Shinedown guitarist Zach Myers has addressed criticism regarding bands that use pre-recorded backing tracks during live performances. He shared his perspective in an interview with American Musical Supply.
Myers defended the practice while clarifying common misconceptions about how backing tracks are used in live performances.
“I think there’s a big misconception about… I see all these bands that, like, it’s become this cool trend to brag about not using tracks,” Myers said. “Like, shut up, dude. Who cares? Queen did it. So, shut up. If Queen did it, shut up. Don’t say anything else. And if you wanna do it, that’s great. But people wanna hear the symphony on [the Shinedown song] ‘Second Chance’ [when we play it live], and I don’t feel like bringing up…”
The guitarist went on to distinguish between different types of backing track usage. He emphasized what he considers acceptable versus problematic.
“Now if you’re running vocals and you’re running guitars and you’re not playing things, I’m not for that,” he continued. “And I think people think when you run tracks, that’s what you’re doing. I’m, like, dude, there’s nary a guitar track out there, there’s not a bass track. Everything you’re hearing is coming from us unless you hear a cello.”
Myers’ reference to Queen highlights the long-standing debate about authenticity in live rock performances. It also addresses the practical realities of recreating complex studio arrangements on stage.
The use of backing tracks in live performances has deep roots in rock history. Queen Concerts documented that Queen’s legendary 1985 Live Aid performance incorporated pre-recorded elements to enhance their sound. This was done without compromising the live musicianship that made the show iconic. The band strategically used backing tracks to replicate the layered harmonies and orchestral arrangements that defined their studio recordings.
The practice extends beyond Queen’s era. Various artists have adopted similar approaches since the 1980s. Loudwire reported that early adopters like Timbuk 3 used boom boxes to augment their sound during live performances. This demonstrates that backing tracks have been a practical solution for decades. This historical precedent supports Myers’ argument that the technique is neither new nor inherently problematic.
The debate over backing tracks reflects broader questions about authenticity in modern rock performances. Wikipedia noted that Queen’s approach to live performance balanced studio complexity with genuine musicianship. This set a standard that many contemporary bands still follow. The key distinction lies in using tracks to enhance rather than replace live instrumentation.
Myers’ comments underscore the practical challenges facing modern rock bands who must recreate increasingly complex studio arrangements for audiences. These audiences expect to hear familiar songs in their full glory. The guitarist’s emphasis on maintaining live guitar and bass performance while supplementing with orchestral elements reflects a compromise between artistic integrity and audience expectations.
