couple shows while I was in California and I ended up buying one of them with my Brotherhood of the Guitar discount. The endorsement has meant the world to me and been so helpful.
Rick: Do you have some kind of strategy plan to get you to where you want to be as an artist?
Lex Bauman: Releasing new music, getting appropriate support tours to get in front of the right audience. Getting a label to help with marketing. My management, Zuma Live, and my booking agent (TKO) are working constantly to get those opportunities to fulfill my plans.
Rick: Anyone so far who has helped you reach for your dreams that you’d like to mention and how they helped?
Lex Bauman: My band, past and present, has meant the world to me. Jackson Daw, my drummer has been the musical partner I’ve always wanted. Tristan Woodruff has been killing it on bass but has even subbed in on drums when Jackson hasn’t been able to make a show. Preston French and Angelina Petticord are not really playing with me anymore, but I am eternally grateful for what they were able to contribute for as long as they could and I love them both.
Tuk Smith, or as he has become known, Uncle Tuk. He is my producer, co-writer and partner in crime. Tuk and I work really well together. He is my musical mentor. I couldn’t love him more.
Nate Arling and Bryan Wilkinson bust there butts for me and I am so grateful. I know there job isn’t easy, but they have been an incredible management team.
Andrew Daw has been in the background helping me and my family with all the things that we don’t know that we don’t know. So I will always be so thankful for him.
Music Royale, specifically Phil Smith and Scott Gorsuch, for teaching me how to do this thing.
TKO, my booking agency, they took me on as a project that they knew would be challenging. I’m very grateful for all they have been able to accomplish so far.
Lex Bauman Links:
